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:: Posted by fhc339835 on February 15, 2015

1st  I very like the idea of the soundscape sunday. Maybe this is supporting the proselytization of the ubiquitous dgmlive visitor devoted to the crimson king, but not to the scapes. I made a remark earlier that I got first infected by the scapes by downloading the hot tickles in 2006 and making my own cd of it, cautiously approaching the emotional music.

2nd Reading a review of King Crimson 2014 live performances and Van der Graaf Generator 2013 performances, both issued in 2015 on CD, is very special for me. When I acquired the taste for such strange brew of music back in the middle of the 80’es, I never dared to hope to see any of my musical heroes back in action. The wonder of KC of the 90’es and the ’00s has its continuation in 2015 - looking forward to see the septett in Paris. A very dedicated Peter Hammill follower since my teenage years (thus having been a weird young boy lost in old men’s music, why not kajagoogoo and duran duran?) , never believed seeing Van der Graaf back to action. They are better as ever having ear-witnessed and eye-witnessed recently in Erfurt, and in Nuremberg some years ago.

3rd Great to read here about Trey’s Peter Gabriel music adventures with Jerry and the boys from the band. The gig in Wetzikon on Friday was deeply moving, the audience responding in awe-stricken silence was just carried away by the music.  Lovely characters each one in the band.

derivative songs
:: Posted by Tom239 on February 15, 2015

The Eagles supported Jethro Tull on a tour in the early 1970s when the song We Used To Know appeared in Tull’s setlists. Several years later, Hotel California used a chord sequence akin to one in the Tull song. Ian Anderson was gracious when asked about this in an interview; he said, "... it’s not plagiarism. It’s just the same chord sequence. It’s in a different time signature, different key, different context. And it’s a very, very fine song that they wrote, so I can’t feel anything other than a sense of happiness for their sake."

:: Posted by AdrianReynolds on February 15, 2015

I’m listening to the Fripp/Keneally piece at the moment. Again, I’m taken into a space that no other music seems to be able to open up.

Yearning is one of the principle qualities I associate with Fripp’s playing. And I connect it with his interest in Gurdjieff, as well as experiences of my own - a desire to connect with something greater, say, which we can all catch glimpses of at times. There’s melancholy there too, perhaps an audible recognition of the fact that we mostly fail to reach that place. And sometimes joy, when - if only for a moment - the gates of paradise open up once more.

Those same emotions, the same states, arise pretty much regardless of the context of Fripp’s playing. Even with Let The Power Fall, perhaps the most minimal of his collections in this vein, there is a sense of transcendence experienced, remembered, or approaching. That album also provided a great soundtrack for a friend who borrowed the CD to play to children in a dance workshop she was doing with them.

I’m a technical numptie, downloads not my preferred way of collecting music. At some point though, I will - when I can afford to do so, and probably with tech assistance - gather up the soundscape-based pieces available on this site, and put them onto CDs to enjoy in ways that I prefer.

This is beautiful, potent music that holds a special place in my heart. I hope it finds a larger audience in the world. My suspicion is that the proggy spectre of the Crimson name gets in the way of that for many. Here’s to getting beyond that.

Best yet
:: Posted by deagan1 on February 15, 2015

Dave Stafford really nails it in his Crimson/Orpheum review.....Great Job !

:: Posted by fhc339835 on February 15, 2015

It took me a couple of years to find the door letting me really coming into this record. Taking aside the very awe-inspiring overdubs on the THRAK intro and esp. the outtro, the improvisations that have been picked for the recording are somehow a representation of the "repertoire".

Most (including myself and the artists themselves?) would argue that the 94-96 improvisational outfit did not reach the excellence of 72-74, but 94-96 was just the road to the 97-99 improvisations which in many aspects (diversity, use of modern technology, breadth by different styles exploited at the same time like electronica, jazz, metal, whole tone scales etc.) excel the period of 72-74.

Thus for me 94-96 is just the road to the climax of 97-99, the latter being the landmark of KC third period from 92 - 03 (92 as I tend to count sylvian-fripp-gunn and rfsq to the same period of RF’s way of musiKcing).

Whilst listening through the currently available 95 tour bundles and downloads, the repercussions of what I have already heard of it on Thrakattak usually give me goosebumps.

I appreciate the idea of assembling a new mix of attacks at my nervous system!

I am very looking forward to it and am again and again very grateful for David’s and Alex’ (and all you others and the artists’) dedication to repeatedly revisit archives.

:: Posted by chessplayer on February 14, 2015

I stumbled on the picture of KC Elements S.Francisco dates "poster" (scrolling down on T.Levin’s web diary page 19).
It must be a joke. Yes, from the first pyramid to the last.

Drive to 1981 Fripp albums reissued?
:: Posted by mikefrost on February 14, 2015

When when WHEN will we get ’Under Heavy Manners / God Save The Queen’, ’League of Gentlemen’ and ’Let The Power Fall’ on CD? Younger fans such as myself would LOVE to hear the music but simply can’t acquire it legally. As the Summers / Fripp reissues appear to be in the pipeline are there ANY plans at all to release these? Also, what happened to the Beat / TOAPP 40th Anniversary reissues? Is there any chance we’ll get the complete Frejus 1982 footage? Or at least a proper film transfer? This is my first post on the guestbook so I’ve got a lot of questions. So long!

Hi there Mike and welcome to the guestbook,
the quick answer is that all of the recordings you mention will be properly assessed and addressed in time. When? Well, that's the longer answer and depends on many factors. The 40th Anniversary series reissues will continue in 2015 and we hope to be able to make an announcement about this in the not too distant future. I hope.

Best wishes

I Advance Masked
:: Posted by RobinS on February 14, 2015

Anyone know what happened to the planned remastered CD on Panegyric? A Feb 16 2007 post by Sid Smith said ’later that year’ !! Can only find second-hand overpriced Japanese imports online...
Thanks for any info. Robin.
Hi Robin,
The Summers / Fripp albums are in the queue to be done by Panegyric but a release slot has yet to be allocated. As soon as we have any news on progress, to coin a phrase, we'll let you know.

:: Posted by Bakullama on February 14, 2015

Another strange coincidence I noticed this morning was with Roberts T shirt and this iconic image from the 40s.


Or maybe not.... Lol.

Copy or coincidence?
:: Posted by Bakullama on February 14, 2015

The Kinks (1964) "all day and all of the night". And The Doors hello, I love you" (1968) share a pretty similar line. I think it’s coincidental, but there was some legal wrangling about it.

In the liner notes to The Doors Box set, Robby Krieger has denied the allegations that the song’s musical structure was stolen from Ray Davies, where a riff similar to it is featured in the Kinks “All Day and All of the Night”. Instead, he said the song’s vibe was taken from Cream’s song “Sunshine of Your Love”.
– The Doors’ wikipedia page for “Hello, I Love You”

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