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:: 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!

:: Posted by ericbest on June 20, 2014

Responding to Sidís invitation re Beat: I really liked side 1 but felt that side 2 lost its way a bit (I miss sides). Iím not sure why, but the album sounded friendlier, more emotional, than usual for KC. I am particularly fond of Satori and Waiting Man. I didnít understand Heartbeat until I heard it on Adrianís solo album - great song: perhaps Adrianís version should replace the version on Beat?. For me, mostly the album just needed more material - it ran out of steam.

:: Posted by emory0 on June 20, 2014

"Gavin Harrison can certainly hold his own."

I saw Gavin play with this great backing band (Porcupine Tree) and he was really flabbergasting. Heís definitely in Brufordís league, chops-wise, though slightly more rock-oriented in feel than Jazz-oriented, as Bruford was.

Pat M is interesting: I think he has all the chops of practically anyone around, but he seems to hang close to the beat in order to give the other instrumentalists a break. Heís almost a "rhythm drummer", as opposed to a sort of solo-ist drummer.

:: 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.

Dem 80s
:: Posted by Maximus on June 20, 2014

I didnít like anything other than Discipline, when it comes to the KC 80s era. Except maybe for Requiem and Sartori. How deaf I was! I came back to what I have overlooked few years later, and IMO, 80s era, í74 and ProjeKCts are my favourite manifestations of The King.

Well, Iím definitely not a fan of Heartbeat, the only thing that makes this sonic-something worth listening to is Tony Levin. And occasional additions from the-man-behind-it-all.

I remember listening to Requiem when I was in a bus driving to high school. My goodnes, what the fuck was that?!?! Sheer sonic madness, and for a guy who just found the Music that is not a 3 minute flash of cheap emotions, it was an attentive challenge. Not only holding my attention was hard, the track itself is difficult, as Robertís solo is nothing but a growl of anguish in few places.

Quick note: listen only and only to live versions of Sartori. My fav.

The overall verdict of Beat is this: fantastic and completely necessary album. Yes, it is not as good as Discipline and the drop in quality is definitely felt, which may provoke one to quickly judge it as a failure, like I did. Coming back few years later, I have overlooked a LOT. Neurotica, N,J&Me, Waiting Disco Man(despite its Disco flavor, it sounds good). This is how Mr. Crimson sounds when he has 80s vocabulary at his disposal. Its good that this album happened, despite the apparent flaws here or there... The highlights justify its existence IMO.

Re: beat - agree w/kc
:: Posted by DannyX on June 19, 2014

I agree with many of your points: the Poseidon after Court comparison (similar pieces given a lesser reworking); the force-fit íBeatí concept; the uneven balance between Belewpop and Bobant-garde; even the naming of the band. But I donít think they ran out of ideas, or had nothing left to say, they just needed more time. ...13 years, as it would turn out.

Re: Beat at 25(?)
:: Posted by DannyX on June 19, 2014

Substituting XTCís English Settlement and Gabrielís Security for Elvis C. (and stretching time a little) and you have MY summer of í82. Man, those were the days...

Re: KC 2014
:: Posted by DannyX on June 19, 2014

Never knew Adrian was such a chick magnet. Wonder if he did...

beat - agree w/kc
:: Posted by johannes on June 19, 2014

Iíve always thought that Discipline achieved everything that that particular quartet was meant to achieve, and that Beat and TOAPP were both kind of "Uhh... anybody got any ideas? no? all right, better just do it again then."  Kind of like Poseidon after Court.  The 80ís KC had four incomparable players and a splendid new Fripp notion - interlocking guitar lines.  What was missing after Discipline, imho, was the songwriting and composition to match.  Brufordís assessment of Beat - they threw the tolerable stuff together and got the hell out - agrees with what Iíd always heard in that album.  To my ears, only Waiting Man fully lives up to the Discipline standard (that song could easliy have been at least four minutes longer, and then they wouldnít have needed Heartbeat!), although Two Hands came pretty close.  Maybe they should have just decided, "Okay, guys, letís be this white African band and have done with it."  And the Beat Generation theme... just didnít fit.

But yes, I saw them live after Beat came out, and the new stuff convinced.  Go figure.  Once again it is shown that recorded music shouldnít be fetishized.

(Am I the only one who thinks that they should have stuck with Discipline as the name of the band?  Iím sure that Frippís motivation for the change was legitimate, but I always heard them as a totally different beast from the previous KCs.)

:: Posted by GonzalezPaulo on June 19, 2014

Being an amateur guitar player myself (a bad one indeed... LOL), I never figured out how Fripp and Belew were able to play those guitar lines in that trilogy of albums:

Each musician plays different, short but fast gtr lines all intertwined. They start together, seem to drift off-beat, to sudden be sharply in time... just to start the process all over again. Add to this mixture, Brufordís percussion and Levinís equally difficult Bass & Stick lines.

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

This complex interplay between the 2 guitars, bass and percussion always amazed me... and yet the band were able to come up with such melodic and beautiful songs.

I love BEAT, TOAPP and DISCIPLINE for those reasons, but I always preferred BEAT simply because it has the best melodies: Neal & Jack & Me, Heartbeat, Sartori In Tangier, Waiting Man, Neurotica, Two Hands, The Howler are perfect... no matter if moody (Heatbeat, Two Hands, Sartori, Waiting Man) or agressive (Neurotica, The Howler, Neal & Jack & Me).

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