A truce of sorts had developed between Fripp and the rest of the band as they criss-crossed America. That said, the differences were evident when speaking to Boston based music writer, JP Donlon. “There are two schools of thought” mused Ian Wallace. “One is committed to technique, discipline and virtuosity for its own sake. The other believes that the feeling of a piece, the feeling we give it, is more important. Basically the difference is between Fripp and the rest of us.”
The gulf between the two camps was not one which could be repaired at this stage. Speaking to Donlon, Fripp acknowledged that the band was effectively finished which meant he “would have to start all over” in figuring out how to proceed further.
We can hear a fleeting glimpse of the kind of start over Fripp was contemplating during the bluesy raunch of Formentera Lady’s instrumental section. As Mel Collins’ sax barrage subsides, Fripp throws out the fast angular lines he would later refine in Larks’ Tongues In Aspic Part One.
Despite the personal differences that existed in the band, there are plenty of musical fireworks which the Boston audience are quick to reward with spontaneous applause during Pictures of a City, an exceptionally blistering rendition of Sailor's Tale, and a frankly astonishing version of Schizoid Man. Whilst Fripp’s fluid solo here is enough to make jaws drop on its own, Burrell and Wallace produce some off-the-cuff unison work whilst the guitarist is in full-flight, brilliantly upping the excitement. Not surprisingly after this,the funky blues-scat of the improvised encore and the comedown of Cadence and Cadence, the band sound all blown out.
This concert was first released in 2009 as King Crimson Collectors Club 40.
A truce of sorts had developed between Fripp and the rest of the band as they criss-crossed America. That said, the differences were evident when speaking to Boston based music writer, JP Donlon. “There are two schools of thought” mused Ian Wallace. “One is committed to technique, discipline and virtuosity for its own sake. The other believes tha...
It's an audience tape, but it's more listenable than the Winterland one, for example. This rendition of "Pictures" is nice. The lyrics section on "Formentera" is a bit fast for my taste, but the instrumental section is great! Around the 6:40 mark on "Cirkus", the saxophone isn't too audible, and shortly afterwards the piano stops - that slightly derailed my enjoyment, but I liked that at the very end the Mellotron wasn't changed to flute preset; interesting variation. And, this is one of my favo...
It's an audience tape, but it's more listenable than the Winterland one, for example. This rendition of "Pictures" is nice. The lyrics section on "Formentera" is a bit fast for my taste, but the instrumental section is great! Around the 6:40 mark on "Cirkus", the saxophone isn't too audible, and shortly afterwards the piano stops - that slightly derailed my enjoyment, but I liked that at the very end the Mellotron wasn't changed to flute preset; interesting variation. And, this is one of my favourite readings of "Groon" - in particular, the short section after the "head" and before the band get grooving, makes me wish that this had been a soundboard recording. The drum solo was quite short and without effects, and the band went straight into "Schizoid man"; speaking of which, it sounds like they had fun with it that night. Not bad at all!
