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Japan 2000 Tour Bundle Goes Live
:: Posted by Sid Smith on Tue., Feb 9, 2016

All eleven gigs from King Crimson's Japanese tour in 2000 are now available to download either as a bundle or as individual shows. The tour which began on October 2nd and finished on October 16th, costs just $48 FLAC and $36 MP3.


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THRAK BOX Revealed
:: Posted by Sid Smith on Tue., Oct 13, 2015
Here's what the mighty 16-disc THRAK BOX looks like when unboxed.






A 16 disc limited edition box set featuring studio and live recordings - many previously unreleased - from King Crimson's mid-1990s double trio line-up.

Highlights include a new '21st Century stereo reimagining' of THRAK (by Jakko Jakszyk and Robert Fripp), ATTAKcATHRAK (a David Singleton edited collection of improvs), and Max VROOOM, which sees a release for the long out of print mini-album VROOOM.

The second blu-ray includes concert films, a Thrak epk and Tony Levin's Road Movies.

Much of the material is presented in new 5.1 Surround & Hi-Resolution stereo mixes.

---------

Detailed contents:

* Blu-Ray 1: The most comprehensive Hi-Res audio only disc yet assembled features three complete albums with 5.1 Surround Sound mixes: THRAK, ATTAKcATHRAK and Kcensington THRAK. These three albums also appear in Hi-Res stereo - THRAK in both its original and new stereo mixes - plus a further three complete albums are included in Hi-Res stereo, JurassiKc THRAK, THRAKaTTAKand& the official live bootleg of the double trio in Argentina: B'Boom.

* Blu-Ray II features an audio/visual feast: A complete concert filmed live at The Warfield Theatre, San Francisco from 1995 - previously unreleased - with all footage newly transferred from the original tapes, mastered for high definition and 5.1 Surround Sound.

* The live footage from the 1995 Live in Japan performance - all footage newly transferred from the original tapes, mastered for High Definition with the original 5.1 Surround Sound remastered.

* Tony's Road Movies - The band on the road as filmed by Tony Levin - all footage newly mastered for High Definition and featuring a soundtrack of previously unreleased material drawn from the band's earliest rehearsals in 1994 up-mixed to Surround Sound

* The EPK of the making of the THRAK album at Peter Gabriel's RealWorld Studios with newly mixed Surround Sound audio.

* Additionally, this disc is being built to include a further unique feature whereby, with a press of a button, the disc will function as a pure audio disc for all audio material featured in the audio/video section.

* Both blu-ray discs set new standards for what can be done with this format.

* DVD-A 1: features THRAK in 5.1 surround & 24/96 High resolution stereo mixes of the 2015 mix by Jakko Jakszyk and Robert Fripp & the 2002 master of the original stereo mix.

* DVD 1: Features the Warfield Concert & Tony's Road Movies films

* CD 1 JurassiKc THRAK - an assemblage of material from the recording sessions for the album - placing the listener in the studio with the band as the material was composed and recorded including seven pieces that didn't make it onto the final album.

* CD2: Max VROOOM - features the long-unavailable mini-album VROOOM, augmented with tracks and edits from the KC Club release: The VROOOM Sessions. All material re-compiled & remastered at DGM.

* CD3: THRAK - is the 2002 remaster of the original album

* CD4: ATTAKcATHRAK (The Vicar's THRAK) is a sort of sequel to THRaKaTTaK insofar as it's assembled from live improvs, but is also very different. One of David Singleton's best pieces of production, the editing process for the new improv album provides more form and function to the material without compromising the spirit of the original improvs. Unlike THRaKaTTaK, which was based on stereo board recordings, this album is newly mixed, in both stereo and 5.1 Surround Sound, from multi-track tapes.

* CD5: THRAK - is the transformative 2015 Jakko Jakszyk/Robert Fripp remix of the original album, described by Robert Fripp as a "Re-imagining of stereo in the early 21st century."

* CD6: Byte Size THRAK - is a compilation of singles edits, live tracks from promos, a 12" mix edit - some of which are making their debut appearance on commercially available disc and extracts from writing sessions from the final Nashville rehearsals in 1997.

* CDs7/8: Kcensington THRAK -is a newly mixed release of the band's London concerts in 1995. Mixed from multi-track tapes by Jakko Jakszyk, and mastered by David Singleton and Robert Fripp ("To make it rock even harder"). Other than video releases, it is also the first live show from this band available in surround sound.

* CDs 9/10: New YorKc THRAK - features a complete setlist from the 1995 run of shows in the city, some material previously released on VROOOM VROOOM (now deleted) and the KC Club release On Broadway. Drawn from multi-track tapes, mixed by Adrian Belew & Ken Latchney. All newly remastered at DGM.

* CDs 11/12: AzteKc THRAK - features a complete setlist from the Mexico City concerts in 1996 - released, in part, on VROOOM VROOOM - mixed from the original multi-tracks by Robert Fripp, R Chris Murphy and David Singleton, and recently remastered at DGM.

* Album-sized booklet with rare/unseen photos, new sleeve notes by Sid Smith, technical notes on the recordings by David Singleton, plus memorabilia.

* Limited to a single pressing run.

THRAK BOX:




Q: What’s a THRAK BOX?




A: As the name suggests, it’s a boxed set of material by King Crimson drawn from the double trio line-up of the mid-1990s. 



Q: Ooh, I liked that line-up. What’s in it then?




A: 12CDs, 1DVD-a, 1DVD & 2Blu-Ray discs, featuring studio & live recordings, many previously unreleased, from the earliest band rehearsals to their final gathering in Nashville in 1997. 

In addition, much of the material is presented in new 5.1 Surround & Hi-Resolution stereo mixes.



Q: Tell me more.. what’s on the CDs?



A: CD1: JurassiKc THRAK - is an assemblage of material from the recording sessions for the album compiled by David Singleton - similar to ’Keep That One Nick’ on the Larks’ Tongues Boxed set - placing the listener in the studio with the band as the material was composed and recorded. You can, for example, hear the band experimenting with different drums parts for "Inner Garden" & a wonderful early vocal before that song was divided into two. Similar excitements await listeners with all the other songs. There are also seven pieces that didn’t make it onto the final album.



CD2: Max VROOOM - features the long-unavailable mini-album VROOOM, augmented with tracks & edits from the KC Club release: The VROOOM Sessions - all material re-compiled & remastered at DGM.



CD3: THRAK - is the 2002 remaster of the original album.



CD4: ATTAKcATHRAK (The Vicar’s THRAK) – is a sort of sequel to THRaKaTTaK insofar as it’s assembled from live improvs - but simultaneously very different – one of David Singleton’s best pieces of production. The editing process for the new improv album provides more form and function to the material without compromising the spirit of the original improvs.

Unlike THRaKaTTaK, which was based on stereo board recordings, this album is newly mixed in both stereo and surround sound from multi-track tapes.



CD5: THRAK - is the 2015 Jakko Jakszyk/Robert Fripp remix of the original album, described by Robert Fripp as “transformative – a re-imagining of stereo in the early 21st century.”



CD6: Byte Size THRAK - is a compilation of singles edits, live tracks from promos, a 12" mix edit – some of which are making their debut appearance on commercially available disc & extracts from writing sessions from the final Nashville rehearsals in 1997.



CDs7/8: Kcensington THRAK -is a newly mixed release of the band’s London concerts in 1995. Mixed from multi-track tapes by Jakko Jakszyk, and mastered by David Singleton & Robert Fripp ("to make it rock even harder" apparently). Other than video releases, it is also the first live show from this band available in surround sound (see Blu-Ray below). 



CDs 9/10: New YorKc THRAK - features a complete setlist from the 1995 run of shows in the city, some material previously released on VROOOM  VROOOM (now deleted) & the KC Club release On Broadway. Drawn from multi-track tapes, mixed by Adrian Belew & Ken Latchney - all newly remastered at DGM.



CDs 11/12: AzteKc THRAK - features a complete setlist from the Mexico City concerts in 1996 - released, in part, on VROOOM VROOOM - mixed from the original multi-tracks by Robert Fripp, R Chris Murphy & David Singleton & recently remastered at DGM.



Q: Sounds great, what’s on the Hi-Res discs?

A: 

If the stereo material sounds wonderful (& it does) the Hi-Res stereo & especially the 5.1 Surround Sound mixes are a revelation. This is a line-up that’s best heard in multi-channel Surround Sound.



Blu-Ray I is, we believe, the most comprehensive Hi-Res audio only disc yet assembled & features three complete albums 5.1 Surround Sound mixes: THRAK, ATTAKcATHRAK & Kcensington THRAK.

These three albums also appear in Hi-Res stereo - THRAK in both its original & new stereo mixes - plus a further three complete albums are included in Hi-Res stereo, JurassiKc THRAK, THRAKaTTAK & the official live bootleg of one of the earliest shows by the double trio in Argentina: B’Boom.

A recipient of a test disc of BD1 summed it up: “The blu-ray audio is astonishing and presents all the material in a glorious new light.  I can’t say enough about the wonder of this blu-ray.”




Here’s a full list of contents:
THRAK 2015 mix
DTS-HD Master Audio 5.1 24/96

LPCM Stereo 24/96

LPCM 5.1 Surround 24/96
ATTAKcATHRAK
DTS-HD Master Audio 5.1 24/48

LPCM Stereo 24/48

LPCM 5.1 Surround 24/48
THRAK Original Mix 2002 remaster
LPCM Stereo 24/96
THRaKaTTaK
LPCM Stereo 24/48
Kcensington THRAK
DTS-HD Master Audio 5.1 24/48

LPCM Stereo 24/48

LPCM 5.1 Surround 24/48
B’Boom
LPCM Stereo 24/48
JurassiKc THRAK
LPCM Stereo 24/48


Blu-Ray II is no less complete & features an audio/visual feast:



1) A complete concert filmed live at The Warfield Theatre, San Francisco from 1995 - previously unreleased - with all footage newly transferred from the original tapes, mastered for high definition and 5.1 Surround Sound newly mixed by David Singleton from the multi-track tapes of the show



2) The live footage from the 1995 Live in Japan performance - all footage newly transferred from the original tapes, mastered for High Definition with the original surround sound remastered by David Singleton & Neil Wilkes. 



3) Tony’s Road Movies - footage of the band on the road as filmed by Tony Levin - all footage newly mastered for High Definition & featuring a soundtrack of previously unreleased material drawn from the band’s earliest rehearsals in 1994  - the first time that Robert Fripp, Trey Gunn, Tony Levin, Pat Mastelotto and Bill Bruford met together (at Bill’s own studio). Originally captured in stereo on DAT, the audio has been up-mixed to Surround Sound so that all of the video features can be enjoyed in multi-channel audio.



4) The EPK of the making of the THRAK album at Peter Gabriel’s RealWorld Studios with newly mixed Surround Sound audio.

Additionally, this disc is being built to include a further unique feature whereby, with a press of a button, the disc will function as a pure audio disc for all audio material featured in the audio/video section.

Both blu-ray discs set new standards for what can be done with this format.

The DVD-a disc features THRAK in 5.1 Surround Sound & Hi-Res stereo of both the new & original mixes.

& the DVD features The Warfield Theatre concert & Tony’s Road Movies.



Q: Wow, that’s comprehensive but why include dvds & Blu-Ray - sharing material?




A number of reasons:

1) It wouldn’t make sense to try to make two editions - 1 with DVD/DVD-a & one with Blu-Ray.



2) Some fans want both - especially in America where a number of in car systems are DVD-a compatible.



3) Some fans want both if they currently have DVD & intend to buy a Blu-Ray player.



4) By including all options within the one set we can make it usable by the widest possible audience. None of the Blu-Ray or dvd/dvd-a discs are region locked & the dvd-a is a hybrid disc fully compatible with all dvd players.



Q: OK, but what if I can’t afford the box but still want to hear the new stereo & 5.1 mixes?




A CD/DVD-a release in the same format as the other KC40th anniversary series will be issued on the same day.



Q: When is that?

A: 

Mid-October - the 16th is the date we’re aiming for.



Q: Hmm, on second thoughts, I might be able to persuade my partner to get the big box for me as a Christmas present.



A: Good for you. Tell them to buy a large sheet of wrapping paper. The box will be in the same format & size as the previous boxed sets devoted to the 1972/4 line-ups – a 12" box with full-sized booklet, containing new liner notes, full details of the musical content, photos (some previously unseen) & memorabilia - lots to read & look at while listening & an ideal shelf mate for any of the LTIA/Road To Red/Starless sets when stored.



Q: Will I be able to hear any of the new material before I commit to buying the set (or convincing someone else to buy it for me)?



A: Yes, keep checking the DGMLive website where we’ll be posting audio (& maybe video) extracts in the weeks leading up to release.



Q: Thanks.



A:You’re welcome.




A Cure For Shelf-lean
:: Posted by Sid Smith on Tue., Oct 13, 2015
Does your collection suffer from the distressing condition specialists have diagnosed as Shelf-lean ?



Fear not, a cure has been discovered!








Mundo Markus
:: Posted by Sid Smith on Tue., Oct 13, 2015
Markus Reuter has released a new digital album and he’s making available for free/pay what you like until the end of the year. Mundo Nuevo features numerous guests invited to overdub solos over soundscapes Reuter created while on tour with Stick Men earlier this year.



Guests include Wayne Krantz: Electric guitar, Alex Anthony Faide: Electric guitar, Fernando Kabusacki: Electric guitar, Lilian Giubetich: Cello, Luciano Pietrafesa: Electric guitar, Pat Mastelotto.

You can access the album by clicking here. 

Fripp & Symphony
:: Posted by Sid Smith on Sun., Oct 11, 2015
Robert Fripp's last public engagement with the Guitar Circle "for the forseeable future" takes place later this week in Holland.



Tickets and details for this coming Thursday's performance are available here.

Starless And Bible Black Vinyl Pre-order
:: Posted by Sid Smith on Sun., Oct 11, 2015
Following on from USA last month, Starless And Bible Black is the eighth in a series of audiophile King Crimson vinyl reissues and completes the availability of the band's studio output from 1969/74 on 200g vinyl editions.





Newly cut from masters approved by Robert Fripp, this super-heavyweight vinyl re-issue is housed in a reprint of the original gatefold sleeve.

The first run of this edition contains bonus MP3 codes giving access to a download of a transfer of an original 1975 pressing.

Pre-order here for November 6th release.


Wetton By Satellite
:: Posted by Sid Smith on Sun., Oct 11, 2015
John Wetton, still undergoing chemotherapy, has a new live album out. Entitled Live By Satellite, taken from radio broadcasts the 2-disc set offers a career overview. Thus sayeth the blurb:

This 2 CD set collects together both of John Wetton’s acoustic solo concerts for radio broadcasts. The XM radio broadcast was only available for sale via his website over 10 years ago and has never had a commercial release.
The Swedish radio broadcast (previously unreleased) was thought lost in a fire, until a duplicate of the master tapes was found thanks to a long and tireless search by John Wetton’s fans.

Of the release, John Wetton said: “Both of these shows are from the same time period, but come from very different sources. The first, a Circus tent-like venue in a funfair in Stockholm: the second, a state-of-the-art facility in Washington DC, so the repertoire is similar, but venues could not be more different. Recording production is superb on both, it's a document of a slice of my life.”

As a lead singer, bassist and songwriter, John Wetton initially rose to fame with King Crimson and after that Wetton co-founded UK. In the early 1980s he was the frontman of the super-group Asia, his biggest commercial success.  ASIA’s self-titled debut album was the biggest selling album in the world in 1982 and the band continues to this day.

He later formed the duo Icon with Geoff Downes (YES and The Buggles) and has had a successful solo career releasing a large number of studio and live albums, including the recent compilation The Studio Recordings Anthology.
John Wetton's “Live via Satellite” will be released 9th October 2015 and is part of the ongoing release schedule of his own Primary Purpose label, working via Cherry Red.



DISC ONE 

1. THE CIRCLE OF ST. GILES 

2. HEAT OF THE MOMENT

3. BOOK OF SATURDAY 

4. BATTLE LINES 

5. ARKANGEL 

6. THE SMILE HAS LEFT YOUR EYES 

7. EASY MONEY

8. EMMA 

9. 30 YEARS

10. HOLD ME NOW

11. RENDEZVOUS 6:02 

12. THE NIGHT WATCH 

13. YOU’RE NOT THE ONLY ONE 

14. STARLESS

DISC TWO 

1. INTRODUCTION 

2. THE CIRCLE OF ST. GILES

3. HEAT OF THE MOMENT 

4. MONDRAGO / BOOK OF SATURDAY 

5. THE SMILE HAS LEFT YOUR EYES 

6. 30 YEARS 

7. HOLD ME NOW

8. ARKANGEL

9. EMMA 

10. SOLE SURVIVOR 

11. RENDEZVOUS 6:02 

12. THE WATER IS WIDE 

13. STARLESS 

14. BATTLE LINES

15. THE CELTIC CROSS
To purchase:
Amazon CD: http://geni.us/1A9M
Amazon Digital: http://geni.us/1jj0
iTunes: http://geni.us/1FY4




On This Date 46 Years Ago
:: Posted by Sid Smith on Sat., Oct 10, 2015
Today marks the 46th anniversary of the release of King Crimson's debut album, In The Court Of The Crimson King.



"Wessex Studios mid-August 1969. The apocalyptic blast of 21st Century Schizoid Man is abruptly cut off in mid-flow as recording engineer, Robin Thompson, mutes the speakers. Gathered in the cavernous performance area of Wessex Studios below, Robert Fripp, Michael Giles, Ian McDonald, Peter Sinfield and Greg Lake stopped work to welcome the arrival of artist Barry Godber, carrying a large rectangular package wrapped in brown paper.
 
A few weeks previously Sinfield had commissioned his friend to come up with something for the cover for what would be King Crimson’s debut album. “I used to hang around with all these painters and artists from Chelsea Art School” says Sinfield. “I’d known Barry for a couple of years...he’d been to a few rehearsals, and spent a bit of time with us. I told him to see what he could come up with. I think I probably said to him that the one thing the cover had to do was stand out in record shops.”

Godber tore off the brown paper and laid the painting on the floor as the band gathered around to see his handiwork.


Greg Lake recalls “We all stood around it and it was like something out of Treasure Island where you’re all standing around a box of jewels and treasure...this fucking face screamed up from the floor and what it said to us was Schizoid Man - the very track we’d been working on.  It was as if there was something magic going on.”



Here's how some of the music papers of the day reacted to the album.

Melody Maker:
This eagerly-awaited first album is no disappointment, and confirms their reputation as one of the most important new groups for some time. It gives little idea of their true power on stage, but still packs tremendous impact especially the brutally exciting “21st Century Schizoid Man” and the eerie title track, with its frightening mellotron sounds. It’s not all high power stuff though - there’s some nice flute from Ian McDonald on the beautiful “I Talk To The Wind” and “Moonchild” is pretty, though too long. The vocals are clear and controlled and the instrumental work can hardly be faulted. This is one you should try and hear.

Disc:
The first LP from the group heralded by those who know to be the most exciting discovery of the year. Get over the most horrific cover of the year and you’ll find the pundits are not wrong. A brilliant mixture of melody and freakout, fast and slow, atmospheric and electric, all heightened by the words of Peter Sinfield.


International Times:
The Ultimate Album. There is little one can fault with it: the arrangements make masterful use of multi-tracking, compressing and reducing, the standard of playing almost defies belief at time, the vocals are merely excellent and the numbers are brilliantly and excitedly written.

I don’t like one of the numbers, despite my total commitment as a Crimson-Bopper, which is ‘Moonchild’ and is too long. Otherwise a gassy, jazzy, heavy, complex, smooth and totally magnificent album: written, arranged, played and produced by the most original group since ........ (fill in your answers to Apple Ltd., Saville Row, London., for instance.


Finally, the American edition of Rolling Stone had this to say:

There are certain problems to be encountered by any band that is consciously avant-garde. In attempting to sound "farout" the musicians inevitably impose on themselves restrictions as real as if they were trying to stay in a Top-40 groove. There's usually a tendency to regard weirdness as an end in itself, and excesses often ruin good ideas.

Happily, King Crimson avoids these obstacles most of the time. Their debut album drags in places, but for the most part they have managed to effectively convey their own vision of Desolation Row. And the more I listen, the more things fall into place and the better it gets.

The album begins by setting the scene with ‘21st Century Schizoid Man’. The song is grinding and chaotic, and the transition into the melodic flute which opens ‘I Talk to the Wind’ is abrupt and breathtaking. Each song on this album is a new movement of the same work, and King Crimson's favorite trick is to move suddenly and forcefully from thought to thought. ‘Epitaph’ speaks for itself: "The wall on which the prophets wrote/Is cracking at the seams...Confusion will be my epitaph."

‘Moonchild’ opens the second side, and this is the only weak song on the album. Most of its twelve minutes is taken up with short statements by one or several instruments. More judicious editing would have heightened their impact; as it is, you're likely to lose interest. But the band grabs you right back when it booms into the majestic, symphonic theme of ‘The Court of the Crimson King’. This song is the album's grand climax; it summarizes everything that has gone before it: "The yellow jester does not play/But gently pulls the strings/ And smiles as the puppets dance / In the court of the Crimson King."

This set was an ambitious project, to say the least. King Crimson will probably be condemned by some for pompousness, but that criticism isn't really valid. They have combined aspects of many musical forms to create a surreal work of force and originality.

Besides which they're good musicians. Guitarist Robert Fripp and Ian McDonald (reeds, woodwinds, vibes, keyboards, mellotron) both handle rock, jazz, or classical with equal ease. Bassist Greg Lake and drummer Michael Giles can provide the beat, fill in the holes, or play free-form. While Dylan and Lennon are still safe, lyricist Peter Sinfield does show a gift (macabre as it may be) for free association imagery.

How effectively this music can be on stage is, admittedly, a big question. The answer is probably not too well. Still, King Crimson's first album is successful; hopefully, there is more to come.


KC 2000 - More Bootleg TV Footage Now Available
:: Posted by Sid Smith on Fri., Oct 9, 2015
Fancy watching over twenty minutes of previously unseen footage of King Crimson in 2000? Well, click here, turn up the speakers, sit back and enjoy!


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. 


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