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GAMELAN 2
:: Posted by GonzalezPaulo on June 23, 2014

:: Posted by TheMarkedMan on June 20, 2014

"No band in the 80s (including the then ívanguardí new rock groups) had such a sophisticated approach in the rhythm section."

Go listen to some Gamelan music. This is undoubtedly a key influence in the interlocking guitars of 80ís KC. Steve Reich also must have encountered Gamelan at some point.

-----------------------------------------------------

Hello MarkedMan : I was talking strictly about "bands in the 80s" including the "then vanguard new rock bands"... which implies the field of POPULAR music only.

I meant to say that the (then) new rock bands (Talking Heads, Television, Devo, etc...), although in the forefront of the movement, never had the original, innovative and unique approach KC had.

I didnít mentioned Traditional Gamelan, because this isnít popular music and I was just comparing KC within the context of 80s bands... not about the music from which KC draw influence. I didnít mention Reich because he is not working within the 80s rock context (and because I am not fond of his music too).

Anyway, thanks for mentioning gamelan.


Sylvian/Fripp
:: Posted by kitaj73 on June 23, 2014

Hello,
in view of the recent Sylvian/Fripp reissues, Iíd like to propose a Wilson-remixed editon of The First Day album. Iíd love to rediscover that material with a Wilsonesque approach to the mix and sound. Case in point, I miss more bass and a more íauthenticallyí (read: 70ís) rock-sounding record. Plus of course it would be great to wrap that up from any extant outtakes (if any) along with the splendid ones from the Jean the Birdman single, and íThe Blinding Light of Heavení which was only released on a limited edition of Sylvianís Everything and Nothing compilation.

I donít know the extent to which live albums are Stevenís suit, but a finally complete Damage (including íDarshaní and íExposureí) are also on my mind...

The real elephant in the S/F DGM room, though, is certainly this: why, to this day, no soundboards from the Japanese/Italian 1992 trio concerts? Now this would be really something, and I would certainly jump at the opportunity. Please consider.


off Beat
:: Posted by Undisciplined on June 22, 2014

Beatís release was eagerly anticipated by me, after being introduced to KC with Discipline came out about 6 months before.  "Sartori in Tangier" still stands out as my favorite track.  Some critic referred to it was "global funk."  Some may find that label silly, but it does seem kind of apt.  Some fo the basic structure of the track reminds me of what RF was exerminenting with on the Roland Guitar synth, around the same time, with Andy Summers on "New Marimba."

If Beat was a concept of sorts, it really only extended through the lyrics of "Neal and Jack and Me."  Beat obviously meant something different to BB, who would continue to explore exotic time signatures and the possibilities of the Simmons electronic drums.  "Waiting Man" was performed much better in a live setting.  "Heartbeat" might have encouraged any plans of a single to the suits at Warner Bros.  In retrospect, it seems more like an Adrian Belew solo tune, but it became a staple. 

A little bootleg amnesty here, but there was a desire to hear any live Crimson back then.  That led to the purchase of an illicit recording, called Indisciple Mining Rocks.  This featured the band at Stony Brook Univ. + the songs from the "Fridays" TV show appearance.  My suggestion, years back, was to include something from that period to witness the evolution of the songs before reaching final studio form.  This was presumably part of an (unstated) objective of the Collectors Club. 

It also wouldíve been an opportunity to sort of bootleg the bootleggers!  Alas, but the sound quality was so poor as to be virtually unlistenable, and there were probably wasnít an adequate supply of tapes to make this a workable solution.  Too bad, since the period between late í81 and early í82 would been worth re-evaluation, over 30 years on.  So, just maybe there will be some live material to fill that void on the DVD-A!

One last thought, there were direct ties with Roxy Music during that era, as well.  Obviously, the sharing of EG Management services, but also utilizing the production skills of Rhett Davies and then the joint tour of Europe.  Itís safe to assume that Roxy had the bigger recording budget, as Avalon sounds pristine, while Beat is OK but certainly not an audiophile reference disc.

 


Beat
:: Posted by KantspelldiKc on June 22, 2014

I was greatful when Beat came out, you never can predict a KC album so it all sounds like Crimson to me, kind of linear from one state of mind to something much heavier, I think Mr. Belew was trying for a full spectrum approach perhaps for commercial reasons, the progression of the drumming from simple to complex follows the linear formula, the beginning is a tease leading to more of what you really want by the end, I like the hell out of it, gamelan is the original heavy metal


Beat
:: Posted by Festus on June 21, 2014

Anything after Discipline would have suffered. Discipline is an astoundingly brilliant album. Beat, in comparison, is sheat.

Harsh, but címon, hear it for what it is, not who is on the album.


TaiChi and the Morning Sitting
:: Posted by ZaneCox on June 21, 2014

Tai chi is, for me, a kind of etiquette class. My arm moves to the right because it is meant to move; not because I want it to move or think I know where it will move.

The morning sitting. The penny has not dropped. Wiggled, but not dropped. I do nothing at various times when my body speaks. A sitting before bed is nice. I tend to view sleeping as the first part of my day rather than the last.


Beat
:: Posted by tim7777 on June 21, 2014

Beat is a geat album.


RE; Beat, Drummers etc
:: Posted by Valhalla on June 21, 2014

Beat is an interesting record & because it follows the first album Discipline, it suffers from the inevitable comparison scenario! Discipline as the first album, has that raw energy of new ideas, new songs & new energy etc! I have always liked Beat very much & rate it highly, as I do 3OAPP! That 4 piece band rocked big time & the two guitarist worked brilliantly together & Bruford & Levin were in fine form indeed! What a rhythm pair they were!
In regards to the drummer comparisons, wasnít Mastelotto brought into Crimson for the solid, metronomic time keeping role? The opposite to Brufordís drumming in many ways. Gavin Harrison I have witnessed live with Porcupine Tree on 2 separate occasions & he is every bit a íCrimsoní type of percussionist! I am not sure how Rieflin will ífití in though, time will tell & he may be playing some sort of keyboards at certain times anyway! Bring it on the mighty Crim! Hooray!


On Beat..
:: Posted by JBeerLTIA on June 21, 2014

Beat is one of those albums that I never think to choose first when getting my KC fix. I think, as a result of that, when I do pick Beat, I am always satisfied. It is a dark horse, for sure; not quite unified, astounding music, but in certain areas it can fall flat.

Right off the bat, Neal has a hypnotic intro. I love it. Not to mention the "Iím wheels. Iím moving wheels" line. Itís one of my favorites from Belew. The song is strange in a way that it sounds Crim, but then it also doesnít, which is what I assume is what Fripp was insinuating about the collapse of vision. Obviously, Iím the vicarious one here, and am only going off bits Iíve heard from various places, but wasnít Fripp going for a commercial edge? The radical change of sound, Exposure, and LoG kind of allude to it, imo. Not that thereís anything wrong with that, but to be a gamelan-esque band with pop tendencies has to be tough to balance.

Discipline was (among other things) a record that no one could have ever come up with, but somehow it happened. The sound of it still makes me wonder "how do you get such an idea?" For as talented as the guys are, following that up probably scared the shit out of them. You canít follow Discipline without it sounding like you were trying too hard. But amazingly, thatís not what you get in Beat. Itís great music that unfortunately had to follow a near perfect album.

I say near perfect because Iím not a fan of Matte Kudasai anymore than I am of Heartbeat. Theyíre too far up the pop scale for me, and with it being 30 years on, the timbres and execution come across as too sappy. I normally skip them. Especially since then I get to hear Sartori, which I can never get enough of. Damn, I canít wait to hear that in 5.1!!

Two Hands unfortunately suffers being surrounded by the monstrous tracks on either end. It definitely grew on me, I love what Robert and Bill are doing in it. Neurotica would be interesting to hear as just a Bill and Tony solo, not only because of how awesome it would sound, but also maybe Iíd be able to understand a bit more of that musical madness. The Howler is a song that I donít think gets enough credit, and may be one of my favorite Crimson songs. Itís not an off the wall composition, but then again, no one would quite come up with a song such as that. Great melody as well.

In a depressing way, Requiem is perfect for this album. It is pure feeling, and unfortunately it was a sad one. I sometimes wish this band could have lasted until now, but even 2 years before its implosion this song made it very clear that that wouldnít happen. I rarely get into the lyrical side of things, I more often "feel the music" and as such, I canít always listen to this one. Itís like as if the band was throwing everything that they could at you, assuming you couldnít brave the onslaught. But now the storm is over, youíre still there, and you see the shell come off, and see what really is. You are listening to a broken heart.

For all its ups and downs, I love Beat, and all this examination of it makes me want to listen to it now. So long!....


Pat
:: Posted by toycritic on June 20, 2014

I agree Gavin Harrison is a certifiably great drummer. But since weíre rating drummers, I also rate Pat Mastelotto highly for his electronic drumming, which was so critical in the ProjeKcts. That went way beyond keeping a beat. On the two occasions when I saw the Double Duo live, I paid attention to Pat. He was really at the heart of that version of the band as well as the ProjeKcts. And he doesnít get nearly enough credit for it!


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