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:: Posted by tim7777 on April 23, 2014

I played the frippertronics track pleasure pieces from the hells kitchen gig alongside a track from Gnaws night spirits track#1."This is unreal.Well Robert dripping said if he gives us something that helps bus he’s happy.well man be happy for crim Tim.This is great research ground.I play the drums to this new track all the time now. Can’t get enough of this new music.:)The night spirits track is calledBaba L’Rouami.

Monday, 31st March 2014
:: Posted by DannyX on April 23, 2014

"More stories could be told and, one day, maybe a few of them will." Seems like somebody got their request for more music-related anecdotes in the diary.

And how follically-challenged can one be, to require two haircuts in three weeks? On Saturday afternoons, it would seem...

Oh, and Barclays
:: Posted by emory0 on April 22, 2014

And in the Fripperblog...

"Why is it that the architecture of financial institutions soils the places upon which it is dropped?"

I think it boils down to the way business is done these days.

Big banks rarely own the properties their larger divisions occupy these days: Even if they have owned a building for 100 years, it will get sold off to a holdings or real estate company, and then the big bank leases it back again. This is a way of getting at all that valuable capital sitting in the form of their real estate holdings in big, expensive cities such as London (and I worked at Barclays there on Canary Wharf).

The Bach-like Hot Tickle
:: Posted by alfrantzell on April 22, 2014

I think Fripp threw away perfectly good pieces of music like this just to infuriate us.

:: Posted by emory0 on April 22, 2014

"For subsequent albums I cannot perceive the hand of the Crimson One"

I think all forms of the Belew Crimson were best experienced live. Though I always liked the 80s trilogy, it really only hints at what Crimson was like on the best nights. As for Belew’s lyrics: Of course they were good, but they weren’t really the whole point. Rather, they seemed to form an entry for the music-making band (including Belew himself on guitar). Indeed, I think that Belew’s lyrics don’t really function the way they need to until you get to the Double Duo: DD Crimson didn’t require Belew’s singing and lyrics on nearly every song, and I think that’s what let that version of Crimson acheive its fullest potential.

On the other hand, women seemed to like the Belew ballads a lot, and there’s much to be said for that!

'History of Philosophy without any gaps'
:: Posted by gasmrv on April 21, 2014

Here’s a website with a series of podcasts (172 so far) I think RF (and others) may appreciate: http://www.historyofphilosophy.net/

:: Posted by willesley on April 21, 2014

Posted by markmmarkm on April 19, 2014

“tho I recognize Belew’s abundant talent and like at least some of his solo work, the Belew Crimsons never really did it for me”


I tip my hat to Discipline and recognise within it the hand of the Crimbeast, charting a course into the unknown, taking disparate elements and by dint of strange alchemy transmuting them into gold as he had on all previous incarnations. For subsequent albums I cannot perceive the hand of the Crimson One. I hear the honest endeavours of the extremely skilled and talented musicians but nothing other-worldly, save for the occasional spark during improvs – struggling for ignition but failing to combust into the brimstone fuelled inferno of say Red or LTIA2.

I also opine that as a generality, the post Discipline lyrics, are inferior to those preceding it. There are of course notable exceptions, eg “Heartbeat” but nothing that sears itself into my brain like the branding irons written by Sinfield  and Palmer-James or even Belew’s lyrics on Discipline.  It is as if Belew no longer came under the Crimbeast’s thrall. 

You may ascribe this to the advancement of time on the listener. As a counter to this I offer Jakszky’s lyrics on Scarcity of Miracles. Surely these and  the musical matrix into which they are embedded were manifested as an act of divination”

The Man With a Plan wants his works to be heard, and has called upon the Venal One to be his envoy .This will not be a comfortable ride. Hold on tight and scream if you want to go faster.

:: Posted by KantspelldiKc on April 20, 2014

just got a galaxy note pro after being down for awhile, being a broke dikc is hard labor, just thought I’d stop in and say thanks to davidly for the positive reinforcement, this thing won’t let me spell shit wrong without a struggle, that’s fukked up, anyway, if Mr.F ain’t the beast, how come Exposure sounds like a KC album, saw the Dweeze in Feb.at the Crest in Sac., was wondering how KC was gonna beat their version of Filthy Habits, wikked bad ass tune with Ryan Brown on drums, kan’t wait for Sept.

road to red came today.
:: Posted by tim7777 on April 19, 2014

Just got the Rtr today.I have both box sets.where is the gig
from 1973 west palm beach?

:: Posted by markmmarkm on April 19, 2014

markvankempen on April 15, 2014 wrote an admirable effort at answering:

In his diary from sunday 23rd of may 1999, Robert posed the question: "Crimson enthusiasts -- what draws you to King Crimson? What is the energy within the music which powers/draws/interests/drives you?"

Perhaps RF should answer the Q himself for composers/bands/etc. he feels similarly about.

As for me, part of what draws me were the finer moments in the 70s Crimsons and the hope they will be equaled.

As I previously posted, tho I recognize Belew’s abundant talent and like at least some of his solo work, the Belew Crimsons never really did it for me.

I wait with baited breath for what this latest, 3-drummers Crimson has to offer.

Beyond that, the attraction people have for anything is probably related to consciousness...

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