***King Crimson Corner***

[GregK]

from the March DGM newsletter, you can get a free KC concert from dgmlive.com.

And is that wasn't enough, you can download an entire concert from KC in 1982. That way you can see for yourself how easy downloading is at no cost whatsoever - cover artwork included!

I haven't checked this out yet, but thought it might be of interest to some of ya.

It's the remaster from the Collector's Club 16, which was sent out at the wrong speed. We were promised a free remaster back in '02, which never happened until this download, last November. It's a good show, but the sound isn't anywhere near high quality

[WD45]

Just picked up the 2CD set with the Mainz and Asbury Park shows from 74 and my mind has been officially blown.

[Guest donald petersen]

you don't like asia but what about UK?

[DTMX]

Just picked up the 2CD set with the Mainz and Asbury Park shows from 74 and my mind has been officially blown.

Small world - I did the same thing last week. I knew that there was more to the Asbury Park improv that the USA album was letting on!

[Aggie87]

I'm on my second spin of The Collectable King Crimson Vol 2. This one includes the first performance from the Fripp/Belew/Levin/Bruford lineup, at Moles Club, Bath, 30 April 1981. They hadn't begun calling themselves King Crimson yet, but were going by "Discipline". The sound quality is just ok on this show, as it wasn't a soundboard recording, but the performance is great. The second disc is a July 82 show from Philadelphia, in excellent sound. The band sounds great.

Well worth picking up.

[7/4]

15 years after the release of the original set, The Great Deceiver is now available as two 2CD value-priced sets. Part 1 chronicles portions of the Providence 1974, Glasgow 1973 and Penn State University shows. Part 2 includes tracks from Pittsburgh 1974, Penn State University 1974, Toronto 1974 and Zurich 1973 shows. The music remains the same as the original set, with updated artwork and original diaries and notes.

[Aggie87]

From Sound and Vision Online:

Meanwhile, as if that weren't news enough, Leff also tells me that he's now handling King Crimson and "working on getting the entire catalog reissued in 5.1," hopefully with mixes done by . . . Steven Wilson! Currently, Leff and Wilson are "waiting on Robert Fripp [who guested on PT's Fear of a Blank Planet and Nil Recurring] to hear Steven's work on some of the older KC stuff before he gives us the green light to proceed."

Just imagine the likes of Larks' Tongues in Aspic (above right), Red, and Discipline in surround. Oh, baby.

Leff = Andy Leff, PT's manager, who also apparently manages KC now (?).

[7/4]

Ah...another way to reissue the Crimson catalog, we know it will sell!

[GregK]

what is the thrill with 5.1 sound anyway? Seems like such a useless gimmick

[7/4]

what is the thrill with 5.1 sound anyway? Seems like such a useless gimmick

You lay down between the speakers and are impressed by the guitar coming from over there while the other guitar is over here.

[Christiern]

Today, as I opened a book of jazz, I came across a bookmark--it is a relevant Down Beat clipping of a review I wrote for the Feb. 5, 1970 issue. I haven't heard this album in at least 30 years, so I hope I wasn't too off the mark giving it 5 stars (Oh, how I hated that rating system!):

King Crimson

IN THE COURT OF THE CRIMSON KING --Atlantic SD-8245.

Rating: • • • • •

Last November I went to the Fillmore East to catch a program headed by Joe Cocker and including Fleetwood Mac. Last on that bill, and therefore first on stage, was a group I had not heard before, King Crimson. Clearly the superior group, it rendered all that followed anticlimactic.

Many groups of not-so-adept musicians have been rocketed to fame and fortune on the strength of their material. Such fame is of course not unjustified if, as is often the case, the group is also responsible for the material. In the case of King Crimson--who have not yet tasted fame and fortune, but are surely destined to do so--outstanding material is combined with some very impressive musicianship.

I am glad that I had the opportunity to see KC perform in person before receiving their album for review, because, unlike many other groups in the genre, what they do on stage is not a mere duplication of their work in the studio.

One of the things that impressed me about KC’s set at the Fillmore East was reedman Ian McDonald’s excursions into free-form jazz improvisation. The capsule biographies that accompanied my reviewer’s kit state that he counts John Handy and Eric Dolphy among his musical influences--it shows in his playing.

In concert they stretch out, incorporating many improvised passages that are not on the record, but should have been included in place of the album’s only tedious track,

Moonchild

. As it is, they sounded more like a rock-oriented jazz group on stage, whereas the record leaves the opposite impresssion.

This does not mean that their recorded performance is in any way inferior. It is more thought out, but the result--with the exception noted--is decidedly neo-rock (for want of a better term) at its very best, and such segments as

21st Century Schizoid Man

and

The Court of the Crimson King

are close to being masterpieces of the genre. The former contains seething, at times almost symphonic instrumental passages in which the group, McDonald and guitarist Robert Fripp in particular, shows what powerful stuff it is made of.

McDonald can also play pretty, in the lyrical sense, and his flute work on

I Talk to the Wind

is a thing of delicate beauty.

Epitaph

, a somber piece that incorporates a moving dirge (presumably

March for No Reason

), rates high, too. But, as noted, the album also contains a weak segment, and

Moonchild

is very weak indeed. Unforunately, it is the longest track, a little over 12 minutes of mostly meaningless doodling. Having witnessed what the group is capable of, I am sorry that they did not forego that track in favor of some improvised interplay.

The lyrics are all by Peter Sinfield, who is considered a member of the group although he does not perform musically (he is also their light man). They are rather cryptic and contain nice poetry, but are easily overshadowed by the music.

Although

Moonchild

does not rate any stars in my book, the rest of the album merits more than the limit. King Crimson has majestically arrived, proving that neither Beatles nor Stones were the last word from England. --

Albertson

[Shawn]

Thanks for sharing that review Chris! I completely agree (your opinion of Moonchild is spot on as well).

[Aggie87]

One of the things that impressed me about KC’s set at the Fillmore East was reedman Ian McDonald’s excursions into free-form jazz improvisation. The capsule biographies that accompanied my reviewer’s kit state that he counts John Handy and Eric Dolphy among his musical influences--it shows in his playing.

How on earth did McDonald end up in Foreigner??

[GregK]

One of the things that impressed me about KC’s set at the Fillmore East was reedman Ian McDonald’s excursions into free-form jazz improvisation. The capsule biographies that accompanied my reviewer’s kit state that he counts John Handy and Eric Dolphy among his musical influences--it shows in his playing.

How on earth did McDonald end up in Foreigner??

$$$$$

[A Lark Ascending]

When I bought the ITCOTKC in 1971 'Moonchild' really annoyed me - with very little pocket money to buy LPs I felt I'd been cheated of half a side.

I must say, I really like it now. Whereas the 'big' tracks sound a bit grandiose (still enjoy them but a fair bit of suspension of disbelief is needed!), there's something quiet and appealing in all the noodling.

In fact, listening to some Jimmy Giuffre/Jim Hall a while back I was struck by the similarity. I suspect Fripp had been listening to Hall.

[7/4]

In fact, listening to some Jimmy Giuffre/Jim Hall a while back I was struck by the similarity. I suspect Fripp had been listening to Hall.

I thought Moonchild was influenced by the Derek Bailey/Evan Parker/Jon Stevens scene...Jamie Muir did join the band a few years alater.

[Guy Berger]

Today, as I opened a book of jazz, I came across a bookmark--it is a relevant Down Beat clipping of a review I wrote for the Feb. 5, 1970 issue. I haven't heard this album in at least 30 years, so I hope I wasn't too off the mark giving it 5 stars (Oh, how I hated that rating system!):

Not sure if I would personally give it 5, but it is a great album and you were not off the mark.

Guy

[GregK]

I'd like to know what Chris thought of some of their later albums

[A Lark Ascending]

In fact, listening to some Jimmy Giuffre/Jim Hall a while back I was struck by the similarity. I suspect Fripp had been listening to Hall.

I thought Moonchild was influenced by the Derek Bailey/Evan Parker/Jon Stevens scene...Jamie Muir did join the band a few years alater.

I'm sure you are right - and Sid Smith's book refers to Michael Giles attending the Little Theatre and being influenced by that scene.

But amidst the free form sections of 'Moonchild' there are some very soft, melodic guitar sequences (plus a more animated abstract of 'Surrey With The Fringe On Top'!). When listening to Giuffre's 'Western Suite' a few weeks back I was trying to think what parts of it reminded me of. It was 'Moonchild'.

Pure speculation on my part - I might be totally wrong!

[robviti]

i haven't listened to kc in many years, but i was a big fan of lark's tongue, starless, and some of their earlier work. anyway, i was googling a bit and came across the great deceiver box. the first (and arguably best) disc in the box was recorded in providence, ri in 1974. then i realized - i was at that concert! listening to this music brings back some fond memories for me. i think i know what chuck was talking about in his earlier post. some people continue to listen to bands that are only a pale reflection of what they once were (rolling stones) out of nostalgia. oh well, it could be worse (return to forever).

[Shawn]

The great thing about KC is they don't rest on past glories, they have continued to evolve. They almost never play any of their older material live, focusing primarily on whatever the current album is. Their last studio album "The Power To Believe" was one of their best in years and show there is still lots of creative juice left in Fripp, Belew & company.

[A Lark Ascending]

some people continue to listen to bands that are only a pale reflection of what they once were (rolling stones) out of nostalgia. oh well, it could be worse (return to forever).

Equally true of jazz. European festivals (with honourable exceptions) will still have 'names' from the 50s/60s/70s at the top of their bills, even though their current music gives little indication of why they became so revered.

There are very few rock bands from my youth I'd bother going out to see. But I love to listen to the original albums, as part of a balanced diet. Nostalgia should not be sniffed it as a powerful way of gaining pleasure.

KC have certainly not rested on their laurels - though I do find the 'metal' element of recent bands something I can only take in small doses.

[Aggie87]

A couple of pictures from Tony Levin's website, from the 2 Aug show in Nashville:

And the setlist:

1. [drum duo]

2. ConstruKction Of Light

3. Level Five

4. Neurotica

5. Three of a Perfect Pair

6. Indiscipline

7. Frame By Frame

8. Dinosaur

9. One Time

10. Sex Sleep Eat Drink Dream

11. B'boom

12. Elephant Talk

13. Red

14. [drum duo]

15. Thela Hun Ginjeet

16. The Talking Drum

17. Larks' Tongues In Aspic II

Encore:

18. Sleepless

19. VROOOM/Coda: Marine 475

[WD45]

Is that Fripp in a glass box?

[Shawn]

Is that Fripp in a glass box?

Not in the box, shot through the box...bizarre camera angle but kinda cool.