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On this day...
:: Posted by albemuth on March 23, 2014
LTIA had a huge effect on me: I still remember seeing it for the first time in Sam Goodyís, hurrying home to listen, and being endlessly fascinated. Of all the KC albums, it is the one I come back to the most. The album seemed to flow in a natural way from instrumentals to songs, from one mood to another, and from one texture to another. Easy Money was one of the simplest tracks but it had a huge effect on me (especially the guitar solo, which seemed to announce a whole new way of playing).
Whereas LTIA was an breathtaking beginning, TOAPP came off as a disappointing ending. Discipline had very nearly the same effect on me as LTIA. Beat was an excellent follow up, but seemed to lose some of the focus of Discipline. Also, I had liked some of the earlier, live versions of the tracks (I saw the band three times) and missed one or two of the instrumentals that did not appear on to the disk. After the long delay, I was looking forward to TOAPP but, although it had some good aspects, the playing seemed to have fully lost its focus; for one thing, there seemed to be a bigger gap than ever between the KC songs and KC instrumentals. Shortly afterwards, Fripp gave an interview in Musician magazine in which he basically said that the group had fallen apart. This Frankness of the Fripp seemed like bad form, but I had to nod my head in agreement.
ONE OF A PERFECT PAIR
:: Posted by markvankempen on March 23, 2014
When TOAPP hit the shelves in 1984, I had very mixed feelings about it. On the one hand I was pleasantly surprised by the experimental, partially improvised side two, but unhappy with the overall stiffness of the playing (probably because of the use of click-tracks) and the "unrealistic" production - very dry sounding drums, bass and guitars, not going together well with the effects-enhanced vocals (much eq and reverb). Also, some of the tracks seemed not so very Crimsoid (Model Man, Sleepless and Man With An Open Heart). Listening today, I still feel the same way about it. Overall, the musical ideas are good, but the execution on record leaves a lot to be desired. Compare TOAPP with Absent Lovers - Live in Montreal 1984. It leaves TOAPP in the dust.
Since I was even more unhappy with the production and some of the songs on Beat, I made myself a compilation, combining the more successful tracks of both.
ONE OF A PERFECT PAIR
1 Three Of A Perfect Pair
4 Waiting Man
8 No Warning
What can be done about TOAPP? The production could certainly be improved upon, making it sound more like a band playing together rather than overdubbed separately, but the stiff, non-testosterone-enhanced playing will remain as it was. With the Discipline recording (1981) I have the impression that they were playing together in one room at the same time - there is collective energy, which makes the record very pleasant to listen to. You canít turn the clock back, I guess.
Berlin Guitar Ensemble in Nailsworth and KC drummers
:: Posted by J_Godfrey on March 23, 2014
Iím pretty knocked out to learn on DGMLive today that the BGE are playing in Nailsworth, Gloucestershire. I live in the town and the venue is a ten minute walk from my home. Itíll be nice to go to a gig on foot, for the first time in my concert-going life!
Changing subject to the Three Kings of The KC Drumming Thrones; Iím fascinated to hear what Pat, Gavin and Bill will play in KC VIII. I donít see how anyone canít be at least curious... Will they write drum parts, what will they improv? I think one of the most enjoyable things the í94-í96 band played was Pierre Favreís íPrismí.
How will it all weave in with the other players and the music? Iím sure itíll be amazing. I hope it might change perceptions of drummers and what they do. Maybe itíll change mine... and I play drums!
(Are they even there to play drums? I know KC VIII will feature three drummers but will they be there to actually play three drumkits simultaneously?)
Tim777, what did you mean when you said you have fused the RF/BB thing together?
LTiA and ToaPP
:: Posted by davidly on March 23, 2014
Iím not sure it was meant as an in-studio click track or lube for the Studio 54 crowd, but the former absolutely makes great music (background or foreground) for washing the dishes: You start out tinkling along with the cutlery, advance to scouring the pots & pans, and culminate in smashing the china all over the kitchen floor. If that ainít dancing to a well-kept beat I dunno what is.
As to the latter -- and the dreadful din of tripping over the cat -- I was turned on to this album by none other than the inimitable Geddy Lee, who Iím pretty sure at some point had his voice likened to a screeching feline by a cheeky knob-shine wannabe arbiter of high culture and/or middlebrow taste incapable of coming up with an original simile.
So I guess we are all in good company.
:: Posted by tim7777 on March 23, 2014
To blogulator:yes yes i do have some mean chops.As miles davis once said were all different,no one is better than the other. .As a teen i was in a band called RED.As a Young adult i was in a band called NEW CREATION which played the appollo in n.y. in the 80s. @ age 38 i started playing in the church only.I asked for a try out with kc when pat came aboard to kc. I received a message on my cell phone from k.c.that sadly they were already in rehearsls or i might have been given a chance.That was cool.I only play in the church now.I have lots of recordings things ive done.What i will do is put up something when the new crimm appear in sept.BLESSINGS.
:: Posted by kalka2 on March 23, 2014
As Rolling Stone put it "You canít dance to it, canít keep a beat to it, and it doesnít even make good background music for washing the dishes."
Looks like a positive review!
three of a perfect pair ,Larks T.
:: Posted by tim7777 on March 23, 2014
LARKS WAS UNREAL The magic band.3 of a perfect pair was great.ROBERT STATED:Bill was too light on the drums on larks.Ithought he was WONDERFUL.Easy money really moves and shakes.Twists and turns.ITS FUNKAFIED YET PROG.3 TAKES YOU WAY OUT.These 2 albums are a must for any young music player.
:: Posted by Ornate_Coal_Man on March 23, 2014
""You canít dance to it, canít keep a beat to it, and it doesnít even make good background music for washing the dishes."
What does it mean? To me, I guess it occupies a very unique space. A round peg in a world full of squares. I think that should be the aspiration of all good music. What else is like it? Not much.
Ok, I can think of one other project. LTiA is singularly unique. Along with "The Inner Mounting Flame"--I consider these two albums as book-ends (no, I wasnít around during this period to experience it first hand, so I discovered both records together, more or less at the same time, many years later in the 80s). Mahavishnu had more virtuosic players and no vocals. Crimson seemed more organic, earthy, and and allowed for more space (nobody played tinter unison lines than Johnny Mac and Co).
LTIA and Three of a...
:: Posted by schizoidman on March 23, 2014
A most interesting and revealing item which Sid Smithís added on the News section of DGM Live! re Larksí and Three of a... .
It proves one thing: great music isnít necessarily well-received by critics or the wider listening public on its initial publication/release. Itís a strange fact that music which includes that ísomething elseí is more or less bypassed by the mass but, as so often happens, finds acceptance many years later. Mass culture is largely ignorant of the unseen dimension in works of art. The KC albums are fine examples of this so called íothernessí. Perhaps this is why the band has continued: always new; always different; always the same?
The new Crimson by tim7777
:: Posted by Valhalla on March 23, 2014
tim7777 said "It will be a huge demand on all 3 drummers to come up with the goods night after night.Can fripp hang tough for this ride.Can he still burn night after night".
I donít see why not, after all it will only be a ícouple of cheap chords & a simple drum beatí. Surely the Fripp can handle that?
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