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UK gig(s)
:: Posted by kebl1109 on June 18, 2014

Surely, we have to have one/more of these - I would have thought at least 3 would sell out. We could start a national petition on gov.uk website...? Or perhaps we could set up a survey monkey survey to prove that 1000s of us would turn up?
Does anyone know if there is a good reason for the lack of a UK gig?
We can only hope that theyíre using the US dates as a warm-up...

Pretty please...!


Beat...Beaten up!
:: Posted by eggplant on June 18, 2014

First off, the band should have traveled another two months working on the songs. The "Discipline" album was worked out "Iím on the middle of the road" as they say and then recorded. What changed? Iíve yet to hear anybody (R.F) explain why they undertook this recording session at the time. Then they change equipment, drop the keyboard arrangements and improvís, added lyrics that need not be there as well as chop songs almost in half to fit on an album. Then Bob goes off and records "I Advance Masked" right after the sessions, within a month. I say "someone lacked discipline"  when it was needed most of all. You can blame some people for itís outcome, but I think there is only one and itís not King Crimson. That said, "Beat" is a great almost, could of, would of album that really needs to be taken back to itís roots and retooled the way it should of been.   W.S.K.


Beat at 25
:: Posted by wtunis on June 18, 2014

I must confess I have always enjoyed Beat. Like many, I view Discipline as KCís best 80s album, but Beat is probably my favorite. It sounds concise and vital despite whatever chaos that took place in the studio. For me, the summer of í82 was defined by three extraordinary albums: Elvis Costelloís Imperial Bedroom, Roxy Musicís Avalon and Beat. May the Beat go on.


Beatitudes
:: Posted by davidly on June 18, 2014

I like it more than Discipline, the album; and while the track entitled Discipline is indi... spensable, as are many of the instrumentals by the Discipline band, I find more of the material on Beat to be of that grade.

Importantly, to my taste, the lyrical compositions on Beat are more sustainable overall.

Finally, Requiem is the loudest I ever cranked my stereo (or any in my life) by a long shot; I still fell asleep and won over a (strictly) METALica-head in having done so. For Whom the Bell Tolls, indeed...


Beat-tific
:: Posted by starmore on June 18, 2014

 Not only was BEAT my first KC record (and I was lucky enough to see the Beat tour for Live @ Philly and Live @ the Pier is also stunning), but it has been my favorite consistently thru the years.
For starters, Bruford got his cymbals back and swings hard on Neurotica and Requiem !!!!!!!
Tony was in a very special zone at that time- his low end sound was AMAZING, and he featured a more intergrated use of both sides of the Stick (Neal&Jack, Sartori, Waiting Man), plus the walking stick bassline on "neurotica"and the groove in 5 on "Howler" AND electric stand up on"Requiem"....a tour de force.
I thought it had Adrianís best lyrics/vocals and the whole thing was kind of a modern concept  album with the beats as the connecting theme. The typewriter sound on "Neal & Jack" was an incredible combination of sound and concept. It all came together!
Frippís solo on Sartori and Requiem are for the ages .Now if only the band knew it.


 


Beat's weird...
:: Posted by emory0 on June 18, 2014

Itís a poppy album on the surface, and yet the live versions of those songs were about as good as the Discipline songs. I think women liked the songs from Beat and, back at the Pier in NYC, King Crimson felt like a popular band and the audience was half female.

And yet, there was enough hidden meat musically for the band to really dig in. So even if none of the bandmembers really ended up loving this record and that era, it was (dare I say) "enjoyable" yet without the band losing its musical soul.


Beat
:: Posted by gbruner on June 18, 2014

I think Requiem features Robertís and Billís finest KC performances. 


Re: The Madness Of King Crimson
:: Posted by Antonion on June 18, 2014

Bill Bruford: ďCrimson is, by definition, an experimental unit. It has never decided, like youíre supposed to do, that this is your direction, and you go out and sell it like the Rolling Stones do. It is always interested in changing themselves; thatís why they joined King Crimson. Itís an ongoing work in progress and if King Crimson is selling anything, itís selling the unexpected.Ē

This is what I expect from the new Crimson line-up: new, unexpected music. And I wonít settle for anything less that that.


New KC
:: Posted by schizoidman on June 17, 2014

...please play in England.


SpeKculation
:: Posted by muziko on June 17, 2014

It seems like this configuration is going towards pre Belewbelage with the addition of modern technology and players. Should be interesting


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