April 29, 1974
	Stanley Warner Theatre    Pittsburgh, PA

Catch Krimson Fever...Buy this show!   March 24, 2011
Written by TimCleary

This show demonstrates that this lineup was probably THE premier band of the 70s, just as the original lineup was probably the premier band of the 60s. Yes, the lyric on Dr Diamond is almost impossible to sing at this pace. I have a feeling that it may be actually impossible to sing it and play anything at all at the same time - I defy any John Wetton detractor to either play his basslines at his level or sing his vocal line at his intensity... I won’t ask for both, as I doubt many could respond. From the moment The Great Deceiver begins until well after the final notes of 21st Century Schizoid Man die away, this show is spellbinding. Sometimes it’s even better than that. This night’s renditions of Lament, Fracture, The Night Watch, Starless, LTIA2 are all stellar. 21SCM is played by the entire band so far behind the beat I have no idea how they held it together at all, let alone played it with at least the intensity of the later Double Trio versions. All in all, this show is more metal than metal, more industrial than industrial; and contains probably the best live blues/funk/rock backing ever recorded - and these are just the instrumental parts, let alone the solos. If you like music, even if you’ve never heard of King Crimson - grab a copy of this show. As far as I’m concerned, this is THE SHOW to get. I first heard some of the tracks from this gig on a King Biscuit Flower Hour recording and spent quite a while tracking it down. I thought that recording was totally amazing, and it only had three tracks (from memory) Lament, The Night Watch and Starless. When the announcer somewhat breathlessly interrupted at the end of Starless describing ’an incredible musical journey from King Crimson’ he was only skimming the surface. This recording is much, much better - more clarity, more bass, more tracks, more of everything... People say that this night was inconsistent - I say its (very minor) flaws simply serve to highlight the superlative musicianship of all involved. Recovering from a ’flub’, such as John Wetton’s slurring or stumbling over lyrics, demonstrates enormous playing and listening skills. Even ’poor old’ David Cross, who spends most of the night relegated to playing mellotron parts (which are still amazing) acquits himself not just well, but spectacularly. If ten stars were available, I’d need still more to rate this concert and recording accurately.

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