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re: Chicago 9/25/14
:: Posted by DannyX on September 26, 2014
"clattery banjo chords" ?
:: Posted by kruekutt on September 26, 2014
My experience was different from Chris_DeVitoís -- maybe partially because I was up in the balcony (which did have permanent seats, at least in the front). The Vic is no great shakes as a venue, so I didnít really expect great customer service.
I thought the concert was pretty excellent all the way around, and the cumulative impact was stunning. I appreciated how Pat, Bill & Gavin orchestrated & added to the original drum parts -- sometimes the percussive assault was a bit overwhelming (especially in the early going, until the backline sound was adjusted), but it was always classy and creative.
I also really enjoyed Melís solo approach, as well as the ruffles and flourishes he added to the post-1974 repertoire. The sax & flute mix a pleasantly gritty, organic element in with all the sleek metallic guitar riffage. Like the drum line, Mel was committed & creative throughout. He also seemed the most animated & thankful during last nightís curtain calls.
Jakko is his own vocalist, so anyone who expects Lake/Wetton heroics wonít get them. If anything, heís more like Boz Burrell vocally than anyone else. But he was also lyrical, melancholy, powerful or gutsy as the songs demanded. In my hearing, he rose to the occasion throughout the evening. Side note: his album "The Bruised Romantic Glee Club" now sounds a lot more cohesive and moving after hearing him in concert.
Tony Levin: astounding. As always. The king of the bottom end of the sonic spectrum.
I really didnít expect Fripp to dominate the evening. In my view, his solo approach has evolved to this: "say what you want to say, then stop." What was fun was never quite knowing whether the clattery banjo chords, the laser beam solo line, or some other trademark Frippism would come next. And hey, heís fully in view throughout the show (even spotlit at one point)!
Although there were more flash photos and yelling than I would have liked (come on folks -- please respect what the guys on the stage ask of you!), there were also marvelously focused moments. A couple of times you really could have heard a pin drop, such was the quiet & the attention in the room. Heading into the home stretch, the band really jelled, and the last 40 minutes were genuinely incredible.
This was the 7th time Iíve seen a version of Crim (dating back to 1983), and one of the best. I envy the folks who are going tonight & tomorrow -- youíre in for 1 or 2 amazing nights!
Time has come...
:: Posted by masanori on September 26, 2014
After refusing to see any news and guestbook on dgmlive.com since the tour started, now I am fully ready.
Along with the show itself, I am looking forward to seeing people, including... wondering if I happen to see some of those lovely people whom I met and chatted with in Nashville or in Chicago in 2008. Including Mr Sid and Mr Stormy whom I met and chatted with at that time, too. I am that bad-guy looking strange Japanese guy. See you in LA.
As far as the performance...
:: Posted by EnoMan on September 26, 2014
Almost all of the shows was on fire, a huge helping of the heavy, heavy instrumental music that is what I, for one, love the band for - including some really *good* improv (tight - not taking turns noodling) and some intriguing adaptations to old numbers.
I must agree with some of what Chris_DeVito said, though - I think Scarcity of Miracles and The Light of Day must have skid marks around them from where they brought the momentum of the show to a screeching halt. And while I canít think of a place where the addition of a reed wasnít enjoyable, there was at least one number (forget which, sorry) in which introduction of flute was too forced, and, yes, shrill.
I canít agree about the drumming trio, though. "Necessary"? Perhaps not. But the way in which they arranged this introduces a really interesting spatial aspect to the percussion that added a great deal to my enjoyment of the performance. Moreover, they, particularly Reiflin, contribute to more than just percussion.
Also - yes, the seating is incredibly cramped. That does allow more bodies to be more nead the stage, though, and, face it, if it were entirely GA, people would absolutely crowd up at least that tightly.
:: Posted by cube_monkey on September 26, 2014
Ok. I think I have seen it all in my life now: King Crimson....Walmart....at once. Somehow Larks Tongues in Aspic will never be the same. Walmart might even have Larks Tongues in Aspic in the frozen foods section.
Heads up, Chicago VIP ticketholders
:: Posted by EnoMan on September 26, 2014
tl;dr: All you need to do is go to the center doors at 6:30, DIRECTLY to the doors, not the line in front, and enter the theater with your ticket and ID.
You probably got an email from SLO, something like:
"On the day of show, please proceed to the Will-Call window to pick up your informational envelope which will include instructions on where to meet for early-entry to the venue for crowd-free merchandise shopping. Early-entry will take place at 6:30pm, so please arrive between 5:30 Ė 6:00pm to allow enough time to pick up your informational envelope and proceed to the early-entry check-in. Photo identification of the original package purchaser is required at the time of will-call pick-up."
Donít bother. The clerk at the will-call window isnít going to give you anything but a "not my job" attitude, a statement that everything you were to receive was mailed to you, and instructions to line up at the middle doors at 6:30.
At 6:30, youíre going to find that thereís a really long line at the center doors. The people in this line are not waiting for VIP early entrance. They are people inexplicably need to be in line over 30 minutes prior to the doors opening even though they have reserved seats.
Do NOT get in this line!
DO go to the ticket-takers just inside the doors, ticket and ID in hand, and tell them you are an early admission VIP, and you want to go in.
Last night, there were numerous event management people out front, some pacing around to keep those inexplicable early arrivals from creating a line which obstructs traffic, one (someone from "S3", I think the logo on his shirt read) ambling up and down the long line engaging the clots of IEAs in conversation, some of which was apparently about the fact that they VIPs are getting early admission, and that who the hell cares, itís all reserved seating, but certainly not asking people if they were VIP ticket holders, to instruct them that, yes, early admission was taking place now, you should immediately proceed to the ticket-takers.
Horrifyingly unprofessional. Really. Call me cranky, but if this is something so trivial to be bothered by, why was it something that they used to hype the sales of these packages? I paid $200 more than the people seated a row behind me. I think itís reasonable to expect that this would be handled more professionally.
:: Posted by SaintMary on September 26, 2014
Cogito ergo Sum Tony! Bill didnít 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 McQueenís final choice, Power (KW), when broadcast on BBC R4s Desert Island Discs today included only a small íbroadcastableí clip but this included the 21stCSM sample....a tiny nugget of KC shines the light....
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