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:: Posted by schizoidman on March 26, 2013
Iíve just watched KC perform Three of a Perfect Pair on You Tube as a result of the Tool guitaristís list of his favourite guitar players. KC 1980s were remarkable. Adrian Belew is terrific! KC were always to utilise the zeitgeist adapting it for their own musical concerns. They perform as a one-ness. Unique, amazing and original.
:: Posted by albemuth on March 26, 2013
After Bowie has returned with songs resonating with his work of the 1970s, I was amused to read that Bryan Ferry has gone even further than this, by covering his own songs in the style of 1920s jazz. His disk The Jazz Age contains many of his old hits (solo and with Roxy) done as jazz instrumentals. In addition to digital format, the collection is available on 12" vinyl and a folio of 10" vinyl.
Now I see that KCís catalogue is coming out in 12" vinyl again. How about The KC Dixieland Projeckt? Uncle Bob could show off his banjo skills (without all that KC studio gimcrackery). Or maybe Larkís Tongues could be reissued on Edison cylinders? I always thought the album would be especially shocking in that format.
:: Posted by richardr on March 25, 2013
Noticing Robertís mention of a shoulder problem, I was reminded of a similar affliction I experienced a year ago. I was having much trouble sleeping; pain woke me many times through the night.
This product has provided a solution for me:
So, I thought I would pass it on.
Curious about Red
:: Posted by ericbest on March 25, 2013
Hi. I just read in Robertís diary that he is working on Red. As the 40th anniversary edition is already out, why is it being reworked? (Personally, I have never been convinced by the lessening of the prominence of Robertís guitar on the 40th anniversary mix.)
Appreciate any responses.
working with Bowie
:: Posted by siggister on March 25, 2013
Following my question:
"Would Mr. Fripp like to comment on rumours that he was not keen on working with Edgar Froese in 1977 during the recording sessions for a Bowie album?" Mr. Fripp asked in his diary:
"What rumours are those, please?"
First of all, apologies for the insinuation in my original question from the 9th of March. It may
make me look like a bad amateur interviewer, working with rumours, repeating what someone possibly just made up. In attempt to formulate a better question: Allegedly Edgar Froese was asked to work on Bowieís album (not sure about the exact year), in which Mr.Fripp was also involved. Mr.Froese arrived in the studio, but then decided not to work on the album. Maybe, accidentally, Mr. Fripp knows the reasons for Mr.Froeseís final decision?
*The Magic Pinky*???
:: Posted by Ornate_Coal_Man on March 24, 2013
What? So, Fripp has unique musical qualities because he uses his, ahem, pinky in the left hand?
Practically EVERY guitar player uses the pinky on the left hand. Ever hear of the ubiquitous 2 octave scale pattern that goes a bit like this: 2-4, 1-2-4, 1-3-4, 1-3-4, 3-4, 1-2-4? Whatís the 4 for? :)
If you are going to point out a distinguishing technical trait, you are looking at the wrong place--- all aspiring players wish for the following technical trait. I will even scream it for you: MONSTER RIGHT HAND.
See, for example: Bruno, Jimmy. Or Gambale, Frank.
It Was 40 Years Ago Today...
:: Posted by Antonion on March 24, 2013
On this day 40 years ago, The Dark Side of the Moon was released.
Anyone got any jokes?
:: Posted by J_Godfrey on March 24, 2013
If thereís one thing more dated and and irrelevant than a drummer joke, surely itís a Skoda joke.
:: Posted by cantspelldiKc on March 24, 2013
atain is the place between my brain and my ass that donít know shit. i still say Dweezil could produce a fair amount of frippery and is probably in need of a good job
A Door Better Left Closed . . .
:: Posted by cloudscapes on March 24, 2013
Steve Hackett is a lovely musician whose work at itís best, "Serpentine Song", as well as many others, stands as a model of sensitivity and intelligence. That said, Crimson with Hackett would not have been Crimson at all. For all his fine qualities Hackett still lacks that near-nigh indefinable spirit that so drove Fripp, the willingness to throw caution to the four winds and seek what is beyond the horizon . . . On a more pragmatic plane, Hackettís expectations of and writing for a írhythmí section pales in comparison to Frippís. Wetton/Bruford c. 74 would have simply overwhelmed him. The discrepancies in the sonic palettes of the two gentlemen is, I believe, profound, one example: Hackett seems only vaguely aware that his left hand possesses a little finger whereas Fripp makes free and frequent use of his well-conditioned pinky, a seemingly minor detail which nonetheless contributes mightily to the expansiveness of his playing that we all so appreciate and love. I, for one, am not sure I can see Hackett navigating "Fracture", or some of the 81-84 material come to that. Anyway. Lest we forget, Hackett had an opportunity to Crimson it up, to wit: his invitation to join the 21st Century Schizoid Band. He sensibly passed on that, pursuing instead, and quite successfully, his own vision. Finally, I equate Fripp, and by extension King Crimson, with a novel by, say, William Gaddis or Mark Danielewski, where the reader/listener immediately understands that challenges are being issued that not only subvert the status quo but necessitates the respective audient to actively participate in this shared exploration of uncharted territories . . . More than this no-one should expect. Cheers!
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