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:: Posted by emmapeelfanclub on September 26, 2015
@froggy55 - Mel rocks A LOT in the current Crimson! Many great moments where he gets to go all out - Talking Drum being one notable example as well as the newer "blues" number.
He was a superb musician back in 1972. In 2015, he’s positively brilliant, at the top of his game - he’s with 6 other musicians also in top form and the results as I saw and heard in Salford are electric!
:: Posted by Bakullama on September 26, 2015
I really love the Thrak album itself... I have mentioned many times in the past that I was not a big fan of THRAKATTAK as it was originally released due to the unsure and disjointed feeling, or (what i perceived to be) "jerkiness" of the whole affair. The music was there somewhere but it just did not flow well for me for some reason. So it just sits in my collection... Played a few times.
After seeing Davids attackathrak video and the lengths he went to in an effort to resolve and compile and organize this beast I am looking forward to actually purchasing this box. Perhaps it will all make sense to me.
Regardless, I still think THRAK and VROOM may have been my favorite Belew era albums. Followed closely by Heavy ConstruKCtion.
Every king Crimson creation is usually a work of greatness to my ears but some do more for this listener than others... That is normal and to be expected, but then Thrakattak stands alone... In its clunky oversized paper packaging on my shelf... Collecting dust.... Waiting for its makeover.
A King Crimson Request
:: Posted by froggy55 on September 26, 2015
Was hoping you might do a 2015 rendition of "Peoria" from Earthbound.
Mel Collins F**king Rocks on that song!!!
Live Utrecht, Holland sept.25th
:: Posted by Wilbert on September 26, 2015
After many years I went to see the King during the Utrecht concert on sept. 25th, the last in line as I understand. I went there with my 21 years old son, who knew the music from birth so to speak, but never got the chance to see The King.
Wonderful in one word and I must say, an exciting band, and to be frank much more exciting than the line up nineties upto 2005. Wonderful to see and hear a mix of old and new songs, of which some I never saw and heard live before. And again I say the old stuff I prefer to the more mathematical stuff of later years. In the old stuff I feel the emotion!!
One big compliment to the band for technical quality, and teamplay. Especially Mel Collins I want to compliment on his beautiful flute playing and very powerful sax playing. Mel blew the flames out of his sax and I was so happy to see Robert and Mel play together. The Ian, Bozz, Mel and Robert line up was my favourite.
However I would like to write some feedback on two point:
1. A year ago I wrote here that I was afraid three drummer would be too much. I was afraid that three drummers would dominate over the rest. This happened yesterday in my view. They played too loud so the others were pushed to the background on several important moments.
2. The volume of the mellotron was much too soft. On certain very important moments the mellotron even was not to be heard when the others played out loud as supposed to in certain climaxes in some of the songs. So a bit of a anti climax on that point.. Maybe the equipement was not sufficient......?
But overall wonderful, wonderful wonderful....
thank you Robert and the guys!
:: Posted by richardrj on September 26, 2015
I wrote a review of the second Paris show for my blog, have a read if you are interested:
Tourbox Follow Up
:: Posted by buserian on September 24, 2015
Feeling a bit of a twit, listening again on the drive home, I realised it was the Islands line up playing with (what would become) Larks I themes. The presence of Mel threw me... Still a great fun piece, and a reminder of what an excellent drummer Ian Wallace was!
opinion of a woman on olympia gig
:: Posted by fredsab on September 24, 2015
I went to the 2nd night gig at Olympia, Paris, with my girl friend who never listened King Crimson music before. Needless to say I was a little bit anxious about her reaction. After the show, at the question of a friend : "did you like the show?" her answer was :
" Yes I liked it!! A music which picks the virility of the men, the majority of the audience, but at the same time, touched their femininity. It is the first time I have this feeling in a concert. In fact, the meeting of the sun and the moon is a symbol of the group. The playing of the 3 drummers, at the top level, was as much visual as musical, far from the aggressiveness of some rock bands".
Interesting opinion, isn’t it?
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.
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