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Update tour pages please!
:: Posted by richardrj on October 23, 2015

Seems very odd that the DGM tour page doesnít include the Canada and Japan dates.  A visitor to dgmlive.com would have no way of knowing that KC are touring in the next couple of months. In fact, itís such a strange omission that Iím beginning to wonder if itís a deliberate policy rather than an unfortunate oversight!


Our apologies for such tardiness, Richard. You're quite right!

Gordon Haskell
:: Posted by froggy55 on October 22, 2015

I know this is completely off topic, but I donít know how RF and Mr. Haskell feel about each other, But Gordon Haskell has some great music that is criminally out of print.

How long does something have to be out of print before it becomes public domain? I think it would be great if some of that music could be reissued on Inner Knot/DGM.

Namely "Hambledon Hill" and especially "Serve At Room Temperature" which was re-issued on Voiceprint in í97 but is sadly out of print again. Canít download it, not available on iTunes. I have emailed both Gonzo/Voiceprint and CherryRed about reissuing, to no avail.

I believe if someone wants to hear Gordon Haskell, they should. After all, he is King Crimson alumni, regardless of the circumstances of his leaving.

Caroline Shaw: two degrees of separation
:: Posted by albemuth on October 21, 2015

Iím excited that Kanye West worked with the hugely-talented American composer Caroline Shaw, (on a re-thinking of "Say You Will").  I am embarrassed that I had not heard of Shaw before this. 

Shawís music might interest Krimheads, not so much for the specific forms and styles of music that she pursues. But there seems to be a strong "intentionality" in her music, a clarity of purpose.  Again, "the man with an aim" (or, in this case, woman). 

It was also fun to see that West and Shaw performed the song "Power" for a political fundraiser (DNC).  Itís great to hear two of my favorite musicians, KC and West, working with a new favorite, Caroline Shaw!

..news from the trenches...
:: Posted by AndrewJohn on October 21, 2015

...on the look out for KC sightings it was really gratifying that as the howling mad ....heads assembled to see Wolfsbane in Manchester last Saturday night, 21st Century Schizoid Man (1969 original version) was played (in full!)as part of the lead in as the lights dimmed in preparation for a howling Wolfsbane to be unleashed....so apt...

Now I donít know about you but I canít ever recall hearing any KC over the PA before any band. 21stCSM was loud and sounded so good!

What's this......
:: Posted by dermis on October 19, 2015

I was browsing my way through the DGM archives, yesterday, searching for gems of the Stormy Munday variety, when I came across a strange and wonderous possibility.

It would appear that DGM archive pages have been reserved and allocated for downloads of all nights of the 2014 US tour. It gets better, pages have also been allocated to all nights of the 2015 European tour as well!

So, Crimheads, it may be that downloads will be available for every show of the 2014-2015 tours! Iím looking forward to listening to Fridays show at the Lowry, Salford, the guys were on blistering, and thunderous top form.

The raging, heartless leader grows ever more venal!!

Hope it all turns out.

:: Posted by avakashitar on October 18, 2015


My own .02 on the suggested downloads recommendations you asked for. Iím typing this as I look through my own DGMLive archives, which are somewhat considerable -- Iíve probably spent more here than is good for me, but have received amazing stuff! So, without further babble...


Chesterfield (9/7/69) is perhaps the most complete show you can get from this era. The Hyde Park date is very good, but the set is slightly truncated, owing to the occasion, and the 11/21/69 sounds pretty darned good for what it is, but itís very short. Chesterfield is almost the most complete gig they have in terms of what that first band was doing onstage, and theyíre on pretty good form throughout, even if the recording machinery canít match it. The improvs are somewhat so-so to me, but that was never what I loved about that band. Itís still a hummer, otherwise, and I tend to listen to it the most when I want to hear the original KC live.


The Marquee (8/10/71) is the best and most consistent gig Iíve heard for this line-up. I have the fewest gigs for this band, as itís my least preferred. But this show has a great sound and theyíre all on good form. They did some great versions of "Cirkus" and "The Sailorís Tale" live, too. They were perhaps a bit better than the first band at live improvs to these ears, but thatís just how I hear them. RF once called KC "an unfair opportunity" to these players, and I can hear why, now. But this gig sounds as if both KC and these players were prepared to meet in the middle and give it all they had.


The Zoom Club (10/13/72) -- if your ears can get adjusted to the sound, then this gig is for you. Between all the new material and the improvisation, itís a shiner. Easily the best of this bandís lot, though later gigs developed incredible stuff at an alarmingly quick pace.

Glasgow (10/23/73), Amsterdam (11/23/73, aka "The Night Watch"), and Pittsburgh (4/29/74) are all GREAT shows. Iím not a huge fan of this band, but I like them a lot, and improvisationally, they all grew their own rocket packs and sailed for the celestial spires at regular intervals. Robert has drawn a lot of shows from this area, and these gigs are just a tip of the iceberg. As to why two box sets came from this band, just the few gigs I have show why -- they smashed the target with a Mjolnir-size hammer on a very consistent basis, and their low points were always higher than many peersí live best. I also have the Asbury Park (6/28/74) (I stress the actual download and NOT the CD release, as, at the time, this download was done from the multitracks up and were uncut and editless) and Providence shows (6/30/74), which are shorter and drop the formal for the informal, but theyíre worth looking into as well.


I only have three gigs from the í81 era: 11/06/81 (Savoy, 2nd House), 11/07/81 (Savoy, 1st House) and 11/23/81 (The Roxy). I hesitated to buy because of the sound; for some reason, there arenít any board recordings from this era that Iím aware of. But I checked the samples, as RF has said on a few occasions that these gigs were worth looking at. And the sound quality on these ARE better than average. Performance-wise, theyíre all on fire on these dates, but the I like the Savoy house ones the best. Very complete live setlists here, and you can hear the new material coming in and getting an airing. 8/5/82 (Montreal) is pretty good. 8/27/82 (Frejus) is even better. As for the ToaPP tour, I only have "Absent Lovers," which is all I ever wanted. Itís very comprehensive and wraps that era up nicely.

KC(5)(Double Trio)

11/11/95 (Atlanta, the Roxy Theater) is my favourite gig by this band. Iím biased -- I was there, it was my first Crimson show and the first modern incarnation I was current with, and I have the memory of the show to compare the recording to. Both experiences are absolutely fantastic. And the recording sounds phenomenal. You can actually feel the Silence say hello. This band did lots of great shows (and I have more gigs by this line-up than any other), but if you want to pull it down to just one, try that one. The Shepherdís Bush gig of 7/1/96 and the Wiltern gig from exactly one year earlier are hot shows, too.

KC(6)(Double Duo)

Douglas Bramley is spot on about the Sendai, show. I rated it very highly out of my KC(6) shows from that era. Only 6/25/00 in Paris got higher. I have several other shows from this era, but I like the complete live DVD performance of the second disc of "Eyes Wide Open"; I wish we had the full audio of that. But the CD release "EleKtriK" is the best I know of so far to these ears, with Alexandria (3/4/03) and San Diego State University (8/15/01) my second alteratives, the latter of which features TOOLís Danny Carey finishing the piece "Red" from Patís drum kit. Theyíre both excellent shows.

Iíve probably wittered on long enough, and Iíd like to encourage others to share in their detailed experiences of the live downloads section. Andy -- Iíve seen lots of good suggestions on this, but thought Iíd try to go a bit broad-spectrum on the lineage. I hope this helps you out.


Re; McLaughlin gig in Oz
:: Posted by Valhalla on October 15, 2015

Cheers andyfromoz. I nearly didnít go to the gig, travel weary from a holiday in Tassie, my first break from work in 5 years. Like you, I also work for myself & my wage fluctuates! I didnít leave the gold coast hinterland until 6.30pm & just made it in time for 8.00pm start, no support act!
Last saw McLaughlin in í91 at Byron Bay with the Que Alegria tour, mind blowing that also!
He played a acoustic guitar through a Photon midi interface & of course the brilliant Trilok Gurtu was on percussion, kneeling on one knee & all & Dominique Di Piazza on 5 string bass, possibly fretless i think from memory?
A ísofterí performance than last Saturdayís & the í91 concert was interrupted a few times from noisy bar drinkers chatting etc, as the venue was changed at the last minute to a services club. McLaughlin stopped playing & asked for silence numerous times throughout the quieter musical pieces! Fast forward to last weekend & the Tivoli being a licensed venue, I was fearing a repeat. Thankfully the electric band & a seated & dedicated audience prevailed! Great to witness musicians playing at that level & it also helps to alleviate any frustration in a way, at not seeing the mighty Crim here in Oz! I donít know what the next gig will be for me, to relieve that ífrustrationí. Maybe Justin Bieber will suffice! Cheers.

Suggestion for download
:: Posted by fhc339835 on October 14, 2015

Great question. Indeed it is the last 3 gigs of ProjeKct Three in Austin and Dallas, ProjeKct Four in Vancouver and San Francisco 2nd gig, ProjeKct One 4th night, if you do not have the Starless box, you need the Mainz gig in March 74, and  from the BBTA combo the third and forth night in NYC Savoy Club 81.
This is my collection of the ultimate peakís of the 3 main periods of the KC (69-74) (81-84) (94-03).
My personal recommendations are Duesseldorf 1995, Frankfurt 1996, Offenbach 2000 and Montreux 2003 - theyíve been strong.
Sorry to say, you need the Starless box, the Road to Red box, all tour bundles available by the ProjeKcts, and the Europe 2000 and NAM 2001 bundles.

what happened?
:: Posted by Undisciplined on October 14, 2015

Itís understood that hands are full with getting the Thrak box out and then focus in on wrapping up Beat & ToaPP, but hopefully the remainder of the CC hasnít been forgotten. Almost immediately after the 2008 shows, there was discussion about collecting the finest performances for release as part of the series.

Show suggestion fo andyacunzo
:: Posted by caseyjbye on October 13, 2015

So I am probably biased because I attended this show, but Iíve heard a number of recordings from the 2000-03 lineup and can say the Nov. 8, 2003 Park West show is amazing for a lot of reasons.

Pat is a real standout with some amazing short percussion and loop-based improvs leading into several songs. Larks 4 includes one of the most pummeling Belew solos Iíve ever heard going in even more experimental directions than you might expect from one of the most experimental guitar soloists on the planet. One Time goes into a slightly extended middle soundscape due to some technical difficulties. Power to Believe III/Thrush includes a moment where the band fades into silence and waits what felt like an eternity at the time of the actual show with absolute silence from the audience before Crim leaps back into action (in reality, I think itís about ten seconds--but a looong ten seconds!). Plus, unlike some of the shows closer to the turn of the century, you also get some older material, including Red and a rollercoaster ride of a Frame by Frame.

Lastly, itís Park West--one of the Beastís favorite regular haunts and best sounding venues not only in Chicago but the country. Even Belew having a few technical difficulties canít ruin this one--they only add to the charm (you might even get a bit of new perspective on the arrangements of Dinosaur because of it)!

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