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:: Posted by SaintMary on September 26, 2014
Cogito ergo Sum Tony! Bill didn’t wash his hands first!
Thela Hun Indeed!
:: Posted by filiptom on September 26, 2014
Among the Top 100 Bass Riffs:
(No. 59, played chronoLogically).
:: Posted by markvankempen on September 26, 2014
Do any past, current or future members of King Crimson have a burning question for Anorak Alert? This is your chance. Post your burning question on the DGM Live Guestbook and Anorak Alert will respond.
..not only on an island..
:: Posted by AndrewJohn on September 26, 2014
..those with a ear may have noticed that Steve McQueen’s final choice, Power (KW), when broadcast on BBC R4s Desert Island Discs today included only a small ’broadcastable’ clip but this included the 21stCSM sample....a tiny nugget of KC shines the light....
:: Posted by Chris_DeVito on September 26, 2014
I found the concert (and the new lineup) to be a mixed bag. It opened great with “Larks’ I” followed by “Level Five”, but that momentum was killed by “A Scarcity of Miracles” (which should really be called “An Excess of Mediocrity Buried in Reverb”). After that it was up and down. Mel Collins’ flute and soprano sax began to grate after a while (too breathy and too shrill, respectively); his soprano playing on “Red” was particularly inappropriate and annoying and ruined the piece for me (one of my all-time favorites since around 1977 or so). The three-drummer frontline began to seem pointless after a while, and bizarrely, around half of the encore consisted of drummers only -- including a drum solo in the middle of “Schizoid Man.” Fripp took a few nice solos here and there but he certainly wasn’t dominant in any way. Tony Levin was Tony Levin (that’s a good thing!), and Jakko Jakkszyk(sp?) was -- he was, uh -- well, he was there. Though if he hadn’t been, I don’t think anyone would have noticed.
When it was over, I felt like I’d just watched a King Crimson tribute band featuring Fripp as a special guest.
Violations: For those who keep track of this sort of thing, there were a number of flash photographs. The first two took place in the first few minutes of the concert, within a few yards of me, and were notable because they were by women. The first one was particularly funny (in a gallows’ humor sort of way) because it occurred during the “No photography” recorded announcement. The second one happened right in front of me, near the beginning of “Larks’ I”, when a middle-aged woman -- who by all appearances seemed to be a quite ardent fan -- stood up, held her phone overhead in full view of Fripp and everybody, and took a flash photo aimed right at Fripp. She seemed shocked when a security guard ran up behind her and yelled “NO PHOTOS!” (For the numbers-minded, the ratio of male-to-female audience members was at least 20 to 1, and probably greater. I wasn’t really surprised that I witnessed two acts of cluelessness not 5 minutes into the concert, but I certainly WAS surprised that both were committed by women.)
I have to make special mention of the venue. When you spend well over a hundred bucks on a concert ticket, you expect better accommodations than a thousand small folding chairs crammed together (and literally tied together, so you couldn’t even shift over a few inches). But that’s what Chicago’s Vic Theater gave us. So, a hearty FUCK YOU to the Vic! You couldn’t pay me to go back to that shithole.
P.S.: For the punters: Sid Smith manned a videocam for the duration of the concert, so I imagine a visual document of the tour will be released sooner (probably) or later.
:: Posted by Yoshikopk on September 26, 2014
A scene at a salmon cannery in the East. The Vice President and his assistant were shocked by the inefficiency of the process since the factory leader Ian the flutist left.
:: Posted by thebrushwithin on September 26, 2014
"Welcome to Walmart"
Thoughts on the Madison show
:: Posted by kevred on September 26, 2014
I traveled 7 hours from home to see the show in Madison, and came away with the excitement of feeling like I’d seen something truly new in a rock performance for the first time in ages.
When the new lineup was first announced, I admit I was a bit perplexed. Three drummers, leading the band? No Adrian? Jakko? My vintage-Crim-loving self had even hoped that Wetton might make a return to the lineup. But, having listened to the band for many years, I felt confident that if Mr. Fripp believed that this new band was a real King Crimson, it would be worth hearing. While the anticipation of something familiar might have been nice, there was something even more motivating about the prospect of seeing something new and having absolutely no idea what to expect. So, was it good?
Holy cow, was it ever.
The show was stunning. In one thunderous performance, every question I had about the group was answered, every choice informing the new lineup validated, and the result was electrifying.
The three drummers were outstanding. As primarily a bassist myself, and a longtime fan of Fripp and Levin, I expected I’d be most drawn to them in the performance. But I couldn’t help gazing in awe and delight at these drummers, at the vast array of sounds and inventiveness and resourcefulness (and even a little humor) they summoned, and found them to be the most fascinating aspect of the show. If anyone is wondering where the volume of musical energy that Belew always brought to the group went, it didn’t go to a guitarist - it went to the drummers. The intricate, weaving, Gamelan-style melodicism and texture? The drummers now own it.
Trust me: what we’ve seen and heard of this band on the DGM site doesn’t begin to convey the power and intensity they have summoned. The three drummers are stunningly powerful to a degree the snippets don’t come close to revealing. Refreshingly, they worked incredibly well together while still expressing distinct and endearing personalities. Mastelotto somehow managed to summon the spirits of both Bruford and Muir, covering a masterfully wide spectrum of sound from a collection of unusual percussion to a hugely powerful beat and crash of cymbals when needed. (He also had the most visible fun of anyone on stage.) Rieflin rivaled Fripp for on-stage class and reserve, projecting cool and often choosing subtlety over flash (though he KILLED it when carrying the full drum load for much of Sailor’s Tale, exploding in a spectacle of jazzy fury). Harrison was the modern, machine-gun beat with scalpel-like precision, hunkered down over his kit, all intensity and focus as he ripped off run after dazzling run.
Distinct styles aside, the drummers worked fantastically well together, at times trading, alternating, picking up pieces of broken-apart beats, and coming together into a monstrous, focused whole. This is a new level compared to the double-trio and 2008 lineups. If, as some feel, the multi-drummer approach never quite lived up to its potential before, it does here. This is a new idea fully realized at last. It must have taken an enormous amount of work to pull it off. No offhand winging it here - they were working through careful arrangements while still managing the wild energy of a jazz improv.
In short: I’ve seen a lot of great drummers perform in my time, but I have never seen anything like this, and have never enjoyed a live drumming performance as much as this. Three terrific individual performances combined to form a truly unique one. The result felt like a genuinely new approach to rock music, one that would take a lot of work to realize but which excitingly suggested a door opening. At the risk of sounding glib, I would say they have succeeded at completing Fripp’s charge to "reinvent rock drumming". Plus, it was hugely fun to watch.
And there were four other musicians, too!
My second-row seat came with a painful price: Harrison’s kit blocked my view of anything Fripp was doing with his hands. But I could hear it and feel it, and it was delightful from start to finish. I was knocked out by how fluidly he moved between his wide range of sounds, from raw rock tones to synthetic synth to soundscape. If anyone wonders if that huge rack of digital gear means he’s only going to produce slick, rounded, digital sounds, be assured this is not the case. Real, rough, rock-guitar tones dominated his playing, with churning rhythm playing and searing leads very much present. The spirit and oomph of his playing on the classic material is preserved and updated here.
Levin, as always, was in great form. Four-string StingRay, 5-string StingRay, funk fingers, NS upright bass, and Stick was his tool kit, and he was always right on with the right sound. The fury of the three drummers overwhelmed his sound at times, but he held on and provided the solid, graceful center he always does. It was interesting to see him play so many tunes from times he was not in the band, and the resulting authentic-but-Levinized results. His backup vocals were also great - really on the mark and filled out the sound nicely.
Jakko’s role and presence made perfect sense here. He was really the perfect "backline frontman". He knitted things together well, provided a smooth and strong voice, complemented and filled out the guitar spectrum, but never really stood out as a frontman normally would. In this upended frontline-backline approach, an obvious frontman, especially one with as large a presence as Belew or Wetton, would have clashed with the drum-led approach and been severely hemmed in.
Collins did a fine and lovely job. More than anyone, perhaps, he came out behind, David Cross-style, in the intense arms race of sound created by all the drumming. But there were plenty of quieter moments mixed in where he was given the floor, and his brawny lower-register saxes were a nice added texture to the rich tapestry of sound.
So, a fantastic show all around, and so very glad I went to the trouble of seeking it out. Add mine to the voices of those hoping to see official audio releases of these shows once the tour is over. There were so many delightful moments of grace and in-the-moment in this show, and being able to revisit what everyone was doing - and in some cases, to hear what everyone was doing, as the volume of sound sometimes hid the efforts of individual players - would be great fun and rewarding.
Thank you, gentlemen, and best of luck with the remaining shows.
:: Posted by Obtuse17 on September 26, 2014
Live on stage it’s Levin and Fripp in an evening the critics are calling "unforgettable". The duo’s uncanny portrayal of G. Gordan Liddy and Timothy Leary through interpretive dance, will leave you breathless, and them also.
Sea level is for sissies
:: Posted by snkzato1 on September 25, 2014
Not sure about the chocolate shop, but my brave girlfriend (who barely knows a Crimson song) and I found a kickin’ tex mex place down the street. Some pre-crim pork belly tacos were supreme.
Agreed, the show was amazing. Mr. Bill keeping his cool even while missing his bassdrum for a few songs, the electronic gamalan intro was such a gorgeous way to bring you into the impending chaos (For a brief moment I thought we were revisiting the 80s and about to hear waiting man), and a whole endless list of other glorious moments that if I indulge in will just sound like a raving madman.
I will share a brief exchange between myself and my girlfriend on the long drive back to Milwaukee. I figure you will all get a chuckle out of it.
"I liked the drummer on the left."
"Pat? The one with all the extra stuff?"
"Yea him. He was moving a lot, I liked that. He looked like he was having the most fun"
So kudos Pat for winning the "seemingly having the most fun award"
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