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:: Posted by arrcee on April 15, 2014
Is the Raging Heartless Venal Curmudgeon playing a prank on us, or was there really a red Fender Stratocaster in his basement? I may be greatly mistaken, but I do not believe I have ever seen Bobby Fripp play one publicly. Might this be incorporated into the latest KC lineup?
Rock On, tweed rocker, Rock On!
:: Posted by schroder on April 15, 2014
I fail to understand the resistance to so called cover bands. After all, when listening to an orchestra (or other such groups) playing a piece we donít consider that to be a cover band. Or is it "legit" only when the composers/original players play the music? Conversely, we donít consider new stagings of a play a "cover" of the original play. If that were the case, then weíd have been watching cover versions of Shakespeareís plays for the last 400 years. Since the emergence of "rock/pop" as a musical genre thereís been a shift on emphasis. Players are supposed to play their own compositions and only the original players qualify to play them. That, to me, seems a distinction without a difference. If we were to take such a position to the extreme, only the "original" version of a given song would qualify. Everything else would be a "cover." And that is, I think, a consequence of the mechanical reproduction of music. Before then, music only existed when people played it, not when we turn on a turntable, cd-player, mp3 player, etc.
A MAN, A DIARY
:: Posted by markvankempen on April 15, 2014
Iíve been reading Robert Frippís diary with great interest over the years, views on the psychological side of music making, philosophical reflections, reports on forthcoming releases (though they not always materialize) and his robust wit. The pictures - I ignore them. Maybe one day Toyah will wrestle the smart phone from his hand and throw it in the bin and that will be the end of it.
Robertís diary reminds me of a story about Franz Liszt, who in later life became fervently religious, but remained seduced by the flesh. On one or more occasions during sunday church he walked before the altar, kneeled down and proceeded to confess out loud, which didnít fail to attract the attention of the entire congregration.
In his diary from sunday 23rd of may 1999, Robert posed the question: "Crimson enthousiasts- what draws you to King Crimson? What is the energy within the music which powers/draws/interests/drives you? I intended to respond, but I found it surprisingly difficult to formulate a clear and simple answer. Years of pondering didnít get me any further. Instead, I can only offer a fragmented, alarming study of a delusional state of mind.
Usually well manufactured and to the point, very diverse in styles and moods. A strong classical music language influence (except during the 80ís), combined with all kinds of past and present popular music traits. Classical music dressed up as pop? Not exactly - more merging/contrasting. For example, consider the many styles and moods on the lp In The Lake Of Poseidon:
1 Peace - A Beginning gregorian chant/folk music serene, mysterious
2 Pictures Of A City early 20th century big band jazz/rock aggressive,intense
3 Cadence And Cascade coctail lounge jazz passive,gentle (ambiguous too)
4 In The Wake Of Poseidon late 19th century classical music tragic,melodramatic
5 Cat Food pop a la the Beatles laconic, jolly
6 The Devilís triangle early 20th century classical,improv serious,nightmarish
7 Peace - An End gregorian chant/folk music serene, clear
What I find most remarkable are the moments when the previous piece is followed by the next. Suddenly the mood of the previous piece comes across as illusory, while the next gains in clarity of character. There is a breathtaking example on the Live in Providence 1974 recording, when Easy Money is morphing into the improvisation Providence. From rousing hard rock into refined mid-20th century classical music. When the mood changes, the perception of the world changes with it.
The right side of King Crimsonís brain, the improvisations have something else to offer: immediacy (making it up as you go along) and a tolerance of music and sounds that are impulsive, illogical, not clever, messy and inconclusive. It can turn out to be unlistenable, but also miraculous - or in between. The improvisations have the biggest impact on my imagination - sometimes even "visual".
The attentive silence
When listening to In the Court Of The Crimson King, I hear a huge sphere behind the music, which seems to lend the music more width, emotional depth and a serious air. Itís not the lavish reverb of the recording - itís probably not even an audible thing, but something I hear via my imagination. I hear the same sphere on many other KC recordings, most notably on the USA lp, Live in Providence 1974, the Discipline lp and Live in Mexico City 1996.
King Crimson can be inordinately powerful, especially when playing pieces with room for improvisation. Other rock bands can be very powerful too, but KCís power seems to lurch on itís own accord and builds and builds...There seems to be no limit, which is a bit frightening/exiting.
All are wonderful. They make it happen, but are not what is happening.
A creature with many faces, enhancing, colouring, intervening, hiding behind, mocking and setting alight the efforts of the musicians. Think twice before you touch the hem of his electric garment.
Thanks for the food for thought, Robert.
it's about the music
:: Posted by Undisciplined on April 14, 2014
" Covers bands" or, gasp, "tribute bands" are terms of derision, often from a snobbish perspective. Having witnessed some of the named acts, itís necessary to chime in here. The combining of Adrian Belew Power Trio with Stickmen has been going on for a few years now. When the concept was first broached, they may not have even been using the Crimson Projekct moniker.
It was just a different experience. Plus, itís hard to see any KC fan taking exception with this, as AB & TL have been performing selected tunes from the Crimson songbook for years anyway. The only complaint here is that not as many fans turn up to support ABPT or Stickmen, individually, as the do when thereís mention of Crimson. This may or may not apply in other cities.
Recently, Security Project appeared at the same venue, that the above-mentioned gents have frequented in the Buffalo area. This was simply an opportunity to hear some music from an important era in Peter Gabrielís career. Jerry Marotta certainly is capable of performing his own drum work. Fuzbee Morse is a very capable guitarist, having worked with Lou Reed and others. The synth programming was done by Larry Fast. Not familiar with the fellow, who handled the duties, but he did a fine job. It was also the first chance to catch up with our old friend, Trey, since a decade ago on TPTB Tour. (Yes, it really has been that long.)
In both of the instances, ticket prices were extremely affordable to witness top notch professionals, performing familiar material, in an intimate setting. How could anybody have a problem with that? As for Steve Hackettís recent ventures, thereís no direct experience on which to comment, other than having acquired the CDís.
Cover bands: Something else afoot?
:: Posted by emory0 on April 14, 2014
"The Crimson Projekct, Steve Hackett Genesis Revisited, The Security Project by Jerry Marotta"
Part of me is tempted to say that this is a very different phenomenon than, say, "Pink Floyd" touring and playing with The Wall (even if it does have a member or two). Why? Consider...
1. Steven Wilsonís remasters of a special subset of "prog" music from the early 70s era
2. Neo-Prog/Metal, such as Opeth, Porcupine Tree, Tool and a host of others.
Perhaps thereís a sort of collective re-appraisal going on around the role that certain nominally prog-bands had in the development of popular/rock music.
Iíd note that nobody seems to be super-interested in Emerson Lake and Palmer or Gentle Giant, the ultimate weenie-prog bands.
KC/Crimson Projekct/21st Century Schizoid Band
:: Posted by schizoidman on April 14, 2014
We live in an age of the tribute band. Re-make/re-model. Itís the zeitgeist. Think of film re-makes. Over the past ten or so years the music of King Crimson has been revisited by the 21st Century Schizoid Band (covering the earlier material) and the Crimson ProjeKct (covering the later material). I think this demonstrates the strength of the music: that musicians, and audiences, are willing to listen to the music in different contexts other than the original. But the 21stCSB and TCP arenít tribute bands in the true sense: they include players from King Crimson. The same might also apply to Soundscapes becoming Orchscapes.
In a wider context Iíd hazard a guess that the music of that age (the late 1960s and early í70s [and even the í80s]) has a classical pedigree. And none more so than King Crimson. Also, younger bands - such as Astra, Blood Ceremony, Purson and so on - are semi-quoting music from the 1970s. I think itís great these younger musicians are plugging into that age: it proves there was something durable and, in a sense, itís still alive. More than that it was listening music. If people are prepared to listen thatís something really positive.
Cover bands etc.
:: Posted by DrDick on April 14, 2014
I feel some of the posts about the Crimson ProjeKct as a cover band are a little unfair, particularly in comparison to Steve Hackettís Genesis Revisited and the Security Project. Firstly, I should point out Iíve not seen any of these bands live (except for seeing Stickmen live on their own) but I think it is wrong to consider Crimson ProjeKct as a covers band - particularly as that is formed from two original bands, performing integrated sets. For example Stickmen perform LTiA2 and Red in their own live sets (plus Breathless and other non-KC tunes) but are in no way a covers band. The Belew Power trio perform some of Adrianís tunes from his time with KC, again not a covers band. So asking why they chose not to perform earlier KC tunes (that none of the band ever even played live when in KC) seems a little unfair to me. That would be like asking why Steve Hackett hasnít done I Canít Dance or Calling All Stations with his Genesis Revisited band (in my view very much a covers band, and my apologies for ignorance if he actually has.....). The same applies to the Security Project (great fun and well done from what Iíve seen on YouTube - superb vocals from the first singer) a band that sets out to be a covers band for a specific set of music. It would be like asking why they donít do Sledgehammer or Secret World - entirely outside their own choice of remit for their musical venture.
RE: Original members and Cover Band
:: Posted by snkzato1 on April 14, 2014
You know Iím hard pressed to disagree. On one hand I think its wonderful that some of the musicians involved are giving fans the opportunity to hear King Crimson songs live, when you consider how short lived some of those live line-ups were you begin to realize that not that many people had the chance to enjoy them live (especially us younger folk...).
I think where it starts to wear a bit thin is the reluctance to venture beyond 1980. All true that Belew did not have a hand in the music before then, but do they not play LTiAII and Red? Is it an issue about singing the parts from the old singers? What about just the instrumentals?
This was something that always made me scratch my head, as it always seemed ítabooí for Crimson to touch anything from first seven albums aside from Talking Drum, LTiAII, and Red. Who wouldnít have wanted to hear the double trio or the 2008 line-up crush through Starless or a futuristic Belew infused Easy Money jam?
:: Posted by rogadaire on April 14, 2014
A variety of views have been posted about Robertís diary entries recently. First of all, an observation, it seems to me that any comments about how the diary might be done differently - with emphases given to some topics rather than others - are probably about as useful/helpful/likely-to-be-heeded as suggestions for changing the new composition of King Crimson. Which is to say, not very. The diary is what it is, and I, for one, am extremely grateful for it. The diaries (or rather, Robertís diary - I would be able to take more interest in David Singletonís and The Vicarís diaries (incidentally, surely these are the same person?) if they were updated more than once or twice a year - which is after all the whole point of a diary, or so I thought?) I find to be variously informative, witty, humane, incisive, characterful, provocative and yes, occasionally boring (and whatís wrong with that?). I actually think it perfectly proper (and dare I say ícharmingí? well, I just have...) that a significant proportion of Robertís diary should be given over to adoration of the WiliFred. Meanwhile, the Minxís dedication to perfecting the ídead wifeí gag leaves me lost in admiration for her unstinting efforts to amuse and unsettle the Old Goat. This is what Love is like, after all. The diary is invariably my first port of call when visiting DGM, followed by The Forum and DGM News. In short, the diary seems to me to be - possibly even unwittingly - the fulcrum of DGM and everything DGM does.
Original members and Cover Bands
:: Posted by maxtognoni on April 14, 2014
The Crimson Projekct, Steve Hackett Genesis Revisited, The Security Project by Jerry Marotta. Three awesome Cover Band for King Crimson, Genesis and Peter Gabriel with a lot of original members. What do You think about? Nostalgia of The original Bands? Business ?
Personally, I find it quite pointless and disappointing the work of the Crimson Project. My criticism stems from the fact that while appreciating these musicians, I find the idea a little in keeping with the spirit of King Crimson that has always been aimed at The future . I find Particularly grotesque endlessly repeat The double trio repertoire, cloning Fripp in Reuter. I find it interesting though certainly not essential to the work done by the great Steve Hackett of Genesis Revisited, while I consider The Security Project by Jerry Marotta and Trey Gunn really intriguing; these fantastic musicians have given new life to the unforgettable songs of the first wonderful records by Peter Gabriel.
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