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Re; DVD concert filming etc
:: Posted by Valhalla on October 15, 2014

There is NO comparison to a genuine live concert experience with a recorded film of a concert!
As I stated earlier, it is a 2nd choice for many from the 1st unavailable choice, in most circumstances. But there are enjoyment factors in certain live concerts filmed, that can be & are enjoyed for different reasons! I own many ’live’ concerts on dvd & I have enjoyed many a moment ’being there’ in that sense of it. I would prefer that, to not to ever experience any visible aspect to a concert at all & just listen to the audio? It is also a bonus in many ways, to be able to select certain musical moments & not be bothered with others. It also can be handy if one is interested in a musicians technical ability, if you are intrigued as to how they manage to play something or even if you want to learn that piece for yourself. The most annoying turn off for me is constant audience shots! Why do they film the crowd at all, I don’t attend a concert to keep looking at the audience! So there are many ’live’ concerts that I don’t watch for that reason, but the audio can still be a blast, so to speak! As for snkzato1 & the comment regarding the camera ’forcing’ the viewer to watch what he may not want to watch, that is true & at times may be annoying also! However his comments regarding not being able to ’dance’ at the gig he attended, well, each to their own! Dancing at a 2014 Crimson concert?
As for emmapeelfanclub & the ’dopey’ comment, well who is ’dopey’. No one is & it isn’t absurd, it is simply people stating their preference, likes or dislikes or even ’expectations’! There hasn’t been any ’live’ filming of a concert as yet, so we all move on & look forward to 2015 hopefully! Still interesting to read other Crimheads comments though, isn’t it?


hold the phone
:: Posted by Undisciplined on October 14, 2014

:: emmapeelfanclub wrote:

The amount of dopey ranting about there not being a DVD or BluRay release from the recent tour is downright absurd.


Wait a second.  Only one appeared to have come unglued about a tour DVD.  The rest (present company included) were just expressing interest.  Let me expound upon the reasons, and it’s not as if the lack, or delay, of said product will lead to any hurt feelings.

* KC was there at the beginning of DVD and surround, and it seemed appropriate that there’d at least be a Blu Ray.

* This was also my hope on the ’08 tour, but nothing has yet materialized in physical form.  The downloaders did, however, receive preferential treatment, the very next week, if memory serves. 

With selective outrage being what it is, the desires of the downloaders are never held up to ridicule.  Meanwhile, wanting to hear the band in DTS HD Master 5.1 is "dopey." 


Music videos
:: Posted by Ernanibanana on October 14, 2014

Hello all.

As someone pointed out, it is rare to find a musical video that is really enjoyable. Few are so pleasant as the audio only and none can replace the concert experience.

Nevertheless, some of them are worth watching. The Stones’ ’Shine a Light’, directed by none other than Scorsese, is a true cinematic and musical experience.
 Peter Gabriel’s Secret World and Growing Up are visually striking, perfectly directed and staged.

Recently, a friend gave me a worn out copy of Ministry’s ’In case you didn’t feel like showing up’. I believe it is out of print. Filmed almost entirely from the audience’s point of view, the band plays as if caged (to protect themselves or the audience?). Bill Rieflin already proves to be a master drummer and his work with a second drummer just me wonder what he managed to do with two others in this new Krim!


...and
:: Posted by Bakullama on October 14, 2014

Thinking out loud... Some music videos are just awesome... Like the music videos of the band Grizzly Bear... Those really enhance the music and the magic. Has king crimson ever produced artsy vids like those?


UK dates
:: Posted by dvaidr on October 14, 2014

So, when do we get dates in the UK?

And how come a group, which has its roots in Great Britain, tours the US first? I’ve never quite understood that.


Dvds
:: Posted by Bakullama on October 14, 2014

Funny, but I cannot remember many DVDs of live performances that I enjoyed... Would rather just hear the music live or recorded. Something about Ade in his undershirt sans comb sort of killed the aura. 2 hours of Robert filmed in a blue light was not very entertaining either... Give me a CD or LP with some mysterious artwork worthy of the King and I’ll be satisfied.


observation of an observation
:: Posted by andyfromozz on October 13, 2014

Great posting there Swaind! Reminded me of my young years and how discovering the music for the first time made me feel. I feel a little ashamed of my tantrum earlier and although we here in Australia have often missed out on hearing and SEEING great bands like KC, there’s plenty to be grateful for, especially I might add our wonderful orchestras and classical musicians, it took me a while to appreciate the opera, but now I love it! Each to his/her own though! As I posted before, there’s plenty of musical fish in the sea, it really is a joy when you discover the music that becomes the soundtrack to your life. cheers andy from OZ


Fripp & Eno, Live In Paris 1975
:: Posted by froggy55 on October 13, 2014

Fripp & Eno, Live In Paris = Amazing!


October 3, San Francisco: An Observation
:: Posted by swaind on October 13, 2014

I was a fourteen-year-old in 1974 suburban Boston trying to survive the ignominy of adolescence when I heard a radio ad on WBCN for an upcoming show featuring a band I’d never heard of called King Crimson (I think the Mahavishnu Orchestra was on the same ticket, which seems almost inconceivable now); the ad featured a snippet of Greg Lake sqwarking “Cat’s foot, iron claw…” on the trusty Radio Shack 4-band, and though I hadn’t the money for a ticket at the time, I soon tracked down the album and scraped together enough to buy “In the Court of the Crimson King.” As part-time jobs supplied more funds, I was able to buy everything the band had recorded up to that time and delved into the music with abandon. Brian Eno once said something to the effect that the music you listen to is the soundtrack of your life; King Crimson’s music was, at that point in my life, a bulwark against everything I found troubling. It’s hard to turn the telescope around and describe now what it was about the music I had first found so appealing back then; it was exotic and had moments of great power (nicely complementing testosterone surges), dark and sometimes frightening, and though it often ended in chaos, it didn’t seem bleak or cynical. I can say at that time it made me feel hopeful that there were people creating music that could be so bracing and that could have moments of beauty yet didn’t shy away from turmoil.

A few years later, I was at a summer job (unbeknownst to me, about to be laid off) listening to the same radio station (the DJ went by the name “Oedipus”) when it was announced that the first caller who could answer the question, “What Blondie song did Robert Fripp play guitar on?” would win admission for two to see a solo performance by Mr. Fripp that evening at Passim in Cambridge. Curiously, “Fade Away and Radiate” was one of the few Blondie songs I knew other than the radio staples of the day (thanks to my college dorm neighbor, Wombat), so I called the station on the pay phone in the warehouse (pay phone!), inexplicably reached the DJ and won (possibly the only one who called). That evening was another hallmark in my musical education. Passim was a 60s vintage coffee house…the real thing…but tiny, and there couldn’t have been more than 50 people present. The music and the performance itself were utterly remarkable (Robert Fripp a few feet in front of us improvising on the fabled Gibson Black Widow with the looping Revoxes), but what made the biggest impression on me was the generosity with which he addressed the rapt audience and explained with sincerity and guilelessness his intentions and what he hoped he would be able to communicate to us. My impression of Mr. Fripp had been a man who was nearly always in complete control (to an almost impossible degree), but in person there was also a vulnerability and a willingness to stand before a group of strangers and create what seemed to me a genuine level of intimacy that even I couldn’t miss, despite being a colossally chowderheaded nineteen-year old. And the music itself was like the beam from a lighthouse sweeping out over dark seas; really they sounded like long, slow mournful calls into the beyond, echoing and fading into infinity. Absolutely undone, I went home that night and wrote down everything I could remember in my journal (though even then I couldn’t get too enthusiastic about his interest in Gurdjieff). Sure, there was a bit of hero-worship involved…I was nineteen, a dope, not especially worldly…but I think everyone present felt they had witnessed something unusual. And there may have been more than a few of us walking home that night wondering, who the hell is this strange little man? What is his deal?

Perhaps relatively early exposure to challenging music by way of King Crimson (and by challenging, I simply mean music that elicits active engagement and offers some reward for the effort by enlarging one’s sense of the world) encouraged an omnivorous musical appetite, but over the years I tried to listen to everything (and I mean everything, though one thing I could never tolerate was operatic vibrato…) in the hopes of finding resonance with or gaining some insight into my own restlessness. During it all, the Passim performance remained a lodestar (that and another astoundingly unexpected interaction at a ‘lecture’ by Ornette Coleman the afternoon before an evening performance at the Power Center in Ann Arbor, at which I also managed somehow to be present).

Then there was school, marriage, real job, children. I’ll be honest: I had really stopped enthusiastically listening to most rock music around that time…it was instrumental music and the sound of instruments and the environment that I preferred hearing…waves, birdsong, running streams, ambient street noise…which is why it seemed so strange to find myself at the Warfield in San Francisco on October 3, 54 years old, actually looking forward to a performance by a new version of the King Crimson collective. It was another set of unlikely coincidences that led to the purchase, which this time around amused me with their mischievous insistence: while doing the wash I was reading the very Sunday paper which announced The Elements tour, and the washing machine died; I trucked a load of sopping wet clothes to the nearest laundromat and went across the street to buy something to drink from the convenience store while the washer and dryer consumed several pounds of quarters. In the cooler was a microbrewed beer, King Crimson Red Ale (DGM, take notice), and the Pandora station they must have been streaming played “I Talk to the Wind,” which I hadn’t since the 1970s. (Not making this up.) How could I possibly ignore so many elbows in the ribs?

As reluctant as I was to drag myself out of my usual rut, I was intrigued by the advance news that there would be three drummers and figured that this was one way Mr. Fripp would guarantee that both performers and audience would be challenged in new ways. Mostly, though, I wanted to see what Mr. Fripp had discovered since that evening in Passim, and how ‘that’ might reveal itself in the performance. Even though I hadn’t followed him or King Crimson much since the Discipline tour (Soundscape excepted), I realized I have been rooting for him all these years. Fripp has consistently maintained some version of this belief: “When music appears which only King Crimson can play, then sooner or later King Crimson appears to play the music.” He’s circumspect about how the music manifests itself: which comes first: the music out of the ether, or his need for it and the assemblage of musicians who create an atmosphere in which that music then materializes? (He would likely answer both, and neither.)

The phenomenon of the tour itself was intriguing; “The Elements” has some effective if uncharacteristic packaging: the ‘Elements’ theme itself, for one (multiple meanings, but most importantly, the ”essence”); the sly symbolism of the new incarnation hatching at the Egg in Albany; the teases on the DGM website prior to and during the tour…but even though a certain amount of commodification is inevitable in 2014, the emphasis was effectively directed towards the music itself (all commercial aspects meanwhile deftly handled). Anyone familiar with the repertoire over the years knows that only musicians with truly exceptional prowess can perform it; the mystery was not whether they were up to the task but what this particular collective was going to be able to do within the confines of the set.

So I bought a ticket simply to hear music I had never heard before, even though I knew every piece they performed...it really didn’t matter what was on the set list…I surrendered and had faith that the members of the band would create the conditions along with that particular audience on that night in that place to allow something unexpected to happen. Many on the DGM site have already commented much better than I ever could about individual performances, so I won’t mention that here, except to say that the interplay of three drummers was something I had never heard or seen before; it seemed so appropriate that I actually forgot there were three drummers. And as for my usual listening…gentle rains are nice, but every once in a while you need a bone-shaking, wake-you-up-in-the-middle-of-the-night-with-your-heart-smashing-against-your-ribs-careening-for-the-nearest-exit thunderstorm to pry you out of your complacency. There were moments during Sailor’s Tale, Red, Pictures of a City, Starless, when the sounds merged into something no one was playing and the ground seemed to rumble...and I have to think that’s what Mr. Fripp has always been after, why he’d go to much trouble and risk what has evidently been hazardous to him in the past (he is in a way, after all, a proper English country gent who writes tenderly about his geriatric bunny’s ailments…). That’s what we were all there for...audience, musicians and most of all, Mr. Fripp. And I hope that he found what he’s after.


Eyes Wide...Open?
:: Posted by DannyX on October 13, 2014

I gather that some here feel the latest incarnation of the band is not visually interesting enough to warrant a DVD, and would benefit from interjecting a more Cirkus-like feel to the proceedings. Or perhaps just a shot of snkzato ’dancing and grooving’ would suffice.


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