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Larks I in Tour Box
:: Posted by buserian on September 24, 2015
So, I was listening to the new tour box CDs while driving to work this morning (as you do), and was slightly surprised to hear Larks I, instead of the expected Larks II. I kind of assumed a typo, but Larks II played afterwards (in fact, two versions).
Sounded to me like a rehearsal of the current line up, playing with the Larks I themes, and really rather fun.
I mention this, partly in case someone can confirm the provenance, and partly in case anyone’s interested in the existence of this "hidden" track.
Also gives me a chance to say "ta" for the tourbox, which I’m enjoying. It has the usual interesting alternates and new bits, but is also very playable.
Elements Tour Usher Hall Edinburgh 17Sept 2015
:: Posted by hetzer on September 24, 2015
Bob’s sister sold me a T shirt!
On Thursday 17th September 2015 Mike and I found ourselves in the Usher hall foyer eagerly anticipating the imminent King Crimson “Elements Tour” concert.
Before the start and wanting to buy a tour T shirt and a copy of Elements Tour Box 2015, we joined the queue. I became aware of a strangely familiar Dorsetshire accent and the profile of one of the animated lady selling the ’merch’ looked somewhat familiar. Suspicions are confirmed when reaching the counter she calls buy your souvenir T shirts from Bob Fripp’s sister’s own hand! …. So I did!
Goods acquired we climbed our way skyward to the Gods or “Upper circle” where suffering from vertigo and probably piles from the hard seating we were treated to one of the best gigs I have seen in a long while. I have seen the Krims on several occasions including a gig in 1982 in Liverpool where the band were still billed as “Discipline” and later in the Royal Albert Hall! And this gig ranked with their best. Despite our elevated altitude the sound balance was perfect. Much better than the RAH gig years ago!
I have been a long time devotee of Gavin Harrison’s drumming and seen him and Pat Mastelotto on several occasions. But Bill Rieflin makes 3 drummers with KC this incarnation, and the accuracy and precision displayed in this tour de force of drumming excellence has to be experienced to be truly appreciated! I suspect Gavin, with his uncanny and mathematical approach to time signatures is largely responsible for the organisation of the percussion. More than one drummer can degenerate into a muddy rumble if not minutely disciplined and the different parts and responsibilities apportioned. What a brilliant job!
What an opportunity for 5.1 surround sound! Come on Bob, call up Steven Wilson!
But discipline has always been what KC was about, ever since 1969!
Bob and Jakko Jakszyk guitars and multi wondrous fx, weave their electric web and reached the usual sublime heights and Tony Levin provided the ultimate bass (with highlights) on Chap Stick, bass and upright bass. The consummate pro this master bassist’s resume speaks for itself! And a welcome return of the brilliant Mel Collins on saxes: treble, alto and baritone and flute! The music in turns… sublime, urgent, contra punctual, massive, delicate, discordant, melodic and often in very strict if complicated time signatures!!
A huge evening that we will remember the rest of our lives.
All Hail the mighty King Crimson!
Olympia 3rd night review
:: Posted by Frakctured on September 24, 2015
I’ve been a KC fan for more than half of my life now, i’ve been feeding on this music, and I never expected to see the beast alive, especially after the "final" 2003 tour. So when I heard about a European tour twelves years later, I bought my ticket at once and waited for a few months for THE most important concert of my life. Tuesday, Sept. 22nd, Paris : I sat on the balcony, front row, the Olympia was fully packed. Somebody on stage announced a "Soundscapes" project, i.e. Robert Fripp playing his latest composed music (such was the announcement). We waited, the soundscapes that had been ringing for more than an hour now were followed by more soundscaping, but nobody appeared on stage. I began to wonder : was it pre-recorded music announced as a "live" act, or perhaps Mr. Fripp playing away from stage? It lasted for 20 minutes or so, and the rest of the audience around me was happily chatting ; so I had a difficult time trying to enjoy it despite the noise ; and most of them were actually surprised when the end of the opening set was announced and we were given a short intermission : many wondered how they could need an intermission if no "real" music had been played at all ; but we all began to wait for the KC set. Finally they walked on stage, all seven of them, the front row with the 3 drummers (from left to right : Pat, Bill, Gavin), the back row with the melodic players (Mel, Tony, Jakko, Robert Fripp).
The set started with the percussion work leading into Larks One, very powerful, a great opening piece. Then the band played Vrooom, very jazzy with the brass instruments by Mel. Then we were treated with new music, one drum piece and one kinda blues tune with lyrics ("Radical Action" ?), it sounded fine but hard to decipher, the next new piece ("Meltdown"?) was more intricate, it was a 7/4 rhythm piece that sounded like Facts of Life (power chords) melting into 1980s interlocking guitars, I really enjoyed it, and i’d like to listen to the studio version to come, one day.
The ConstruKction of light was a real treat to see, I always thought it needed the Trey Gunn fluid touch to work properly, and when Tony Levin had to play it back in 2008 the opening bass line sounded somewhat mechanical, but now he really masters it all and shines ; of course the Mel arrangements that fill the Adrian vocals are really good, and the drummers as well : during the middle section before the vocals, there’s a slow part with a cycle of 3 simple drum beats, and I was astonished to see that Gavin played the first beat, then Bill the second one, and Pat the third one, all in the same measure ; this is the kind of visual choregraphy that cannot be fully translated onto an audio recording, you have to be there to see it happen. Pictures of a City was a blast, and i especially waited for the quiet improv section, which sounded great.
What next ? Well now came one of the highlights for me, Epitaph suddenly rang loud in the theater, first with very few instruments, then with the whole ensemble, it was very moving to me. Easy Money was a surprise, and the improv section worked fine to my ears, with a lot of interplay, even Robert Fripp rejoined Mel’s solo with the kind of notes he would have thrown in back in 1973 ; I also enjoyed hearing Tony Levin making all this material his own. The Letters was another highlight, just as the EP hinted at. There also was another drum piece, and The Light of Day ; then One More Red Nightmare leading into the most shivering piece of music i’ve ever known, Starless. I couldn’t describe the whole magic, i loved Pat’s drumming at the beginning, Tony’s heavy bass lines and the famous crescendo while the lights on stage were dimming to red. For the encore, a short drum piece, then the hymn-like In the Court of the Crimson King, many members of the audience wanted to sing along the chorus, and the favorite 21st Century Schizoid Man, with great interplay and a masterful drum solo by Gavin.
All in all, a wonderful evening, one of the best memories in my entire life ; for this i would like to thank the band for their commitment & lifelong inspiration.
:: Posted by gruffydd on September 23, 2015
This is just a quick note to say "Thank you" to everyone at DGM Live. While driving to work this morning, I was listening to a random selection of material that I have purchased and downloaded from DGM Live over the years. It’s so amazing that us lucky/rabid fans get hear such gems (warts and all).
Everyone’s work has not gone unnoticed or un-appreciated.
:: Posted by DouglasBramley on September 23, 2015
This is my second inquiry into an unclear issue: the US release of the upcoming Thrak box DOES NOT list the Japan video concert, while the European release does. Is this an oversight in the listing, or is this footage not included in the US release. Sid, can you clarify this please.
The UK and US content for the THRAK box are the same. Both include the Japan concert.
:: Posted by wildea on September 23, 2015
Would DGM consider having HD downloads of the KC Catalog?
I have been impressed with the HD Tracks site
:: Posted by buserian on September 23, 2015
I was also at both Edinburgh shows. Very different nights, though partly that might be my move in position, from front of the upper circle to ten feet in front of Pat. Both excellent, and glad I saw both. My biggest regret was not getting to see them again on Saturday...
I thought the sound was clearer the second night, despite some issues with bounce back off the rear wall, and the set list tighter and better balanced, although slightly shorter. Mel seemed happier the second night, Robert happier the first, or at least more present in his playing.
The audience was notably better the first night, more attentive, and with less sign of phones/cameras, and no talking I heard. The second night did have the joyous dancing during Schizoid Man, which went a long way to redeeming the audience to my eyes.
I won’t go over the same praise everyone else has been making, I’ll just say I agree. I thought Jakko’s voice was stunning, holding the audience at the end of the Letters with just his solo voice, and Epitaph on Thursday was the finest I’ve ever heard. I had no problems hearing Tony either night.
Finally, I’d like to thank David (and introducer Patricia) for the talk on Friday. By turns, amusing, charming, informative, and intelligent. Well worth catching one of these, if you get the chance. One day I’d love to see a talk on the more business side of DGM. How to incorporate their lessons into my own work is something I’ve been giving a degree of thought to lately.
:: Posted by Tahuna on September 23, 2015
The first of the three Olympia gigs was my first ever experience of live Crimson despite having been listening to them since 1976 when, at the tender age of 16, I picked up ’A Young Person’s Guide’ in the 2nd hand bins, not knowing what to expect. Picking up on a few threads in the guestbook:
1. Tony was well represented in the mix at the Olympia so maybe the sound guys had worked on that since Ed’. I was in the 2nd row, directly under Gavin’s kit and expected a diabolical sound. Far from it; each instrument clear as a bell. And having a direct line of site to Tony was a thrill, as was being 10m from Gavin.
2. Jakko’s vocals were strong and convincing throughout, whether belting out Lake’s lines from Pictures of a City or Haskell’s gentler sections of The Letter. I’m sold.
3. As to the suggestion that they were perhaps playing it a little safe by not improvising, I think this comment perhaps misses the point in two respects: (a) the 3-drummer approach is surely in itself a staggeringly courageous innovation; and (b) the concerts seem to be a career overview, and perhaps a final farewell, looking back over 45 years of Crimsoning.
I sure hope the latter isn’t true as, for me, the concert was a jaw droppingly wonderful experience, delight piled on delight.
:: Posted by orrason on September 23, 2015
Went to see both Edinburgh concerts which was great. Some fantastic moments touching me. Easy money a thriller, thanks for playing that. RF´s solo on Friday during EM was magic although the improvisation sections were shorter then in the old days. Sailors Tale a blast and of course Starless. Epitaph epic of course (tears flowing) and the Singleton talk really funny with Patricia contributing to that. She is funny in encounters.
On Friday I sat close to a few dancing older men in front of the stage. Bizarre. One guy wanted to jump on the stage and RF looked a bit scared to me. Not easy to dance to all these time signatures.
It is a challenge to present three loud drummers and let other instruments be clearly heard. I can see Tony having the biggest problem. During both nights his lines were barely audible. His contribution in for example Sailors Tale and The Talking Drum therefore not clear enough to give these songs their real impact. It seems to be that the sound he chooses is to soft, to distortionless if I may say so. This was also very clear during The ConstruKction of Light. Trey Gunn got it much clearer. So just add some sparkling harmonies (overtones) I guess.
The band seemed at first to be playing in the secure zone, not taking enough risks. May I suggest that they expand the improvisation parts and loose things up a little, that can only be fun although mistakes are of course invited.
Thanks for a great concert in a great city.
T. Lev in the mix
:: Posted by snkzato1 on September 22, 2015
Tony not being loud enough was an issue when I saw crim last year in Wisconsin. I figured it was simply a venue issue, but sounds like it has permeated throughout. I wonder if its hard have him be loud in the mix considering all the low end from the drums (I’m not a sound engineer!).
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