I have picked up the first 3 of the Stormy complications so far and have been quite pleased with them. I do wish the description for the collected sets included hyperlinks for each track to the original listing so that I could dig up the track by track details a bit more easily as I go through the album. For many of these fragments and excerpts the details would give me a lot more context for when I am listening to. Trying to search for the original listings on the site one by one can be challenging. Musically I fully approve, but my type A personality craves those additional details and context. Eventually I will pick up all of these complications.

With the download version the track titles don't display in my streamer.

This just arrived in the post today, and I confess to having only just now completed the first listen through of disc one. Intense, bright, and tightly woven. This is all new and fresh, and a pure pleasure to the mind. The percussion work is truly brilliant, and when you think that Mr. Levin is able to provide such equally brilliant bass work right there alongside those three world-class percussionists, it is pure amazement and wonder! Everyone is very much on point. Mr. Fripp never ceases to amaze, and having once again put together an assemblage of fine musicians capable of unifying into Krim, the timelessness of this music is ever apparent. OK, time to stop writing and go back to completing the first listen-through.

It has been nearly 34 years since I attended this show. I was 21 at the time. This was my first King Crimson concert having just recently been turned onto them by a friend. I knew of their song "In the Court of the Crimson King" from local radio. I also was peripherally aware of the single "Three of a Perfect Pair" from a rarely rotated music video on MTV. After listening to the Beat and then Three of a Perfect Pair albums I was hooked on this incarnation of the band. When they toured and were coming through Philly it was a "must attend" event for me. I didn't know that Modern English was opening for them until we were driving the show and heard it announced on WMMR (local FM rock station). At the time, I had a general disdain for the early 80s new wave bands — Modern English, Flock of Seagulls, Thomson Twins, et. al. In the venue there were two distinct crowds — kids into new wave coming out to see Modern English and prog rock fans coming to see KC. During the Modern English set, the new wave kids were bopping along and the KC fans were respectfully amused by the new wave kids. During the set change, the amphitheatre filled up with late arrived KC fans. King Crimson came on stage and started off with Larks Tongues in Aspic pt III. By the end of KC's third song, all of the remaining kids who came to see Modern English were just standing there, jaws hanging open, wondering what the fuck they were seeing and hearing. :-D After one of their songs — I couldn't remember which, but the description says it was Industry, though I thought it was earlier in the show —Belew comes back to the mic and almost sneering says, "So... you like the weird stuff do you?" I immediately caught it as a shout out to the Modern English fans that were still in the crowd! And all of the other King Crimson fans that caught on to what Adrian meant went crazy laughing and cheering! Oh, and the music, as usual, did not disappoint!

The Project six shows are my first downloads as part of the 1000 club and as a fan of the original projeKcts and early 00s Crimson this seemed like a good place to start. Line up wise P6 is P2 minus Trey Gunn, in this formation the backdrop is filled with Robert's soundscapes and solos,while Adrian plays drums/triggers bass lines with his V Drums (I assume). There are some stretches of the show where you sense the tentativeness mentioned in the description even so this is exciting live music, the three long pieces really give P6 the chance to go out there. Looking forward to hearing how the band develops these ideas in the next three shows. On another note is anyone else reminded of Michael Jackson's 'Billie Jean' on the two 'Time Groove' tracks?

If you love the creative process that shepherds a song from a cocktail napkin or scrap of paper to fruition, then "Epitaph Take Two" is as close as you'll get to sitting in the control room at Wessex Studios as ITCOKC was coming into existence. A bass/drums/acoustic guitar snapshot of where they were at the time that, by its very nature, allows you to wonder about what it must have taken to get this one track the rest of the way there. The time, patience, persistence...