This is the second of two performances in Detroit on this particular incarnation of Crimson’s first foray into the USA. Writing in the liner notes for KCCC 18 in 2001, Ian Wallace observes “Of all the live concerts of this band that I’ve heard so far, I think this has by far the best sound. Also it’s a sonic representation of the band at the peak of its powers, before the rot set in and the music changed.”
David Singleton notes “The audience link after Pictures has been repaired. A few obvious faults remain. The introduction to Ladies of the Road is missing, and there is a break in the middle of Groon, where the original tapes were changed. Lady of the Dancing Water remains an incomplete fragment.”
Of the bluesy rendition of In The Court Of The Crimson King Wallace explains its origins. “Backstage during the applause for an encore we plotted. Sick of having to listen to people shout out Epitaph and In The Court we retaliated. ‘So you want In the Court of the Crimson King do you? Well take this, you bastards!’ What you hear next is a hilarious and unique version of a familiar song that could be titled In The Court of the BB King. Did they get it? I doubt it. My reference [on the tape] to being an All American Boy was no doubt some sarcastic allusion but I can’t remember was it was now. Still we had fun.”
Superficially a good snapshot of the band just a couple of days into their first American tour since Crimso ’69s ill-fated outing, closer inspection reveals an unfocused quality to the gig,though this might be down to the crowd as much as the band. “If you’re clapping, clap in time – don’t muck us about” Boz tells the audience as he mangles the first verse lyric of Ladies’. Even the normally stellar Mel Collins sounds crestfallen here. Though reviving after Fripp’s comedy-routine intro to Groon he neglects to offer a solo on a truncated Schizoid Man. The band’s frustration at remaining in the shadow of ‘69 is evident during Fripp’s initially diplomatic attempt at crowd control. Boz on the other hand just tells those baying for Court and Epitaph to “shut up for fuck’s sake off.” A sarcastic Ian Wallace asks “are you satisfied?” after a particularly belligerent blues-based demolition derby of Court. If ever there was a case of band versus audience then this is it. You decide who won.
