Discipline Global MobileKing CrimsonRobert FrippThe VicarTour DatesDiariesnav_catalogNewsAccountsForumShopSearch Archives
  DGM Live Guestbook Login | Register | Help


Post an entry

Why bootlegs?
:: Posted by markmmarkm on January 27, 2015

Some people are just interested in things that are unauthorized.

I understand Lennon collected Beatles bootlegs and Jagger Stones ones.

It seems artists divide into two camps, the haters, such as, apparently, RF, and the lovers such as when the Patti Smith group found their first bootleg of themselves and thought "Weíve arrived!"

:: Posted by Basile on January 27, 2015

Impressive extremely impresive!

Just wow!!!
:: Posted by Bakullama on January 27, 2015

Got mine. Listening now... Sounds pretty damn good to me. For a long while RF was going on about "rough music" in his diary, as if he had somehow been affected by the revolutionary premise and purpose of rough music... Iím assuming it could have something to do with the 3 drummer thing and having them a bit forward in the mix. All I know for sure is that its awesome to these ears. Listening to it right now. Aaah the unmitigated mayhem... The beautifully constructed cacophony... The power and the glory! Jakko sounds fantastic btw.

Ok Iíll stop now.

Another reason to read David's Diary
:: Posted by apisch on January 27, 2015

Very insightful 2015 entries, and now this:

"In fact, in the next two months, there will be a whole series of excitements, which will, of course, in time-honored fashion be announced first on these pages."

Why bootlegs?
:: Posted by emory0 on January 27, 2015

David Singleton wrote...

"RF asked why bootlegs were often more exciting than proper releases. And the answer is absurd amounts of compression"

Iíve had a pet theory about this for a number of years, and I think the reason bootlegs have historically been more exciting is because the bootleg-ees (ie, the musicians) tend to veto any live releases where they might have clammed or not played particularly well. They and producers tend to focus more on objective performance quality rather than what bootleg buyers seek after: They seek those special moments where something great happens, something clicks, and where the audience is in the same place as the band and where you can clearly hear that. And often, that special time happens when the musicians may not be playing at their best (or hell, maybe with skilful musicians those kinds of errors actually facilitate that special time). Even sound quality isnít that important as long as one hears through the playing and miserable sound through to the moment.

Me? I only once knowingly bought a bootleg, and it was of New Order towards the very beginning of their career. The sound quality was terrible and their playing was sloppy, but they entered into a really dreamy, spooky space and as a result I used to listen to that bootleg a lot on my Sony Walkman back in the early 80s. I found that crummy little cassette far more enjoyable than the famous concert I attended of theirs at the Ukrainian National Home on 2nd avenue. (And for the record, I donít condone bootlegging. But thereís a reason people bought them back before the internet came along.)

maybe not always
:: Posted by Undisciplined on January 27, 2015

Redbert wrote

"Modern recordings that use extreme dynamic range compression and other measures to increase loudness therefore can sacrifice sound quality to loudness."

I say "Bravo" to King Crimson for getting this right!!


Maybe it was just to these ears. The original redbook of The Power to Believe seemed to be quite loud, at least in comparison to the level of the 30th Anniversary remastered versions of the catalog.

Education II
:: Posted by Redbert on January 26, 2015

Check out the wiki article on the "loudness wars"
It show a  graphical representation of the issue using different releases of Michael Jacksonís song "Black or White" showing  increasing loudness over time: 1991Ė1995Ė2007.

"Modern recordings that use extreme dynamic range compression and other measures to increase loudness therefore can sacrifice sound quality to loudness."

I say "Bravo" to King Crimson for getting this right!!

:: Posted by fhc339835 on January 26, 2015

Thank you for the repeated statements on compression. DSís diary posting today was decisive. Wikipedia.de about dynamic range compression was very educational for me (in my mt).
Best regards

Beat surround
:: Posted by Redbert on January 26, 2015

Yearn for Beat surround
Love to hear some discussion
Sartori and Waiting Man
Neurotica and Two Hands
Love to hear it someday
Love to hear it

RE: Live at the Orpheum Plus
:: Posted by AcousticPhenomena on January 26, 2015

I had the same idea. Not the exact playlist, but Iím definitely going to flesh this baby out. Great idea!

<< Previous 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Next >> 

Back to top | Post an entry

King Crimson US Tour 2014
Newest Additions


Robert Fripp
Oct. 11th, 1997
Mud Island Ampitheatre

Full Recording

Subscribe to Podcast

Latest Music
ProjeKct Three in Austin 03/25/1999
ProjeKct Three in Austin 03/25/1999

Latest Photo

New to the DGM Shop
Live in Argentina, 1994 (2xDVD-A)
Live in Argentina, 1994 (2xDVD-A)

Top Downloads
King Crimson - Aug. 7th, 2008 in Chicago

King Crimson - Jun. 28th, 1974 in Asbury Park

King Crimson - Oct. 23rd, 1973 in Glasgow

Fripp & Eno - May. 28th, 1975 in Paris

Fripp & Eno - Mar. 14th, 2006 in London

Follow Us

Home | About DGM | Contact Us | Privacy Policy | Terms of Service | Help | RSS Feeds