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The Road To Red - Q & A
:: Posted by Sid Smith on Sat., Jun 22, 2013

This just in from those lovely people at Panegyric.

The Road To Red Q & A

The Road to Red

What is it?

It’s a multi CD/DVD-A/Blu-Ray set drawn from King Crimson’s final US/Canadian tours from April - July 1974 & the studio recordings at Olympic studios in London in July 1974 presented in a 12" box similar to last year’s Larks’ Tongues in Aspic set.

I was at one of those shows. I still treasure the ticket stub/handbill/poster I grabbed from outside the venue after the show.

Lucky person. Please feel free to email DGM a decent scan of any/all of the above. If it’s something we don’t have in the archive & we use it, you’ll get your name included in the ’thank you’ section in the booklet, so long as you tell us your name.

When will it be released?

We’re aiming for October.

What’s in it?

The exact contents are still being finalised but it’s looking like about 20CDs, 1 DVD-A & 2 Blu-Rays.

That’s a lot. But what Music - not what number of discs?

Oh, yes, well on CD:

One concert from audio restored bootleg - Central Park - July 1st 1974 - previously only available as a KC mail order Collectors’ Club release.

A number of concerts drawn from the band’s own stereo soundboard cassettes.

Four of these are unreleased in any format: June 5th & 8th from Texas, June 16th from Colorado, June 23rd from Michigan.

A further group of concerts are issued on CD for the first time - having been available from DGMLive as downloads only.

The complete concerts from this tour previously issued on CD only in edited form on The Great Deceiver and/or as downloads from DGM live are also included:

Pittsburgh, Toronto, Penn. State University & Providence, as is the Chris Murphy mix of the Asbury Park concert - These CDs were all mixed from multitracks & appear as they did on the CDs as released.

Finally, on CD, there is also a new stereo mix of the Red album by Robert Fripp & Steven Wilson.

Some fans already own Great Deceiver and/or Asbury Park

We allow for this fact when we’re setting the price of the set. Many other boxed sets in the market offer far less music for a similar or higher equivalent price.

Is that everything you have at DGM?

From this period, no, there are some bootlegs from the tour - but it would have made the box too expensive to include them. We could issue them separately at a later date if there’s demand. The final concert in the box (from bootleg) is included as it’s a great performance & the last of its kind. The DGM archive covers all eras of the band that may form the basis of future releases, but it made most sense to focus this set on the April/July 1974 tours

OK, sticking with this one for the moment, what about the DVD-A & the two Blu-Ray discs? What footage is there?

No footage (unless someone decides to send us the footage they shot of [insert gig name here] & forgot about for the last 39 years), this is an audio only set.

The DVD-A will feature the new stereo mix of Red & the stereo mixes of USA in high-resolution stereo.

The two Blu-Rays will feature the stereo mixes from the DVD-A above &
the (previously released) 5.1 mixes of Red.

You need two Blu-Rays for that?

I hadn’t quite finished. The Blu-Rays also feature those complete concerts, Ontario, Penn. State University et al, that were professionally recorded & mixed from multi track recordings, newly transferred from the original Dolby SR half inch stereo master tapes in high resolution stereo.

Wow, what does that sound like?

The boxed set allows a listener to take a ’virtual tour’ with King Crimson in 1974. For most of the concerts - drawn from soundboard cassettes - the sound is broadly similar to the perspective of the guys behind the desk on any given day, perfectly reasonable & better than many live recordings from the period.

The stereo CDs from the shows that were multi-tracked sound even better, as anyone familiar with The Great Deceiver knows.

The new transfers on the Blu-Rays are in a different league when it comes to audio quality.

Effectively, the listener is placed front & centre a few rows from the virtual stage while King Crimson play some of the best concerts of their career on a final tour schedule immediately prior to the recording of the classic Red album.

All of the previously download only gigs have been comprehensively remastered also.

This is a key era for the band & one of the most requested from fans of the band when it comes to archive releases.

When can I order it?


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On This Date 41 Years Ago...
:: Posted by Sid Smith on Tue., Oct 6, 2015
King Crimson released Red, their final studio album of the 1970s on October 6th, 1974.

Now regarded as one the most important albums of that decade, Red frequently turns up in numerous best of lists by artists and magazines.

Here's what the New Musical Express had to say about the album upon its release that week 41 years ago today. 

THE PREVIOUS two albums by this final King Crimson lineup have never been as hysterically self-conscious in their obvious adventurousness as the first four studio records that came out under the band's name.

In fact, listening to certain parts of each of those early albums can frequently provoke nothing as crassly simple as severe brain damage but a rather more civilised basic aural pain.

In general, it's a pretty tidy set of neuroses, instability and insecurity — both musical and personal — that cuts a jagged edged swathe across the eight sides. The psychic melodramas do, though, have the saving grace of being carried out with an appropriate sense of artistic folly.

Indeed when juxtaposed against the histrionics of those records Larks Tongues In Aspic, Starless And Bible Black and, now, Red would seem to have been recorded in a state of almost Calvinistic general togetherness — or, if you prefer, what used to be known at school as "maturity" — and even if Larks Tongues does marginally fail to cut it due to a rather too noticeable excess of zeal then Starless, which is minus both Jamie Muir and His Percussive Pistacchio Nuts and the perfectionist production of the former — though not credited on the sleeve as such the whole of side two was cut live — comes up with a more consistent and relaxed amount of highs than any of its predecessors.

There's one other little plus that Starless has going for it...uh...it...well, it nearly swings.

And so to Red. No two ways about it, and putting aside for the moment any little thoughts we may have about its being The Final Work this outfit — now reduced to the basic three-piece of Robert Fripp, John Wetton on bass and vocals, and Bill Bruford on drums (sorry, percussives) — were really starting to whizz those thought patterns around amongst themselves.

Side One is actually rather a funky, even heavy, piece with 'Fallen Angel' and 'One More Red Nightmare' restating the weighty note progression emphasised almost to the point of a calculated ennui on 'Red', the first track.

'Fallen Angel' moves things on with some of your old mellifluous free-flowing melody ending up as a variant on a basic pop track with a surreal middle eight that has some most impressive reed honking from Mel Collins. Robert Palmer-James' lyrics are virtually indistinguishable, which on past evidence is most certainly in the record's favour, whilst Wetton's voice, doable or triple tracked on the chorus fines has the chore of both sounding like Greg Lake and being able to highlight the inadequacies of any similar ELP technological ballad.

'One More Red Nightmare' puts the rather curious counterbalancing of the first two tracks into a comprehensible perspective as it grips together the main themes of each title with some hot ice howling lead percussion from Bruford that does just now and then veer dangerously towards intellectual doodling.

'Providence', which opens the second side, features "guest" violinist David Cross on a schizoid quasi Prokofiev piece of impressionism which, when joined by the bass and Bruford, displays at first the sense of spacing and notation which was particularly evident on Larks Tongues but which ultimately dissolves as it's hurled into a rather early model King Crimson piece of mellotron madness.

The truly enigmatic side of Crimson gets really well held up to the light on the twelve-minute final track, Starless, with the baroque intensity — and extremity — of Fripp's Mancini-like mellotron strings that carry a hint of the mood of side two of Lizard until the scorching guitar, bass and jangling percussion work up and along several note and chord structures with each instrument underlining the other until a pattern is shaped like a continuous loop of sound restating the album's themes.

It's really quite curious and should, I suppose, be put down to some psychic state evolving from the demise of the band but Red is truly the first Crimson album that I can find myself listening to over and over again.

Would it be that same psychic state that makes me believe it's the best album ever made under the name of King Crimson?

Vote For King Crimson
:: Posted by Sid Smith on Mon., Oct 5, 2015
King Crimson have been nominated in the Band of the Year category in the forthcoming Classic Rock magazine awards. Click here to cast your vote. 

KC's Mojo Working In Aylesbury
:: Posted by Sid Smith on Thu., Oct 1, 2015
The latest edition of Mojo contains a generous review of King Crimson playing Aylesbury.

Crimson In Utrecht
:: Posted by Sid Smith on Tue., Sep 29, 2015
Here’s Tony Levin’s final gallery of photographs from King Crimson’s UK & European tour.  Also worth taking a peek at is Dave Stafford's thoughts on Crimson's first night in Utrecht.

Mister Stormy's Monday Selection
:: Posted by Sid Smith on Mon., Sep 28, 2015
Mister Stormy has uploaded three tracks from the Live At The Warfield video that is part of the forthcoming THRAK BOX. Check it out here.

Meanwhile, you can order the 16-disc THRAK BOX from Inner Knot (USA) and Burning Shed (UK & Europe)

Stick Men On The Road
:: Posted by Sid Smith on Sun., Sep 27, 2015
With the King Crimson tour just finished, Tony Levin and Pat Mastelotto team up with Markus Reuter and take to the road in Europe as Stick Men.

Sept. 29 - Verona (IT) - Il Giardino
Sept. 30 - Verona (IT) - Il Giardino
Oct. 1 - Sofia (BG) - HDK Hall 11 (Lumiere Cinema)
Oct. 3 - Sala (SE) - Rockland
Oct. 5 - Oslo (NO) - Buckley's
Oct. 6 - Malmo (SE) - Moriska Pavijongen
Oct. 7 - Göteborg (SE) - Nefertiti
Oct. 9 - Bergen (NO) - Sardinen USF
Oct. 10 - Opole (PL) - Dom Expo
Oct. 11 - Wroclaw (PL) - Zaklete Rewiry
Oct. 12 - Prague (CZ) - Lucerna Bar
Oct. 13 - Reichenbach (DE) - Bergkeller
Oct. 15 - Bonn (DE) - Harmonie
Oct. 16 - Zoetermeer (NL) - Boerderij
Oct. 17 - Münster (DE) - Hot Jazz Club
Oct. 18 - Hertogenbosh (NL) - W2
Oct. 20 - Verviers (BE) - Spirit of 66
Oct. 21 - Karlsruhe (DE) - Substage
Oct. 22 - Reutlingen (DE) - FranzK

Don't forget, the Stick Men most recent release features their collaboration with ex-Crimson violinist, David Cross, Live In Tokyo is available: First show can be found here and the second show is right here

Discipline Covered
:: Posted by Sid Smith on Sun., Sep 27, 2015
My thanks to Dwayne for this link to this performance of Discipline by the Cal Poly Percussion Ensemble. 

:: Posted by Sid Smith on Fri., Sep 25, 2015
Fresh from his recent bout of talks on the King Crimson UK tour, David Singleton takes us through the process of putting together the successor to THRAKATTAK for the forthcoming THRAK BOX set. Check it out here or over at the DGMLive YouTube channel

All About That Stream
:: Posted by Sid Smith on Fri., Sep 25, 2015
Somebody somewhere is making money from streaming music but it doesn't seem to be the writers and artists whose work makes the whole thing tick over. Kevin Kadish, who co-wrote All About That Bass revealed that he's made just $5,600 from 178 million streams. Read more here.

Elsewhere, comes news that an important test case that has potential ramifications for artists whose work is put onto streaming services by their record labels. Read more here. A music industry insider comments "If this does set some form of precedent it's potentially very, very important. Making available rights have long been the artists' best hope for preventing all sorts of online abuses by streamers & record companies but, to date, have gone largely unchallenged. Potentially significant for any artist who doesn't have control of their catalogue & would rather not be on streaming services."

Belew's FLUX Update
:: Posted by Sid Smith on Fri., Sep 25, 2015
Adrian Belew's FLUX app has been updated, as Ade himself explained via his Facebook page:
our first FLUXette pack is now available! this is one of the most important aspects of FLUX and one that sets it apart from all other recording formats: I keep adding to it! FLUX is never done!

within a few hours those of you who have the FLUXbybelew app will receive a notification that new FLUX is available. you can download this first "FLUXette" by going into the 'store' tab in the app and then selecting the FLUXette expansion pack. you will then be prompted to buy via an in-app purchase.

the new songs, snippets, music pieces, visuals, and information will become a part of your random FLUX stream assuring even further that your FLUX experience will never be the same twice.

I can't wait to try it!

here is what the official release from NOIISE has to say:

More music, more art, more Adrian Belew!
This update includes the full FLUX store functionality, and the first expansion pack called 'FLUXette' is now available. It features over 25 minutes of brand-new Adrian Belew music and audio snippets, and a set of new 360° interactive visuals. Complete your collection, select the 'store' icon from the menu to check it out. Stay tuned for additional packs to be released in the near future.

We have listened to your feedback, and implemented some extra features:
- a REFRESH button is now available in the track info section, so if the tune finishes you can update the info to read about the currently-playing track without having to exit the screen.

- iPhone 6 and 6+ native compatibility [it now looks better on these devices].
- there were some reports of AirPlay compatibility issues, these should now be fixed.

- Apple Watch compatibility. FLUX on your wrist! Control your FLUX experience and read the track info, all from your Apple Watch. Is Adrian Belew the first musician to have a watch app? Maybe so!

- Audiobus compatibility. Yes that's right, you can now put FLUX by belew™ in the input slot or Audiobus, and then process the output with any of the amazing effects apps that are available. Of course, we suggest you start with Adrian's own FLUX:FX audio manipulation app!

Please keep the great reviews coming, and don't forget to share your FLUX by belew™ experiences on Instagram, Twitter and Facebook.

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