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:: Posted by emory0 on December 02, 2013
In the news section Sid Smith reports...
"The Road To Road seems to be an outstanding addition to David Reillyís existing CD collection in Edinburgh..."
Thatís a hilarious photograph and I salute such a collection, so well placed. I also canít tell how close to the floor heís standing: It almost looks like heís a yard off the floor surrounding by a vast column of CDs.
But I hope to dear God he isnít playing those CDs on some computer speakers. As a Scottsman surely heís got a Linn rig to play all that music on?
Letís see it!
Sunday all over the world
:: Posted by orrason on December 02, 2013
where can I get "Sunday all over the world" in hard copy or downloadable format ?
:: Posted by rogadaire on December 02, 2013
I would agree that the new line-up looks more suited to developing new material than sticking to the old stuff (aka íthe hitsí), but then it has surely been a significant feature of every King Crimson that has existed to develop a way of playing that allows for completely improvised material to be played live. I can think of no good reason why KC 8 should depart from this tradition; nor have I read anything to suggest the band intends to play only already established songs (and no songs OR improvisations). Given the creative talents involved, it must be on the cards that new material will emerge in some form. However, expectation being a prison, I think it also makes sense to be low key about the extent to which any new material might be encouraged or developed, once the almost-inevitable green shoots begin to emerge. Unless I am mistaken, this is broadly the approach Robert has elected to take.
:: Posted by martin9 on December 02, 2013
And thatís just his Larks Tongue collection....
The Great White North
Re: Crimson 8
:: Posted by DannyX on December 01, 2013
"Trey was hung out to dry by redundancy, Pat was hung out to dry by Billís dissatisfaction and superior attitude."
I would agree with the first part of this...Gunnís contributions werenít fully realized until the later Tony-less 4 piece. Totally disagree with the second...the Mastelotto/Bruford combination was more than the sum of its parts, particularly live.
Interesting idea about division of percussive labor, though...so who gets the bass drum, who gets the snare, and who gets the high hat? ;)
:: Posted by jbanks on December 01, 2013
It will be interesting to see where the new King Crimson goes.
If the plan is "no new material", there will be some novelty in how they play material from the catalog of 30 years of Belew Crimson. It will be unprecedented: Belew Crimson only played a handful of songs from Pre-Belew Crimson, but unless Crimson 8 is going to restrict itself to the í60s-í70s, the workarounds for Belew Crimson songs will be a challenge. I look forward to what the players have in mind, because the new configuration seems best suited for new material, not repertoire.
The Venal Leaderís gluttony for punishment is admirable. To my ears, the Double Trio ended up being í80s Crimson with thickening agents, or The King Crimson Big Band. Trey was hung out to dry by redundancy, Pat was hung out to dry by Billís dissatisfaction and superior attitude. From accounts I have read, Adrian and Bill had basically begged to be allowed in. And then it all blew up when it came time to create a second album. The decision to go to 7 players is therefore a brave one.
The 3 drummers plan will be an opportunity. Frankly, I have rarely heard a band with 2 drummers that needed them, and that includes the Double Trio. But, the 2008 Crimsonís 2 drummers worked well together and were headed in some unique directions.
I am curious why nobody ever takes the opposite route with multiple drummers: instead of crowding the stage to collapse with 2 or 3 drumkits, why not break down the drum kit into smaller components and deploy 3 drummers to go deeper? Think of the Dirty Dozen Brass Band and that New Orleans tradition, or marching band drumlines, or Africa.
Re: the top 100 prog bands
:: Posted by jbanks on December 01, 2013
If by "heard" they mean "actually spent money on", my score is 4.
:: Posted by emory0 on December 01, 2013
Finally, us album-clutchers who came to Crimson in the í80s because of the membersí pedigree in other movements of the time, without expectations from the í60s and mid-í70s, deserve some strokes for our excellent taste
When I saw Crimson in 81 at the NYC Savoy, I didnít own any of their music prior to Discipline and wasnít really familiar with their back "catalog". At the time I saw Crimson as being basically another new-wave band, albeit a sort of quasi supergroup (I had seen Belew play with Gaga and with the Talking Heads). Indeed, I think practically everyone at those Savoy shows was of that generation: None of us really knew much about the "old" King Crimson or its history.
Funny, but a year or two later I was walking by some housing projects in Brooklyn carrying Beat, when I passed some black and hispanic kids sitting on a Brownstone stoop. One of them shouted out, "Rocking out with King Crimson!" which kinda shocked me.
The top 100 prog bands
:: Posted by Stahlhofen on December 01, 2013
How many of the "Top 100 Prog Bands of All Time" have you heard? Well KC is 1st on the list and you can sure click a few more here.
some may be missing and some may not actually be called "prog", but what the heck. Itīs fun to scroll the list.
I only got 26 (shame on me)
Drive To '81 Box?
:: Posted by jbanks on November 30, 2013
A Bright Idea (if it hasnít been had already): A Drive To í81 Box Set.
Differing from other Crimson-related boxes, this would collect Fripp, Belew and Levin material from the late í70s, in addition to live shows from the band Disciplineís transition into King Crimson -- and would also include a sampling of material by Peter Gabriel (for the Fripp/Levin contributions, Darryl Hall, Talking Heads/David Byrne (Fripp/Belew), and Fripp solo albums and performances.
Fripp has said that the late-í70s era of rockís shifting genres and influences is poorly-understood and under-appreciated. This was a time of experimentation, crossover and cross-cultural pollination simultaneous with the hardening of hard rockís arteries. There is the idea in some quarters that the "Discipline" albumís ideas "came out of nowhere", which is not at all true if you were paying attention at the time.
The excellent book "Love Goes To Building On Fire" by Will Hermes covers in day-by-day detail the creative cauldron of musical scenes in New York from í73-í77: punk, scrappy art rock, minimalism, experimental jazz, disco, salsa and nascent Hip Hop:
The Venal Leader is mentioned in only a couple of brief paragraphs, as his residency in NYC was beginning at the end of the period covered in the book. But I think one could say that the Drive To í81 was part of the spirit of the era. A box set that puts the birth of í80s Crimson in that context could be both interesting and instructive.
Finally, us album-clutchers who came to Crimson in the í80s because of the membersí pedigree in other movements of the time, without expectations from the í60s and mid-í70s, deserve some strokes for our excellent taste.
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