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re: Why Earthbound?
:: Posted by mipoch on June 30, 2014

"Scatting is quite possibly one of the lowest forms of improvising, and is so foolish sounding that it makes flanged rototoms sound like a fantastic idea."

HmmÖ I wonder how Louis Armstrong, Ella Fitzgerald, Jon Hendricks, et al would feel about such an opinion, to say nothing of their legions of followers and admirers.

Mind you, Iím not putting Bozís scats up QUITE that high (!), but your criticism was more universal than just Bozís attempts.

A Hot Tickle Of Crim 2014
:: Posted by emmapeelfanclub on June 30, 2014

Enjoyed the latest hot tickle giving us a brief snippet of Levin, Harrison, Rieflin and the venal goat ripping it up!

Thanks for this Mr Stormy... I think thereís gonna be many more here loving it!

Projekct in Brisbane... & Sydney
:: Posted by WaitingMan on June 30, 2014

I agree with Valhalla... I saw the Projekct in Brisbane on Saturday night & it was a fantastic show... making the previous night in Sydney look like a dress rehearsal in comparison

Technical troubles put a bit of a damper on the Sydney show - surely the longest sound-check Iíve ever experienced. As a result, the sound was a bit muddy & inconsistent & it maybe put the guys (& girl!!) off their game a bit... the improvs were a bit lacklustre. BUT when players of this standard soldier on through adversity, the results are still pretty darned impressive & the final Crimson song bracket & encore were a force to behold

The next night in Brisbane was the cheese to Sydneyís chalk. Right from the off, when Markus Reuter began his soundscapes, the mood was positive, with more intent & structure both in his playing & when the rest joined in for Bíboom & Thrak. The Stick Men & the Power Trio seemed to just be in a better place during their sets too (& Iím from Sydney, so that hurts to say!!). The crowd may have been smaller than desired, but they were loud, good-natured & supportive

Additionally, Iíd like to thank all the players for their generosity in taking time during soundcheck to meet with those of us lucky enough to have VIP passes. Especially Pat - who I met outside the Brisbane venue with 2 other fans He chatted for so long with us that I think he forgot he had a gig to play!!. They were all funny, informative, friendly & engaging, making us feel quite at home talking to players of such stature & calibre

Come back any time... preferably soon!!

let's not get ahead of ourselves
:: Posted by Undisciplined on June 29, 2014

A couple of recent posts have included requests for a DVD/Blu Ray from the fall tour.  Nice idea, but we hadnít even been treated to one from í08 yet!

Why Earthbound?
:: Posted by JBeerLTIA on June 29, 2014

As long as Iíve been a fan of Crimson, people have always told me to check out Earthbound. When I got it, I was very excited. This was a lineup I was not very familiar with, and it had improvs on it! The listening experience proved to be horrible. Terrible sound quality, sub par playing, and a lack of unity from the band imo. I have listened to many KC shows that have less than desirable quality, but I normally can get over it. This one however, just bothers the hell out of me (this and the KCCC Jacksonville release especially! Probably ruined my speakers with the distorted cracks and hiss!). The Islands band was a fancy rock and roll outfit if you asked me, Boz and Ian never seemed that into it, with the latter doing an awful 3 hour space rock drum solo (with flanged rototoms??) That just drags on and on. Also, to add icing to the cake, there is a part where Boz starts fuckin SCATTING. Scatting is quite possibly one of the lowest forms of improvising, and is so foolish sounding that it makes flanged rototoms sound like a fantastic idea. Sorry to be so scathing, but I really, really donít get it. Why does everyone like this album so much? Iím not judging you, to each his own, but I just want to understand itís cult worship that Iíve seen countless times.

:: Posted by Cosmic_1 on June 29, 2014

A return to GO Mode seems to have left Robert with less time for his diary. How am I supposed to keep up with that rabbit drama of his?

21CSM video
:: Posted by randolo on June 29, 2014

Might be helpful if the URL was present!

21CSM video
:: Posted by randolo on June 29, 2014

I have no idea who, when, where or what this is, but itís darn entertaining!

To Fade Or Not To Fade
:: Posted by emmapeelfanclub on June 29, 2014

The discussion over the "USA" edits is interesting and I too think Fripp and Wetton made the right choices back in 1975. Fade outs often get one wondering WHY they happen and very often years later when one gets to hear unedited takes more often than not itís down to one of several reasons - it quickly falls apart, goes off in a different direction, grinds to a sudden halt or the tape ran out. Crimson edits are nothing compared to what Frank Zappa regularly indulged in! To this day weíre still picking up bits and pieces of his edited performances, getting to hear them in complete unedited form and fans debate whether they were valid edits or not.

The fade out can sometimes feel like something is being snatched away from us, hence weíre curious to hear what happened next. One example for me is The Loviní Spoonfulís "Summer In The City" - to me it fades out just as it sounds like the band are getting into an interesting groove. The fade out suggests they kept playing but in all probability, the band quickly quit playing within seconds!

:: Posted by kevred on June 28, 2014

First off, just want to specify that this isnít an opinion on what Fripp & Wetton & co. should or shouldnít have done with USA edits. It was their band and their choice. I think they made good choices. Just offering an opinion on my own personal enjoyment of the results, per this siteís request.

Overall, I think weíre lucky - we get to experience two versions of this show and the two splendid tracks that were edited. I think the Asbury Park improv, overall, was best as it was, edited. Fripp, Wetton & Bruford were so on fire and in sync with one another, itís breathtaking. You can hear how the threads from improvs leading up to that show all came together in a thunderous way that is electrifying to me however many times I hear it. Sadly, to my ears, Crossís playing on the full version released in 2005 almost ruins it. He sounds disconnected, meandering, a scrambled scribbling over the top of an engine firing on all cylinders. What I find myself wishing for is a version without the early cutoff, but also without Crossís playing - to hear the full-length piece but with Fripp, Wetton, and Bruford only. (Note that this is not a slight against Cross in general, whose playing I think is wonderful. Just didnít enjoy it on this piece. I wonder what it would have sounded like if heíd played violin instead.)

Easy Money is also a lovely-sounding piece as packaged on the original album, but I find myself wanting to hear every last bit of it. That is colored by years of having listened to the "raw" recordings of many live Crimson shows, however, and USA was a much tighter package, created to compete in the general marketplace, so I can understand the desire to tighten things up. I enjoy this longer version, though, and donít feel it has the same kind of issues that made the edits on "Asbury Park" more necessary.

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