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Los Angeles, Sept 30
:: Posted by petergrenader on October 03, 2014

Let me take this time to thank you all for Tuesdayís performance at the Orpheum, Los Angeles - a hallmark recapitulation of a legacy which has during itís tenure, changed lives.  Mine included.  

Dead shark
:: Posted by Rockette on October 03, 2014

:: Posted by emory0 on October 02, 2014

>Gotta say Iím glad to see Grooveshark get bopped on the snout. 

Me too. Great post!

>Grooveshark, of course, thought they were "disrupting" music distribution by in effect bypassing copyrights

Yes, outright thieving does tend to cause a certain amount of disruption.

Live BD-footage
:: Posted by royskagen on October 03, 2014

Dear DGM-team and involved,
Iím writing this because I am curious about live footage from the ongoing tour. I wonder and hope there will be released BD-footage of this very beast in a little while. Something else would be a disaster... Crimson rules, yeah!

Why no
:: Posted by naowre843 on October 03, 2014

On October 1st I saw King Crimson for the first time in almost eleven years. It was certainly great to see them again. However they didnít perform "One More Red Nightmare" which, according to setlist.fm, had been performed on every other night of this tour. Seeing that that song was in their setlist was the biggest reason for me to overcome the high price for a modern concert ticket and make a lot of rearrangements with my work and family to be able to go. Does anyone know why they didnít perform that song on the second night in Los Angeles? It was a crushing disappointment to an otherwise excellent night. I have to hope if they release only one concert for this tour, like they did with their 2008 tour, it wasnít from the night that I attended. I also hope I can find out why this happened.
The band have been moving the set-list around on a nightly basis following discussions in each soundcheck. Some songs get rested for a night and that night there was agreement to take a break from One More Red Nightmare.

2nd Los Angeles Show
:: Posted by PaulSpitzzeri on October 02, 2014

Thirty years ago I saw KC at the Greek Theatre in LA, having first summarily dismissed my friendís invitation to go because, after all, why would I go see a "prog band" in that enlightened era?  After sampling various albums on loan from my patient friend and realizing that Crimson was far more than I thought, I was suitably staggered by Belew, Bruford, Fripp and Levin, even though KC soon disbanded. 

I bought the Vroom EP when it came out a decade later and enjoyed it, but didnít follow later developments.  In 2009, a rediscovery was fueled by a listen to "The Talking Drum" which still stuns after many hearings and 50+ recordings have been devoured in the five years since.  With Fripp announcing his retirement a couple years back, it seemed Crimson was no longer dormant, but decommissioned, but then came last Septemberís surprise. 

In a slight variation on 1984, I invited a friend, who seemed somewhat interested (if not as skeptical as me thirty years back), to go to last nightís show.  Simply put, she was blown away by the performance and especially ecstatic about the three-drummer front line, which it took about 1/3 of the show for me to fully adjust to, though it did happily happen.  It was great that she was so taken with KCís performance and I largely echo her take (though I do demur in thinking that Jakszyk did a very fine job and, as a bonus, had that awesome guitar decor.) 

Sorry for the long post, but I donít do this often. 

Let me just end by offering copious thanks to Robert Fripp for putting Crimson back into "active service" and for the band members who constituted such an amazing lineup.  Mel Collins was just remarkable.  Tony Levin was, as always, superb.  Pat Mastelotto is a wizard on so many percussive elements.  Bill Rieflin was just great and seemed highly attentive to his bandmates in the backline.  Gavin Harrison was a powerhouse, especially on that Schizoid Man solo.  All three drummers achieved a synchronicity that was a wonder. And, Mr. Fripp, your playing is as mesmerizing as ever.

Iíd seen online references to this being a farewell tour, yet itís title includes the word "future."  So, hereís to King Crimson continuing its fascinating musical journey and for those of us who are along for the ride.   

Oh, one last thing: there was a guy in late 60s or so in front of us who seemed drug-addled, demented, deranged or a combination of all three, yelling that he still had his bootleg of the 1972 Santa Monica Civic Auditorium, muttered "this is f$%^ing crazy" when Jakszyk and Fripp traded tritones on "Starless" and screamed at the stage (or to the ether) "Youíre all insane!  Forget I mentioned it!" among other sundry and assorted raving, shaking, head-tossing, finger-raising and general grooving.  Next to him was a guy in his 20s who seemed alternately amused and angered by it all.  A microcosm of generational shifting in the KC audient?

All right, enough. 

Live recordings from the new tour?
:: Posted by nrberg on October 02, 2014

Just got back from the show at the Orpheum. KC knocked my socks off to use a cliche. It was a dream to get a sampling from most of the Crimson albums. This was the best band ever, and I think Iíve seen almost every version. Please release several of these amazing shows digitally and high resolution if possible. Also, it would be really cool if Crimson played all four segments of Larkís Tongue together with a final Coda. Just an idea. Thanks for the tour. Thanks for the years of great music. Bought your first record back in 1969. Guess that dates me.


Thanks to Mel for showing me the way to Coltrane.
:: Posted by ydebru on October 02, 2014

The Crimson Cruiser hurtled down the highway at top speed, deftly weaving and whizzing between slowly moving vehicles which presented but temporary obstacles. Downshift, and put the pedal to the metal. Floor that mofo!

Was it a rendezvous or a reunion with destiny? Who knows? What mattered was the fact that this was, short of less than a fortnight, an anniversary of a life-changing event. That date was 15 October 1973, at the Santa Monica Civic Auditorium. For some, it was an eternity ago. For me and my friends, it was only yesterday. Tonight, it would be a different place altogether.

And why was that date so special? Well, it was the very first encounter, face to face, with a group of individuals who somehow became that good influence that your mothers always wished you had. Iím speaking about King Crimson.

In a nutshell, this band, led by the son of an estate agent from Bournemouth, Dorset, helped show me the way out of the endless miasma of lifeless packaging, of the unrelenting consumer pseudocultural world of modern-day planet Earth. But, how did that happen?

Simply think outside of the box, and donít blindly accept whatever was being shoved down your throat. Be creative, and search elsewhere, in an effort to create a better life, one worth passing on to future generations.

The sleek red sports car screeched to a halt, and the driver leapt from it like a stabbed rat. "Let me in!"

It was the venerable Orpheum Theatre in downtown Los Angeles. The door opened, and this spectral creature dashed in. For what reason did all this happen?

It was to share the space, once again, with those who dared to make a difference. Iím speaking about Robert Fripp, Mel Collins, Jakko Jakszyk, Pat Mastelotto, Tony Levin, Gavin Harrison, & Bill Rieflin, modern-day sonic alchemists. It was the force of such and similar individuals who showed the way out of a boxed-in and limited world.

It was through King Crimson, forty years ago, that I escaped the world of commercial rock music and discovered new and improved spheres of existence. Grooving to Eric Dolphy, Igor Stravinsky, and Derek Bailey became a possibility. Special thanks to Messrs. Fripp, Collins, and Muir.

But I pause and ask myself, wasnít I supposed to be writing about the last 2 nights at the Orpheum Theatre? The two King Crimson concerts? Alas, Iíve digressed a wee bit too much, for my own sake.

The venue was splendid, a place where young vaudvillians tap-danced through the Roaring Twenties, and in later years, Ornette Coleman bridged the harmolodic gap between post-bop and the future. Lovingly restored, the Orpheum Theatre was a perfect place.

The band was uncharacteristically not punctual, but I believe that this was deliberate. Admonishments were delivered by Fripp & company to the audience. Simply put, it was get those bloody smartphones out of your hands, and enjoy the show. Many spectators shivered subsequently, wishing to grab their iphone like a junkie grabs his bent spoon. But the wise ushers kept our hands off our toys of distraction, and soon it was íon with the showí.

The sound was great, and it looked like every seat gave the spectator a good view of the proceedings. Soon the percussionists were evoking the legacy of Jamie Muir, as they tapped away on their tiny bells, whistles, toys, and other tools of sonic scintillation. Larks Tongues In Aspic, Part One, roared into place, a full-blown spectacle which brought the crowd to their feet, the first of many ecstatic standing ovations.

Like an intricate Chinese puzzle, the musicians were part of a greater whole, and not all of us could grasp as to how it was put together. But, boy oh boy, was it fun trying to figure that out.

The concert continued with a blend of the old and new, with íPictures Of A Cityí, íThe Lettersí, and íSailorís Taleí making an unexpected appearance, in between pieces new to my ears, like íVROOOMí and many others which will now become more familiar to my worn and aged ears.

Quite a bit of material was performed, but unfortunately some works were omitted. I pine for the sounds of íLizardí onstage.

Although it might be easy to pore over every minute detail, there are but a finite number of seconds in the life of a being, and that time must be well spent.

The last 2 nights of King Crimson were such times indeed.

Thank you DGM, KC, and all at Orpheum
:: Posted by masanori on October 02, 2014

Thank you DGM, KC, and all at Orpheum for working hard on NO camera/filming/recoding policy. I had much much much much better environment on the 2nd LA show. Perhaps other people did, too.

As for the KC performance, I think I enjoyed on 1st Oct much more than on 30th Sept. On 1st Oct I might have been too shocked by less connection with the one in 2008, and also with all KC shows I had attended before. Probably in terms of interpretation onstage, I am talking about (instead of setlist). From my in-venue experience (not from recorded video/audio) I have an impression that between 1980s and 2008 there had been always much deeper/thicker connection with previous incarnation. Like still somewhere on the line which was expanded from previous incarnation. But what I saw on last two nights seemed not like that. Like being located at some distance from the line all of a sudden. This might have been the reason why I felt I enjoyed the 1st Oct show more.

So on 1st Oct, instead of the final 3, 4 tunes, in terms of the musical performance some tunes in the earlier part of the show sounded strongest musically. For example, one from the earliest catalogue, another from the repertoires which KC have played most in recent years.

Grooveshark & Who Owns the Future
:: Posted by emory0 on October 02, 2014

Gotta say Iím glad to see Grooveshark get bopped on the snout.

This reminds me of a repeated pattern that Jaron Lanier discusses in his book, Who Owns the Future?.

His basic premise is that there are a lot of modern internet companies and startups that have a business model based on vampirically tapping into reserves of ívalueí created by others, and then extracting that value out to the investors in the vampiric company. One "obvious" example is Google itself, which is in effect selling the results of searches other humans have done out to advertisers.

In the US we also have this company called Uber, which allows private individuals to give rides to other private individuals for payment through their system. They claim they donít need to obey local laws and regulations governing taxi cabs, because itís one private individual transacting with another. In smaller towns this is already pushing cab companines to the brink of extinction. In silicon valley circles this is called "disruption" but what itís actually doing is wrecking the livelihood of cab companies and replacing it with a fleet of unregulated "make a couple of bucks" drivers who canít and donít intend to make a living from the service.

Grooveshark, of course, thought they were "disrupting" music distribution by in effect bypassing copyrights and in effect buidling a business model (probably advertising-based) around extracting the (little) value those songs may have provided their creators. With a capitalist mindset you could argue, "this is the natural equilibrium of the market", but true or not the result is the mediocre, lifeless music of the current generation.

LA 2nd show
:: Posted by deagan1 on October 02, 2014

awesome 2 hr set....really appreciate not getting "One More red Nightmare" tonight...wtf... of course I had no expectations...

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