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  Curious January 29, 2013
Written by JordanClifford
It’s curious to me, as it should be to anyone, to see a 2 minute Easy Money followed by a long improv. Why do they separate this one as a separate and re-titled improv instead of just billing it as a long Easy Money, which it is. It is distinctly an Easy Money jam. I’ve often listened to it on its own and it’s impossible to not know what song it’s coming out of/still in.
I’m not sure I’m complaining or saying it as a criticism. I don’t feel one way or the way other about it, but it’s just interesting.
Fantastic August 22, 2011
Written by DarrylDardenne
Not only is the performance wrought with tension, which means in this case the musicians are paying attention to each other, but the recording sounds as if the band is playing right in front of you in a small theatre. Its intimate and intense like few other recordings offered from this year. There’s a reason some of this was included in The Great Deceiver box set.
I was AT this show.... June 15, 2011
Written by JackK777
It was a very funny situation cause I wasn’t a fan of the earlier KC (the only thing I’d heard was "Court of the Crimson King") and I went because it still sounded like a cool thing to do and friends were going. The opening act was a one hit disco wonder named Gino Vanelli. The place was packed with frat and sorority kids there to hear him and when he was done, they all left. And good riddance. That left no more than about 150 of us freaks sitting cross legged on the floor of this gym, and mesmerized by the dual mellotrons and David Cross’s violin and of course Fripp’s guitar. It was utterly magical. Certainly among the best concerts I’ve ever seen and I’ve seen a LOT of good concerts...
The perfect accompaniment to Asbury Park July 1, 2010
Written by Slipstream
King Crimson rises with greater rage when under pressure and this gig is the perfect example of such situation.
Everybody was disgusted with some aspect or another and the tensions were spoiling the general happiness, but the most intriguing is the fact that it doesn’t seem to spoil the performance. "Larks’ Tongues In Aspic - Part II" begins a bit shy but soon is dominated by angst and transforms itself into one of the best versions of the whole tour; "Lament" finds John Wetton’s voice in fine form and Bill Bruford in an improvisation spirit; "Exiles" is a special one, with two heartfelt solos by Robert Fripp and an inspired David Cross taking the piece to beautiful places; "Is There Life Out There?" is scary, particularly during the middle section, and ominous beyond compare (even by this line-up’s standards), easily knocking out "Asbury Park", "A Voyage To The Centre Of The Cosmos" and up there with "The Golden Walnut"; "Easy Money" showcases Fripp’s spirit on that particular night, frail and tired but inventive and angry, and the leading improv with it’s quiet and contemplative personality confirm the first impressions while give Cross the chance to shine; "Fracture" and "Starless" are worth the download itself, the first is technically flawless, with a powerful drum-playing by Bruford, whilst the second, with punchy Wetton bass work, seems to be a fitting way to end the night, "Schizoid Man" would spoil the mood.
And if you thought the recording’s qualities were only historic and musical you’re wrong, the multitracks allow it to be crystal clear while maintaining it’s warmth. This indeed the most beautifully recorded of the 1974 shows.
Burning from start to finish, this show gives Asbury Park a good run for the money and is well worth the purchase.
Underappreciated Show July 9, 2008
Written by nasmformyzombie
This is an underapppreciated show. Granted, it doesn’t have quite the energy or power of the Asbury Park gig, but the band is in good form, Fripp’s opinion of the show at the time notwithstanding. Larks’ Tongues Part II, Lament and Exiles are typical of this period, muscular and confident. The boys are in supersonic overdrive intergalactic space boogie mode on the improv Is There Life Out There, and Easy Money’s improv section takes on a jazzy sensibility. But here’s the surprise: the show’s closing numbers, Fracture and Starless, are superior here to the Asbury Park gig; more energy, better focus. And one more thing: from a sonic perspective there is not a better recorded show of 1974 Crimso available. If the boys had only come out for the Schizoid Man encore, this would be a gig for the ages.
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