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No More Red Nightmare - King Crimson at the Orpheum
:: Posted by markvankempen on February 10, 2015
The band play with enthousiasm, sounding polished, solid, controlled. But I miss KCís characteristic whiff and high energy. One might wish that the three drummers would emanate some intensity, but playing in turns or working out intricate arrangements doesít seem conductive. Tellingly, the moment when some intensity is maintained, is during the first half of Sailorís Tale, which is only played by one drummer. Arguably, KCís current repertoire wasnít originally conceived to be crowded by three drummers. I hope that this group will aquire the repertoire that will utilize their potential. This band can do chamber music. And can sound huge. And the Crimson whiff? That will have to come of itís own accord. Itís still early days.
Closet or stadium mix?
The mix of Live at the Orpheum has only minimal compression, delay and sound of the hall. As a result, all instruments sound very clean and close-by. The drums, which have the biggest dynamic range, are frequently quite loud, occasionally quite soft. It suits the drums - frontline/ guitars, bass - backline idea, but is less suitable for bringing out KCís grandeur. Because of the minimal compression, the music sounds softer in volume than music on cd generally does, which means you just have to crank it up.
A more traditional approach for mixing live recordings can be heard on Queenís recent release Live at the Rainbow 1974 : big hall reverb and lots of compression*, with Brian Mayís huge guitar continually threatening to overwhelm Roger Taylorís drums, which are placed (by means of delay) in the back. It sounds great, it suits Queenís music.
For King Crimson, I prefer Steven Wilsonís approach, which can be heard on his mix of The Nightwatch, included in the Scarless boxed set. Steven uses different approaches for different sections of every piece. For example, a big room for Easy Honey, but close-by on parts of Frippture. Also, his balancing of the instruments is such that they never overshadow eachother - one can hear the power and clarity of the drums, the depth of the bass and the mid-range blast of the guitar equally well, at all times. Meticulous, refined and very effective.
* The disadvantage of compression is that it can lead to distortion and become tiring to listen to, but on Live at the Rainbow and The Nightwatch itís been done very well.
:: Posted by kingcrimson7 on February 09, 2015
Hear the churchscapes, because it will guide Jesus
Mr. Robert fripp is a great man, knows where it goes.
Peace to all.
Beat & TOAPP 40th?
:: Posted by brighton on February 09, 2015
Any news on the upcoming 40th Anniversary editions of Beat and TOAPP? Sid, perhaps you have some information about possible release dates?
I have no further information on Beat or TOAPP yet but as soon as I do I will post on the news page.
A One Eyed Wonder
:: Posted by throbber on February 09, 2015
That new tour poster is weirdly reminiscent of this picture of the fictional Ayatollah Tanasoli.I hope no-one will consider it to be a satirical image.
Crimson BD release in 2015
:: Posted by royskagen on February 08, 2015
Now as my wish for KC live in London 2015 came true, and Iíve got tickets (HURRAY!) I wish and hope for a Blu-ray release of one of these shows. I canít imagine not recording a live footage document with rehearsels and interviews as bonus of this seven-headed-beast called King Crimson. There is very little live footage of the 60ís and 70ís Crimson, not a lot of the í80s, some of the 90ís and early 2000ís. Nothing was recorded of the í08 incarnation. Crimson most be one of the bands around with less live footage, even Crimson is the very best band in the world. Filming the band with several small HD cameras around the stage like some of the cameras Dream Theater used on the Breaking the Fourth Wall BD release would be awsome. But of course any kind of live footage documentation would be amazing. I just hope! 👍 Rock On m/
:: Posted by schizoidman on February 08, 2015
Thank you for Robert Frippís Soundscape series, Glass and Breath.
8 random thoughts on Orpheum:
:: Posted by mGarnice on February 08, 2015
The King Crimson Big Bandís sound is just so enormous. The 4-piece rhythm section is unmissable. But equally huge is the groupís first ever two guitars + sax lineup.
Jakkoís vocals have an emphatic quality that have me focused on the lyrics more than ever before. Its the first time I became aware of more than a few phrases of One More Red Nightmare, and this adds to my enjoyment of a song I already long loved.
One More Red Nightmare had to gestate 40 years until this lineup of Crimson arose to birth it live.
The Letters ranks with Indiscipline as the most emotional of Crimson songs, one portraying tragedy, the other ecstasy.
The Letters take a nice dip into jazz, led by a fine sax solo.
Heís doing it! Fripp is playing the solo from Sailorís Tale! Gwrrraaagrrffh! [The sound of a mind blowing.]
The sound quality is fantastic, whether played on stereo speakers, headphones or car system. The forum posts that quibbled on this matter make me want to turn in my audiophile membership card if such a thing existed.
How lucky we are that this Crim would ever arise, and how amazing that it should happen now.
Re: Zappa and J&Y
:: Posted by markmmarkm on February 08, 2015
This post was a P.S. post to a denied post*.
It was something I stumbled upon and, in this instance, Zappaís side of the story is that John "Gimme Some Truth" Lennon lacked honesty.
*"reason was given for the denial: Hi because of ongoing copyright infringement issues we donít run these links."
KC in Japan? (I wonder)
:: Posted by Turumarth on February 07, 2015
Thanks for the tip-off, Willesley. Might be!
Zappa and J&Y
:: Posted by markmmarkm on February 07, 2015
If Uíd rather read about it, in short:
Zappa criticised the presentation of the Mothers performance, as the vocals of Mark Volman and Howard Kaylan had been removed on the release, and Zappa did not receive writing credit for "King Kong", which was wrongly identified on this release as "Jamrag". Lennon and Zappa had also agreed that each would release their own version of the performance, but Zappa was legally prevented from releasing his version, which did not appear until the release of Playground Psychotics in 1992.
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