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Mister Stormy's Monday Selection
:: Posted by Sid Smith on Mon., Mar 19, 2012

Here's a glimpse into King Crimson's recording methods circa 1970 during the recording of Lizard - an alternate take guitar solo and arrangement for Prince Rupert Awakes


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Crimson In Concert: Interim Demands
:: Posted by Sid Smith on Fri., Jul 18, 2014
A tongue in cheek (we hope) piece on what one KC concert-goer wants to see happening in September


Daytime Crim
:: Posted by Sid Smith on Fri., Jul 18, 2014
My thanks to FraKcman who writes "Is it only me? Am I the only one who hears LTIA loud and clear in the end titles of BBC TV show ’Flog it: Trade Secrets’?
For those in the UK only please see 28 minutes and 30 seconds
In fact the music used by the main Flog It show also sounds familiar to my ears.
It doesn’t matter what country you’re in for this link."


SHUT THE @*!% UP
:: Posted by Sid Smith on Tue., Jul 15, 2014
My thanks to Tariqat for this link about those folks who well, you can guess the rest. 


E For A
:: Posted by Sid Smith on Tue., Jul 15, 2014
Adrian Belew’s e recently celebrated its fifth birthday. You can read Adrian’s comments surround the making of the record here


Dyble Does It Again
:: Posted by Sid Smith on Mon., Jul 14, 2014
Judy Dyble has a new album out next week.  Live At WM Jazz features a set recorded at the Water Margin in London's O2 in December 2013. You can grab your copy via Burning Shed.



DGMLive visitor Colin Coates saw Judy and the band on Saturday night just gone in Norwich's Arts Centre. "It was wonderful. I expected the audience to be similar to myself, over 50 grey and balding, most of us with beards as well, but no, a high number of younger folk, and I would say 40% female audience. The Curator, (Alistair Murphy) and his band played stuff from his excellent albums, most of side two from Inside the Whale before Judy joined them for the rest of the evening over two sets.

 I Talk To The Wind came with a chat about recording it with the Giles brothers, Fripp and Ian McDonald back in the flat in ‘60’s when she was between Fairport and Trader Horn. Later Alistair reflected on putting together in his studio Harpsong, from Judy’s Talking with Strangers album, with Ian McDonald’s and Robert’s contributions as sound files and thinking “I’ve got King Crimson playing together for the first time since ‘74”, before playing the number live in a shorted version.

The band was excellent, very tight, yet loose in their playing giving a depth to the music, Judy nervous at first, but relaxed into it all, and poor Alistair full of cold, and enjoyable on-stage banter. I Picked up the new album by Judy and the band, Live at WM Jazz, and highly recommend this as a similar set to what was played in Norwich. It has a good sound mix, and keeps Judy’s chat in as well, though sadly no I Talk To The Wind."

You can read my take on Judy's new album over on the blog.

On This Date 30 Years Ago
:: Posted by Sid Smith on Fri., Jul 11, 2014
On July 11th the 80s incarnation played its final gig in Montreal. The show was recorded for radio broadcast and was released in 1998 as Absent Lovers.



Following the gig in Montreal the band broke up. The irony is that the band had never sounded better.  The material from Three Of A Perfect Pair had begun to breathe and knitted well into the set. The music was tight, incisive and moving at a stunning pace.  The release of Absent Lovers release showed Crimson had never sounded better and indeed the performance of much of the material surpassed many of their original versions — LTIA II in particular hadn’t sounded so animated and full of vim and vigour for quite a while.

Fripp recalls: "We recorded the last shows on multitrack sensing that the end of the band might be nigh. This allowed for a possible live album to commemorate the outfit (as with USA).  Bill mixed the tapes for a Canadian radio broadcast, which became a bootleg (as with any radio broadcast) called Absent Lovers.  Any mix of any music is a presentation of a world-view: a sonic society of the imagination, how we see that world and our place in it.  When I was given a copy of Bill’s mix, it confirmed my sense of Bill’s Crimson world-view, and gave deep offence."

On Sunday July 12, the morning after the last show at Le Spectrum, the team were having breakfast in their hotel.  Bruford recalls Fripp joining them and announcing to his colleagues that the band was no more. 

Asked by journalist Bill Milkowski what the future held for King Crimson now that the incline to 1984 had been completed, Adrian Belew replied “I think it is unstated as to what the future holds for King Crimson. We just have to sit down and consider that at the end of all this touring. Personally, I’d like to see it take a break for a while, mainly because I feel a real need to fulfill a lot of musical ideas that aren’t fitting for King Crimson. That’s where I’m at; I don’t know about the other guys in the band. Robert likes to do things in three album sets, and it was planned that way. But I think it would be unfair to assume that once we reached our goal it would automatically be over. I don’t think Robert has said that in the press. He’s never said that to me. And I’m sure Bill and Tony want to play further. But, as Robert says, now the band is free to play together if it wants to. So there’s a lot of openness to it.”

Fripp offers this perspective on the reasons for the break-up of the group.  "We compressed the making of three albums into three years, which was probably too short for the music to emerge organically.  But, with different career interests and tensions in the band, had we waited longer maybe little more would have developed organically anyway. Regardless of what the albums achieved, Absent Lovers validates the group as a live unit, right up to the end.  That particular end was a finish, a conclusion and a completion. No discussion followed the end of the tour, to address either working together or not working together. "

Whether by accident or design, inertia took hold and Crimson’s return to the first division was at an end.  As Crimson manager Paddy Spinks sat in Montreal mulling over his breakfast, there was an despondent air.  "I think we all kind of knew that if there wasn’t going to be an actual end to the thing at the end of the tour then there was certainly going to be a long pause. And if you think about it, there certainly was a hell of a long pause."




The Joy Of The Guitar Riff
:: Posted by Sid Smith on Fri., Jul 11, 2014
The famously reclusive Robert Fripp makes yet another appearance on TV in the UK next week on July 18th when he takes part in BBC 4's The Joy Of The Guitar Riff. Here's what the Radio Times preview has to say about it. And here's what Robert had to say about it when the film crew came to call in April


Keeling's Little Red Book
:: Posted by Sid Smith on Fri., Jul 11, 2014
Andrew Keeling’s latest rock-orientated album has garnered some favourable reviews of late. First up here’s what Prog magazine had to say...



and from the pages of R2 magazine...



You can grab your copy of My Red Book from Burning Shed.

Wetton & Palmer-James Reissued
:: Posted by Sid Smith on Thu., Jul 10, 2014
I Wish You Would and Monkey Business 1972 - 1979 by John Wetton and Richard Palmer-James have been reissued in a 2CD set.



I Wish You Would, recorded in 1979, dusts off some blues numbers beloved by the duo back in their school days, while Monkey Business first released in 1998 sifts through items they worked on for the King Crimson back catalogue (including Night Watch, Book Of Saturday, Starless and a remake of Doctor Diamond as well as a tracks the pair wrote intended for the follow-up to Red.

You can grab the album via iTunes (I Wish You Would / Monkey Business) or Burning Shed.

F*cked Up Fripp
:: Posted by Sid Smith on Thu., Jul 10, 2014
The latest edition of The Wire contains an extensive interview with St Vincent who is found extolling the virtues of Robert Fripp's guitar playing with David Bowie.



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