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:: Posted by Bakullama on March 08, 2016
I know this has nothing to do really with anything, (cuz thats the way I roll) but In my opinion one of the best albums to come out of the 80s was Aztec Cameras "High land hard rain" . Killer album!
:: Posted by taliesin on March 08, 2016
In David S’s tantalizing diary entry he talks about a KC book being ready this year - is this the long-rumoured update of Sid’s masterwork/toxic tome (depending on perspective)?
Drums and Words
:: Posted by DannyX on March 08, 2016
To me, the three drummer front-line was and continues to be nothing more than a gimmick...and of the three, BR seemed the least connected to Crimson, other than his previous work with RF. That being said, with all the work they apparently had to put in to ’reinvent rock drumming’, seems a shame to have to start over again.
See today’s diary entry. Coming shortly.
:: Posted by gasmrv on March 08, 2016
Far too civilised/restrained, in my view, the B Rieflin ‘departure’ by guest-bookers, so far. — I was perhaps not shocked but, frankly, very, very surprised.
I saw KC twice in London 6 months ago, and my favourite drummer/percussionist, in the end, was Gavin Harrison (it was a toss between him and BR, but GH was really it for me). Bill Rieflin’s playing was not only superb—very often subtle, delicate, with finesse, and his (physical) presence was ‘markedly’ noticed (by me)—and yet, as days went by something kept me sort of bothering about BR’s playing/role in this KC. I came to the conclusion that it was arrogance; arrogance in an understated way. I know about arrogance because I have been quite arrogant myself, and though I’ve been trying not to be so for a number of years, I still find myself being very much so more often than I’d like to admit (even to myself).
One thing I liked/‘appreciated’ about Jakko is how vulnerable he seemed at times…and even master drummer, GH, and Pat seemed so at times. This ‘vulnerable’ aspect, to me, is, amongst other things, another important aspect I’ve realised has made KC very appealing to me. Mel seems even more vulnerable and is a reason, too, why I enjoyed his playing and presence so much.
How much has BR contributed to KC’s new material? The bits I’ve heard so far (both live and in both CD releases) are, so far, very Frippish, which of course is not a bad thing at all, but I really do wish for something truly new/different (lately I’ve been listening to lots of Bowie and RF’s contributions are simply and utterly remarkable, contributions that made some of Bowie’s music, er, truly new—I wish for something similar in this new KC—something genuinely different…and daring, bold). For the first time in a very long time there will be a more British KC (5 v 2 Americans). Will this be a good thing or is this utterly irrelevant, I wonder?
The Toronto release is absolutely brilliant, and the mastering and sonics superb — this, IMO, should be a ‘proper’ release, i.e. to the masses. Very pleased to see that for the first time in a log time a great release comes from not such a prominent place.
(Sincere apologies if I somehow crossed the line when speaking of my thoughts and feelings about arrogance and vulnerability)
As above, see today’s diary entry. Coming shortly.
C/o Bill Bruford, Ph.D.
:: Posted by Antonion on March 08, 2016
Congratulations to Doctor Bill Bruford for your recent accomplishment. You are a role model to us all.
Orpheum cd and dvd a
:: Posted by GratefulJerry on March 08, 2016
I pulled out the album again today and it still sounds fantastic to me. My only complaint was that it was too short. It should’ve been a full cd and the vinyl could’ve been a 2 lp set. The lack of Larks’ Tongues in Aspic Part I and Pictures of a City was a major disappointment for me but what is there sounds great.
A good digital idea.
:: Posted by SoftCorrea on March 07, 2016
I think it would be a good gift for all who have bought the 2015 Toronto concert on CD access to download the digital version to listen while we get the CD. I have bought in the DGM Mail Order Europe.
new drummer for kc
:: Posted by mratosi on March 07, 2016
Bad news, bad news. I´m afraid, although i was afraid too, when i heard about the new line up a few years ago. Three drummers, old songs, Mel Collins (!), why? Then i heard the Orpheum - a promise, nothing more -, a few bootlegs, Easy Money (can´t wait for the cd!!!), and i think the King Crimson has found itself again. The Beast is back!
What can i say now? The King Crimson will make it with the new drummer, i hope.
See you in Aylesbury!
September 2016 gigs
:: Posted by GRANTC on March 07, 2016
Just read that Bill Rieflin is taking a sabbatical and don’t we all need one from time to time. I have bought tickets for Sunday night’s Aylesbury gig, this September, to which I’m over the moon about, having seen the band at the Hackney Empire last September.
One quick question, is Jeremy Stacey able to play the Mellotron (or the keyboard that sounded just like one)? I do love a bit of mellotron and was hoping to get another fix!
Either way, it’ll be great, I know.
Jeremy is also a keyboard player as well.
:: Posted by emmapeelfanclub on March 07, 2016
I wouldn’t say the Orpheum EP was "limp" since musically I thought it was great, acting as an intriguing teaser of the seven headed version of Crimson. I don’t have a DVD audio set up so am only familiar with the basic stereo version and to my ears - and it appears a few others - it sounded a bit flat, lacking the power we were all expecting from a good gutsy live mix. Even Robert in his latest diary entry admits it failed to capture the Crims in full flight.
I think it’s down to the way it was mixed as opposed to the band’s performance. There’s a version of 21CSM on the 2015 tour box from another show shortly after the Orpheum gigs that sounds much better mixed, moving more towards what we hear on the Toronto release. I also feel that the short length of the EP given how we’ve been spoiled over the years with complete or as near complete live shows didn’t work in it’s favour either.
Given those of us who downloaded Toronto have not yet got the CD booklet, I’m curious to know who mixed the Toronto release! Either way, the reception to the Toronto show tells it’s own story!
Lastly, a welcome to Jeremy Stacey - will be interesting to see and hear the Crims with him in place of Bill.
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