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Re: beat - agree w/kc
:: Posted by DannyX on June 19, 2014

I agree with many of your points: the Poseidon after Court comparison (similar pieces given a lesser reworking); the force-fit íBeatí concept; the uneven balance between Belewpop and Bobant-garde; even the naming of the band. But I donít think they ran out of ideas, or had nothing left to say, they just needed more time. ...13 years, as it would turn out.

Re: Beat at 25(?)
:: Posted by DannyX on June 19, 2014

Substituting XTCís English Settlement and Gabrielís Security for Elvis C. (and stretching time a little) and you have MY summer of í82. Man, those were the days...

Re: KC 2014
:: Posted by DannyX on June 19, 2014

Never knew Adrian was such a chick magnet. Wonder if he did...

beat - agree w/kc
:: Posted by johannes on June 19, 2014

Iíve always thought that Discipline achieved everything that that particular quartet was meant to achieve, and that Beat and TOAPP were both kind of "Uhh... anybody got any ideas? no? all right, better just do it again then."  Kind of like Poseidon after Court.  The 80ís KC had four incomparable players and a splendid new Fripp notion - interlocking guitar lines.  What was missing after Discipline, imho, was the songwriting and composition to match.  Brufordís assessment of Beat - they threw the tolerable stuff together and got the hell out - agrees with what Iíd always heard in that album.  To my ears, only Waiting Man fully lives up to the Discipline standard (that song could easliy have been at least four minutes longer, and then they wouldnít have needed Heartbeat!), although Two Hands came pretty close.  Maybe they should have just decided, "Okay, guys, letís be this white African band and have done with it."  And the Beat Generation theme... just didnít fit.

But yes, I saw them live after Beat came out, and the new stuff convinced.  Go figure.  Once again it is shown that recorded music shouldnít be fetishized.

(Am I the only one who thinks that they should have stuck with Discipline as the name of the band?  Iím sure that Frippís motivation for the change was legitimate, but I always heard them as a totally different beast from the previous KCs.)

:: Posted by GonzalezPaulo on June 19, 2014

Being an amateur guitar player myself (a bad one indeed... LOL), I never figured out how Fripp and Belew were able to play those guitar lines in that trilogy of albums:

Each musician plays different, short but fast gtr lines all intertwined. They start together, seem to drift off-beat, to sudden be sharply in time... just to start the process all over again. Add to this mixture, Brufordís percussion and Levinís equally difficult Bass & Stick lines.

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

This complex interplay between the 2 guitars, bass and percussion always amazed me... and yet the band were able to come up with such melodic and beautiful songs.

I love BEAT, TOAPP and DISCIPLINE for those reasons, but I always preferred BEAT simply because it has the best melodies: Neal & Jack & Me, Heartbeat, Sartori In Tangier, Waiting Man, Neurotica, Two Hands, The Howler are perfect... no matter if moody (Heatbeat, Two Hands, Sartori, Waiting Man) or agressive (Neurotica, The Howler, Neal & Jack & Me).

I'm Wheels...I'm Moving Wheels
:: Posted by snkzato1 on June 18, 2014

Oh Beat, what a strange and wonderful album. The riff between Adrian and Robert is palpable within the grooves of the record as it bounces between Belew style pop ballads (Heartbeat....*shudder*) and Fripp-like insanity (Requiem, Satori). With that I think the tension helped generate a wonderful album with an even more outstanding tour. How could anyone hate those epic live renditions of Waiting Man?

While not as good as the damn near flawless Discipline, Beat is still a great example of Crimsonís ability to grow and evolve. The album showed their ability to create great pop songs that still were musically innovative.

That and we got the best (worst) fake playing out of that tour.

don't be so sure about that
:: Posted by Undisciplined on June 18, 2014

tim7777 wrote:

3drummers who donít even come close to Mr.Bruford.

Gavin Harrison can certainly hold his own.  In fact, Mr. Bruford has expressed very positive feeback of Mr. Harrison and once sought his consulting services.  These meeting of the minds helped lead to "Bíboom."  P@ is no slouch. 

The 3 drummer concept gave me the impression that it was one drummer too many, but to put my money where my mouth is, the final verdict will be witnessing this unit live in NY.


KC 2014
:: Posted by DeVito on June 18, 2014

Just got my ticket for Chicago Thursday 9/25. My wife went with me to see the Belew-centric KC revival in 2008, and enjoyed it quite a bit, but Iíll be going alone this time. The absence of Adrian combined with the three-drummer lineup made her say "No way!" most emphatically. From other, similar comments that Iíve heard and read, I expect to see even fewer women in the audience this time around. Which would make it classic Crimso, I guess...

:: Posted by albemuth on June 18, 2014

Beat is behind us 30 years, which is just about how far back the beats were when the album came out.  It is hard to believe!  If I had to give Beat a grade, then it would be "B" or "B+."  It contains a lot of good material, but I was just a little disappointed by the release after the dizzy heights of Discipline and the live shows I saw shortly after Discipline. 

Neal and Jack and Me was quite good on the disk but I remember it having more of a magic vibe live, perhaps demonstrated by the tape of Krimsonís 1982 show in Frejus? 

Sartori in Tangiers and Waiting Man are both big successes.  On the former, Frippís playing is just thrilling.  And the latter is one of the best examples of the "Gamelan community" approach.  I played these two tracks over and over.

I had mixed feelings about Neurotica.  I enjoyed the original live version of this, without the words and melody line.  I was not entirely satisfied with the Howler for a similar reason, and felt it would have made a more interesting instrumental.

Thinking back to the period between Discipline and Beat, I think I wanted King Crimson to become a somewhat abrasive version of Frippertronics.  I liked all the repetition and hypnosis.  There was at least one other great instrumental that I heard live but KC did not put on Beat.

Heartbeat and Two Hands were nice songs, but I didnít play them much.  Being more radio friendly, it seems like they did a good job for KC. It might be that I wanted the song aspect of KC to fade away.  I liked Book of Saturday a great deal but, by the 1980s, this was not what I was looking for from KC. 

So that leaves Requiem.  I was disappointed with this at first, maybe because I hoped that it would be one of the missing instrumentals that I heard live.  Nevertheless, over the next few years, I came to enjoy the track quite a great deal.  It is interesting to hear of all the drama surrounding the recording of Requiem.  The end result seems to have been worth it.  To me at least, there is no doubt that Frippís guitar work is a great highlight and establishes the overall mood.  After his solo, the ensuing sounds take on a heightened meaning, IMHO. 

Fripp seems to have two sides.  On the one hand, he wants to be "top dog" and the "best guitarist in the room."  There are lots of stories about him along these lines (I remember one from Al Stewart that was particularly funny and perhaps telling).  On the other hand, Frippís motivation seems to be all about enabling the music flow, when and if he gets the opportunity.  That is, when he hears a possibility, he goes after it aggressively.  Egomania or artistic genius?  Isnít it always the same riddle, the same dilemma?

UK gig(s)
:: Posted by kebl1109 on June 18, 2014

Surely, we have to have one/more of these - I would have thought at least 3 would sell out. We could start a national petition on gov.uk website...? Or perhaps we could set up a survey monkey survey to prove that 1000s of us would turn up?
Does anyone know if there is a good reason for the lack of a UK gig?
We can only hope that theyíre using the US dates as a warm-up...

Pretty please...!

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