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:: Posted by Ornate_Coal_Man on January 02, 2014
"If we are creative, I honestly donít think we have much choice other than to listen to our own inner voice. Itís our responsibilty to be obedient to that. My own experience is that music comes from somewhere else. I canít be sure, but I think George Harrison once said that music is like apples on a tree: all the musician has to do is to reach up and take it."
Yes. And yet, in addition, it apparently takes 7 full years of dedicated and difficult study to become conversant in species counterpoint. Charlie Parker spent 3 entire years woodshedding, holed up in the Ozarks for 12-15 hours a day becoming fluent on his horn. During the Amanda Palmer Kickstarter controversy, guitarist Adam Rogers mentioned, en passant, that nobody realizes or appreciates that a string player works for YEARS to fully intonate and develop the sound of a single note.
Who is to say where the creative spark may come from? Yes, it may be from somewhere else. I agree: we have to listen to our inner voice. But letís hope we have prepped the elbow grease in order to be receptive for the muse that may come calling. Perspiration prepares the ground work for inspiration.
As Charlie Parker said, the only thing that will come out of your horn is what you have lived and experienced. We can only play who we are.
Creative calling, Spotify and CD
:: Posted by schizoidman on January 02, 2014
Iím a composer. I donít like that term particularly, but it probably suffices for now. Per annum, I make a very small amount of money from writing music. I have to teach to make a living and even thatís a financial gamble. That is the reality of the situation.
Writing classical music isnít something which brings in vast financial returns. My other pursuits (i.e. book writing and arranging) do make a little money. Again, not huge amounts.
My alt-rock recording unit, Otherworld, also makes very little.
I wanted to share this because I read some of the things here on the Guestbook. It seems to me that if one is creative - truly creative - thereís a ícallingí involved. One has no option but to follow the calling wherever it may lead. Personally I remain unconvinced that financial gain is a part of this...but, of course (if one is lucky) it might lead to that. I keep hoping! A friend once said to me íwe may not like our own creative voice but, in the end, we have no choice but to follow it.í
Which leads me to this: Spotify and music streaming in general is a new way of disseminating music. For some, itís probably essential; for others, not. Vinyl and CD - all forms for collectors - are clearly still with us but the future is opening up before our eyes and the way music is disseminated is part of this. The internet has clearly been responsible. Itís all been meant in the same way that politics shapes our future. I donít want to sound pessimistic, but I think much of whatís going on is probably out of our hands although we can still make an individual contribution to the creative field. Thatís the thing about true creativity: it doesnít necessarily follow contemporary trends; it always has been and always will be.
Itís a drag to be ripped-off though. I have experience of creative theft but, in the end, even that rights itself. Empires rise and empires fall.
I donít use streaming services. I prefer vinyl and CDs. I like to listen and read and learn. Personally, I find that music-streaming doesnít quite allow for that.
If we are creative, I honestly donít think we have much choice other than to listen to our own inner voice. Itís our responsibilty to be obedient to that. My own experience is that music comes from somewhere else. I canít be sure, but I think George Harrison once said that music is like apples on a tree: all the musician has to do is to reach up and take it.
Once a piece, song, book or whatever is launched itís out there: in the collective unconscious. It might go anywhere to affect someone else now or in the future. We have no idea of knowing.
Those are one or two ideas at this point in time: 02-01-14 at 10.34am. Apologies if itís a bit of a ramble.
re: save the KCCC
:: Posted by gojikranz on December 31, 2013
not the same style of music but Third Man records recent paramount box set shows how a USB stick can still have personality and with 800 songs on it I think I prefer that to having it all on 40 cds or something.
maybe we could get a schizoid face usb stick or something...
I may be the minority but I felt like there were too many cds in road to red I would have preferred it all on blu rays 5 or 6 shows per disc.
I feel like the current physical released KCCCs offer a good overview of all the periods so future things being all digital is allright for completists like myself though I do wish the booklets would be included digitally in the downloads of existing KCCCs.
maybe someday there could be a nice book printed with info/notes on all the shows released (including blank pages at the end to fill in as they are released)for those of us who like something in our hands.
I do hope at the least the final few physical KCCCs get a release sometime soon(not to mention beat TOAPP etc.)...
All I want for this new year is...
:: Posted by eggplant on December 31, 2013
Hello this is eggplant. All I want for this new year are soundboard recordings of February 20th, 21st, 22nd, 24th, 25th, 26th, and 28thís of 1982 King Crimson concerts. This would make me as happy as, well, Adrian is! Thanks and a H/N/Y. W.S.K.
:: Posted by simkin_eden on December 31, 2013
And of course in the cold light of morning I realise the errors in my post last night!
It should read ...not on a USB stick...
And I did not intend to be anonymous
:: Posted by simkin_eden on December 30, 2013
markvankempen - Excellent post, your argument for retaining CDs is one I have been trying formulate for a long time now. If the physical holder of the music is not that important why is The Road to Red, as you say, on a USB stick rather than the fancy packaging (even more fancy for the Japanese version - a secondary point - why canít the rest of us in the world have that?)
Yes, the music is the most important, but I too prefer a CD (computers are wonderful - Iíve worked on them since the 1980s) but I still hanker after not just CD versions but LPs as well. MP3s are just electronic signals - nothing to hold or refer to as you listen.
I admit I was not a member of the KCCC but I have bought many of the releases from DGM, Amazon and e-bay.
Or is the real reason there is no more recordings available to release?
SAVE THE CLUB !
:: Posted by markvankempen on December 29, 2013
After intense pressure I have taken it upon myself to confront the discerning DGM Live Guestbook reader with a deeply personal review of my favourite of all King Crimson Collectorsí Clubís releases, in a desparate attempt to boost sales to hitherto inconceivable heights, so that the Club may continue to flourish unabated.
For the last 15 years the Club has been Anorak Heaven. Most of the releases are on a par with the official ones, except, only in a few cases, for their sound quality. They offer a more detailed view of the bandís musical development and variations in repertoire and spirit. Stuff like Jacksonville 1972, Cap dí Agde 1982, Chicago 1995 and New Haven 2003 are just as good as Earthbound, Absent Lovers, Vrooom Vrooom and Live in Japan 2003.
The KCCC started in 1998 and is about to close after the 50st release. It began with 6 releases a year, shrinking to 1 last year (the exellent Club 47 - Live in Argentina 1994), coming to a halt with no release this year. The computer files of DGM Live have replaced the box, booklet and cd of the Club. One could argue that the music isnít dependant of the carrier. Thatís true, but itís me, who is dependant on it. I do not own a computer and without wanting to come over as a fetishist, a physical object like a cd, excisting in the real world rather than a virtual one, creates a better connection with its content. When my eyes longingly scan the ranks of my KC cd collection, their looks connect me with my memory of the music. Also, although mp3 sounds good to my ears, cdrís burned from computer files have little gaps between numbers and arenít entirely reliable in the long run - sometimes they give up the ghost. And they look as anonymous as the files they came from. Imagine, dear reader, that The Road To Red would have been released as a usb stick. Get my drift? Ok.
My favourite of all KCCC releases happens to be none other than Club 1 - Live at the Marquee, London 1969. The exact recording date is unknown, but is probably from june-july, just before the recording of In The Court Of The Crimson King. Compared to the Hyde Park recording from july 5, they sound much more confident at the Marquee, tearing through their set with fearsome energy and razorblade precision. They were very tight - listen how during 21st CSM one of the players fails to enter in time leading into the middle part, after which the whole band repeats this passage and proceed happily without skipping a beat. The performance of Drop In is much stronger than at the Chesterfield and Fillmore West concerts. I Talk To The Wind outstrips their studio and BBC radio versions with ease. Sadly there is only a snippet of Epitaph, which sounds like a religious sermon reaching itís peak. The long medley Mantra/Travel Weary Capricorn/Improvisation is an orgy of sounds, with staggering collective outbursts contrasted with pastoral moments, including a compact history of jazz end classical music, culminating in a incredibly intense rendition of Mars. One audience member can no longer contain himself and lets out a few groans in gruesome, but genuinely moving fashion.
This concert must have been a hell of a ride, for musicians and audience alike. During the concert they will have experienced a sense of unlimited energy, a heightened awareness and euphoria, still buzzing with energy hours after the concert, when the power has gone but the juices still flow. There is a price to pay for reaching such heights. After several intense concerts a deep fatigue will set in and with that mental problems will occur, depending on how sensitive you are in that area. So, Robert, take it easy in 2014, will you?
Itís unfair to single out one person for praise in a group which played like one man. However, when pressed, Iíd declare that there may be no God, but Mike Giles will do just as well instead. How many drummers may it take to replace him? He could easily sit in with the Duke Ellingon Orchestra, Metallica, Joni Mitchell or Einsturzende Neubauten. Simply put, Mike has defined rock drumming in the 70ís and beyond, while remaining in a class by himself.
There is one hurdle: the recording is lo-fi, coupled with some serious distortion. It is the worst sounding Club release of all, except for Brighton 1971. However, thanks to David Singletoneís sonic healing skills, everything is well audible. The right channel is much more distorted than the left - things sound better when you play only the left channel in mono, on both speakers. If your sound system permits, add a little bit of the right channel for better bass.
Live at the Marquee is not only the best 1969 concert that has been recorded, not only the blueprint for all concerts of later KC incarnations - itís one of the best ever.
The people at DGM are a sensible lot. If you move large amounts of lucre in their direction, they will respond. So, dear DGM Live Guestbook reader, happiness is just a few well chosen mouse clicks away...save the Club !
:: Posted by schizoidman on December 27, 2013
Happy birthday, Peter!
Favourite Crimson moments involving Peter: the first four KC albums in toto. In particular, Lizard.
:: Posted by jbanks on December 26, 2013
The bookís author, Jennifer Ackerman, gives due credit for the title in this press release:
Q: Where did the title come from?
A: I have my wonderful book designer, Martha Kennedy, to thank for this. Itís the title of a King Crimson song released in 1995. I love the title because it suggests the rhythms and cycles of daily life. But if I were to list the words in order of priorityóapologies to my husbandóit would have to be a toss-up between eating and sleeping.
Belew and Gaga?!
:: Posted by jbanks on December 26, 2013
What the hell?!
Oh. Never mind.
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