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Live at the Orpheum Plus
:: Posted by DanAnderson on January 25, 2015
Now that all of the whining has been done about only getting 41 minutes instead of a whole concert (I was one of them), I decided to create an expanded playlist on my ipod.
1. Walk On
2. One More Red Nightmare
3. Banshee Legs
5. KC Drummers Solo, Elstree, 2014 (download)
6. LTiA pt. 1 (extract - Tour Box)
7. LTiA pt. 1 (david/jamie)
8. The Letters
9. The Sailors Tale
10. Hell Hounds of Krim (Tour Box)
11. Venturing Into Joy (download)
12. THE headed Doom (tour box)
stick that in your pipe and smoke it. Much better.
Hot out of the mailer reviews
:: Posted by Chet_Kincaid on January 25, 2015
You canít give a good perspective on any album after one or two listenings. It takes four or more, in my opinion.
:: Posted by caseyjbye on January 25, 2015
So I waited to get to ten listens in various scenarios before posting my thoughts. I think the album overall is a real achievement as far as the mixing in that it pulled such pristine performances from a live event and separates them to the point that itís making some listeners think thereís something wrong with the recording. You know that idea that truth is stranger than fiction (for example sometimes viewers see a practical stunt performed in a movie or even some particularly natural, beautiful scenery these days and they assume itís CGI when itís not)? So here are seven dudes who are not only precisionists with their instruments in a way that occasionally makes them sound other-worldly, but now weíre hearing them in unison yet separated to the point that itís like looking at one of those Bob Marley photos and realizing that itís actually made up of a bunch of other tiny photos of Bob Marley. Not to mention, even this seven-piece lineup/unique configuration of musicians is Crimson "technology" weíve never heard before only presenting material weíre familiar with. I can tell you my brain was a little bit confused watching 2001: Space Odyssey on Blue Ray the first time too.
On headphones, to some it is probably going to sound almost "wrong." As others have suggested, with a bit of room to breathe, itís utter magic. The lack of compression means you will have to pump the volume if you want those thraking moments to hit the way you might have expected from Belew or even Wetton-era Crim. Iíve actually maybe enjoyed this album most cranked in my car. Some of the lighter bits donít, of course, work as well, but that mostly consists of the opening track and "Banshee Legs" (which work just as well on a nice stereo as the other tracks do pumped while driving). With all of the perfection to the mix, the great thing is you get to hear a bit of the fun looseness in the performances which gives the recording more personality to go along with the perfection, like Levinís stick distorting a bit too heavily to his liking in the first bars of "ConstruKction" before he adjusts, or some of Jakkoís playfulness on the guitar transitioning from section to section, or (what Iím assuming is) Billís addition of an ambient and sort of creepy keyboard patterns over the final circulations of the piece. And thatís all just on one track.
You can debate whether, for a drum-centric lineup, the drums might be too high in the mix or not, or if a bit more room couldíve been added to the mix to make Levinís stick or Jakkoís clean tones a bit more "realistic" to what youíd expect from a live performance, or if Crimson music, to you, means having the guitars heavy and loud in the arrangements rather than in a more jazz ensemble sort of position where they blend with the other instruments. And I think most fans can see the pros and cons to any of these choices. But the fact that the band is making these sort of choices proves theyíre one of the only, to the truest sense of the word, progressive bands playing today, and probably the only one still playing after 46 years. You might disagree with some of the choices or just be thrown by them on first listen (or first ten listens), but hopefully everyone can be happy that Crimson continues to progress by actually making choices rather than just tossing together some greatest hits tour. "Starless" may seem faithful in this new rendition. But Iíd urge you to listen to the Orpheumís version and immediately put on the bonus track version from USA (or any other Wetton-era version). Even if there arenít new musical sections added or removed, you could fill a page with a list of choices that differentiate these performances. To be honest, although Orpheum does offer my favorite versions of "The Letters" and "Sailorís Tale," based on some of those choices mentioned, Orpheum doesnít include my personal favorite version of "Starless." But man am I pumped Iím able to hear it.
Dreaming In Tangerine
:: Posted by AgentOrange on January 25, 2015
So sad. Edgar Froese had so much more to say. I first heard Tangerine Dream when I was a freshman at the University of Tennessee in the Hess Hall dormitory. Bob Strong and his roommate turned me on to Stratosphere from Al Guyís vinyl collection. That Spring in a drunken stupor I climbed over some vending machines in a bar on the Strip into a closed Discount Records grabbed a bunch of imports and climbed back out and high tailed it to my dorm. I still have Electronic Meditation and Rubycon. (Thankfully, Iíve stopped doing things like that many decades ago).
Other than King Crimson/Robert Fripp, I have more Tangerine Dream/Edgar Froese in my music collection than any other artist. My sister and I saw them in a small theater in Atlanta with Jerome Froese and Paul Haslinger in the 1980s when they were on the Private Music label. A very memorable show.
Edgar Froese and Tangerine Dream were giants of electronic music. Their use of analog sequencers has never been surpassed. Last week, before Edgarís passing, I ordered a used copy of the TD Destination Berlin CD. Itís coming from England and I canít wait to hear it.
Vale : Edgar Froese
:: Posted by Valhalla on January 25, 2015
The voyager lifts off. Another wonderful innovator passes on.
As Froese reportedly said í there is no death, there is just a change of our cosmic addressí! Tangerine Dream, oh what a lovely dream it was & it will remain. RIP.
:: Posted by emory0 on January 24, 2015
Got it. Actually, bought it at the great little record store called Other Music, which is a block or two from where the old Tower Records used to be down in the village.
One thing that is clear to me and my iconoclastic ears is that this band is just gettiní goiní. Go listen to that "bootleg" version of the Double Trio in Mexico City, which was recorded right at the beginning of the double trio, and you hear a band that is superb but still a little shaggy around the edges: They havenít come into their full powers yet as a band. And this 7 piece Crimson on the Orpheum disc is the same. (Actually, I think I can detect that they are slightly tighter than what I heard in NYC some nights previously.) At the same time, some of these songs are already almost definite versions, in particular Starless.
I also can hear something that I had a hard time putting into thoughts and words previously. But to hear this version of Crimson means putting on a different set of ears than listening to the various Belew Crimsons: The ear is listening for a guitar or vocal part that is in the place of Adrianís parts, but it isnít there: All the relationships have changed. Sure, Jakko is a really nice singer, but this Crimson is about Jakkoís singing much less than the Adrian versions were about Adrianís singing. And now I think I understand why fans of the 70s versions didnít think Belewís Crimson was the "real" King Crimson: They were probably used to hearing the band in a certain way that Adrianís strong playing and presence denied. Well, time to hear King Crimson in a new way again, and thatís fine.
Finally, this also confirmed that Tony Levinís powers as a bassist have clearly increased since last I heard him play with Crimson back in about 2000. And as much as I loved Trey Gunnís stealth virtuosity, having Tony as the sole bassist basically forces him to play his ass off and he really does.
Itís a great disc, and I hope to blast it again tomorrow.
Live at the Orpheum
:: Posted by Nathan on January 24, 2015
Just got my copy of Live at the Orpheum and have listened to it twice (on headphones). Outstanding. Very clear sound mix from my perspective, and it goes without saying that the performance is amazing.
I was at the September 30 show, and while I recognize itís not really important to know this, the nerdy part of me is curious about which songs are from which shows. I want to see if my memory of certain songs tracks with how they were actually captured (e.g., was The Letters from 9/30 or 10/1?). Is this information available anywhere? I didnít see it in the CD packaging.
2015 Dates per P@t
:: Posted by jbricker on January 24, 2015
Not sure if this fits in to the spirit of the guestbook these days, but on Pat Mastelottoís site he points out the following on Jan 10:
"save up [your] coins King Crimson live dates coming for Sept and November." And nothing more after that.
Still anticipating the arrival of Orpheum in my mailbox....
Cheers all - Jim
Remember that lying/truth business of a couple months back?
:: Posted by markmmarkm on January 24, 2015
I ran across this the other day: ďMusic doesnít lie. If there is something to be changed in this world, then it can only happen through music.Ē --Jimi Hendrix according to a Free & Equal Elections Foundation e-mail of 22 Jan 2015
:: Posted by fhc339835 on January 24, 2015
post scriptum to my recent post
Today I have the chance to put the disc in my hifi.
Yep, push the direct button - everythingíll be fine.
One observation: indeed the ensemple needs room!
Headphones normally provide room stereophonically but indeed hifi proves better here. Exceptional.
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