|KC81 Double Show Download
|:: Posted by Sid Smith on Mon., Apr 14, 2014
Two back-to-back shows from 1981 are available to download from today.
You can find out about KC's first night at the Old Waldorf here and their second gig here.
Displaying 4534 items (Viewing 311 to 320 of 4534)
Tales From The Dougside
:: Posted by Sid Smith on Sun., Aug 18, 2013
Artist Douglas Arthur whose work has been featured previously on DGMLive is soon to release a book, Antisocial Lawnmower.
You can find out more about Douglas's work via his facebook site.
Spotify: Another Day In The Industry Of Human Happiness
:: Posted by Sid Smith on Fri., Aug 16, 2013
Here’s a letter from Spotify in response to Grayzone’s request on behalf of Panegyric to remove King Crimson and Robert Fripp related items from their servers.
We are responding to your takedown notice, in which you identified the following content:
"A Man, A City" (Live at the Fillmore)
"KING CRIMSON RADIO"
Please note: All references to "King Crimson Radio" must be removed. This is misleading as there is no "KingCrimson Radio" or any authorized service by this name.
"ROBERT FRIPP RADIO"
Please note: All references to "Robert Fripp Radio" must be removed. This is misleading as there is no "KingCrimson Radio" or any authorized service by this name.
Spotify respects the rights of copyright owners and for that reason we only use content where we have been authorized to do so. While we continue to investigate your claims, however, be advised that we will remove access to “A Man, A City” from the Spotify.
As for the other two claimed unauthorized links – “KING CRIMSON RADIO" and "ROBERT FRIPP RADIO” – a review of our in-bound licenses indicates that sound recordings that include performances by King Crimson and Robert Fripp are licensed to Spotify by, among others, Universal Music Enterprises, Virgin Records and A&M Records. These licenses grant us the right to display the name of the performers associated with the sound recordings on the Spotify service.
Once sound recordings are licensed for use on Spotify, our service enables a user to build a radio station based upon one or more sound recordings, including based on the performers associated with such sound recordings. This means that a user who likes music performed by King Crimson can have the Spotify service deliver, through the use of an algorithm, a radio station based upon music by King Crimson – as well as from artists that may be similar to King Crimson or whose music is liked by fans of King Crimson. The name “King Crimson” is merely used for identification purposes, does not imply any endorsement by King Crimson, and is clearly a fair use. There is nothing misleading about identifying a station based upon an initial seed artist of King Crimson – or Rihanna, Bruce Springsteen, The Who, or any other artist.
As sound recordings featuring performances by King Crimson and Robert Fripp have been licensed for use on Spotify, we will continue to use the names of those performers as seeds for radio stations selected by Spotify users and therefore will not remove the second and third links referenced above while such licenses remain in effect.
Which prompted this response from Panegyric:
Dear Spotify legal,
This quote comes from an email sent by Robert Fripp, legal owner of ALL King Crimson copyrights to Spotify on August 21st 2009:
so, please be informed: any king crimson content on your site at all is unauthorised & illegal; and you are formally notified of such by both declan, as my agent, and myself, as rights owner / controller.
This was sent to Spotify's content director at the time. It was true then. It was true in January of that year when Spotify first went live with a variety of King Crimson/Robert Fripp material, music which, as it was on the DGM label directly operated by Robert Fripp & David Singleton, could only have been delivered by DGM. DGM never delivered music to Spotify or authorised any third party to do so.
It has been true at all points since & remains true to this day.
Let me reiterate as Spotify's legal department's grasp of copyright ownership appears to be somewhat challenged:
The copyright owner of ALL King Crimson material has refused permission for ANY King Crimson material to feature on Spotify.
We asked Spotify in 2009 to tell us who had delivered this music that Spotify was giving away in breach of Robert Fripp's copyrights, but Spotify never answered.
Spotify has, since then, featured King Crimson music on its services on more than one occasion.
The copyright owner has, to date, never been paid for any of this usage.
Spotify states in its email response to Grayzone, the company requesting urgent takedowns of King Crimson material on our behalf (several requests have been necessary to draw even this inadequate response):
"a review of our in-bound licenses indicates that sound recordings that include performances by King Crimson and Robert Fripp are licensed to Spotify by, among others, Universal Music Enterprises, Virgin Records and A&M Records."
None of these companies has EVER held a legitimate license for the sale or distribution of King Crimson material in digital form.
Any King Crimson material delivered by UME has been in breach of Robert Fripp's copyrights.
Any King Crimson material delivered by Virgin Records has been in breach of Robert Fripp's copyrights.
There is no King Crimson material on any of the above labels that can or should have been delivered by these companies.
Senior lawyers at both Virgin & UMG (now the same company) are copied on this email.
If either of them can show a single instance where their respective labels or companies have had the rights to deliver King Crimson material to Spotify, then let them do so.
They won't, as no such license exists.
At this point, Spotify will, doubtless, fall back on the usual "but it was delivered to/uploaded us so it's not our fault if we made it available.." - otherwise known as the 'ignorance is always an adequate defence' line used by Grooveshark, Last.FM & other copyright thieves....
But, even this doesn't work for Spotify as the company was clearly told, in 2009, by the copyright owner, leaving no room whatsoever for any interpretation, that no King Crimson material should appear on the service.
Spotify has no rights whatsoever to any music by King Crimson.
So Spotify's willingness to repeatedly make King Crimson music available on its service - from whatever source - having been told unequivocally by the copyright owner of all King Crimson music four years ago that no such music should be made available on Spotify, can only be viewed in terms of copyright theft.
Indeed your opening statement to Grayzone is directly contradicted by your actions with regard to King Crimson music:
"Spotify respects the rights of copyright owners and for that reason we only use content where we have been authorized to do so."
The situation with Robert Fripp material may be slightly more complex due to collaborations with other artists.
However, I will address separately once I have had an opportunity to look at what's currently available on Spotify.
Any instances of Robert Fripp music where the artist did not grant a specific right to make available digitally will be the subject of immediate takedown notices.
Irrespective of this & specifically with regard to "King Crimson Radio" & "Robert Fripp Radio", "King Crimson" & "Robert Fripp" are subject to trademark protection operated by DGM on behalf of the artists.
Neither consent to having their name used in this manner & both would regard the usage of the name in association with such a "radio" as a form of endorsement/Passing Off, involving a breach of the protection offered by the respective trademarks.
As it is possible that a user of the service would regard "Robert Fripp Radio" or "King Crimson Radio" as having an association with, or recommendation from, the named artists, these services must be discontinued immediately & permanently.
on behalf of DGM
Robert Fripp also sent this letter to Spotify’s legal team
dear spotify legal,
On 14/08/2013 19:26, Spotify Legal:
Spotify respects the rights of copyright owners and for that reason we only use content where we have been authorized to do so.
how dare you! you do not, and have not, respected the rights of this copyright owner.
please note that declan's comments are accurate, represent my view of your continuing infringements, and have my full authority.
More details as things develop.
The Road To Red
:: Posted by Sid Smith on Fri., Aug 16, 2013
Here's a preview of the advert for The Road To Red that will be shortly appearing in selected periodicals...
:: Posted by Sid Smith on Thu., Aug 15, 2013
Larks' Tongues In Aspic is released on vinyl next month.
You can order this classic platter directly from Inner Knot and Burning Shed.
A Pint Of Red
:: Posted by Sid Smith on Thu., Aug 15, 2013
The glass is always more than half full over at Inner Knot with this special pint glass.
You can find out more about it here.
Paging Tom Phillips
:: Posted by Sid Smith on Thu., Aug 15, 2013
Tom Phillips, the artist whose work graces the front, back and interior of King Crimson's Starless And Bible Black has a new variation of his ongoing graphic work A Humument. You can now listen to the artist reading from A Humument via this very snazzy limited edition USB.
The enigmatic phrase which is on the back cover of Starless And Bible Black originates from page 222 of the work. Click on this link to see the original page of the Victorian novel upon which Phillips bases his graphic interventions and enhancements. You can find out more about the origins of this remarkable work by visiting the official site.
Phillips also used the phrase as a title for a 2005 collage.
A Humument is available in several different editions and as an app
:: Posted by Sid Smith on Mon., Aug 12, 2013
Every now and then I'm asked what my favourite concerts and tracks are
from the DGMLive archive. With so many to choose from that's a pretty
tall order. However, were you to press me on this question here's what
I'd come up with today (mind, you might get a different selection if you
ask me tomorrow!).
In chronological order rather than in any weighting for favourites we have...
King Crimson April 13, 1971, Zoom Club Frankfurt, Germany
The second ever gig of this incarnation and they are really hitting their stride.
This early period is especially interesting as they are finding out what they're about. In a way they were hemmed by the pre-existing repertoire and you get a sense of them being let off the leash in the new numbers.
King Crimson June 23, 1973 Richards Club Atlanta, Georgia.
There's so many gigs from this line-up that demand attention but this outing finds the band on terrific form. Whenever I hear this I'm blown away by the energy this quartet had at their fingertips. Definitely something in the air with this one.
The League of Gentlemen, September 21, 1980, Royal Exeter Bournemouth
Hands down my favourite gig of this boppin' outfit. Regardless of the lo-fi origins this gig has the juice. If you buy one LoG gig then buy this one.
King Crimson May 07, 1981 Polytechnic Manchester, England
What I love about this period in the band is that not everything is quite nailed down. There's a degree of experimentation at work and this combined with the band's inate confidence about what they were doing makes for a powerful blend. A great show despite the lowly bootleg origins.
Robert Fripp August 02, 1981, Washington Square Church New York, NY,
Fripp was really onto something with these performances. This is the evening performance where he manages to make music that sounds sweet and yet is infused with something that almost feels infernal at times.
Robert Fripp October 11, 1997 Mud Island Ampitheatre Memphis
Fripp was never going to be the most popular of opening acts on the G3 tour but it's amazing how some of the most sublime music comes out of potentially adverse circumstances. Mike Keneally joins Fripp for some impromptu soloing here - adding to this show's appeal.
Project Four October 24, 1998 Fox Theatre Boulder
I was at this gig working the merch table and it remains for me one of the very best gigs of that short tour. In some respects Seizure was the King Crimson track that got away and I don't think it was ever bettered than here on the second night in Boulder. Bags of atmosphere at this gig.
King Crimson November 14, 2003 Ulster Performing Arts Centre Kingston
Savage is the word I used back in 2006 when this show first went live and savage is the word I would still use to describe it. Some gigs are good, some gigs are very good and some gigs just go somewhere else entirely. This show has everything I love about King Crimson.
Robert Fripp August 25, 2006 Jaani kirik Viljandi, Estonia
Although some of the concerts in Estonia were presented on the Churchscapes album, my preferred method of engaging with these soundscapes is to hear the whole thing from start to finish. Fripp explores some remarkable places. Sparkling with a melody line that slowly ascends and falls, surrounded
by a gentle carillon of bells, it offers a travelogue of the soul;
recounting the beauty and the desolation, the despair and the hope that
it’s possible to witness in a lifetime. Highly Recommended.
And the tenth one is... well what would you nominate and why? Answers to the guestbook please.
Pat Mastelotto's Gone Berserk!
:: Posted by Sid Smith on Sun., Aug 11, 2013
There's a chance to win a copy of the latest album from Berserk! - which features contributions from Pat Mastelotto.
All you need to do is to drop an email with the header BERSERK! to firstname.lastname@example.org along with your name and your postal address.
You can find out more about the album here and you can also read my take on the platter over on the blog.
:: Posted by Sid Smith on Fri., Aug 9, 2013
USA was originally issued in 1975 and marked the final statement by the band's incendiary mid-1970s incarnation and is now the ninth release in the King Crimson 40th Anniversary series.
The CD features a completely new stereo album mix of the full concert by Robert Fripp & David Singleton, while the DVD features High Resolution Stereo mixes (24bit/96khz) of all three editions of this album/concert.
Presented as double digi-pack format in a slipcase with Sid Smith sleeve notes, rare photos and archive material.
Pre-order for 14th October release from Inner Knot or Burning Shed.
USA was recorded towards the end of King Crimson's final US tour of the 70s in June 1974. It was issued as an epitaph for the band in Spring 1975 as a single album - at a time when doubles or even triple live albums were more considered the norm for live releases.
Deleted towards the end of the vinyl era in the mid-80s, it remained unreleased in the CD era until the expanded edition was finally issued in October 2002. In common with much of Crimson's output, it was not well received at the time by critics, though its critical reputation grew immeasurably in the intervening years to the point where a review of the 21st Century Guide to King Crimson boxed set in 2004 identified the album as the point, "...where Fripp maps out the guitar blueprint for the entire post-punk movement."
If that claim sounds somewhat exaggerated, a casual listen to the opening minutes of the album where the ethereal 'walk on...' tape of Fripp & Eno's No Pussyfooting gives way to the sonic assault of Larks' II - provides ample evidence to back up the claim. It's also worth noting the audience response to the band - especially at the end of Starless, a piece that had yet to be recorded in the studio at that point.
The reputation of the 1972/1974 King Crimson line-ups is now revered by critics and fans alike, with the material so sought after that it can justify a full 21 CD/DVD/2 Blu-Ray collection of the US/Canadian tours of Spring/Summer 1974.
Drawn from that release & presented in the King Crimson 40th Anniversary series format, the USA CD/DVD features a previously unreleased mix of the Asbury Park concert that formed the bulk of the original album, while the DVD features Hi-Res stereo versions of that mix, Ronan Chris Murphy's mix of the concert (issued on CD in 2006) & the expanded version of the original vinyl album as issued in 2002.
Uniquely, of the releases in this series, USA is presented in Hi-Resolution stereo only - not 5.1 Surround - as Robert Fripp decided that the live power of the quartet is best experienced in stereo sound.
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