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| Happy Birthday BB |
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| :: Posted by Sid Smith on Fri., May 17, 2013 |
Birthday greetings and a bottle of wine to Bill Bruford who is 64 years young this very day.
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The Royal(ty) Scam
:: Posted by Sid Smith on Mon., Aug 8, 2011
My thanks to several folks for emailing the following exchanges from The Lefsetz Letter which chime in with RF’s experiences with major labels as mentioned in numerous diary entries.
I recorded for XXXXXX Records from 1968-1972. Later I did a few separate albums for them.
My last statement from them, which was 125 pages of gobbledegook says that I now owe them $80k and that I 'earned' $10k last year which of course they deducted from their figures to come up with the $80k deficit.
In my entire career with them I have never gotten more than $1k or 2k TOTAL as an artist. At the time I was also signed there as a staff producer.
btw they don't pay staff producers ANY royalties because they get meager salaries (except for the various Rick Rubins) while they are working. Allegedly, George Martin, another staff producer got no royalties from Parlaphone for any of the records he produced while on staff including all the Beatle albums.
When I had hit records, my alleged royalties were cross-collateralized from the costs of the next few albums I made. When record companies put out greatest hits albums and other compilations of an artist's work, ALL COSTS are deducted from the artists royalties no matter how much those artists have earned in the past. Artwork, packaging, mastering, studio time, etc. I understand movie companies learned a lot from this.
If I sue them, they will tie it up with their legal department until I can't afford a lawyer anymore. ALL the labels operate this way all over the world and are seemingly exempt from the law or sound reason. Let's see what happens if your various readers start writing in their experiences anonymously.
If it wasn't for BMI and my songwriting royalties, I would be living in a cardboard box under a bridge somewhere. Now streaming threatens that income and I pontificate soon I will be shopping for that cardboard box.
I have been in the music business for over 50 years and only survived due to live gigs, production advances, and the cavalry known as BMI.
I once signed a girl singer to a production agreement that tied her up for 6 months while I shopped a deal in my behalf. In my paper I said that she would get 10% royalties and I would get 5%. She was incredulous. "Who gets the other 85%?" she asked dumbfounded. "The record company, of course" I replied. She tore up my contract in front of me.
She has to this day never made an album that I know of.
If one took a typical record deal to a lawyer studying for his bar exam on a reality show and asked if it were fair, the lawyer would laugh him out of the room.
Publishers own 50% of your royalties for 56 years from the day you sign each individual song contract. Starting 46 years later, if you don't inform them that you wish to retain the other 50% within ten years. They get to keep it for ANOTHER 56 years and then it becomes public domain and NOBODY gets any publishing money from those songs. This has already happened to Irving Berlin and the Gershwins. So hopefully my grandchildren will benefit from that money because I will surely be off this mortal coil and streaming will cut that money back in half again.
Lyor Cohen's 'interview' would have made me laugh if I wasn't so seriously concerned about my current survival for the rest of my short life.
He probably makes in one month more money then any record company or publishing company has ever paid me and I never had a 360 deal.
The Navy Seals should go after these bastards of their own volition.
Record companies killed a great many people in the 27 club. A huge artist I know gets forty cartons of royalty statements each period that it takes his accountants, three years to decipher once they are shipped to the accountants offices. Wonder what's left after the accountants bills for three years work are paid ?
When people ask my advice, I tell them to study to be great plumbers or electricians. Those guys work all the time for themselves if they are talented for pretty exorbitant fees. I am insanely jealous.
Anonymous Lefsetz reader
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Bob
Love the Lyor piece and also this royalty comment is valuable. Although, some of it indicates some ignorance on the part of DT as to the legalities of his/her agreement. For instance, they would have assigned the exclusive right to communicate with the PROs and collectives to UMPG, which explains the cold shoulder when going direct. That may or may not be a fair concept, but that's a different issue. There is a practical side to it, as the opposite could turn into a giant clusterfuck. The ultimate way designed into the system to check the work of your publisher is to audit them. Generally you can't audit the PROs, though, which is a whole other topic worthy of discussion.
They are the institutions most vulnerable to the transparency movement. Ironically, most are controlled in whole or in part by the creators themselves! A classic case of power corrupting. And BMI is owned by their customer (broadcasters), which is the most head scratching thing in the entire US industry. Their sole reason to exist was to bust the ASCAP union/monopoly so they could keep a lid on performance royalty rates. They've done a great job of it. US radio rates are among the worst in the world, and the streaming rate does not even rise to the level of a joke.
One driver of this is the ASCAP consent decree, which says that neither BMI nor ASCAP can refuse a license, and if the parties can't agree on a rate, they can take it to the ASCAP rate court. However ASCAP has never done well in that environment. End result is a dramatic inability to negotiate. Check out the Pandora IPO filing. They practically brag that investors needn't worry about royalty risks to publishers due to the consent decree. It also said 45% of revenue was being paid out as royalties (hurray - finally a business that is entirely dependent on exploiting music rights actually pays much of their revenue to their main suppliers), but 90% of the royalty payments were to Sound Exchange. In other words, the master is worth 10x the song copyright. It's a joke, and a massive failure of ASCAP to prepare for their future. One of the reasons EMI pulled digital rights from them, in my opinion
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Hey Bob,
All this talk about transparency from the labels is the biggest load of crap I've ever heard. I am a royalty auditor, so please keep my name confidential.
The records you are "permitted" to see during an audit are ridiculous. All of the majors refuse to provide any source royalty statements from digital service providers such as Apple, Rhapsody, etc. You are allowed to select a certain number of catalogue numbers, then they run a report for those catalogue numbers from their system, which has already processed the original source statements. Talk about a self-fulfilling prophesy. And that's only one thing.
Both Doug Morris and Rio Caraeff have been quoted in the press saying they receive "a lot more than" tens of millions of dollars per year from You Tube. Try getting a YouTube statement during an audit. Pretty much impossible.
An even bigger problem is the licensing of all these new services. The majors get tens, if not hundreds of millions of dollars in upfront advances and fees, and a fraction of that comes through as royalty earnings, which is what gets reported to artists. Not much different from the record clubs, when majors got huge advances and "trademark fees", and royalties were a fraction of the advances, with tens of millions of dollars in "unrecouped" balances forgiven by the clubs at the end of a deal's term, and new advances paid at the start of the next deal term.
The culture of the majors was always to pay bupkes to artists, but now that the business is in serious trouble, and the majors are even more desperate, it's worse than ever. Most record company deals with licensees are now structured so as little as possible gets classified as "royalties" to be shared with artists, but the majors receive all sorts of other "fees" and equity in some licensees, not to mention huge advances that are never recouped. Artists never see a nickel of these.
Until the culture of the majors is not about keeping as much for themselves as they can get away with, and artists are seen as valued 50/50 partners, all this talk about transparency is a load of hogwash.
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Royalties, what a subject!
If you're a Sacem member you will get a certain amount of your income kept by your employer(sacem) for all the retirement health plan, retirements etc.. The legal amount is around 30 % in the French system.
It sounds like a good idea, however the vast majority of the writers registered with sacem do not make enough money to actually be part of the various insurances.
In short sacem decided that you do not make enough, we dont send the money you made to the various retirement and insurance funds, we keep it.
How's that for a highway robbery.
Last but not least Sacem is governed by the elected members of sacem . Those members are the most successful and recognized writers. They have passed new rules about the surplus of money.
They spread the money among the biggest earning writers!
Sounds like Lobbying for yourself and voting favorite new rules for your own scam. You can't do that in America!
Thianar Gomis
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I'm German and member of the Deutsche GEMA. They stole almost all of my royalties in the last 20 years.
How?
They changed the rules. If the composer performs the music himself (like I did in more than 2000 concerts*) other rules apply and he gets almost nothing.
I would get something if certain conditions were met, but it's almost impossible to do so, if you're unsigned and sell only self produced CDs etc.
There is a group of musicians trying to get heard by German politicians in order to change this system but GEMA's lobbyism is stronger. Politics don't care.
Cheers
Stefan Schoener
* I checked regularly that my concerts are registered to GEMA by the promoters. On the average I loose around 80 euros per concert.
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I've been trying to get $2500 out of UM in the UK for over a year now.
Approved PO's, approved invoices.
Good luck figuring out their uniport system - which as far as i can tell was designed to ensure no one ever gets paid.
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Transparency-obscuring (also known as "thievery" when applied to a balance sheet, I suppose) is not limited to the major labels. A musician friend of mine who shall remain nameless here is signed to an indie (also remaining nameless here), and according to the terms of his contract, after X amount of albums have been sold, an "enhanced" royalty kicks in. So the time arrives when he gets a statement and it appears that he is very close to that threshold, like within a couple hundred more sales to go, and is feeling pretty good all around. Next statement arrives: still close to the threshold, but not quite past it. And then the next statement: ditto. How is this possible, he wants to know, that during the first period he sells a bunch of records, then all of a sudden sales go permanently flat -particularly since he continues to tour and pick up press, etc. throughout all this? One might expect an initial burst of sales for a new release followed by a decline, but still... he's!
contemplating hiring a lawyer and demanding an audit, but isn't really in the position to afford doing that, not to mention the hassle and heartache of potentially suing the label, as he has (or so he thought he had) a good relationship with the folks there. Which is all another way of saying that an artist can get ripped off at ANY level of fame or commerce in this business.
Fred Mills
Editor, Blurt Magazine
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long ago when i was managing rick danko from the band we did a tour of japan. at the time, the last waltz was the number one album in japan and the movie was also number one. we sold out six shows in six cities with ricks band. while there i sat down and calculated what rick was making personally as his royalty share off the last waltz album in japan. the retail price was around $ 100 US dollars in Japan. Rick had a 1/5 share of the artists royalty (most of the guest artists let the "the band" have all the artists royalty as a tribute)......as i remember, his royalty share calculated out to 25 cents out of an album that was selling for $ 100 retail and was a top seller. I showed this to rick and he was flabbergasted that he and the other band members were getting so screwed. The next day we visited warner brothers japan and sat down with the president......i showed him my 3rd grad arithmetic calculations of rick's royalty (it was very accurate).....he looked very e!
mbarrassed.....the whole losing face japanese thing....the next day we had a chauffer driven mercedes limo 24/7 courtesy Warner Brothers....but he still had the same royalty. none of the guys in the band ever got rich off those wonderful albums and all that work....except robbie, and he only because of the publishing royalties. record labels and publishing companies have been screwing artists since copyrights and recordings were invented....especially with foreign licensing and all the smoke and mirrors. rod stewart is a very rich artist partially because his very astute manager at the time, billy gaff, negotiated separate direct record distribution deals for virtually every territory/country/market in the world. in those days it was common for artists to sign a global contract with a record label, and then the label would sub-license the record to foreign markets taking 50% of the royalty as an "administrative fee" and god knows what other charges.
Sepp Donahower
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Thank you for posting this. I'm getting a clearer picture of the whole royalty scam in particular in Germany in this writing, however in some instances like mine, it definitely comes down to outright thievery.
I was signed to German label ___________ in late summer 2008. The CD they released was a compilation of selected songs from my current CD at the time and the previous. The head of this "label" _____ _______, submitted royalty statements to me (2) but in writing, via email, outright told me: "Regarding the royalties... Money is tight at the moment, so I cannot pay you before the end of the month." This was sent to me in July 2009. What an idiot and he actually put it in writing.
The end of the month came and went. I never saw one dime despite seeing the astronomical amount that was being charged on Amazon.com for my CD amongst other internet music sites. I received a total of two royalty statements despite my continuous asking til this day. The CD was only available in Europe. I was able to get a lawyer via the Volunteer Lawyers for the Arts in Philadelphia, where I live. For quite some time this guy continued to use my name and image on his website and "played dead" when my lawyer contacted him, never replying. Ultimately all we could do was to get him to stop using my image, name. God only knows how much money he's made via my music that I'll never see. The only thing to do was litigate and this lawyer was working pro bono on my behalf. There was no money for him to go to Europe and serve him with papers, start a litigation, etc.
I thought that he was doing this because in spite of my 20 plus years in this business, I'm still an unknown. He has some bigger "names" on his label. I have reached out to some of them and have come to find he's done the exact same thing to them, not paid them their royalties, always promising, never delivering, always with an excuse. Not to be believed. All of this despite having a written contract. Would love to have the money to litigate, although I'm sure I'd probably wind up with nothing. At this point its not about the royalty payment, its the principle. No one has the right to take what's not theirs, especially on the backs of our music, that we work so hard to create. Yeah, this sounds like sandbox mentality, which is exactly what it is. I know one day I will meet this guy, and there is no doubt I will get what I rightfully deserve, as will he.
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We've made the same argument about Kobalt. Nice to see Bob doing it in his first paragraph. And with such colorful language.
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Kobalt has had a transparent system with an online account login since their inception. I've used both UMPG and Kobalt's online accounts. UMPG is a joke.
Paul Steele
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Thanks Bob! As an ASCAP member I would like to add that there needs to be more transparency at ASCAP as well..... their survey methods are dated and downright lopsided, to say the least! Please withhold my name and e-mail as ASCAP has been known to punish those that question its accounting methods in the past.
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Ask Deep Throat to speak about Black Box and the other kickback schemes from the PRO's. Don't publish my name with this request.
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Steven Wilson Lizard & Grace For Drowning
:: Posted by Sid Smith on Sat., Aug 6, 2011
Steven Wilson cites KC's Lizard as an influence in the making of his new forthcoming double album, Grace For Drowning in this interview. Guest book regular, abhitaranath, has also been in touch to say "Steven Wilson has recently been posting on the Steve Hoffman Music
Forums and has been providing some fascinating insight into the work he
has been doing with the King Crimson catalogue. His postings begin here
on page 34 of this particular thread"
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And The Winner Is...
:: Posted by Sid Smith on Fri., Aug 5, 2011
Congratulations go to Dave Owen in Edinburgh who wins the autographed copy of Absalom by Stick Men. Dave had his name plucked from the fickle fedora of fate and was able to tell me that the name of the epic Markus Reuter composition was Todmorden 513 which you can listen to and download here as well.
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Discipline 40th Anniversary Edition
:: Posted by Sid Smith on Wed., Aug 3, 2011
Here’s the details for the 40th Anniversary Editions of Discipline.
Discipline
The seventh release in the King Crimson 40th Anniversary series.
On its release in 1981 Discipline represented a startling reinvention for this most restless of bands.
* * * * *
When Robert Fripp declared in 1974 that King Crimson had "ceased to exist" nobody could have foreseen that they would break their silence seven years later with an album that perhaps had more in common with the then current post-punk new wave than the band’s progressive rock past.
Released in 1981, Discipline was a startling reinvention with a new line-up performing radically different material that managed to delight fans, confound critics & pick up a substantial new audience along the way.
30 years on, Discipline remains one of the key albums of the early 1980s and one of the most popular and influential in King Crimson’s catalogue.
As different from the 1970s King Crimson, as the 1970s line-ups had been from the 1960s band, the new quartet of Robert Fripp, Bill Bruford, Adrian Belew (ex-Zappa, Bowie, Talking Heads) and Tony Levin (Peter Gabriel), rapidly established itself as a force on the live circuit.
The longer songs of the 1960s & early 1970s & the extended improvisations of the live performances from the earlier touring bands were replaced with a series of short taut songs imbued with a minimalist aesthetic that featured complex interwoven guitar lines, (coined ’rock gamelan’) Belew’s distinctive vocals, Bruford’s new armoury of electronic percussion & Levin’s fluid bass & Chapman stick lines.
Songs written for the album became firm fixtures in the band’s repertoire and the stature and influence of the material has grown over the years. Matte Kudasai for example, has become something of a modern standard recorded by jazz vocalist Kurt Elling last year & performed live recently by K.D. Laing.
The album charted on release in many countries - including the UK & USA - while the touring schedule took the band through Europe, the US & Japan in its first year of activity. By the end of 1981 Crimson was, once again, viewed as one of rock music’s premier outfits.
King Crimson had also achieved a rare feat for a rock group by becoming one of the very few acts to release a classic album in three separate decades. From In the Court of the Crimson King in 1969, via Red in 1974 to Discipline in 1981, with differing line-ups & radically different sounds the band’s reputation for innovation & progression (in the best sense of the word) was unassailable.
As with other albums in the King Crimson CD/DVD-A series, the stereo CD features a new stereo mix by Robert Fripp & Steven Wilson, while the DVD-A features 5.1 mixes of the album by Steven Wilson, high resolution stereo mixes of the original & new stereo mixes, a rough mix of the album presented in its first intended running order,video footage from The Old Grey Whistle Test TV show & further audio extras & rarities.
Preorder now for 3rd October 2011 release
CD:
1. Elephant Talk
2. Frame by Frame
3. Matte Kudasai
4. Indiscipline
5. Thela Hun Ginjeet
6. The Sheltering Sky
7. Discipline
Bonus tracks:
Alt. mixes of The Sheltering Sky & Thela Hun Ginjeet mixed by Steven Wilson.
DVD Content
Discipline
24/96 MLP Lossless 5.1 Surround DTS|9624 5.1 Digital Surround
Elephant Talk
Frame by Frame
Matte Kudasai
Indiscipline
Thela Hun Ginjeet
The Sheltering Sky
Discipline
Mixed and produced from the original multi track tapes by Steven Wilson
Executive producer Robert Fripp
Mastered by Simon Heyworth Super Audio Mastering, Devon, assisted by Andy Miles
24/96 MLP stereo 24/48 LPCM stereo
Elephant Talk
Frame by Frame
Matte Kudasai
Indiscipline
Thela Hun Ginjeet
The Sheltering Sky
Discipline
Original album 2011 stereo mix
Mixed & produced from the original multi track tapes by Steven Wilson
Executive producer Robert Fripp
Mastered by Simon Heyworth at Super Audio Mastering, Devon, assisted by Andy Miles
Original album 1981, 30th anniversary remaster
Elephant Talk
Frame by Frame
Matte Kudasai
Indiscipline
Thela Hun Ginjeet
The Sheltering Sky
Discipline
Matte Kudasai (alternative version)
Produced by King Crimson and Rhett Davies
Mastered by Simon Heyworth
Album: Rough Mixes from recording sessions presented in original proposed running order.
Discipline
Thela Hun Ginjeet
Matte Kudasai
Elephant Talk
The Sheltering Sky
Frame By Frame
Indiscipline
These mixes date from the end of May 1981 and were prepared by Rhett Davies. The tape was almost certainly made as a “listening copy” prior to the full mixing stage. The tracks were assembled in Robert Fripp’s then preferred running order. The other point to note is the use of a far greater level of reverb than was applied to the final mix. Again this would have been a decision made by Rhett at the time and the levels applied were standard for the period. The fact that they sound so good – even in relatively unmixed form – is indicative of both the quality of the performances & the engineering. More generally, the early 1980s represented the dawn of an era when recordings can almost be carbon- dated to the year by the increased levels of reverb applied in each succeeding 12 month period, possibly to offset the limitations of then emerging digital technology. Robert Fripp’s decision to issue a final mixed album with minimal discernible reverb made “Discipline” stand out even further from the crowd. The rough mixes provide a suitable alternative. True to the spirit of the original ¼” tapes, the transfers were subject to no further mastering other than some noise reduction and a slight pitch correction applied at DGM by Alex R. Mundy.
Produced by King Crimson and Rhett Davies
24/48 LPCM Stereo
Additional Tracks
A selection of Adrian’s vocal loops
The Sheltering Sky (Alternate mix – Steven Wilson)
Thela Hun Ginjeet (Alternate mix – Steven Wilson)
The Terrifying Tale of Thela Hun Ginjeet
Elephant Talk 12” Dance mix
A small sample of Adrian’s vocal loops for the original album open this section followed by two Steven Wilson alternate mixes – including an instrumental version of ‘Thela Hun Ginjeet’ from the 2011 mixing session. ‘The Terrifying tale of..’ was assembled by David Singleton & Alex Mundy at DGM for the 2008 US tour-box CD & consists of a talk given by Robert Fripp at a Warner Bros. US sales meeting in NYC in 1981 outlining events, followed by tape of Adrian Belew from London’s Basing St. studios reliving events, followed by a blistering live take of the song from Philadelphia, PA in 1982. The 12” dance mix was issued as a radio promo in the USA.
Video Section
Selections from The Old Grey Whistle Test
Elephant Talk (recorded live at The Venue, October 1981)
Frame By Frame
Indiscipline
Elephant Talk
2-4 recorded at the BBC, March 15th 1982, introduced by Anne Nightingale
For some unknown reason, the studio recording of ‘Elephant Talk’ was grafted on to the live performance of the BBC film. It’s possible that the audio recorded at The Venue proved unusable.
Music by King Crimson, elephantosity by Belew
Published by UMG Music Ltd.
DVD Design & Layout by Claire Bidwell at Opus Productions Ltd
DVD Authoring & Assembly by Neil Wilkes at Opus Productions Ltd
DVD QC testing by Jon Urban, Bob Romano, Bob Squires, Tim McDonnell & Chris Gerhard
Audio tape transfers by Kevin Vanbergen at FX Copyroom
Video Tape Transfers by DGM tape Archive: Alex Mundy
Package Art & Design by Hugh O’Donnell
Compiled & Coordinated by Declan Colgan for DGM, with input & suggestions from Sid Smith & Steven Wilson
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Starless & Bible Black 40th Anniversary Edition
:: Posted by Sid Smith on Wed., Aug 3, 2011
Here's the details for the 40th Anniversary Editions of Starless And Bible Black.
Starless And Bible Black
The sixth release in the King Crimson 40th Anniversary series.
An experimental hybrid of live material and studio recordings, Starless sits between the landmark releases, Larks’ Tongues In Aspic and Red.
*****
Coming as it does between the startling re-invention of Larks’ Tongues In Aspic and the far-reaching repercussions of Red, when it comes to assessments of the King Crimson canon, Starless In Bible Black has often been overlooked. Yet even a cursory listen reveals this to be a powerful record, brimming with confidence borne out of the band’s increasing mastery of the concert platform.
Though the public weren’t aware of it when it was originally released in March 1974, Starless And Bible Black was in essence largely a live album, an experimental hybrid of in-concert material (much of it improvised) and studio recordings. Often the two are so finely dovetailed together it’s difficult to tell them apart.
Only two tracks on the record (The Great Deceiver and Lament) were fully recorded in the studio. The Night Watch contained a live introduction, while the instrumental backing to The Mincer was excised from an in-concert improvisation with vocals overdubbed later. The rest of the tracks were taken from concert recordings from the UK and Europe with the audience carefully edited out.
Starless And Bible Black demanded the attention and concentration of the listener. Crimson’s audience responded to the challenge, making it a much loved album by the band. As with the other recordings by the mid 1970s line-up, the intervening years have seen the album’s reputation increase among fans & musicians alike, while the then unusual approach to using live performances as core elements of subsequent studio recordings has also become increasingly commonplace.
Robert Fripp once talked about an album being a love-letter and a concert a hot date. Arguably, Starless combined the best of both worlds, making it the most accurate representation of the band’s uniquely powerful mid-70s identity.
As with other albums in the King Crimson CD/DVD-A series, the stereo CD features a new stereo mix by Robert Fripp & Steven Wilson, while the DVD-A features 5.1 mixes of the album by Steven Wilson, high resolution stereo mixes of the original & new stereo mixes, the full Law of Maximum Distress parts 1 & 2 improvs with The Mincer in their original unedited form/running order, Lament, The Night Watch & Fracture from the same Zurich concert, (completing the show presented in part on The Great Deceiver boxed set), a 1973 live recording of the concert favourite Dr. Diamond & an audio restored bootleg recording of the played onceonly Guts on my Side.
The DVD-A also features live footage from New York’s Central Park in 1973 of Easy Money & the improv Fragged Dusty Wall Carpet the track that formed the basis of Guts on my Side.
* As a result of lost multi track tapes Trio & The Mincer have been up-mixed to 5.1 by Simon Heyworth & Robert Fripp.
Preorder now for 3rd October 2011 release DGM Mail OrderBurning Shed 1. The Great Deceiver 2. Lament 3. We’ll Let You Know 4. The Night Watch 5. Trio 6. The Mincer 7. Starless and Bible 8. Black 9. Fracture Bonus tracks: Law of Maximum Distress (parts 1 and 2) The Mincer improv Dr. Diamond Guts on my SideDVD Content
Starless And Bible Black
24/96 MLP Lossless 5.1 Surround DTS|9624 5.1 Digital Surround
The Great Deceiver (Wetton, Fripp, Palmer-James) Lament (Fripp, Wetton, Palmer-James) We’ll Let You Know (Cross, Fripp, Wetton, Bruford) The Night Watch (Fripp, Wetton, Palmer-James) Trio (Cross, Fripp, Wetton, Bruford) * The Mincer (Cross, Fripp, Wetton, Bruford, Palmer-James) * Starless And Bible Black (Cross, Fripp, Wetton, Bruford) Fracture (Fripp)
Mixed and produced from the original multi track tapes by Steven Wilson and Robert Fripp Mastered by Simon Heyworth and Robert Fripp at Super Audio Mastering, Devon, assisted by Andy Miles Tracks marked * *Upmixed to 5.1 from the original stereo masters by Simon Heyworth and Robert Fripp --------------------------------------------------------- 24/96 MLP Lossless 5.1 Surround DTS|9624 5.1 Digital Surround Easy Money Taken from the album “The Night Watch” Mixed and produced from the original multi track tapes by Steven Wilson and Robert Fripp
--------------------------------------------------------------------------------- 24/96 MLP stereo 24/48 LPCM stereo
Original album 2011 stereo mix The Great Deceiver (Wetton, Fripp, Palmer-James) Lament (Fripp, Wetton, Palmer-James) We’ll Let You Know (Cross, Fripp, Wetton, Bruford) The Night Watch (Fripp, Wetton, Palmer-James) Trio (Cross, Fripp, Wetton, Bruford) * The Mincer (Cross, Fripp, Wetton, Bruford, Palmer-James) * Starless And Bible Black (Cross, Fripp, Wetton, Bruford) Fracture (Fripp) Mixed and produced from the original multi track tapes by Steven Wilson and Robert Fripp Mastered by Simon Heyworth and Robert Fripp at Super Audio Mastering, Devon, assisted by Andy Miles Tracks marked * *Produced by King Crimson – taken from the original stereo masters (30th anniversary mix) Mastered by Simon Heyworth and Robert Fripp
Original album 1974 mix, 30th anniversary remaster
The Great Deceiver (Wetton, Fripp, Palmer-James) Lament (Fripp, Wetton, Palmer-James) We’ll Let You Know (Cross, Fripp, Wetton, Bruford) The Night Watch (Fripp, Wetton, Palmer-James) Trio (Cross, Fripp, Wetton, Bruford) The Mincer (Cross, Fripp, Wetton, Bruford, Palmer-James) Starless And Bible Black (Cross, Fripp, Wetton, Bruford) Fracture (Fripp)
Produced by King Crimson
Mastered by Simon Heyworth and Robert Fripp
24/48 LPCM Stereo Zurich Volkshaus: November 15th 1973 Lament (Fripp, Wetton, Palmer-James) The Night Watch (Fripp, Wetton, Palmer-James) Fracture (Fripp) Improv – The Law Of Maximum Distress: Part One (Cross, Fripp, Wetton, Bruford) Improv - The Mincer (Cross, Fripp, Wetton, Bruford, Palmer-James) Improv – The Law Of Maximum Distress: Part Two (Cross, Fripp, Wetton, Bruford) 1 – 4, 6 mixed by Robert Fripp, Tony Arnold & David Singleton, Produced by Robert Fripp 5 audio restoration to audience recording by David Singleton and Alex R. Mundy at DGM Much of the Zurich concert was presented as part of “The Great Deceiver” 4CD boxed set overview of King Crimson live1973/74 (since reissued as two double CD sets). Tracks 1 – 3 were excluded from that set. ‘The Mincer’- the mid-section of ‘The Law Of Maximum Distress’ was extracted from this concert and ovrdubbed for the original “Starless and Bible Black” album. The multi-tracks for this extract remain, stubbornly, unfound. A more recently discovered bootleg audience recording of the ocncert, when restored, allowed DGM to reinstate the original version of ‘The Mincer’ into its original context as performed, between the parts of what would become ‘The Law Of Maximum Distress’. The difference in audio quality between the tracks is much reduced as a result of the restoration.Additional Tracks We’ll Let You Know (Unedited from “The Great Deceiver”) Dr. Diamond (Live, June 23rd 1973, Richards Club, Atlanta, Georgia) Guts On My Side (Live, March 19th 1974, Palazzo dello Sport, Udine, Italy The Night Watch (Single edit – stereo) The Night Watch (US radio single edit – mono) 30 second radio advert 60 second radio advert 1 mixed by Robert Fripp, Tony Arnold & David Singleton, 2, 3 audio restoration to audience recording by David Singleton and Alex R. Mundy at DGM 4 Produced by King Crimson 5 Reduced to mono without knowledge of or reference to the band ‘We’ll Let You Know’ was an improv taken from a concert on October 23rd 1973 in Glasgow. The original piece (as presented here) is slightly longer. ‘Dr. Diamond’ was a concert favourite from 1973 onwards, though never featured on a studio album. The 1973 performances differ somewhat from those in 1974. ‘Guts On My Side’ was, to the best of our knowledge, only performed once by the band in 1974. The song grew out of the improv ‘Fragged, Dusty, Wall Carpet’ (see video section). The version presented here is a composite of two audience recordings that were layered together, mixed & mastered at DGM in 2011 by David Singleton & Alex R. Mundy. ‘The Night Watch’ single was issued in several countries. In the UK it was issued prior to the album. It is not clear that anyone in the band ever approved this edit prior to release. The American mono mix – almost certainly a ‘fold- down’ of the stereo edit as no mono master was mixed by the band – was issued to radio stations. No member of the band would have been aware of this. The radio adverts for the US & UK adverts were discovered in tapes returned to DGM some years ago. Video Section
Central Park, New York, June 25th 1973 Easy MoneyFragged, Dusty, Wall Carpet.King Crimson shared a concert platform in Central Park 1973 with fellow Atlantic artists Black Oak Arkansas. Both sets were filmed for promotional purposes by Atlantic Records with ‘Easy Money’ edited & widely distributed. The balance of the King Crimson performance, if filmed, has not been found, although a few seconds of a performance of ‘Larks’ Tongues in Aspic (part II), with the full credits for the filming of King Crimson and Black Oak Arkansas have been seen online.DVD Design & Layout by Claire Bidwell at Opus Productions Ltd
DVD Authoring & Assembly by Neil Wilkes at Opus Productions Ltd
DVD QC testing by Jon Urban, Bob Romano, Bob Squires, Tim McDonnell & Chris Gerhard
Audio tape transfers by Kevin Vanbergen at FX Copyroom DGM tape Archive: Alex R. Mundy
Package Art & Design by Hugh O’Donnell
Compiled & Coordinated by Declan Colgan for DGM, with input & suggestions from Sid Smith, Steven Wilson & Alex R. Mundy
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Cross In Italy
:: Posted by Sid Smith on Wed., Aug 3, 2011
David Cross, recently returned from touring in Italy, has updated his online diary.
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Japan 81 Tour Bundle Goes Live
:: Posted by Sid Smith on Mon., Aug 1, 2011
King Crimson's historic first tour of Japan in 1981 is now available to download either in individual concerts or as a bundle - all six concerts from the archives for just $30 FLAC and $24 on MP3. The tour bundle starts here.
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Are You Talking To Me?
:: Posted by Sid Smith on Mon., Aug 1, 2011
My thanks to Miss Terry for sending me this photograph originally posted onto Toyah Willcox's Facebook feed. Toyah's caption reads "Robert fripp has retired from touring to do security for the wife. Vicious Security :-)"
Vicious indeed! Any guestbook visitors care to hazard a guess what helpful security utterances might be heard upon encountering this dodgy-looking door geezer? Answers on the guestbook please. No prizes - just fun.
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Stick Man Giveaway
:: Posted by Sid Smith on Sun., Jul 31, 2011
There's a chance to win a copy of Stick Men's Absalom signed by Tony Levin, Markus Reuter and Pat Mastelotto.
All you need to do is tell me the name of Stick Man Markus Reuter's epic hour-long composition for touch guitars, flute and string quartet. If the name of said ditty isn't on the tip of your tongue then take a look at this site for a clue.
Once you've done that, pop your answer in an email headed STICK MEN to competitions@dgmlive.com.
The winner will be announced on Friday 5th August. In the meantime if you don't want to wait to see if your name is pulled out of the hat then you can hear/buy Absalom now. You can also read my take on the album over on the blog.
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