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  a wave from the past June 7, 2007
Written by 48Crash
Since I was there at the time, it’s a strange experience to get to revisit yourself. In my memory, this was even stronger than what we can hear; the athmosphere very intense and the band (to quote one of my companions) ’hotter than Satan’s bollocks’. Whatever became of the Martian Schoolgirls? I remember the bass player as quite distinctive.
Glimpse of a Raging Performance April 29, 2006
Written by Mr_Dapto
I just sat down to listen to the first track off this before going to bed. 50 minutes later the second wild performance of Inductive Resonance comes to a screaming conclusion and bed seems even more distant.
The songs here have much more energy than the Thrang bootleg, and are of course fairly different beasts to the nice and tidy LOG studio album, especially the overpolished 1985 remixes.
I would specially elevate "Christian Children...". This has never made much of an impression on me before, but here it kicks big time! Eye Needles also sticks out (sounds painful) with Fripp taking the lead in a few new directions - and they’re all good.
The reason I’m giving this only 4 stars is the sound quality, which is pretty dire. Before listening to this tonight I spent nearly 3 hours remastering it to bring it up to snuff. The original FLACs lack any sensible bass below 110Hz. The treble is lost, especially above 8kHz. The whole program is compressed to blazes and I suspect it has also been a little over-zealously denoised. There are subtle channel drop outs (more audible if you lift the treble and decompress as I did), and a hint of wow & flutter on some of the longer notes. To cap off the list of woes, the sound from the band is nearly in mono (only noises closer to the mike reveal it is a stero recording). All this is completely understandable given the source, but unless you don’t care about sound quality, the untreated FLACs really need a pounding volume to engage.
In short - a fantastic performance and I wish I could have been there!
The Power of Gurdjieffian Metaphysics February 2, 2006
Written by harmonicscarf
First of all, I enjoy this recording immensely. Reading the posted notes about it got me very excited, so then I just had to put my pet parakeet aside and order the digital information. This gig is a bold statement and it is clear that Fripp took this band on a serious ride. He ’dropped in’ some complicatedly complexified concepts including important secrets of 7-ness, and, well, just the right amount of glistening wisdom on "Trap". Highlights: 1. "Boy at the Piano" is very rad, compelling and more or less totally cool. I feel like it should have been, like, somewhat of a number 1 hit. 2. the menacing guitar on "Thrang...", I mean, it just crawls up my spine like a three-headed Cobra-Dragon!!! 3. Fripp speaking about Gurdjieffian Metaphysics. I can only laugh at hearing him saying ’fuck’. His ’dirty’ mouth always inspires me. I will continue with this review, but it will turn now toward the contemplation of Mr. Fripp’s mysterious activities after Crimson had temporarily forever dissolved in 1974. I have many questions about this time. The first one is: Did Fripp actually meet JG Bennett ’in the flesh’ (sorry, is that a Blondie reference?). One could easily be overtaken by Bennett’s knowledge and candor simply by listening to his taped lectures, much the same way as I have in listening to Fripp’s comments here and there during recorded concerts etc., but then actually being in the presence, breathing the same air, was much much more. I finally got to witness the master this past october in pittsburgh, even asking him a question that, in retrospect, could have been replaced by one that was more corruscating and hotly burning I’m not suggesting that I know what it would matter for someone else to have such an experience, but I do think it is very crucial for certain transmissions. Sure, many swine can swim through a lake of pearls and remain oblivious, but it seems to be abundantly evident that something massive and utterly necessary took place during Fripp’s retreat into real ’realness’. And then he goes to NYC, a place for which he must have felt a certain contempt(ie. Epitaph box,a man, a city) What a brillant move!!! I can only think that this manooover was guided-’from above’, but of course with severe strategy and contemplation. I believe this corresponds to the idea of intentional suffering because one can notice how the results of, let’s say for instance, ’infiltrating’ the punk scene, stimulating or adding to the creative pool in New York at the time, caused a certain ripple that was unknown to most people, the work of a true disciple. Now, it may be argued that the solo on ’Fade Away and Radiate’ doesn’t matter that much in the long run. I would say it’s just a small symptom of a larger, more perfected idea. I have lost my concentration and must not write any more. I hope to continue this thread when I share my thoughts on Robert Fripp’s "Love Cannot Bear"
Fripps sounds December 24, 2005
Written by orrason
I have written a review previously here on this FLAC. I would however like to ask the community here the following question (questions) What power chords is Fripp using in dislocated (the screaming chords) ? How does he get this "sailors tale" sound ? I play a Gibson Les Paul which I believe is a minium requirement besides effects and playing ability. Now if Fripp will not comment I ask if someone else is willing. This could of course be Fripp´s trade secret. Regards Örn
Nice & Raw December 23, 2005
Written by mflaherty
The sound quality is good, the performance excellent. The band is very tight here, and Fripp’s guitar has a nice raw feel to it. However, this recording is not drastically different than the official release, which to my ears sounds better; if you don’t have it, I’d say go to the main shop and buy it first. If you love it, you’ll be back for this one. It’s a lot of fun.
Original power December 22, 2005
Written by orrason
This bootleg is just so powerful. Here you can hear Robert in fire mode - so seldomly heard these days. I just love to listen to him on this one and "can´t get enough". This music is valid now and not at all dated. it soumds fresh and should be performed live again. This is what Projeckt 1 could have done but never dared to go to. I like this rawness. I would like to hear Robert perform with a basic rhytm section like this one. Robert - can you still enter fire mode for a whole concert like here ? Is that not approriate when one is turning 60 (sorry Robert for this one) It´s more powerful than the live CD of LOG, that CD sounded a little thin and the guitar was to back in the mix. Roberts guitar can well live more front up due to the quality of playing. Best regards Örn the stonker broadband builder from Iceland.
LOG Jam! December 20, 2005
Written by mudfish55
I for one always thought the LOG were both fun and educational. Back in the day I heard an unofficial LOG live show and was just completely taken with the groove, energy, and sound. It clicked for me in a way the studio recording did not. This show also strikes me the same way. It is a great addition to the LOG cannon and underscores the really great concept that the internet and DGM Live are! Thanks and keep ’em coming.
Thinking, Feeling, and Frugging December 20, 2005
Written by barrystock
I always knew that there was more to the League of Gentlemen than the official studio release, and the live recordings confirm that. In the studio release, "The League of Gentlemen", it’s the sound of a tinker-toy band on a leash, perhaps under the spell of an "Audio Verité" aesthetic, and certainly other factors outside of my awareness.
In the live recordings that I have heard, two official and one unofficial and perhaps about-to-be-becoming official(?) due to this outlet, that potential is revealed. What a kick-ass ensemble this was, and a culmination in Robert’s playing of the post-Claymont period through to the formation of Discipline/King Crimson: a one-man angular man-on-a-mission, conjuring alternately petulant clean single-line melodies and distorted tri-tonal shrieking runs which informed not only my own playing but certainly the upwelling of underground rock bands soon to appear in the U.S.
What I find so appealing about the League of Gentlemen is the limitations of the ensemble: a simple trap kit, a Fender Precision, an electric organ, and an electric guitar. Where can you go within that framework, adding the condition that it is a "dance band"? Dance music is simultaneously hypnotic and driving, freeing your mind so your ass can follow. How to free the mind? Interesting, shifting textures, provided by the guitarist. How to free the ass? A kicking rhythm section, bass lines locked in sync with bass drum. Emotional flavor? The organ, coming up underneath with whinging, cheesy, faux middle-eastern tones that would drive you nuts if they weren’t emerging from Barry Andrews’ dancing digits.
Nothing ever again sounded like this. It is a product of its time, "New Wave", retrospectively fueled by Krautrock (let us now praise Jaki Liebezeit and Co.), but timeless, and harnesses a kind kinetic energy I’d jump around in public to at the drop of a hat.
More! More! More!
Barry Stock
Hollywood, Florida, USA
12/20/05
lead guitar December 20, 2005
Written by Crimsoo
Fripp . leads the LOG cause they can’t play . Fripp’s lead lines BLOW his Bowie and Eno ,S*** away.
Hallo Robert Brill December 19, 2005
Written by RupertL
Well, what a nice surprise. And what a fantastic download/CD! Mixing postpunk splintered rhythms with discordant organ and fluid & inventive guitar, this is even better than the offical live recording previously released. This fully shows not only the energy and exploration of the band but the wit and wisdom of a certain guitarist. I can’t really praise it highly enough - it certainly shows today’s postpunk-revisited crowd a thing or two. And as for the sound quality? Well, turn it up loud and pretend you’re at the gig. But no flash photos mind! :)
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