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With or without Belew
:: Posted by DannyX on June 25, 2014

After Adrian joined the band, I donít think they played any material from previous incarnations except instrumentals (and possibly a heavily distorted "Schizoid Man"). It seems only fair that they do they same now...any pre-Adrian material, but only instrumentals from his tenure with the band.


Absent Lovers
:: Posted by jblock on June 25, 2014

I believe the track Albemuth refers to as "(nameless)" is Absent Lovers, available on the March 10, 1982 download. While there are lots of downloads from the end of 1981, I agree that more downloads from early 1982 would be welcomed. I suggest a bundle of the short US tour from late February through early March 1982.


Three Cheers
:: Posted by davidly on June 25, 2014

First, to Ian McDonald on his birthday. It is nice that this forum offers a place for such recognition, and recognition of his irreplaKceable contributions to Crimson.

SeKcond, John Slywkaís USA touch to Road to Red is brilliant. Pun intended.

Third, but not last (maybe even first?), ZaneCox offers a great way to look at our nightly adventures and perhaps a nice strategy for those who have trouble getting their day started. Swing your perspeKctive.


Ian Mcdonald's Birthday
:: Posted by holmini on June 25, 2014

I take this opportunity for birthday wishes for Ian McDonald.

"In the court of the crimson king" still remains a straw of hope  in difficult times ...

I also loved the Versions you played with Steve Hackett and  Chester Thompson in more recent times.

Thank you so much for your contributions - A Happy Day for you, friends and family.


Bootlegging, Royalties, and the Undisciplined
:: Posted by albemuth on June 24, 2014

I agree with Undisciplined about the Mining Rocks bootleg.  That is one of two KC bootlegs that I bought, primarily because it contained tracks that were never released.  (The other one was from 1973 and contained Doctor Diamond.) 

Mining Rocks has a version of The Howler before it had lyrics or melody line.  I enjoyed KC as an instrumental band and, even then, was more interested in Adrian Belew as a guitarist than as a singer-songwriter (although he is very good at both).

The track called "(nameless)" on the bootleg was one of my favorites.  This was certainly one of the pieces that I heard KC play live, probably on this same tour (I saw them at Princeton University).  It was very effective live and the Mining Rocks recording is good enough to make it seem like a very interesting piece.  As Iíve said, I liked the repetition, the big sounds, and the sense of wide open spaces (which seems to happen a lot in KC).  I even tried my hand at transcribing "(nameless)" but am sure I did not do a very good job! 

I have not looked through all of the DGM releases but there does not seem to be a lot from this period (late 1981 and early 1982).  It would be nice to have a better recording of "(nameless)."  When I heard it live, it seemed like the perfectly logical next step after Discipline.  But maybe the band was afraid of repeating itself.  If so, then that is too bad!  Remember Piet Mondrian.  KC could have called the album Broadway Boogie Woogie. 


Alternate caption for the
:: Posted by kevred on June 23, 2014

"A Band and Luncheonette"

As a bonus, just one degree of separation from Fripp in either direction.


Soundscapes at the Society for Ethical Culture
:: Posted by emory0 on June 23, 2014

"We were instantly connected with all of the horror that had intervened on 9/11"

That was consciously my feeling at the time: This performance was about "getting over" 9/11, kind of a gentle reminder of something we New Yorkers sought to collectively bury, and then a sort of invitation to a longer-term healing process. It felt a lot like excruciating Chinese massage (tui na), digging down into your muscles and getting muscles locked deeply in spasm to open up once again.

I remember seeing at few women leave the performance in the middle, dragging reluctant boyfriends, but my feeling about them was that they meant no disrespect, but were closer to their feelings than most men and simply couldnít (or didnít want to) take part in the process that was being unfolded.


GAMELAN 2
:: Posted by GonzalezPaulo on June 23, 2014

:: Posted by TheMarkedMan on June 20, 2014

"No band in the 80s (including the then ívanguardí new rock groups) had such a sophisticated approach in the rhythm section."

Go listen to some Gamelan music. This is undoubtedly a key influence in the interlocking guitars of 80ís KC. Steve Reich also must have encountered Gamelan at some point.

-----------------------------------------------------

Hello MarkedMan : I was talking strictly about "bands in the 80s" including the "then vanguard new rock bands"... which implies the field of POPULAR music only.

I meant to say that the (then) new rock bands (Talking Heads, Television, Devo, etc...), although in the forefront of the movement, never had the original, innovative and unique approach KC had.

I didnít mentioned Traditional Gamelan, because this isnít popular music and I was just comparing KC within the context of 80s bands... not about the music from which KC draw influence. I didnít mention Reich because he is not working within the 80s rock context (and because I am not fond of his music too).

Anyway, thanks for mentioning gamelan.


Sylvian/Fripp
:: Posted by kitaj73 on June 23, 2014

Hello,
in view of the recent Sylvian/Fripp reissues, Iíd like to propose a Wilson-remixed editon of The First Day album. Iíd love to rediscover that material with a Wilsonesque approach to the mix and sound. Case in point, I miss more bass and a more íauthenticallyí (read: 70ís) rock-sounding record. Plus of course it would be great to wrap that up from any extant outtakes (if any) along with the splendid ones from the Jean the Birdman single, and íThe Blinding Light of Heavení which was only released on a limited edition of Sylvianís Everything and Nothing compilation.

I donít know the extent to which live albums are Stevenís suit, but a finally complete Damage (including íDarshaní and íExposureí) are also on my mind...

The real elephant in the S/F DGM room, though, is certainly this: why, to this day, no soundboards from the Japanese/Italian 1992 trio concerts? Now this would be really something, and I would certainly jump at the opportunity. Please consider.


off Beat
:: Posted by Undisciplined on June 22, 2014

Beatís release was eagerly anticipated by me, after being introduced to KC with Discipline came out about 6 months before.  "Sartori in Tangier" still stands out as my favorite track.  Some critic referred to it was "global funk."  Some may find that label silly, but it does seem kind of apt.  Some fo the basic structure of the track reminds me of what RF was exerminenting with on the Roland Guitar synth, around the same time, with Andy Summers on "New Marimba."

If Beat was a concept of sorts, it really only extended through the lyrics of "Neal and Jack and Me."  Beat obviously meant something different to BB, who would continue to explore exotic time signatures and the possibilities of the Simmons electronic drums.  "Waiting Man" was performed much better in a live setting.  "Heartbeat" might have encouraged any plans of a single to the suits at Warner Bros.  In retrospect, it seems more like an Adrian Belew solo tune, but it became a staple. 

A little bootleg amnesty here, but there was a desire to hear any live Crimson back then.  That led to the purchase of an illicit recording, called Indisciple Mining Rocks.  This featured the band at Stony Brook Univ. + the songs from the "Fridays" TV show appearance.  My suggestion, years back, was to include something from that period to witness the evolution of the songs before reaching final studio form.  This was presumably part of an (unstated) objective of the Collectors Club. 

It also wouldíve been an opportunity to sort of bootleg the bootleggers!  Alas, but the sound quality was so poor as to be virtually unlistenable, and there were probably wasnít an adequate supply of tapes to make this a workable solution.  Too bad, since the period between late í81 and early í82 would been worth re-evaluation, over 30 years on.  So, just maybe there will be some live material to fill that void on the DVD-A!

One last thought, there were direct ties with Roxy Music during that era, as well.  Obviously, the sharing of EG Management services, but also utilizing the production skills of Rhett Davies and then the joint tour of Europe.  Itís safe to assume that Roxy had the bigger recording budget, as Avalon sounds pristine, while Beat is OK but certainly not an audiophile reference disc.

 


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