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:: Posted by GonzalezPaulo on October 29, 2013
Markvankempen wrote : "Iím already eagerly awaiting the next box set : This Night Wounds Time - Live 1973. There are 3 multitrack recordings (Glasgow, Zurich and Amsterdam)."
THAT WOULD BE A GREAT RELEASE INDEED.
Markvankempen wrote: " ...BBC radio broadcast of the Amsterdam concert could be added. The broadcast spawned many bootlegs - my copy is called Un Reve Sans Concequence Speciale...
GOOD OLD BOOTLEGS. Mine is called " HERETIC ". I bought it here in Brazil around 1974/76 in a good brazilian record store (BILLBOARD) which would only sell imports. Of course it is now dead. They were specialists in progressive-rock and disco-music. They would locate and bring to Rio everything: from the obvious to the obscure. They had 5 stores spreaded through Copacabana, Ipanema and Leblon.
Around that time there was a flood o bootlegs with a good sound quality. Live albums from Yes, Genesis, Crimson, Gentle Giant, ELP....
a question for Mr Singleton
:: Posted by Christophecoutant on October 29, 2013
What is the content of the book Mr Fripp is on his way to publish.
Are there any scores ?
Amitiťs de France
Yay for New Asbury Mix!
:: Posted by TheNightWatcher on October 28, 2013
I just clicked in to tell how much the new Asbury Park mix present at the 40th Anniversary Edition of "USA" has made me happy!
The thing is, the 2005 mix may be raw and all, but also it wasnít very well balanced and, at moments, it was too guitar-centric at the expense of bass and everything else Cross played. At other moments, however, RF was difficult to hear in some detail. That is all gone now!
Basically, the new Asbury Park mix has elevated the show to the same terms of the other Deceiver exponents, i.e. stellar performance, stellar sound (as opposed to stellar performance, acceptable sound). The superb Improv as well as "Easy Money" sound even more beautiful with the new balance, as does the rest we all know and love.
As a bonus, we also get more from the "Walk On... No Pussyfooting" than previously.
In a nutshell, Iíd say it is pretty much the definitive edition and I wish youíd all buy it just to listen to how much Iím right about it! (Ok, you may screw that last part out...)
P. S.: Interestingly, the new Red mix has left me completely cold. In this case, the tradeoff was, in my opinion, less satisfying than the original one, and I agree with markvankempen about it. Thus, I think the original is unbeatable!
The Road To Red Review
:: Posted by markvankempen on October 26, 2013
Listening to The Road To Red I hear unrelenting intensity throughout, especially on the june 1974 board recordings. The set list is more or less the same every night, but the band manage to find new variations on each and every bar of the written music. Bill Bruford likes to take risks - he hardly ever plays the same thing twice. David Cross offers melancholy reverie, sinister suspense and bloodcurdling insanity. John Wetton stands firm in the eye of the storm, exuding monstrous masculine power. Robert Fripp tries and often miraculously succeeds to hold this odd combination of men together - or, more accurately, makes it seem as if the band are playing together.
The 10 concerts which were recorded on cassette through the mixing board, sound loud and clear, if not quite well balanced (cd 1 is the worst - if you can deal with that one, the rest will be easy). Very exiting stuff.
The 5 concerts which were recorded on multitrack by George Chkiantz have an exceptionally good sound, even by todayís standards. On the whole the mixing is also very good. On these recordings the band seem to play a little more careful, but still very intense.
I"m very impressed by the new mix of the Asbury Park Concert - very meticulous, with different reverbs and volume settings to emphasize the light and shade of the music. Yet, the original 1975 mix, with itís dirty mid-range sound and the dry dunlop plop of the bass drum at the beginning of Asbury Park (the improv) I cannot do without. So both mixes are great. Actually, the Asbury Park mix on cd 15, produced by Fripp, Arnold and Singleton at the Courthouse, Cranborne (no date is given) is the same as the 2013 mix on the DVD.
The only bootleg in this set, KCís final concert in Central Park New York, has been released before, in 2000 as a Collectorís club cd. It sounds better now - a bit more clarity and correct pitch. The band played just as good on previous occasions, but here they do so from start to finish.
The 2013 mix of Red (a bit of a red herring in this set) still sounds as if itís played through a Marshall guitar amp, just a little bit brighter, but no longer as fat and ugly as the original mix. In a bid for sonic purity the mid-low range is lessened, which makes the new mix sound thinner,and the stereo spectrum is less wide - less "grandiose". The mix itself is very much the same, with some tiny changes. Iím not convinced that the new mix is an improvement on the original. Mixing records and restoring board mixes and bootlegs is a ungrateful task. There are the nit-picking people like myself and a majority who donít care.
Two highlights : the transition from Easy Money into the improv on the Providence recording. And right before Lament on the Asbury Park recording a female audient, presumably adressing David Cross, shouts "who made your violin?" A simultaneaously refreshing and sobering insight into 70ís audient-musician relations.
Overall verdict : 9 out of 10.
Ps. Iím already eagerly awaiting the next box set : This Night Wounds Time - Live 1973. There are 3 multitrack recordings (Glasgow, Zurich and Amsterdam). Perhaps the mix used for the BBC radio broadcast of the Amsterdam concert could be added. The broadcast spawned many bootlegs - my copy is called Un Reve Sans Concequence Speciale. Iím very attached to it - it has a very good sound and hasnít got the stuff on it that ended up on Starless And Bible Belt. Itís concise. Add to that a few good sounding bootlegs like Atlanta and Arlington and one or more cds with a selection of improvisations, drawn from the poor sounding bootleg morass...and a photo of George Chkiantz.
Gavin / Crim VIII
:: Posted by cmeixner on October 25, 2013
Had the good fortune of witnessing Gavin Harrison in a drum clinic here in SE Wisconsin last Saturday. Besides putting on a great show, Gavin proved to be funny and very engaging. I particularly enjoyed his story on how to mess with the board man during sound checks. Funny how it seems the drummer is always the prankster in the band.
Anyway, one interesting tidbit was a mention of P@ and Rieflin gathering at his home in February to start work on the Crim VIII drum corp. Hereís hoping Robert is up for giving as many of us as is practical a chance to witness this. Another bit for all you (us) P-Tree fans: Gavin says the band is absolutely not over - just on extended hiatus (while Steven is obviously keeping busy). Said he lives near Steven and they speak regularly. Enjoy!
:: Posted by arbradley1967 on October 25, 2013
Matt- I agree - this is a fascinating era for sure. My assumption has always been that much of the core repertoire came from Guitar Craft.
Encore..to stand or not to stand.
:: Posted by AndrewJohn on October 25, 2013
Whilst I remember....can someone pass an opinion on this dilemma.
Last year I and a friend were fortunate enough to get the best seats to see Jethro Tullís Ian Anderson play TAAB2 and the first one as it happens at the Opera House Manchester. These were centre front row stalls. The whole audience as far as I could tell stayed seated for most of the show. I last saw Jethro Tull there on the Warchild tour in 197?...and do you know when Martin Barre was playing an extended guitar solo some shouted out íshit!í...... MB was alone on stage but suddenly Ian Anderson came back out in cod piece and all and said íwho said that!!?í - the place went quiet...there was a short embarrassed hush....MB continued though after the verbal altercation still on his own, hey but it was a great gig.... anyhow the April 2012 gig was also great - fantastic music, great show and we could eyeball IA - the best seats yaíknow, but it became clear this can be awkward as its visa-versa - donít know how I missed that until it happened.
I digress sorry ....The dilemma was when it came to the end of the show, there was no encore. As we had the best seats it occurred to me later that if we two had stood up to lead the charge and clapped wildly we may all have had a bit more music and performance. In the mid 70ís I saw The Mahavishu Orchestra at The Free Trade Hall and clearly recall how 2 very well dressed, good looking sophisticats stood in almost classical manner applauding quite close to us teenage geeks at the end of MOís show. It seemed incongruous at the time.
Thinking about it though most of us at the Opera House had spent nigh on 3 hours sat down....it could have taken all of us rather a long time to get up to get the band back on only to sit down again to have to get back up again to leave......40 years can take its toll. So perhaps without realising it I did us all a favour...
I feel even better now....thanks........here comes June 22 1974 and a bit of LTIAPt2.......
NB.I find it almost impossible to sit down when KC is on and certainly canít keep still when the beast exhorts.
:: Posted by AndrewJohn on October 25, 2013
As British Summer Time ends a quick personal reflection and sharing of an exceptional year.
Albeit that many major disasters have occurred this year, many new hopes are revealing themselves and a general mood of optimism is out there. Naturally the converse is in equal proportion as a balancing is unfortunate but the truth. However from a personal perspective Iím very excited about whatís ahead.
Once Bowie kicked things off so well early this year, its great that so many other people are equally exhibiting 2013 inspired creative spirit. For me, at this moment ploughing thru TRTR, actually 7 track 5, ...hey no that should be íharvestingí..., Ted Nugentís just released Ultralive Ballisticrock has put the cherry on the cakce for 2013. The BBC BeBopDeluxe set, Gentle Giants Chrysalis 2 boxsets, Bill Nelsonís revitalised 2013 írockí Sonaluxe music, Dream Theaterís newie, Matching Moleís 2 2cd sets which are gems (and hold many keys to why KC sounded like they did after RFs involvement- you may need to think laterally about that, but I could give you an argument) and the prospect of King Crimson back in action, after its new pregnancy was announced has filled me with an almost shiversome joyous backbone. Lets hope it keeps going.
And hearing Bruford now drumming and articulating his way thru Fracture, thank god he realised how KC was home.
Thanks for that.....I feel better now. Fripps going to make an announcement byeeeee (11.21 25/10/2013)......buy your records?....you bet mate.....
Sid's Book / Projekcts Repertoire
:: Posted by matthusela on October 24, 2013
If anyone here has not read Sid Smithís great book In The Court of King Crimson I certainly recommend it.
I understand that the book is being updated for a new edition. The money is leaping from my hands in an attempt to be used for a preorder. Is there any sense of when such a release may come.
I am also hoping that the Projekcts 1-4 era will be covered in a new edition. More specifically I am dying to know more about what I will call the sort of "hidden" repertoire of the Projekcts. A lot has been made, and understandably so, of the improvisational nature of the Projekcts, but lurking underneath, especially P2 and secondarily P4, is a regular repertoire. Frameworks which mostly Fripp and Gunn hung the meat on night after night.
These mostly include:
The Deception of The Thrush
Some will say these were just the precursors of The Construkction of Light and therefore donít need to be covered in their own right, but thatís only partially true. There is a feel and an intention to this repertoire that isnít simply more fully realized by TCOL, there is something other going on. I would love to hear the thoughts of those most responsible. I assume that this includes Fripp and Gunn most, and Levin for some of the P4 pieces.
While there are other named pieces such as Ghost I and II, House I and II, Masque, Live Groove, etc, I would say that the list above contains more "conceived" pieces, albeit still loose by design. I think these are what Gunn was referring to as "Piece ideas" in his diary on, I think, May 1st 1998 as this repertoire had become more and more dependable on the tour.
Two uses for the KC face
:: Posted by albemuth on October 23, 2013
Over the years, Iíve had two hugely-important ideas regarding the KC face that I never got around to mentioning here. Herewith, I record them for posterity. Perhaps other people have had the same ideas.
1. Overlay the KC face on Edvard Munchís The Scream.
2. Create an emoticon of the KC face for texting applications.
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