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Toronto PDF
:: Posted by emmapeelfanclub on March 21, 2016

To reply to jacethecrowlís question about the Toronto pdf booklet for those of us who purchased the download, just log in to your DGM Live account, check your downloads page and you should see it is now available in the cover art section... I discovered it by pure chance a few days ago. Has interesting essays by Declan Colgan and David Singleton.

2016 Setlist Hopes?
:: Posted by DevlinC on March 20, 2016

Hello Guestbook,

Given that 2015ís Crimson concerts all shared the same basic setlist - with only VROOOM, Red, Level Five and a late addition of Peace being the "wildcards" - it occurs to me that itís very likely 2016 will drop some and add others. So on the offchance that it affects the outcome, what are everyoneís top picks? For the sake of brevity, lets say a top 3 with a brief explanation of why. Iím discounting the possibility of new material as - given Rieflin is set to return in 2017 - it would be unusual to premier material without one of the composers present, or to write some with a temporary member.

1) Sartori In Tangier - With what appears to be a gentlemanís agreement that Belew material will not be performed by the new Crimson (and where it is, only instrumentals or adaptations), Levinís major contributions to Crimson are essentially blacklisted, with this one exception.

2) The Night Watch - Jakkoís voice is well suited to ballads like this. Would be interesting to see violin parts adapted for Levin to take a solo on the upright bass too.

3) Dangerous Curves - Given this is a pretty straightforward groove, it would give another opportunity for some drum interplay as well as injecting some more recent Crimson into proceedings.

Father Bill
:: Posted by brotherbeavis on March 19, 2016

Dear Cousin David S.,

Seeing the Crim live at the Moore in Seattle in 2014 was one of the greatest single concert experiences of my 53 years of life, subjectively only matched by a Seattle date with the other King, B.B.

Of Father Bill, I say this: I did not then and do not now think his central placement on stage was an accident, and noted on numerous occasions percussive examples of the "whizzing" phenomenon that Uncle Bob has written about in describing GC courses. Pulses would start with Friar Pat or Monsignor Gavin, pass across Father Bill to the other, and back, sometimes going both directions at once. "Red," in particular, had a lot of this.

The modest presence of Billís tiny Sears and Roebuck jazz kit in between Patís mad metallurgist sculpture garden and Gavinís sleek Stealth Fighter Meets Robocop science fiction batterie was also, I believe, no accident. The essence of the instrument between extreme iterations, so to speak.

To sum up, I want to be adult about this, so I will just say that anyone who did not think of good Father Bill as an essential "Element" of King Crimson is a big fat poopyhead.

You are doing heroic work, sir, do please carry on.


Cousin Dave Wilkins

Gavin & Stacey
:: Posted by chrvau on March 19, 2016

I, for one, have no worries about the prospect of Gavin and Stacey (and Pat) on drums this summer. I have seem Jeremy play a few times in a couple of different extremes (the Royal Albert Hall with Ryan Adams in one of the Teenage Cancer Trust Shows and then in a much more intimate show at the new Marquee, where his rhythm partner was none other than the late, great Chris Squire. It was the Syn gig in c2005. He was very impressive that night with his bother Paul on guitar and his playing on the Syndestructible album should soothe any fears. Chill out, folks. 

Oh of course pajamas
:: Posted by HarrySpade on March 18, 2016

"if Crimson played Iíd actually buy a ticket and attend in pajamas."

Absolutely that would be the way to see King Crimson, preferably the kind with the padded feet attached. Sadly, I could find no pajamas in the Inner Knot store. Iím sure thereís a whole market waiting to be exploited. Just remember guys, emory0 thought of it first.

More King Crimson music on iTunes
:: Posted by rtkcfan on March 18, 2016

Hi all.

It looks like as of today, iTunes now has all King Crimson albums from 1980 and onwards.
Can anyone confirm if "Beat" and "Three of a Perfect Pair" are the original mixes or the (unreleased) Steven Wilson remixes?
It sounds like the former to me, but I cannot be 100% sure.

Also, the new Toronto live album is available from iTunes now as well.

These are the original mixes and not the SW mixes

Expanded Editions on iTunes
:: Posted by homemadeparachute on March 18, 2016

Hello there,

Are the Expanded Editions, a number of which have just showed up on iTunes Canada, the 40th Anniversary Steve Wilson/Jakko Jakszyk remixes, would anyone know, please and thank you?
These are not the SW / JJ mixes

:: Posted by hopmanjr on March 18, 2016

From RFís diary for 7th May 2003:

for the ongoing-intensive RF presence, i shall continue to look at property opportunities in england. it may be that the GC House idea returns in 2016 when i am 70 and less likely to be available for travelling.


Toronto Artwork
:: Posted by alexdrumoff on March 18, 2016

Could you please provide a back tray cover for the Toronto 2015 concert?

And could you also please provide a different printer friendly booklet with pages ordered like this?


Thank you!

Music and Creativity Podcast
:: Posted by Dr_Erock on March 17, 2016

There is no specific RF, Crim, or DGM content. So far. But there are fascinating discussions of music, creativity, and philosophy.

Nakedly Examined Music interviews creators about their music and features in-depth discussions of several of the artistsí tracks.

I recommend episode #7, featuring guitar looper, Beefheart, and Jeff Buckley collaborator Gary Lucas.


One of the tracks is a Lucas/Peter Hamill collaboration (so there is a little RF connection there).

Of note for Crafties are discussions of relationships between artistic intention, collaboration, and work with the marketplace. I find it fascinating that Lucas waited until 1990 before becoming a full-time musician. He had invitations to serve as a sideman but would not move from amateur to professional status until he could realize his intention as he wished.


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