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:: Posted by stevearle on November 10, 2013
So simply, is there a new edition of K.C.?...and if yes, why is this not trumpeted (like a swan) on the sight?
:: Posted by AndrewJohn on November 10, 2013
Its been great to move thru the days on the R2R, Iím up to disc21 next.
I didnít immediately realise that as I listened to CD16, CD15 was the same but different. Facts can cloud the issue, but Penn CD17 I think is phenomenal - and ohh so cruel for fate to end Starless without conclusion, Iím sure it was awesome.
Based on first listen CD16 wins out so far for me and I will come back to them both. This is purely subjective based on how it makes me feel with its sounds.
One other thing thatís clear now, but only in hindsight, the July 1 gig was the perfect running order and precursor for what the music of KC was to become. And another thing and I do mean this in light of the make up of KC now, 21st Century Schizoid Man should always be The Opener. Can you imagine the joy of recovery after being melted with this mutha by this crew!
Well I canít, but Iíd like to experience it.
(Love by Shy Limbs is great track - Fripp unmistakeable on his first outing, great bass and vocals by Lake, fine drumming from McCulloch and the other guys great as well. If you donít know it you should - get it into your collection pronto. Canít believe it has a sixties timeline. Happy Birthday to Greg Lake, (and to my Uncle Charlie of course))
:: Posted by Tom239 on November 10, 2013
Thereís a world championship chess match in progress (a rather significant one), videos are available on the web, and you can see flash photograph after flash photograph being taken of the competitors while they are playing chess. It kills me that the terms of the event permit this, but such is the influence of commerce today. Whatever your thoughts on this, I note that it is a departure from how it used to be.
Along with all the other details of how to put KC on the road, I imagine Mr. Fripp and his associates are considering how to deal with a culture where video recording on mobile phones is commonplace. On the one hand, strict policing of house rules turns a concert into a battlefield; on the other hand, bands that tolerate video recording without saying a word are allowing customs to take hold that many of us find detrimental. It seems like no easy task to find the right balance.
Hide & Seek with Fripp
:: Posted by JeffTruzzi on November 10, 2013
Mr. Fripp also hid on the Double Trio tour, in the dark, between the two drummers and behind the singing guitarist. Whereas in 1981-1984 he was easily visible.
We grateful Crimson fans understand the ground rules: no smoking (legal or otherwise), no touching (unless it is each other, or a non-Venal Crimso extends a hand), no photography (still or moving), no cell phones (used for any purpose), no loud expressions of enthusiasm (except after a piece concludes), no fan fetish autograph demands, no approaching His Venal Highness before the gig or after the gig or anywhere under any circumstances to take a picture or to say "Loved Road to Red" or "Hello Mr. Wilcox" or "Hi Bob!"
We also understand the daunting logistics being heroically wrestled with by Our Venal Deity in getting this Crimson onto the stage: repertoire, rehearsals, venue size, stage size, scheduling, acoustics, logistics. site lines, etc. And that performers need to not be blinded by spotlights to see their complicated gear. And that three drummers will put stage real estate at a premium. And even that Mr. Fripp likes the dark: itís part of the music, always has been. And that the music IS the most important thing.
Is it unreasonable to ask that - for the price of admission - Robert Fripp not hide?
Asbury Park x 2
:: Posted by toycritic on November 09, 2013
R2R, Asbury Park: Ronan Chris Murphy mix vs. Fripp, Arnold, Singleton mix. Your impressions?
Music, the press, the industry, the real world - Zappa
:: Posted by JeffTruzzi on November 09, 2013
Journalist: I donít want to leap to the defense of the press because I donít respect a lot of it. On the other hand l wrote an article recently in which I suggested that Edward Van Halen might have stagnated with his band, and his manager called me and up and called me a "no-good motherfuckiní kike."
Frank Zappa: "Oooh! Nice man! I hope you ran that!"
Journalist: We did, and we received a lot of mail. Not that I needed anymore convincing, but that was a confirmation that ...
Frank Zappa: "People are listening! Iím telling you, thatís the influence ... The worst thing that can happen to a person who is an MTV-size "star" is for somebody to write theyíre not hot. I mean, [smiling] stagnating is not very hot. And thatís a career-crunching thing, especially to apply to somebody whoís playing hot guitar solos. To even imply that Ė you can imagine the manager going, "My 15 motherfucking percent, itís goiní up in smoke! That little kike! The motherfucking kike! I gotta call him now!" [laughs] I donít even know this guy, but I just hear that ratchet going."
Journalist: Now, how culpable is the press there? I feel itís that Edward Van Halen is being constricted by somebody who would rather not see him go off and do a progressive power-trio record.
Frank Zappa: "Well, let me set you straight on a couple of things that I see slightly differently than you do, partly because Iím 50 years old and youíre not Ė and I donít want to sound like grandpa. But to reinforce the negative side of the activities of the press: I lived as an entertainer through one era of rock íní roll where the rock press was absolutely the blowboy of the industry. In the í70s, when corporate rock really blossomed into this stinking apparition it became, companies were giving cocaine, girls, money, junkets and all this stuff to famous rock writers, just greasing them from one end to the other so they would write nonstop, wonderful glowing articles about groups that needed to be promoted. It was pure grease, okay? I detect from the way that this interview is going that you have a little bit more integrity Ė a lot more integrity Ė and more of an intellectual edge to what youíre trying to do than the people I had to talk to in the world of rock in the last 25 years. I mean it as a compliment, Iím not trying to stroke you or any thing. I find it refreshing to talk to anybody connected with a music magazine Ė whether heís a little motherfuckiní kike or not [laughter] Ė who has an idea of the relationship between music, the industry and the real world. Because most interviews you do, people are just talking about ... nothing. No-thing! I put up with that for too long. And it wasnít until 1985, when I went to Washington to testify in front of the Congress, that I started having the chance to talk to people in the press who were not from rock íní roll, just regular writers, who were intelligent, normal human beings. I started doing fewer rock interviews, and my attitude toward the press changed at the moment where I didnít have to do so many conversations with the people who determined whether or not you were hot. The world of hot Ė I donít give a fuck about the world of hot. And thatís all they care about in that world, okay? So I wouldnít be too quick to defend the rock press because of its rather ... checkered past. And it may have evolved, and it may have matured, might have even been perfected by now, who knows? I donít read it any more. But if youíre any example of whatís out there in terms of rock interviewers, Iím gratified. Especially if youíre going to get a call like that from Eddie Van Halenís manager, you must be doing something right."
:: Posted by Mesa_XI on November 08, 2013
Hello Mr. Fripp,
I saw in your diary that you were questioning where you might play if not The Park West in Chicago. While I love seeing you there, I agree that it would be too small for a 7 piece. You barely fit on the stage in 08 if I remember correctly.
I can think of two decent alternatives, The Riviera and The Vic. Theyíre both nice theaters with balcony seating, but I do know that The Crim is more prone to seated venues, and in my experience the floors at these venues are standing room only (which I wouldnít mind one bit).
I couldnít agree more with your view on large venues, intimate venues offer more connectivity between the artists and the audience. Itís hard to feel at one with the music in a venue with a capacity about 10,000 where youíre squinting to see or watching the show on a giant TV Screen, and the youíre so far back that what youíre seeing and what youíre hearing are out of sync.
Iím so happy that King Crimson is back, and Iím very excited to hear what this new lineup will bring.
:: Posted by cantspelldiKc on November 07, 2013
to observe something done with Dignity is very exciting, even from a distance, this is gonna be cool as hell.....................................additional inappropriate comment : i have this vision of some e-drum potential determination thus far never witnessed, jus sayin
venues near Philly
:: Posted by dubhthaigh on November 07, 2013
You donít need to post this, but Fripp could consider McCarter Theatre in Princeton, not far from Alexander Hall. Good acoustics, great sightlines, and yer man has a history in Princeton. And there is an Alexander Method teacher across Nassau Street, just in case. Habib Koite and Yuja Wang and Toumani Diabete and hosts of others have all trod the boards there. Back of the house amenities are very good, and they are especially good at taking care of visiting artists. Nice folks altogether.
NW of Philly, there is a theatre called The Colonial, in Phoenixville. I live in nearby East Pikeland, thus youíd be very close to the cultural center of the universe. And thereís good eats across the street from The Colonial at Majolica. Not sure there is a pastry shop up to the discriminating Crim standards, so I hope thatís not a deal breaker. The Colonial is an old movie house most famous for being the setting for the attack of The Blob, Steve McQueenís first film. I have to believe this would be right up B-Movie Bobbyís street. If he times it right (second Saturday in December), there is a town burning of The Phoenix. Thatís a Crimsy sort of thing if there ever was one, or at least might resonate or fan the flame in the heart of a Morris dancer, rituals being community events. Anyway, Eric Johnson, CGT, Chris Smither have all played there. I think Hackett and his band may have as well. Canít speak for the dressing rooms, but theyíre welcome to use the shower at our house. I know Iím being selfish, but that drive to Glenside is a pain in the arse.
So, weíll keep an eye out for the tour notices.
good luck with the logistics
Blu-ray Road to Red audio impressions
:: Posted by KmanDins on November 07, 2013
Has anyone listened to the Blu-ray road to red in 24/192 playback? Impressions in audiophile-land would be appreciated! How about the new re-mix too?
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