Written by Peter Warsop
12 December, 2017
re. Belewbeloiding
Keith Ewing - the portion of the Whiskey & Pancakes review that you mention is probably a journalist's extrapolation based on this entry in Robert Fripp's diary: I disagree with that writer's tally; the present King Crimson has no front-man which, to me, feels like an unusual positive for a rock(?) outfit in providing a completely ensemble sound and appearance. Jakko's fine vocals are no more, or less, important than any of the band's other musical elements.
Written by Keith Ewing
11 December, 2017
Of course we all know that journalists can be a little cavalier, at times, with the facts but did anyone catch this nugget, perhaps unsubstantiated, at the end of the Whiskey and Pancakes review? - "Apparently, just recently, Fripp and Belew have finally made up and buried the hatchet, even suggesting that Adrian may re-join the fold in the future, which is insane to think they may then have 3 guitarists, two frontmen, and 9 members."
Written by gasmrv
10 December, 2017
Live in Rome 1973
Yes, thank you indeed, Mr Stormy! Despite the sonics, this download is a must-have. Fracture alone is worth the price of admission; this is one of the very best renditions of this piece — the energy in the last 60 seconds of the piece is simply breathtaking. I wonder when we'll finally be able to hear at least one performance of Fracture from last year's European tour... It'd be great if the current incarnation of the band attempted to play FraKctured...and LTIA pt IV.
Written by Michael Garnice
10 December, 2017
King Crimson is mentioned in novel
King Crimson is mentioned in The Thirst, the latest in a series of the popular Harry Hole novels by Jo Nesbo. Throughout the series, Norwegian police officer Hole muses about the music he likes. Here, he ponders Bad Company: “Given that the group contained members of Free, Mott The Hoople and King Crimson, there was no way it was ever going to be bad”
Written by Sean Barnes
10 December, 2017
Can't get enough Tales!
The new boxset is amazing! I have to admit that I paid little attention to this lineup previously, but wow, now I am blown away by the performances. Especially Mel Collins proves what a tremendous asset he was (and now, is again) to the sound of this nightly Crim. I've become almost obsessive about listening to these shows now. I can't get enough of these shows. 'Twould be a great thing to have a tour pack download of just the shows not included on the CDs in the box (and the other boxes, for that matter). It seems overkill to download the 71 and 72 tour sets with all other duplication on the box, but doesn't make economic sense to download the missing shows on at a time. But wanted to let you know that this box is amazingly well done. All of the boxes have been great packages, but this is the first one that has made me a huge fan of an area of Crim history that I have neglected before. Bravo!
Written by Emory Anderson
09 December, 2017
Project X
Hey you: yeah, you. Why are you part of the giant conspiracy that refuses to talk about the excellent and innovative Project X record? I just put it on again after not listening to it for a year or two, and there is some really innovative and, at times, even whimsical stuff on there. It's free-wheeling and really cool. And yet no one really talks about it, not even the bandmembers much. It's like it never happened. What up? Is it considered a "dead end" material-wise and therefore of no real interest? Fess up.
Written by Andrew Thomas
Honourable and highly [something good that rhymes with thrakked]
"Not honourable?" Heck nah. The third night of the warm-up finds the material and the momentum finally taking flight for real, coming right out of the gate with an increasingly confident Dangerous Curves, coupled with an exceedingly good rendition of Frying Pan (with Belew's outro solo quite on fire). And what is this, I find myself actually enjoying Heavy ConstruKction as played by the full Crim, even more because tonight they're letting the Happy stomp take over the piece. Happy actually seems pretty full-formed tonight, moving beyond embryonic riffing into a song structure that's not far from finished. This night also gives us a shockingly impressive Thela, and, a real treat, the first (and very strong) appearance of Virtuous Circle. The only complaint to be made is that focus lags a bit toward the end of the set - Oyster Soup falls into the good-not-great area, and Level Five, TCOL, and Larks' IV don't have the same take-no-prisoners spirit of the early numbers, even if the performances are steadier than they were on the first two nights (although Krimson Blue sounds quite good even as they're still toying around with it). But the encores restore the show to excellence, with Thrush's heavenly outro lifting the band into a joyous rendition of Heroes to end the night. There is an exuberant spirit to this show, and it's the first of the 12th & Porter warm-up shows where the presence of the good fairy can be keenly felt.
Written by Michael Yaeger
All the music is new, whenever it was written
12-year-old Drumson Andrew and I just saw our fifth show of the tour. This incredible night at the Riverside Theater may have been the best. Please see my reviews of Minneapolis and Atlanta. Again, the Royal Package enabled us to get prime seats, avoid scalpers, and get a program signed by all 8 members. Iona Singleton was so pleasant greeting fans at the door. My new Crim buddy Steve Sanford, who I met at the F & F show in Austin, was seeing his eighth show of the tour. Also present was another Crimson diehard, my bassist friend Keith Norton from St. Paul. Then Punk Sanderson, er I mean David Singleton spoke about the business/ marketing part of DGM, and the “Vicar Chronicles”...please buy this whodunnit book filled with RF and Monty Python-type humor that exposes the dark side of the Music Business. Tonight, Bill Rieflin was the mystery guest. He isn’t playing on this leg of the tour, but will return in 2018. His wife Francesca Sundsten is the artist of the Cyclops Monkey Mind, and the wonderful art featured on the upcoming Uncertain Times European Tour. There was a question about whether KC would go on the Prog Cruise which Bill shot down. Could you imagine RF trapped on a boat trying to avoid over-zealous fans? Will there be a new studio album? The live stuff is so great that I hope for more concert releases. I wonder if Jakko has time to do 5.1 mixes. Have you heard what he did with “Thrak”? Will King Crimson ever make the Rock n Roll HOF? No, they’re too brilliant. Will Adrian will be in this band? DS makes it clear that he wouldn’t be a good fit for this version of KC. Mr. Fripp came on stage and asked the females and young audients what brought them to a KC concert. He remembered Andrew from the Atlanta shows. Fripp took photos of us...surreal! This eight-headed beast keeps accelerating. What is the LIMIT? IS there a limit for this band? My knuckles were sore from fists clenching. The level (9.1?) is set so high that attending anything non-Crimson will probably be a letdown. The drum-only features get more intricate. I’m happy they opened set one with “Devil Dogs” (after the lovely Islands Coda), and set two with “Hell Hounds”. Tony was shredding “Neurotica”. “LTIA1” and “LTIA2” back-to-back? Illegal in most states! The percussion interplay on “Indiscipline”, how “ITCOTKC” now slows down dramatically as the title is sung, “Lizard Suite”...Oh, my God... Mel Collins and his arsenal, “Easy Money” in which Jakko demonstrates his incredible range, the tear-inducing “Starless”, “Radical Action II” melding into “Level Five”, which keeps hammering through my brain, and another great version of 21st Century Schizoid Man with a primo Gavin solo that amazed all. A photographer was again caught in the act, which caused Robert to give his pointed-stick glare. This disrupts not only the band, but also us deep listeners. Other than that, RF appeared gleeful. He and Jakko seem as one. All of Fripp’s dedication over the years has led to THIS incarnation. The frontline of Gavin, Pat and Jeremy lock eyes and connect with the audience which makes it very special and personal. Was this the best show we’ve seen? It seemed there was even more energy given by band and audience alike, possibly because it was the last show of the tour. Incredible sound and a wonderful venue. The exiting audience was raving in rapture after being wonderfully assaulted for three hours in mind and body. I’ve just started listening to the “Sailors’ Tales” box set, and started with a ’72 concert at this theater! We happened to be staying in the same hotel and had chats with Mel, Bill, Jeremy, Chris, Tony; joking that if one of the drummers got sick they’d give Andrew a call, Jakko; talking about finishing a 5.1 mix of “Fish out of Water”. Gavin, who remembered Andrew from Atlanta, talked about drumming, marimba and the making of his brilliant ‘Cheating the Polygraph’. All were very kind, and I hope we weren’t overbearing. These encounters and concerts were so special for Andrew, the highlights of his musical education. Tour manager Dave Salt, “Here ya lucky little bastard” was apparently told by Jeremy to give Andrew a pair of his sticks. Thank you! Will “Starless and Bible Black” material be played in Europe? I can only imagine how great the arrangements would be. Thanks to the King Crimson/ DGM team, and especially Robert for his vision and perseverance. Our summer vacation is Stockholm and Oslo. King Crimson dates happen to coincide with ours...purely coincidental!
Written by Michael Meng
Great show! Improv I is absolutely incredible, one of my favorite KC improvs ever. Worth it for this alone. Thanks so much for making these shows available.
Written by David Leibovitz
Glad I'm not the only one...
Oyster Soup and Frying Pan are more than tongue in cheek pieces from the 00's Crim. Oyster in particular is actually a sneaky favorite track of mine from the band. Thanks to Mr. Stormy for a fresh perspective on this music. Re-ConstruKction or whatever it's called will certainly be one of my most prized musical possessions when it's someday released...
Written by David Carpenter
Changed My Life
I am glad for the chance to hear this show again. I was there that night, just a few days after my 17th birthday. At that time I think the only Fripp-related album I had heard was Larks Tongues. I still remember the first time I listened to that album. It was a Saturday morning, and a friend played it for me. I had never heard anything like it. When we heard that Fripp was going to play in Princeton, there was no question of whether or not to go. Alexander Hall is a beautiful, distinctive place. Hard to imagine a better venue for that tour. When we arrived a few minutes before the doors opened, Fripp was actually playing on the stage. We watched him through the windows. When they let us in, he was still playing, and continued to do so for a few minutes before walking off stage. I suppose he was just running a bit late for the sound check, but it was an unusual thing which made quite an impression. The 17-year-old me would hardly have been more surprised had Fripp levitated while playing. I had never heard Frippertronics prior to this show, but I fell for it right away. It was so different from any music I knew, like entering another world. (I did not yet know that the color of that world might be green.) Then there was the unusual element of having an evening which was a combination of music and basically lecturing. I certainly had not seen anything like that before, nor have I since. When I look back, this show represents a significant expansion of my understanding of what music could be. It hit me at just the right time. I believe this was a key moment in the development of what has become a lifetime of musical exploration. Yes, for better or worse, I credit/blame this show! This recording confirms my memory of the quality of the music that evening, and I am unironically glad that Fripp has made it possible for me to spend my hard-earned cash for the chance to relive that experience.
Written by Randall Hammill
A dynamic show with more than one surprise...
First off, I love this "middle period" of this lineup where they've really gotten the music down, but it's quite open and loose. Pictures in particular has that lovely loping jazzy feel and an almost comical "I can play quieter and extend the structure more than you" approach until you get to the build up into the blistering instrumental section. Boz's bass playing is exceptional in this piece, although his vocals sound oddly tired at points. Then to the always dynamic improv in the middle of the song. A completely different approach than the current lineup, and was definitely a piece that this band clearly made their own. The show as a whole is strong, really working the dynamics - listen to the segue between Formentera Lade and Sailor's Tale, which has some classic soloing from Fripp - and an almost inaudible start to Cirkus. Fripp's also dropping those signposts for future Crims. The larks' theme shows up at the end of Formentera Lady, and in the context sounds much more at home than most of the times it crops up with this line-up. You'll hear it again in Groon, again differently than how I've usually heard this band perform it. Aside from the surprise showing of Court, what I haven't heard before (or seen noted), is the appearance of The Night Watch progression at the very end of Groon.