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Posts tagged Adrian Belew
King Crimson – KCCC44 Live In New Haven (2003) (@256)
28 May 2011
(Info from sleeve)
Robert Fripp’s dictum that a King Crimson studio record is a love letter whilst live performance was a hot date pretty much nails the truth about this band; live is where the juice is; live is where the heart of the band beats loudest and strongest.
The relentless savagery that had manifested itself at the previous gigs in Kingston and New York have more than carried over to the stage at New Haven. Crimson are tapping in to some seriously powerful energies here. Listening to the music from this concert, it’s hard not to be reminded of the risk-taking attitude which spurred the 1974 line-up onto moments of jaw-dropping intensity and invention when it too was counting off the final miles.
This particular marriage of talents would soon be over when, just two days later, the Double Duo would play its last ever gig in Mexico. Yet Gunn’s imminent departure in no way compromises what is undoubtedly one of Crimson’s better performances.
Listening through renditions of this set, there are some fluffed notes or feet and fingers doing something at the very moment they were meant to elsewhere. Yet beneath the surface details, there’s a remarkable testimony as to what happens when gifted, talented players open up to the music and go for it with a vengeance. That’s surely the essence of what King Crimson was always about.
Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar
- Trey Gunn / warr guitar
- Pat Mastelotto / acoustic & electronic drumming
Track List:
CD1
01. The Power To Believe I – 0:45
02. Level Five – 7:17
03. The ConstruKction Of Light – 9:20
04. Facts Of Life – 5:49
05. EleKtriK – 7:58
06. The Power To Believe II – 8:10
07. Dinosaur – 7:04
08. One Time – 7:41
09. Happy With What You Have To Be Happy With – 3:51
CD2
01. Dangerous Curves – 6:01
02. Larks’ Tongues In Aspic: Part Four – 10:34
03. The Power To Believe III – 8:27
04. Elephant Talk – 7:19
05. Red – 6:46
Link in comments.
King Crimson – KCCC43 Live in Chicago (1995) (@256)
25 May 2011
(Info from sleeve)
The recently opened Rosemont Theater in Chicago was just short of a sellout on Nov 29th, 1995. This was the final show of a long year of touring and it would be the present lineup’s (the double trio) 100th performance.
Line-up:
- Adrian Belew / guitar, voice
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Tony Levin / bass, stick
- Pat Mastelotto / acoustic & electronic drums, percussion
- Bill Bruford / acoustic & electronic drums, percussion
Track List:
CD1
01. Conundrum – 1:46
02. Thela Hun Ginjeet – 6:42
03. Red – 6:55
04. Frame By Frame – 5:08
05. Dinosaur – 7:07
06. One Time – 5:54
07. VROOM VROOM – 4:54
08. B’Boom – 6:36
09. THRAK – 6:34
10. Neurotica – 4:38
11. Three Of A Perfect Pair – 4:31
12. Sex, Sleep, Eat, Drink, Dream – 4:47
CD2
01. Improv: Two Sticks – 1:59
02. Elephant Talk – 4:10
03. Indiscipline – 9:22
04. Walking On Air – 5:01
05. Larks’ Tongues In Aspic Part II – 7:10
06. Prism – 4:15
07. Free As A Bird – 3:04
08. VROOOM – 3:51
09. Coda: Marine 475 – 2:51
Link in comments.
King Crimson – KCCC39 Live in Milan (2003) (@256)
23 Dec 2009
(Review from allaboutjazz.com)
This archival live album captures the last commercially recorded incarnation early into its final European tour before Warr touch guitarist Trey Gunn’s departure and, while it may have a few more warts than other KCCC recordings, they only serve to make Crimson more human.
Amongst the more noticeable warts: a barely perceptible ungluing of the interlocking guitars near the end of the Neuvo Metal anthem, “Level Five”; a false start into “The ConstruKction of Light” before a gritty “ProzaKc Blues,” despite featuring one of guitarist Adrian Belew’s best vocals; and momentary sonic glitches during what are meant to be silent sections during the power-pop “Dinosaur” and pulsing complexity of “Larks’ Tongues in Aspic: Part Four,” the latter just before Belew delivers one of the most blistering solos of any documented version.
The show is similar in structure to many other shows around that time, weighing heavily on material from the then recently released “Power to Believe”. Still, a special energy imbues some of the material, and a particularly gossamer-like feel to the intersecting guitars of “The ConstruKction of Light.” “Elephant Talk” — a favorite dating back to the 80s Crim with Fripp, Belew, bassist Tony Levin and drummer Bill Bruford — plods along more, well, elephant-like, courtesy of the overdriven bottom end of Gunn’s touch guitar and sports a simply stunning, never-before-documented Middle Eastern-inflected solo from Belew that also layers either his radically processed voice or an effect applied to his guitar that’s unique, even in his seemingly infinite sonic palette.
There have been briefer “Introductory Soundscapes” on other Crimson live recordings of the period, but this is the first time a full-length opening set by Fripp, nearly 26 minutes long, is included. Ethereal and tranquil, it’s the calm before the storm as it segues into the equally rarified miniature, “The Power to Believe I,” before Crimson—with drummer Pat Mastelotto’s acoustic/electric kit thundering across the stereo landscape—hits the crowd with the one-two punch of “Level Five” and “ProzaKc Blues.”
Other highlights are an especially poignant “The Deception of the Thrush,” a screaming, frantically strummed Fripp solo over the head-banging riff of “Facts of Life” and the texturally rich, part Gamelan “The Power to Believe II.”
“Live in Milan” may not be essential Crimson, but there are plenty of rewards to differentiate it from others in the series, and the warts-and-all approach just cements Crimson as a group that takes risks and isn’t afraid to show its tremendous strengths…and very occasional weaknesses.
Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Pat Mastelotto / acoustic and electronic drumming
Track List:
CD1
01. Introductory Soundscape – 25:57
02. The Power To Believe I – 0:43
03. Level Five – 7:26
04. ProzaKc Blues – 5:27
05. The ConstruKction Of Light – 8:40
06. Facts Of Live – 5:34
07. EleKtriK – 7:51
08. The Power To Believe II – 7:32
09. Dinosaur – 6:18
CD2
01. One Time – 6:33
02. Happy With What You Have To Be Happy With – 3:59
03. Dangerous Curves – 5:41
04. Larks’ Tongues In Aspic, Part Four – 13:07
05. The Power To Believe III – 7:39
06. Elephant Talk – 6:45
07. Red – 6:23
Link in comments.
King Crimson – KCCC38 Live In Philadelphia (1996) (@256)
22 Dec 2009
(Review from allaboutjazz.com)
As ever, the Crimson Double Trio culled its set from a larger pool of material with certain consistencies, including the proto-nuevo metal of “Red,” the elliptically grooving “Elephant Talk,” the weighty stream-of-consciousness “Sex, Sleep, Eat, Drink, Dream” and power-pop “Dinosaur.” But this is the only officially released recording of the sextet playing the stylistically hybridized, wood drum-driven “Sheltering Sky,” making it of clear interest to committed Crimson followers.
This final (ever) performance of the Double Trio finds a band that is undoubtedly tired and feeling the strains of such intensive energy-consuming dates. Adrian Belew whips through the beat poetry of “Indiscipline” faster, perhaps, than any live version on record, but it sure doesn’t feel tired. Instead, there’s a different kind of energy at play, of a group sprinting with last-minute energy to the finish line.
If there’s a star of this show, it has to be Belew, who’s particularly vicious during his solos on “Elephant Talk,” the perennial “21st Century Schizoid Man” and relentless “Larks’ Tongues in Aspic Part II.” Drummer Pat Mastelotto, who didn’t really get the chance to blossom in this incarnation, is more a foil to longstanding Crimson drummer Bill Bruford’s precision grooves. Meanwhile, touch guitarist Trey Gunn doesn’t stand out as much as the group’s ineffable groove-meister, bassist/stick man Tony Levin. But they both add to the jagged density that was a differentiator of this line-up, as it reaches out for greater improvisational territory on the complex head-banger, “THRAK”.
“Live in Philadelphia” may not be the Double Trio’s best show, but it’s still a fine one, and a worthwhile document for those who continue to follow this group’s every move.
Line-up:
- Adrian Belew / Guitar, Vocals
- Robert Fripp / Guitar, Soundscapes
- Trey Gunn / Touch Guitar
- Tony Levin / Basses, Stick
- Pat Mastelotto / Acoustic & Electronic Drums And Percussion
- Bill Bruford / Acoustic & Electronic Drums And Percussion
Track List:
CD1
01. Conundrum – 1:32
02. Thela Hun Ginjeet – 6:00
03. Red – 6:19
04. Dinosaur – 6:49
05. One Time – 5:55
06. VROOOM VROOOM – 4:56
07. Waiting Man – 4:32
08. Neurotica – 4:34
09. Elephant Talk – 4:59
10. Sheltering Sky – 6:52
CD2
01. B’Boom – 5:44
02. THRAK – 8:39
03. Sex, Sleep, Eat, Drink, Dream – 4:47
04. Indiscipline – 6:04
05. Lark’s Tongues in Aspic Part II – 7:01
06. Prism – 5:11
07. 21st Century Schizoid Man – 7:16
08. VROOOM – 3:52
09. Coda – 3:33
Link in comments.
King Crimson – KCCC37 Live At The Pier (1982) (@256)
21 Dec 2009
(Review from allaboutjazz.com)
“Live at the Pier” is a crisp and clear recording that finds 1980s Crims about half-way through its near four year run. And it’s a hot one.
With five of the ten tunes culled from the group’s just-released second album, “Beat”, the new wave edge-meets-gamelan-meets-minimalism ethos of 1980s Crim had evolved considerably from its early days as “Discipline”. This may be the least expansively improvisational Crimson line-up, with no extended group improvs heard in prior and subsequent incarnations. But that doesn’t mean that this more song-friendly, groove-happy Crimson didn’t take risks each and every night. The differences could be as subtle as Robert Fripp’s gradually evolving elliptical patterns behind fellow guitarist Adrian Belew’s solo of reckless abandon on “Waiting Man” or more direct during drummer Bill Bruford’s lengthy electro-acoustic solo at the beginning of the lyrically obtuse “Indiscipline”.
The group stretches out a little more with Belew’s ad lib of “New York, New York” on “Indiscipline”, some added mayhem on a slightly longer take on one of the few pre-1980s songs this Crimson would perform, “Larks’ Tongues in Aspic: Part II” and a lengthier solo from Fripp on the log drum-driven “The Sheltering Sky”. What made 1980s Crimson so unique was its ability to challenge even the committed progressive fan, but in a most approachable way; it was music that you could dance to… as long as you weren’t challenged by moving your feet in 21/8.
It’s also a performance that helps dispel a common (and unfounded) misconception that Belew, the singer, was merely aping Talking Heads’ David Byrne. As good as Byrne was and is, he could never match Belew’s gritty delivery of a definitive version of “Neal and Jack and Me” that’s more open-ended than Beat’s considerably more concise studio take.
Live at the Pier, with its greater emphasis on Beat’s repertoire and with equally excellent sound, deserves to be heard by more than just undying Crimheads.
Line-up:
- Adrian Belew / Guitar, Vocals
- Robert Fripp / Guitar
- Tony Levin / Stick, Bass Guitar
- Bill Bruford / Drums, Percussion
Track List:
01. Waiting Man – 7:40
02. The Howler – 4:53
03. Frame By Frame – 5:31
04. The Sheltering Sky – 11:05
05. Neal And Jack And Me – 6:09
06. Neurotica – 5:42
07. Elephant Talk – 5:14
08. Indiscipline – 12:22
09. Sartori In Tangier – 5:02
10. Lark’s Tongues In Aspic- Part II – 7:17
Link in comments.
King Crimson – Live in Park West, Chicago, August 7th (2008) (@256)
30 Jul 2009
Request of anonymous.
(Review from dgmlive.com)
Regarded as a show in which the energy of the Crimbeast made itself felt, particularly by Fripp and Levin, it nevertheless takes the group a couple of numbers to get up to speed. But when they do the power really builds up.
Highlights? Where to start! “Level 5″ is totally monstrous sounding like it was always waiting for this line-up to come along and play it; a stately-sounding “Larks Tongues” crushes all in its path and the version of “Sleepless” appears to be channelling the 12 inch remix.; “One Time” sails sublimely with the inclusion of a poignant guitar solo by Fripp and the coda to “Vrooom” has the shiver factor set to max (including some sly samples courtesy of Mastelotto) and just when you thought you’d never need to hear another rendition of “Indiscipline”, well you’re wrong. You really need to hear this version.
For connoisseurs of Crimson clams there are a few here for you to savour, and of course this being a soundboard means that third cymbal from the left on Harrison’s kit may not be quite where you either remember it or even where you would want it, but hey this is Crimson on uber-savage form, white hot at Park West with a crowd that was willing them to go all the way — which they did.
Line-up:
- Robert Fripp / guitar
- Adrian Belew / guitar & vocals
- Tony Levin / bass, stick & vocals
- Gavin Harrison / drums & percussion
- Pat Mastelotto / drums & percussion
Track List:
CD1
01. Introductory Soundscape – 3.10
02. Drum Duet – 2.27
03. The ConstruKction Of Light – 8.47
04. Red – 6.45
05. Frame By Frame – 5.28
06. Neurotica – 4.41
07. Three Of A Perfect Pair – 4.12
08. The Talking Drum – 3.10
09. Larks Tongues In Aspic Pt II – 7.44
10. One Time – 7.06
11. BBoom – 2.44
12. Dinosaur – 5.44
13. Level Five – 6.48
CD2
01. Sleepless – 7.06
02. VROOOM – 4.41
03. Coda Marine 475 – 6.02
04. Drum Duet – 4.26
05. Thela Hun Ginjeet – 8.57
06. Elephant Talk – 5.03
07. Indiscipline – 8.35
Links in comments.
King Crimson – KCCC33 ProjeKct Two Live in Chicago (1998) (@256)
18 Aug 2008
Recorded on June 4, 1998 at Park West, Chicago, USA.
Line-up:
* Adrian Belew – V-drums
* Robert Fripp – guitar
* Trey Gunn – touch guitar, talker
Track List:
CD1
01. Vector Shift – 2:02
02. House – 9:31
03. X-Chayn_Jiz – 7:19
04. Vector Shift To Planet Belewbeloid – 2:47
05. Light ConstruKction – 6:20
06. Heavy ConstruKction – 7:28
CD2
01. Sus_tyan-Z – 9:29
02. House 2 – 9:52
03. Contrary ConstruKction – 7:02
04. The Deception Of Thw Thrush – 13:17
05. Acoustic Dinosaur – 6:40
06. Lounge VROOOM – 6:04
Links in comments.
King Crimson – KCCC32 Live in Munich (1982) (@256)
14 Aug 2008
(Review from dgmlive.com)
Tight, complex, startling and sonically ambitious, this is a King Crimson full of energy.
The sound is very compressed, like from out of TV speakers; but it also has a slightly distorted quality that makes for a cool variation on that heavily chorused 80′s sound. Belew’s solos in particular sound like 3-D, and Levin’s bass sound is super clean and sharp as well.
A fine companion to the other 1982 concerts.
Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar, vocals
- Tony Levin / bass guitar & Chapman Stick
- Bill Bruford / drums & percussion
Track List:
01. Waiting Man – 10:00
02. Thela Hun Ginjeet – 6:54
03. Frame By Frame – 5:59
04. Matte Kudasai – 3:46
05. The Sheltering Sky – 10:40
06. Neal And Jack And Me – 5:49
07. Elephant Talk – 5:00
08. Indiscipline – 11:06
09. Heartbeat – 4:16
10. Larks Tongues In Aspic II – 7:00
Links in comments.
King Crimson – KCCC31 Live at the Wiltern (1995) (@256)
13 Aug 2008
Thanks to Bragi Taliesin for the contribution.
(Review from stagerat.com, dgmlive.com)
Fripp believed the Wiltern gig to be a major show and wanted to release it straight away. Belew agreed and a mix was partially completed but the tapes were lost. The planned record was shelved; superseded by B’Boom and the all-improv album, THRaKaTTaK.
With the tapes recovered, here we have the whole show — it may yet be the most powerful live album of the double-trio line-up.
The band is very clearly enthusiastic and excited to play, and it shows throughout every piece in the set. Perhaps it’s that “last night of the tour” mindset that allows for this. Whatever the case, this is a show not to be missed.
One of the interesting aspects of this show is “Prism”, the percussion piece that featured Bruford, Mastelotto, and Belew. Most versions featured all three in front of a percussion table at stage front, playing together. However, the version in this concert has Bruford playing from his kit. It sounds as if Mastelotto is at least doing some of his percussion from the kit as well (if not all of it), and he even appears to throw in some samples of soundscapes in the midst of it!
The concert features the brilliant arrangements and master mind of a sextet perfectly executing counter rhythms while avoiding the usual mindless cluster of notes and nuances before it becomes inaudible and indistinguishable between all the players.
Line-up:
- Adrian Belew / guitar, voice
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Tony Levin / basses, stick
- Pat Mastelotto / acoustic & electronic drums and percussion
- Bill Bruford / acoustic & electronic drums and percussion
Track List:
CD1
01. Introductory Soundscape – 6:16
02. VROOOM VROOOM – 5:22
03. Frame by Frame – 5:23
04. Dinosaur – 7:17
05. One Time – 5:52
06. Red – 6:36
07. B‘BOOM – 6:36
08. THRAK – 5:52
09. Matte Kudasai – 3:47
10. Walking on Air – 8:36
CD2
01. People – 6:22
02. Improv: Two Sticks – 2:42
03. Elephant Talk – 4:33
04. Indiscipline – 8:51
05. Prism – 2:27
06. The Talking Drum – 3:04
07. Larks’ Tongues in Aspic: Part II – 8:12
08. VROOOM – 3:56
09. Coda: Marine 475 – 4:16
10. Walking on Air – 8:36
Links in comments.
King Crimson – KCCC28 Live in Warsaw (2000) (@256)
09 Aug 2008
This concert was recorded on June 11, 2000 at “Roma” in Warsaw, Poland. Some parts of it was also included on the mainstream “Heavy ConstruKction” live album.
Line-up:
* Adrian Belew – guitar & vocals
* Robert Fripp – guitar
* Trey Gunn – touch guitar, ashbory bass, talker
* Pat Mastelotto – electronic drums
Track List:
CD1
01. ProzaKc Blues – 6:09
02. The ConstruKction of Light – 8:43
03. The World’s My Oyster Sout Kitchen Floor Wax Museum – 7:42
04. Improv-Warsaw – 12:35
05. Dinosaur – 5:27
06. One Time – 5:52
07. VROOOM – 4:46
08. Cage – 5:27
CD2
01. Into the Frying Pan – 6:40
02. Larks’ Tongues in Aspic-Part Four – 13:54
03. Three of a Perfect Pair – 4:01
04. The Deception of the Thrush – 10:18
05. Sex, Sleep, Eat, Drink, Dream – 7:12
06. Heroes – 7:17
Links in comments.
King Crimson – KCCC26 Live in Philadelphia (1982) (@256)
07 Aug 2008
Recorded at the Mann Music Centre, Philadelphia, USA, July 30, 1982.
Line-up:
* Adrian Belew – guitar & vocal
* Robert Fripp – guitar
* Tony Levin – bass guitar & Stick
* Bill Bruford – drums & percussion
Track List:
01. Thela Hun Ginjeet – 7:14
02. Red – 5:56
03. The Howler – 4:45
04. Frame by Frame – 4:55
05. Matte Kudasai – 3:40
06. The Sheltering Sky – 9:28
07. Discipline – 5:22
08. Elephant Talk – 5:07
09. Indiscipline – 11:12
10. Neurotica – 6:29
11. Heartbeat – 4:18
12. Sartori In Tangier – 4:20
13. Lark’s Tongues In Aspic Part II – 6:43
Links in comments.
King Crimson – KCCC21 Champaign-Urbana Sessions (1983) (@256)
02 Aug 2008
(Review from progarchives.com)
The new 80s incarnation of King Crimson made a head start. In 1981 the excellent “Discipline” was released and this was followed by “Beat” in 1982. Touring went well and when it became 1983 it was time to think about yet another album. From January 17 until 30 they went to C.V. Lloyd Music in Champaign-Urbana to rehearse for the next album. In the end, no album was released in 1983 by King Crimson and this album consists of those sessions.
The music is more experimental than on their next album, “Three of a Perfect Pair”. Of course most of the material is rather fragmented, but since some of the tracks segue into each other this doesn’t bother. There are some nice heavy, groovy tracks (“San Francisco”, “Tony bass riff”, “Not one of those”). You can also find complete tracks that could easily have been included on a regular album (Steinberger Melody” and “Grace Jones”). The track “Fragmented” was re-recorded as “Industry” on their next album. A good one is also “Heat in the Jungle” (a faster and heavier “Thela Hun Ginjeet”).
Line-up:
* Adrian Belew – Guitar
* Robert Fripp – Guitar
* Tony Levin – Bass Guitar, Stick
* Bill Bruford – Drums
Track List:
01. San Francisco – 2:06
02. Tony Bass Riff – 3:28
03. Sequenced – 3:55
04. Steinberger Melody – 4:59
05. Fragmented – 4:01
06. Not One Of Those – 1:45
07. Zzzz’s – 2:10
08. Reel 3 Jam – 2:34
09. Robert And Bill – 2:08
10. Say No – 2:46
11. Robert’s Ballad – 3:44
12. Heat In The Jungle – 7:07
13. Grace Jones – 5:45
14. Adrian Looped – 1:19
Link in comments.
King Crimson – KCCC19 Live in Nashville (2001) (@256)
31 Jul 2008
This concert was recorded at 328 Performance Hall, Nashville, USA, November 9-10, 2001.
Line-up:
* Adrian Belew – Guitar and Vocals
* Robert Fripp – Guitar
* Trey Gunn – Warr Guitar
* Pat Mastelotto – Drums
Track List:
01. Dangerous Curves – 4:52
02. Level Five – 7:50
03. The ConstruKction Of Light – 8:49
04. ProzaKc Blues – 5:58
05. EleKtriK – 8:13
06. Thela Hun Ginjeet – 5:46
07. Virtuous Circle – 7:04
08. Elephant Talk – 4:16
09. Larks’ Tongues In Aspic: Part IV – 10:30
10. The Deception Of The Thrush – 8:09
11. Red – 5:42
Links in comments.
King Crimson – KCCC17 ProjeKct Two Northampton (1998) (@256)
29 Jul 2008
This is a live album from ProjeKct Two, a fraKctal of King Crimson. It was recorded on July 1, 1998 in Northampton, USA.
Line-up:
- Adrian Belew / V-drums
- Robert Fripp / guitar
- Trey Gunn / touch guitar, talker
Track List:
01. Vector Shift – 10:45
02. X-chayn-jiZ – 5:54
03. Vector Shift – 2:04
04. Vector Shift to Planet Belewbeloid – 0:28
05. Light ConstruKction – 5:29
06. Heavy ConstruKction – 6:02
07. The Deception of the Thrush – 8:31
08. Sus-tayn-Z – 6:41
09. Vector Shift – 7:39
10. Contrary ConstruKction – 7:22
Links in comments.
King Crimson – KCCC16 Live in Berkeley (1982) (@256)
28 Jul 2008
(Review from progreviews.com)
The 80s line-up of King Crimson wasn’t as much an improvising band. However, they rarely resist the opportunity to rework their stuff live, which can be interesting too. This concert was recorded at the Greek Theatre, Berkeley, USA, August 13, 1982.
The material from Discipline is so well developed and still short of over-treated, its like getting the whole album redone. We have an especially manic and actually just plain crazy rendition of “Indiscipline” (where on the studio album it sounds like a suitably tense but light-hearted expression of what it feels like to be obsessive compulsive). At the end of the song the entire band applies such a force and energy toward the main theme. Its really a tangle between Fripp and Belew, with Levin keeping time and Bruford battering away, buried by the hectic sound of angels descending from heaven on silver lightning bolts playing electric trumpets. At least at that moment, it all came together. The song (and set) ends with the announcement that “I like it!” — I did.
There also is a rare live performance of the “Sheltering Sky” which is louder and more chaotic than its studio counterpart; the drums are louder, the bass fatter and more dominant, and the original organized, upward spiraling lead lines are replaced with some fiery and erratic improvisation (still using the strange “pipe” guitar synth sound though). The live versions of “The Howler” and “Neurotica” are great to hear; it is especially fun hearing Adrian Belew making all those crazy noises that sound like sirens and traffic and other assorted city-like noises.
Line-up:
* Adrian Belew – Guitar, Vocal
* Robert Fripp – Guitar
* Tony Levin – Stick, Bass Guitar
* Bill Bruford – Drums, Percussion
Track List:
CD1
01. Waiting Man – 9:49
02. Thela Hun Ginjeet – 8:00
03. Red – 6:33
04. The Howler – 5:10
05. Frame By Frame – 5:10
06. Matte Kudasai – 3:39
CD2
01. The Sheltering Sky – 9:36
02. Discipline – 5:42
03. Neal and Jack and Me – 6:03
04. Neurotica – 5:48
05. Elephant Talk – 5:36
06. Indiscipline – 11:10
Links in comments.
King Crimson – KCCC13 Nashville Rehearsals (1997) (@256)
25 Jul 2008
(Review from progarchives.com)
After the studio album Thrak, which was released in 1995, and a series of concerts, King Crimson was back in a recording studio to work out some ideas for the next release. They went to SIR studios in Nashville in May 1997. As we all know another release of the double trio would never be released. Some ideas that were rehearsed in Nashville would however resurface in some sort of form in the ProjeKcts and on the first release by the double duo (“The ConstruKction of Light”).
The overall sound of these tracks has more in common with the sound of the ProjeKcts than with THRAK. The problem with this release is that it is very fragmented. You mainly hear bits and pieces that could have ended up in a song. Most of the tracks lack any form of structure. Exceptions are the groovy “Presidents”, the heavy “Snugel”, the eerie “Jimmy Bond” and the melodic “Sad Woman Jam”. Another interesting track is the closer “Tony’s Jam”. This is a long jam with a rhythm that changes faster than you notice.
This release is of interest for the KC aficionado who is interested in the working process of the band and who is curious how some of the tunes were born. If you like the ProjeKcts than this album will also not be a disappointment.
Line-up:
* Robert Fripp – Guitar, Soundscapes
* Adrian Belew – Guitar
* Trey Gunn – Warr Guitar
* Tony Levin – Basses, Stick
* Pat Mastelotto – Acoustic & Electronic Drums & Percussion
* Bill Bruford – Acoustic & Electronic Drums & Percussion
Track List:
01. Presidents – 7:04
02. Scapeplay – 3:37
03. Snugel – 5:45
04. Off Sets – 4:23
05. Big Funk – 3:29
06. Jimmy Bond – 7:06
07. Have U Got? – 1:05
08. Mulundrum – 0:38
09. Too many eeee’s – 1:11
10. Nice To Start – 0:12
11. Pat’s Meckanical Fives – 3:03
12. Seizure – 0:51
13. Circulation – 1:03
14. KCF – 0:31
15. Ragin’ Drone – 3:40
16. JB in 7 – 2:41
17. Split Hands – 4:36
18. Sad Woman Jam – 2:35
19. Tony’s Jam – 12:57
20. Trey, Pat & Bill – 0:47
Links in comments.
King Crimson – KCCC11 Live at Bath (1981) (@256)
23 Jul 2008
(Review from progreviews.com)
On April 30, 1981, the Moles Club in Bath did not host a band named King Crimson. At that point, the precocious four-piece band was still known as Discipline – but for all intents and purposes, of course, this is King Crimson. One can only wonder what the lucky folks in the audience were thinking as they were regaled with “Red”, “Larks’ Tongues in Aspic Part 2″, and a whole slew of new waveish dual-guitar stuff with Adrian Belew on vocals (the album Discipline was, at this point, still unfinished, of course). Did they recognize history in the making?
Oddly, despite this being Crimson’s first 80s live appearance, most of the new songs are largely in their final form. “Discipline”, “Indiscipline”, and “The Sheltering Sky” are all basically finished products, and are all performed with the blazing intensity typical of this incarnation of the band (“Discipline” in particular sounds great). Some quirks pop up in “Thela Hun Ginjeet” – Belew’s vocals are markedly different from the album version – and “Frame By Frame” sounds pretty rough, but for the most part the songs here sound much like we expect them to, if a little less polished. The two songs from the previous Crimson era are well-represented with solid, if not particularly notable, performances.
As a true live album, King Crimson has countless better ones than this (the definitive from this incarnation of the band being Absent Lovers); but as a historical document, Live at Moles Club is a valuable curiosity for die-hard KC fans. It’s certainly neat to hear the band in its embryonic stages. The band was only three weeks old at the time of this show, which is utterly remarkable given the state of the compositions and the tightness of the group interplay.
The sound quality of the show is about on the level of a good bootleg.
Line-up:
* Robert Fripp – Guitar
* Adrian Belew – Guitar & Vocal
* Tony Levin – Stick, Bass Guitar
* Bill Bruford – Drums & Percussion
Track List:
01. Discipline – 5:57
02. Thela Hun Ginjeet – 5:42
03. Red – 6:11
04. Elephant Talk – 4:45
05. Matte Kudasai – 3:43
06. The Sheltering Sky – 8:48
07. Indiscipline – 7:02
08. Frame By Frame – 4:58
09. Larks’ Tongues In Aspic (Part II) – 6:37
Link in comments.
King Crimson – KCCC08 VROOOM Sessions (1994) (@256)
20 Jul 2008
(Review from progreviews.com)
The eighth edition in the King Crimson Collector’s Club presents outtakes from the first series of rehearsals of the ‘double trio’ of the band in 1994.
The sessions heard here are largely an exhibit of six musicians just beginning to oil their joints as a unit with no firm material yet established. So, one can’t fault Fripp and company too much for stretching out in what is clearly a rehearsal setting not recorded with an eye towards release.
Still, even in these simple jams, there’s a slightly detectable forced ‘descent into busywork’ that seemed to dog this lineup at the expense of a more focused simplicity. Eventually this led to the oversaturation and the band moved towards partitioning into ‘fraKctals’.
That’s not to say there aren’t some interesting moments to be found here. The aptly titled “Monster Jam”, with Fripp’s sinister soundscapes and Bruford’s thundering drumwork, shows the tremendous force that this band could summon with little difficulty. Among the other tracks, “Bill & Tony” recalls “Waiting Man” from Beat, and there are instrumental run-throughs of “One Time” and an embryonic version of “Sex Sleep Eat Drink Dream” (here entitled “No Questions Asked”). Also, “Krim 3″ would eventually see light as a track on Adrian Belew’s solo album under a different name.
Obviously one wouldn’t expect to hear anything inspiring, though it provides insight into this particular time slot in Crimson’s history for the interested.
Line-up:
* Robert Fripp – Guitar, Soundscapes
* Adrian Belew – Guitar
* Trey Gunn – Stick
* Tony Levin – Basses, Stick
* Pat Mastelotto – Acoustic & Electronic Drums & Percussion
* Bill Bruford – Acoustic & Electronic Drums & Percussion
Track List:
01. Bass Groove – 4:34
02. Fashionable – 4:59
03. Monster Jam – 8:38
04. Slow Mellow – 2:57
05. Krim 3 – 3:20
06. Funky Jam – 4:57
07. Bill & Tony – 1:36
08. No Questions Asked – 3:24
09. Adrian’s Clouds – 1:39
10. Calliope – 5:58
11. One Time – 5:24
12. Booga Looga – 3:46
Link in comments.
King Crimson – KCCC05-06 Broadway (1995) (@256)
18 Jul 2008
(Info from wikipedia)
The tracks on the album were recorded at the Longacre Theater in New York City, USA, on November 20, 21, 22, 24 and 25, 1995, as the band was touring to promote the album Thrak.
“Vrooom Vrooom” live album features one disc with recordings from the Broadway concerts. The final track, “Fearless and Highly THRaKked”, is also featured on the live album THRaKaTTaK. An alternative version of this track, entitled “Biker Babes of the Rio Grande”, is featured on the “Vrooom Vrooom” live album.
Lead singer and guitarist Adrian Belew performed John Lennon’s “Free As A Bird” as a solo piece throughout the Broadway engagement. This was not included on King Crimson On Broadway, but was released on Belew’s solo album Belewprints and on the “Vrooom Vrooom” live album.
Line-up:
* Robert Fripp – guitar
* Adrian Belew – guitar, vocals
* Tony Levin – bass guitar, Chapman stick
* Trey Gunn – Warr guitar
* Bill Bruford – drums, percussion
* Pat Mastelotto – drums, percussion
Track List:
CD1
01. Conundrum – 1:57
02. Thela Hun Ginjeet – 6:43
03. Red – 6:29
04. Dinosaur – 7:16
05. Vrooom Vrooom – 4:48
06. Frame By Frame – 5:10
07. Walking On Air – 5:28
08. B’Boom – 5:35
09. Thrak – 6:31
10. Neurotica – 4:34
11. Sex,Sleep,Eat,Drink.Dream – 4:58
CD2
01. People – 6:14
02. One Time – 5:55
03. Indiscipline – 7:16
04. Improv: Two Sticks – 2:02
05. Elephant Talk – 4:17
06. Prism – 3:56
07. Talking Drum – 2:59
08. Larks’ Tongues In Aspic (Part II) – 7:27
09. Three Of A Perfect Pair – 4:22
10. Vrooom – 3:54
11. Coda: Marine 475 – 2:41
12. Fearless And Highly THRaKked – 2:31
Links in comments.
King Crimson – KCCC04 Live at Cap D'Agde (1982) (@256)
17 Jul 2008
Tracks 1-6 recorded at the Arena, Cap D’Agde, France, August 26, 1982. Tracks 7-9 recorded at the Arena, Frejus, France, August 27, 1982.
The quality of the recording is astounding, rivaling the ‘mainstream” release of “Absent Lovers”.
Line-up:
* Robert Fripp / guitar
* Adrian Belew / guitar, vocals
* Tony Levin / bass guitar, Chapman stick
* Bill Bruford / drums, percussion
Track List:
01. Waiting Man – 7:09
02. Thela Hun Ginjeet – 4:30
03. Matte Kudasai – 3:58
04. The Sheltering Sky – 9:48
05. Neil And Jack And Me – 5:38
06. Elephant Talk – 4:57
07. Indiscipline – 12:31
08. Heartbeat – 4:05
09. Larks’ Tongues In Aspic II – 7:50
Links in comments.
King Crimson – ProjeKct Six East Coast (Live 2006) (@256)
11 Jul 2008
Thanks to Bilek for the contribution.
(Review from king-crimson.com)
The latest projeKct of King Crimson, ProjeKct Six consists of only Robert Fripp and Adrian Belew. Compiled from three different gigs while opening for the band Porcupine Tree, this album is an amazing journey into the world of new sounds from both Fripp and Belew. The end result sounds like a cross between ProjeKct Two (as Belew is reprising his role on the electronic V-drum kit) and the more recent activity of King Crimson themselves.
Despite all the technology involved this is a pared-back sound compared to previous projeKcts, and there’s a tentative, exploratory quality about much of the music; two players in search of that often elusive moment, an intriguing aspect which provides much of the tension and appeal.
As well as the big set pieces there are some little jewels to be found in small places; the Frippertronics-like ending of Berklee Strut and the beginning of End Time Boston. With Belew pounding on an electronic drum kit, Fripp tore into a set of improvised sound sketches, mixing in hints of electronic programming under his searing guitar explorations.
Both Robert Fripp and Adrian Belew have played effortlessly together for many years as guitarists. Even here, with Belew away from his guitar and beating the drums instead, they still play off each other like as if they were one.
Line-up:
- Robert Fripp / Guitar
- Adrian Belew / V-drumming
Track List:
01. Threshold Knock Knock Who’s There Boston
02. Time Groove Boston
03. Queer Jazz Boston
04. Threshold P6 Boston
05. Berklee Strut Boston
06. End Time Boston
07. Threshold Knock Knock Who’s There NYC
08. Time Groove NYC
09. Mission Possible NYC
10. Space Threshold NYC
11. Queer Jazz NYC
12. Threshold Knock Knock Who’s There Keswick
13. Persian E Keswick
14. Time Groove Keswick
Link in comments.
King Crimson – Happy with What You Have to be Happy With (EP 2003) (@256)
11 Jul 2008
(Review from progreviews.com, progarchives.com)
As Vrooom was to Thrak, so too is Happy With What You Have to Be Happy With to The Power to Believe. This 32-minute mini-album was only meant as a teaser for the upcoming King Crimson album “Power to Believe”, so it might not rate more than a passing mention in retrospect.
There are four substantive tracks which are surrounded by brief interludes. A majority of the interludes (“Bude”, “She Shudders”, “I Ran”, “Clouds”) are synthesized-vocal poetry segments by Belew, an idea that would be passed on to the upcoming “Power to Believe”. Other interludes include a soundscape passage from Fripp (“Mie Gakure”) and a jimble-jamble of tuned percussion (“Shoganai”) that is in the vein of the opening of “Larks’ Tongues I”.
And the four substantive tracks? “Happy With What You Have to Be Happy With” was written ostensibly as a parody, but practically ends up as self-parody in the process. The meta-lyrics, singing about the process of writing the verses within the actual verses and the chorus within the actual chorus, etc., are intended to be a joke poking fun at the vacuity of the nu metal of the time.
While the title track is certainly nothing new coming for the band, in its favor it at least crunches along with some degree of energy and attitude. Pat Mastelotto, who is a kind of Alan White counterpoint to Bill Bruford in King Crimson, provides some of the more interesting contributions here, walloping the drum kit and inserting some fresh fills.
The EP contains an acoustic version of “Eyes Wide Open”, which also later appeared on “Power to Believe”. This is a gentle song merging the mellow vibe of “One Time” with the desert caravan percussion of “Walking on Air” from Thrak. “Potato Pie” is another Crimson-warps-the-blues piece as was “ProzaKc Blues” for “ConstruKction of Light”. There is a version of “Larks’ Tongues in Aspic IV” sounds a diluted, hybridized rehash of “Larks’ Tongues II”, “Red” and “THRAK”. The EP finally fizzles out with the hidden track “Einstein’s Relatives”, an amalgamation of studio banter and outtakes.
Line-up:
- Robert Fripp / guitar
- Adrian Belew / guitar, vocals
- Trey Gunn / warr guitar, rubber bass, fretless warr
- Pat Mastelotto / drums
Track List:
01. Bude – 0:26
02. Happy With What You Have To Be Happy With – 4:12
03. Mie Gakure – 2:00
04. She Shudders – 0:35
05. Eyes Wide Open – 4:08
06. Shoganai – 2:53
07. I Ran – 0:40
08. Potato Pie – 5:03
09. Larks’ Tongues In Aspic (Part IV) – 10:26
10. Clouds – 4:10
Link in comments.
King Crimson – Level Five (Live EP 2001) (@256)
09 Jul 2008
(Review from progarchives.com)
The new period (with its amazingly various flashes) of King Crimson isn’t just about “THRaK”, “ConstruKction Of Light” and “Power To Believe” (pivotal, but sole-blistering role), it’s yet about many other sides, recordings, influences, powers, gown states and purified energies, eclectic touches and dark permanent transitions (etc). Albums and side loops merely contemplate the great fusion of taste, passion, dark, drought, rock, math, cycle, groon or dim-stem elements have an equal share of treat, vituperance and fun-based Crimson energy. Well… here is “Level Five”.
This is a live recording from 2001 when King Crimson toured with Tool. As the band often does, they allow the audience to hear some new material that will be released on their next album (“Power To Believe”).
Like Tool’s music,this is dark and very heavy. “Dangerous Curves” features synths-like sounds and drums. “Level Five” is another “Power To Believe” song at at over 8 minutes in length. It opens with screaming guitar,and check out the outbreaks of bass that comes and goes several times. “Virtuous Circle” was changed a bit to become “Power To Believe II” on that record. Lots of percussion as the guitar joins in. The sound does lighten as percussion continues. The waves of synths-like sounds are majestic.
“The ConstruKction Of Light” from the album of the same name is over 13 minutes long. Drums open the song as relentless angular guitar melodies play throughout. Great bass lines again,and vocals 6 minutes in. “The Deception of Thrush” from various ProjeKcts starts with a monologue of processed vocals for 2 minutes. Then a dark,heavy soundscape rises from the depths. It does lighten up as synths-like waves come in with guitar melodies.
Un-critical and un-measurable, yet as a secondary kind of release and stage act, “Level Five” is almost beyond the normal drought of such albums.
Line-up:
* Adrian Belew – Guitar, Vocals
* Robert Fripp – Guitar
* Trey Gunn – Warr Guitar
* Pat Mastelotto – Drums
Track List:
01. Dangerous Curves
02. Level Five
03. Virtuous Circle
04. The ConstruKction Of Light
05. The Deception Of The Thrush
Link in comments.
King Crimson – ProjeKct X : Heaven and Earth (2000) (@256)
08 Jul 2008
Thanks to Bragi Taliesin for the contribution.
(Review from progreviews.com, progarchives.com)
Heaven and Earth was taken from the rehearsals and recording of King Crimson’s “ConstruKction of Light” album. Basically, this is a hodgepodge of improvisations, jams, studio conversations and robotic whispers by Belew, all whirled around and thrown together with techno hyper-beat programming of Mastelotto.
You may have already heard the sultry title track, added as an epilogue to the “ConstruKction of Light” album. But by itself it doesn’t give an altogether accurate impression of the adrenalin-driven, hyperspace grooves on display here. Crimson’s 2003 studio album, “Power To Believe”, may have better integrated the ProjeKct X ethos into an actual song-based format, but this is Mastelotto’s Crimson King in all its unexpurgated glory, at last fulfilling the promise of the post-Double Trio research and development fraKctals in brilliant, no-holds-barred fashion.
Exactly how state-of-the-art is it? Consider that the running time of each track, as listed in the CD booklet, is broken down to a ridiculous 1/100th of a second, something only a true music nerd could appreciate.
Line-up:
* Adrian Belew – Guitar, additional ‘V Drumming’ (3)
* Robert Fripp – Guitar, Soundscapes
* Trey Gunn – Bass Touch Guitar, Baritone Guitar
* Pat Mastelotto – Traps, Buttons
Track List:
01. The Business of Pleasure
02. Hat in The Middle
03. Side Window
04. MaximIzer
05. Strange Ears (aging rapidly)
06. Overhead Floor Mats Under Toe Real Audio
07. Six O’Clock
08. Superbottomfeeder
09. One E And Real Audio
10. Two Awkward Moments
11. Demolition
12. Conversation Pit
13. Cin AlayI
14. Heaven And Earth
15. Belew Jay Way
Links in comments.
King Crimson – ProjeKct Two Live Groove (1998) (@256)
05 Jul 2008
(Review from progarchives.com)
Live Groove, is a reference to the double album Space Groove, released one year before this, and it’s actually a prevalent interpretation of Space Groove’s repertoire or, least of all, essence.
It’s a guitar sense, as only Fripp, Belew and Gunn form this frakctal of King Crimson. That means slight soundscapism, chords refinement and the casual construction of such an imposing feature. The play is virulent, in a chaos of sensations, in several senses. Perhaps not intact as speech, but a pill of shock therapy. Energic, yet perhaps too close in its sharp form.
Line-up:
- Robert Fripp / guitar
- Adrian Belew / V-drums
- Trey Gunn / touch guitar, talker
Track List:
01. Sus-tayn-Z – 8:05
02. Heavy ConstruKction – 5:11
03. The Deception Of The Thrush – 7:33
04. X-chayn-jiZ – 6:01
05. Light ConstruKction – 5:17
06. Vector Shift To Planet Detroit – 3:41
07. Contrary ConstruKction – 4:55
08. Live Groove – 10:50
09. Vector Shift To Planet Belewbeloid – 1:24
10. 21st Century Schizoid Man – 11:50
Links in comments.
King Crimson – ProjeKct Two Space Groove (1997) (@256)
04 Jul 2008
Thanks to Bragi Taliesin for the contribution.
(Review from progreviews.com, progarchives.com)
Considering that many bands that tackle the double disc format spend a long time writing and recording only to turn out a mediocre product, ProjeKct Two’s attempt to produce a double album in three days seems foolhardy. Space Groove, written and performed by half of King Crimson (Adrian Belew, Trey Gunn and Robert Fripp) is surprisingly decent, then, and even good considering the time constraint and amount of material.
The pieces have a jazzy space feel to them; the choice of futuristic-sounding instruments and sounds no doubt plays a major part in this. Overall, the music is very subtle; enjoyable. The pieces don’t seem to be in any particular order, and could just as easily be rearranged with the same effect.
Fripp is the sole lead guitarist, and it is refreshing to hear him leading from the front for once. Gunn’s WARR guitar has a huge range of notes, enabling him to function as either bass or second guitar as rquired, and the V drums can trigger bass lines and samples, so at times it sounds like a lot more than 3 musicians.
CD1 features 2 lengthy, jazz inflected improvs and one much shorter piece. The shorter pieces on CD2 are often excellent, with a much sharper focus — probably because it uses the better excerpts of long jams instead of the long jams themselves.
Adrian Belew wrote an accompanying short science fiction story (included in the packaging) that tries to make some sense out of the improvisational chaos. The second disc, “Vector Patrol”, seems to follow this narrative, as it consists of fourteen smaller pieces of music whose titles indicatic thematic flow.
Space Groove are for those who enjoy improvisational, low-key space music.
Line-up:
- Robert Fripp / guitar
- Adrian Belew / V-drums
- Trey Gunn / touch guitar, guitar synth
Track List:
CD1
01. Space Groove II
02. Space Groove III
03. Space Groove I
CD2
01. Happy Hour on Planet Zarg
02. Is There Life on Zarg
03. Low Life in Sector Q-3
04. Sector Shift
05. Laura in Space
06. Sector Drift
07. Sector Patrol
08. In Space There Is No North, In Space There Is No South, In Space There Is No East, In Space There Is No West
09. Vector Patrol
10. Deserts of Arcadia (North)
11. Deserts of Arcadia (South)
12. Snake Drummers of Sector Q-3
13. Escape from Sagittarius A
14. Return to Station B
Links in comments.
King Crimson – Vrooom Vrooom (Live 1995-96) (@256)
02 Jul 2008
(Review from progarchives.com)
For a line-up which released only one studio album (Thrak) , there’s an awful lot of material by the double trio available, especially if you count in the ProjeKcts. This double set gives a good selection of live versions of 90s material, updated versions of older material, some improv and a cover version thrown in for good measure. King Crimson has always come alive on stage, and these double album show just how powerful they can be when they’re firing on all cylinders.
The two discs were recorded during different concerts, in Mexico City (disc 1, and New York (disc 2). Somewhat confusingly disc 1 was recorded 9 months after disc 2, which means that the band sounds slightly less polished on disc 2 if you listen to them in order. Although they were drawing on the same repertoire for these shows, only one piece (Thrak) crops up twice.
Disc 1 sees the mighty Crim beast launch a non stop, no holds barred assault on their audience, 60 minutes of the kind of high intensity few other bands can deliver. The first five selections come from Thrak, including a storming version of Dinosaur with Belew in fine voice. This is followed by a blast from the past as they give us The Talking Drum and LTIA II, with Bruford and Mastelotto almost matching the Muir/Bruford partnership for manic interplay. Neurotica is another bravura vocal from Belew, a white knuckle ride on a piledriving rhythm that constantly threatens to fall apart but somehow holds together. Two other oldies get the double trio makeover; Red, which sounds a bit messy compared to the version on “Absent Lovers”, and a nu-metal reworking of 21st Century Schizoid Man which works surprisingly well once you get over the initial shock.
Disc 2 is a slightly looser affair which draws mainly on Thrak and the 80s albums. The 80s material is reworked by the expanded line up to great effect, especially Elephant Talk which gives Gunn and Levin an opportunity to trade licks at lightning speed. Indiscipline shows the bands mastery of wildly fluctuating dynamics and stop/start rhythms, while the gentler songs show that the double trio was also capable of great subtlety and restraint, particularly the the closer, Walking on Air. An unexpected surprise is a cover version of the Beatles’ “Free as a Bird”, which was released at the time of these concerts. Belew does a remarkably fine job as a Lennon impersonator, and you can hear the band and audience audibly cracking smiles during this performance.
Vrooom Vrooom is a great Crimson live album, it gives a good overview of a remarkable line-up in full flight.
Line-up:
- Robert Fripp / guitar, soundscapes
- Adrian Belew / guitar, voice
- Trey Gunn / Warr touch guitar
- Tony Levin / basses, Stick
- Pat Mastelotto / acoustic drums, electronic drums, percussion
- Bill Bruford / acoustic drums, electronic drums, percussion
Track List:
CD1
01. Vrooom Vrooom – 5:01
02. Coda: Marine 475 – 2:44
03. Dinosaur – 5:05
04. B’Boom – 4:51
05. Thrak – 6:39
06. The Talking Drum – 4:03
07. Larks’ Tongues In Aspic [Part II] – 6:13
08. Neurotica – 3:40
09. Prism – 4:24
10. Red – 7:03
11. Biker Babes of the Rio Grande – 2:27
12. 21st Century Schizoid Man – 7:37
CD2
01. Conundrum – 1:57
02. Thela Hun Ginjeet – 6:44
03. Frame By Frame – 5:12
04. People – 6:12
05. One Time – 5:52
06. Sex Sleep Eat Drink Dream – 4:55
07. Indiscipline – 7:16
08. Two Sticks – 1:50
09. Elephant Talk – 5:14
10. Three Of A Perfect Pair – 4:16
11. B’Boom – 3:47
12. Thrak – 6:43
13. Free As A Bird – 3:03
14. Walking On Air – 5:35
Links in comments.
King Crimson – B'Boom Live in Argentina (1994) (@256)
01 Jul 2008
(Review from progreviews.com, progarchives.com)
B’Boom is exactly what it says it is, an “official bootleg”. Fripp apparently isn’t that fond of people bootlegging shows, because it allows bad shows to be heard by more people (so he says). So, in an effort to let the band tap into bootlegging for the band, B’Boom came to be. As one of the first shows of the Thrak tour, it was recorded live at the Broadway, Buenos Aires, Argentina in October 1994
The concert was digitally recorded from the mainboard. Because of this, the recorded sounds are exactly how the microphones heard the performance, not how the audience heard it. This produces a very detailed live record due to the sound engineer’s unique talent.
There is a good helping of Thrak material but the real fun is listening to what this double-trio lineup does with the older material. “Indiscipline” is downright scary it’s so good: just the right mix of anger and whimsy. “The Talking Drum” and “Larks’ . . .” are really something. Some of the other Discipline-era material sounds a bit congested with the six piece group but it doesn’t detract significantly from the performance. Of course there is some improv here, notably around “B’Boom” and “Thrak”, but it doesn’t go on too long or go off on too many tangents.
This is the triumphant return of King Crimson to the live stage in the 90s.
Line-up:
- Adrian Belew / vocals, guitar
- Bill Brudord / drums, percussion
- Robert Fripp / guitar, soundscapes
- Trey Gunn / Warr guitar
- Tony Levin / Stick, basses, vocals
- Pat Mastelotto / drums, percussion
Track List:
CD1
01. VROOOM – 7:06
02. Frame By Frame – 5:24
03. Sex, Sleep, Eat, Drink, Dream – 4:48
04. Red – 6:08
05. One Time – 5:35
06. B’Boom – 6:48
07. THRAK – 6:28
08. Improv – Two Sticks – 1:25
09. Elephant Talk – 4:25
10. Indiscipline – 7:20
CD2
01. VROOOM VROOOM – 6:18
02. Matte Kudasai – 3:36
03. The Talking Drum – 5:44
04. Lark’s Tongues In Aspic Part II – 7:31
05. Heartbeat – 3:51
06. Sleepless – 6:05
07. People – 5:22
08. B’Boom (Reprise) – 4:16
09. THRAK – 5:33
Links in comments.
King Crimson – Vrooom (EP 1994) (@256)
01 Jul 2008
(Review from allmusic)
To reward longtime King Crimson fanatics who waited ten long years (1984-1994) for new studio material, the band issued this EP of six tracks that would (for the most part) later appear on the full-length Thrak.
The band is caught at its rawest and most passionate, erasing any doubts that may have surfaced concerning whether the regrouped King Crimson could still cut it. They haven’t rocked this hard in years, the proof being in the first two songs — the long and winding instrumental title track and “Sex Sleep Eat Drink Dream,” which contains some classic paranoid Adrian Belew vocals. “Cage” is a not-so-distant ancestor to their old track “Neurotica” (off 1982′s Beat), due to its message and approach. And as for the three other songs, “Thrak” is as primal as King Crimson have ever gotten; “When I Say Stop, Continue” is moody background music; and “One Time” is a slow, pretty number.
As on past releases, King Crimson are not scared to use cacophony to create musical tension — there’s lots of it on VROOOM.
Line-up:
- Adrian Belew / guitar, vocals, words
- Bill Bruford / acoustic & electronic percussion
- Robert Fripp / guitar
- Trey Gunn / Stick
- Tony Levin / Stick, basses
- Pat Mastelotto / acoustic & electronic percussion
Track List:
01. VROOM – 7:34
02. Sex Sleep Eat Drink Dram – 4:42
03. Cage – 1:35
04. Thrak – 7:18
05. When I Say Stop, Continue – 5:20
06. One Time – 4:27
Link in comments.
King Crimson – Absent Lovers : Live in Montreal (1984) (@256)
29 Jun 2008
(Review from progarchives.com)
“Absent Lovers” showcases the ground-breaking potential of the much-maligned (and equally praised) 80s line-up of this legendary band, whose final performance was captured in this double album.
Even a superficial listen should quickly disabuse those who thought the ‘trilogy’ released at the beginning of the decade was little more than King Crimson-lite. While their studio recordings may have been partly characterised by a somewhat ‘poppy’, even danceable quality, “Absent Lovers” shows quite a different story. The first of the two CDs in particular features oodles of state-of-the-art improvisation by a quartet of musicians possessed of technical chops and creative energy in equal doses.
7 out of 8 tracks of “Discipline” are featured here. While “Discipline” sounds distinctly unlike the band’s 70s output, a good deal of what can be heard on this album bears a very clear resemblance to the sound of their ’73-’74 incarnation, even though Belew’s quirky, supercharged vocal style (an acquired taste to many) is light years away from John Wetton’s alternately warm and gruff tones. The presence of two classic from that era, “Red” and “Larks’ Tongues in Aspic pt. 2” bears witness to this continuing connection.
In comparison to “Discipline”, the band’s sound is definitely darker, more metallic and spacey. Nowhere is it more evident than in the instrumental tracks included on CD 1, such as the ominous intro “Entry of the Crims”, which flows effortlessly into “Lark’s Tongues in Aspic pt. 3”, and the aptly-titled “Industry”. This CD’s highlight is probably the stunning, slow-motion, 10-minute-plus version of “Indiscipline”, in which the contrast between Belew’s spoken-word, distorted vocals and the explosive guitar riffing is used to maximum effect. On the other hand, the presence of the laid-back, atmospheric “Matte Kudasai”, the upbeat “Three of a Perfect Pair”, and the manic, intense “Thela Hun Ginjeet” provides a nice balance to the brooding heaviness of the above-mentioned tracks.
CD2 is definitely more song-orientated, from the rarefied atmosphere of “The Waiting Man” to the more energetic “Frame by Frame”, through the jagged rythms of “Sleepless” (a cracking version of a sadly underrated song) and the supreme quirkiness of vocal tour-de-force “Elephant Talk”, which closes the album in style), King Crimson prove to their audience that they are not only about instrumental virtuosity and intricate time signatures.
As is always the case with King Crimson, there is a genuine live feel to this album. The four band members are in top form, Belew and Fripp’s guitar creating all sorts of weird, intriguing soundscapes over the background provided by the stellar rhythm section of Bruford and Levin.
This is progressive music in the true sense of the word, harsh at times, soothing at others, improvisational, technically brilliant, intellectually challenging, lyrically odd, overall extremely stimulating.
Line-up:
- Adrian Belew / lead vocals, guitar
- Bill Bruford / drums, percussion
- Robert Fripp / guitar, devices
- Tony Levin / Stick, basses, backing vocals
Track List:
CD1
01. Entry of the Crims – 6:27
02. Larks’ Tongues in Aspic (Part III) – 5:05
03. Thela Hun Gingeet – 7:07
04. Red – 5:49
05. Matte Kudasai – 3:45
06. Industry – 7:31
07. Dig Me – 3:59
08. Three of a Perfect Pair – 4:30
09. Indiscipline – 8:12
CD2
01. Sartori in Tangier – 4:39
02. Frame by Frame – 3:57
03. Man with an Open Heart – 3:44
04. Waiting Man – 6:26
05. Sleepless – 6:08
06. Larks’ Tongues in Aspic (Part II) – 7:54
07. Discipline – 5:04
08. Heartbeat – 5:15
09. Elephant Talk – 8:55
Links in comments.
King Crimson – EleKtrik : Live in Japan (2003) (@256)
24 Jun 2008
(Review from progarchives.com)
If your a fan of “Power To Believe” record, you have to get this live album. It was recorded when they toured Japan in 2003 and most of the songs are from that record with three songs from “ConstruKction Of Light” and one from “Thrak”. Almost 75 minutes of fantastic music and most of it is incredibly heavy.
The album doesn’t start off that way though with the “Introductory Soundscape” that has over 5 minutes of spacey music. “Power To Believe 1: (A Cappella)” is Belew singing alone in this short intro tune. “Level Five” is a heavy duty song with some amazing guitar and percussion. The guitar is screaming after 5 minutes. “Prozakc Blues” from “ConstruKction Of Light” is a humerous song with Belew singing in a deep voice. More heaviness on this one as well. “EleKtriK” features some intricate and complex guitar and percussion that gets heavy 6 minutes in. “Happy With What You Have To Be Happy With” opens heavily with some incredible guitar 2 minutes in. “One Time” is almost a refreshing break, as this laid back song from the “Thrak” album is so smooth, warm and wonderful.
“Facts Of Life” just smokes, it’s so heavy! “The Power To Believe II (Power Circle)” is kind of cool as the band brings in some eastern sounds (hey,it’s in Japan). There is a lot of atmosphere and spacey sounds that again are so moving. “Dangerous Curves” slowly builds to a hypnotic rhythm. This is a powerful song! “Larks’ Tongues In Aspic IV” and the final song “The World’s My Oyster Soup Kitchen Floor Wax Museum” are both from “ConstruKction Of Light” album.The first one is all about the band just flat out playing one instrumental from them, while the second concentrates more on the lyrics and Belew.
EleKtrifying and eleKtrified. The combination of King Crimson high moments of the “new millenium” work and thrilling scenes pulse in the situation of a mature performance. No compromises. The live expression of beautiful.
Line-up:
- Adrian Belew / guitar, vocal
- Robert Fripp / guitar
- Trey Gunn / Warr guitar, fretless Warr guitar
- Pat Mastelotto / traps and buttons
Track List:
01. Introductory Soundscape – 5:05
02. The Power To Believe I- (A Cappella) – 0:42
03. Level 5 – 7:22
04. ProzaKc Blues – 6:01
05. EleKtriK – 8:01
06. Happy With What You Have To Be Happy With – 4:15
07. One Time – 6:01
08. Facts Of Life – 5:29
09. The Power To Believe II – 8:44
10. Dangerous Curves – 6:02
11. Larks’ Tongues In Aspic-Part IV – 10:33
12. The World’s My Oyster Soup Kitchen Floor Wax Museum – 6:31
Links in comments.
King Crimson – Power to Believe (2003) (@256)
23 Jun 2008
(Review from progreviews.com, progressiveworld.net)
King Crimson exists in different bands, with different approaches, but always with a similar spirit (in composition as well as improvisation). This studio album is the second from the “Double Duo” incarnation of the band. The Double Duo unit crafts their sound with electronic percussion, MIDI guitars, touch basses, and heavily processed vocals. This is a very electronic type of music, countered with the snaky warmth so characteristic of the touch basses.
The Power to Believe has individual pieces that are similar enough to music from their history, enough to raise strong comparisons, but unique enough to stand on their own, and to be a good contribution to an ever-growing canon. Unique because this band is different, and their sound is different (more “futuristic”), and with new musical elements integrated into their sound; particularly, Pat’s techno/drum and bass techniques, a stronger metal sound, and the greater guitar vocabulary allowed by all the technology.
For example, “Level 5″ will raise comparisons to “VROOOM” and “Red”; “Dangerous Curves” will raise comparisons to “Mars” and “Talking Drum”; “Power to Believe II” to “Sheltering Sky” and “Satori in Tangiers”; “Elektrik” to “Discipline” and “Frame by Frame”; “The Facts of Life” to “Schizoid Man” and “Sailor’s Tale”; and “Power to Believe III” strongly reminds me of “Starless and Bible Black”.
However, the music here has different personalities. For example, where “VROOOM” and “Red” possess a heavy but jaunty forward motion, like a musical motorcycle, “Level 5″ has a personality that is a dark black, foreboding musical omen, a dead-serious Bartók/metal fusion. “Dangerous Curves” possesses the aggressive and atmospheric minimalism of similar earlier works but replaces the earthier textures (tablas, violin, buzzing guitars) with mechanical rhythms and electronic clouds.
Bartok-metal is perhaps a good description for a lot of music here; at least for “Level 5″ and “Facts of Life” but even parts of “Power to Believe III” reminds me of elements of Music for Strings, Percussion, and Celesta. Gamelan music is perhaps the other. Electrified gamelan music appears in the guitar writing of “Elektrik”, and shockingly, “Power to Believe II” contains a section that simulates a real gamelan orchestra. “Elektrik” has a fiery and ethereal beauty, with some intense dynamic changes.
“Power to Believe III” is simultaneously dark, alien, and beautiful. Beautiful in how there are moments of almost complete silence, just a ray of sound like light, and then sudden shocking stabs of the drums, and the rustling and rattling sounds, and the strange theremin-like guitar sounds with eerie harmonics. On a side note, this is a development of the “Deception of the Thrush”, which has appeared in many forms over the years in live recordings.
A lot of people knock “Happy With…”, but in my opinion the main riff is clearly satirical, the most obvious and trite riff occurring in nu-metal, and it is as mocking as the lyrics. But the “Happy with what you have” odd-metered vocal riff and drunken bumblebee guitar solo save this song from just being a throwaway satire or joke.
If you have ”The Power To Believe”, the music can take you anywhere.
Line-up:
- Adrian Belew / guitar, vocals & electronic percussion
- Robert Fripp / guitar
- Trey Gunn / Warr guitar, rubber bass
- Pat Mastelotto / drums
Track List:
01. The Power To Believe I-A Cappella – 0:44
02. Level Five – 7:17
03. Eyes Wide Open – 4:08
04. Elektrik – 7:59
05. Facts Of Life-Intro – 1:38
06. Facts Of Life – 5:05
07. The Power To Believe II – 7:43
08. Dangerous Curves – 6:42
09. Happy With What You Have To Be Happy With – 3:17
10. The Power To Believe III – 4:09
11. The Power To Believe IV-Coda – 2:29
Links in comments.
King Crimson – Heavy Construkction (Live 2000) (@256)
22 Jun 2008
(Review from progreviews.com)
The Heavy ConstrucKtion improvs are quite different from the THRaKaTTaK improvs of 1995. The improvs here are closer to normal “rock” music than the freeform sounds of THRaKaTTaK. In general, the individual improvs are shorter, more focused, with stronger and more consistent themes. Stylistically, all tracks are rhythmic some beastly, some almost in ambient house style, all layered on top with guitars.
Speaking of the guitars: the team of Adrian Belew and Robert Fripp offer up their most experimental playing, featuring wild textures, wild guitar effects, wild samples, and lots of dissonance mixed with almost-melodies. Pat Mastelotto is a real monster here, with an array of whacking styles that range from a highly industrialized take on drum ‘n bass, to a more ambient house drumming style, whichever feels appropriate for the improv. He is a real master of sound here, with drum sounds that come out of a monster movie: pows, whacks, bangs, thunder crashes, gun shots, deep dark rumbles, heartbeats, all manner of crazy sounds, sometimes even carefully placed silent stretches for drama. On “Thrush” he even breaks out the crazed rattle of the tambourine. And Trey Gunn provides some funky, almost Primus-like basslines, when he can be heard. He gets the chance to shine with a lovely solo during the “Deception of the Thrush”.
The first few tracks are beastly rhythmic rockers with a funk-like sense in the bass work. Around tracks five and six, the Crim veer into a more exclusively techno/drum ‘n bass territory, where Pat is the highlight. In the middle part of the album, they delve into ambient-house like rhythms overlaid with immense guitar fantasias, delving into a surreal, psychedelic territory. There is the surreal beauty of “Beautiful Rainbow”, with its synthesized bamboo flute like sounds, deep chant like effects, and prismatic guitar playing so elusive and textured it is difficult to pinpoint the actual notes. “7 Teas” is the poison underbelly of this experience.
Then, there is the voyage into complete darkness, with tracks like “Tomorrow Never Knew Thela”, “Uboo”, “Deception of the Thrush”, and “The Arena of Terror”. “Tomorrow Never Knew Thela” consists of what seems like two sinister radio stations fighting it out over a beat ripped from the Beatles’ “Tomorrow Never Knows”. My favorite is “Uboo”, which starts with subsonic heartbeats and builds into a juggernaut with weapon-like rhythms and skronking guitars. Next up is yet another unique version of “Deception of the Thrush”. Finally, we have “Arena of Terror”, with the mad tambourine and the theremin-like guitar solo, with delirious crowd echoes mixed in.
Line-up:
- Adrian Belew / guitar, vocals
- Robert Fripp / guitar
- Trey Gunn / Touch guitar, bass, talk
- Pat Mastelotto / electronic drums
Track List:
CD1
01. Into The Frying Pan – 6:20
02. The ConstruKction Of Light – 8:29
03. ProzaKc Blues – 5:25
04. Improv Munchen – 8:35
05. One Time – 5:44
06. Dinosaur – 5:24
07. VROOOM – 4:44
08. FraKctured – 8:46
09. The World’s My Oyster Soup Kitchen Floor Wax Museum – 7:38
10. Improv Bonn – 9:20
CD2
01. Sex, Sleep, Eat, Drink, Dream – 4:30
02. Improv: Offenbach – 6:30
03. Cage – 3:54
04. Larks’ Tongues in Aspic: Part Four – 12:51
05. Three of a Perfect Pair – 3:42
06. The Deception of the Thrush – 8:26
07. Heroes – 6:09
CD3
01. Sirap – 5:40
02. Blastic Rhino – 4:13
03. Light Please, Pt. 10:56
04. cccseizurecc – 6:02
05. Off and Bank – 4:11
06. More (And Least) – 3:13
07. Beautiful Rainbow – 6:59
08. 7 Teas – 4:07
09. Tomorrow Never Knew Thela [Including Tomorrow Never Knows] – 4:49
10. Uböö – 7:59
11. The Deception of the Thrush – 10:42
12. Arena of Terror – 3:22
13. Lights Please, Pt. 2 – 4:51
Links in comments.
King Crimson – Construkction of Light (2000) (@256)
22 Jun 2008
(Review from progreviews.com, wikipedia, amazon)
The grandiose project of having King Crimson with six band members did not last for long. King Crimson produced side projects. ProjeKcts One, Two, Three, and Four, were each a splinter group (a “fraKctalisation”, according to Fripp) of King Crimson. They released various recordings, demonstrating the improvisational musical high wire act that the constituent musicians are able to produce.
By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson. Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album The ConstruKction of Light in 2000. The band this time brings together the heaviness and power of the 70s group with the intricate multiple-guitar interplay of the 80s band and the electronic textures of the ProjeKcts.
Before its release, Fripp had hinted to fans that this album would be something completely new, integrating the lessons learned from the various ProjeKcts. Instead, what we got was an album that sounds only superficially like the ProjeKcts while leaning heavily on Crimson’s past glories. There are even two “remakes” of earlier songs, and Adrian Belew namechecks other Crimson works in the lyrics.
Bruford’s departure was greeted with horror by the faithful but, to my mind, Mastelotto finally comes into his own on Construkction. Out of Bruford’s shadow he becomes a monster, adding new dimensions to the sound and giving the percussion an electronic backup of effects that augment the traditional drums rather than detracting from it. He understands how to use rhythms more commonly found in dance environments in this fields and the effect can be mesmerising.
The band offers up a curiously lugubrious mockery of rootsy Delta despair (“Prozac Blues”) before venturing into the familiar, hypnotically polyrhythmic soundscape of the title track, the challenging harmonics of “Into the Frying Pan,” and the delicate, spacious constructions of “FraKctured.” “The World Is My Oyster” is almost Floydian in feel and scope, though the Pink brigade haven’t made music this oddly compelling since the ’70s. There are monster chops throughout, as well as some heavy riffing that underscores Crimson’s continued influence on bands like Tool, Marilyn Manson, and Nine Inch Nails.
ConstruKction is as restless as it is modern–and progressive in all the right ways.
Line-up:
- Adrian Belew / guitar, vocals
- Robert Fripp / guitar
- Trey Gunn / bass touch guitar, baritone guitar
- Pat Mastelotto / drums
Track List:
01. ProzaKc Blues – 5:28
02. The ConstruKction of Light 1/2 – 5:49
03. The ConstruKction of Light 2/2 – 2:50
04. Into the Frying Pan – 6:54
05. FraKctured – 9:06
06. The World’s My Oyster Soup Kitchen Floor Wax Museum – 6:24
07. Larks’ Tongues in Aspic-Part IV 1/3 – 3:41
08. Larks’ Tongues in Aspic-Part IV 2/3 – 2:50
09. Larks’ Tongues in Aspic-Part IV 3/3 – 2:36
10. Coda: I Have a Dream – 3:55
11. Heaven And Earth (Bonus) – 7:46
Links in comments.
King Crimson – Thrakattak (Live 1995) (@256)
20 Jun 2008
(Review from progreviews.com)
In King Crimson’s long history they never put an album out quite like this one. Consisting of eight improvisations tacked together in a seemingly random manner, THRaKaTTaK is not for the faint of heart. There are moments of great violence followed by lengthy soundscapes and sparse percussion. There are a couple of moments that might sound somewhat avant, but on the whole this doesn’t quite make it up there with the mindset of RIO. It’s still rooted in Fripp and Crim’s ethos, which precludes the kind of alien quality most really good avant-prog seems to have.
Nevertheless, this is a release that is worth exploring for Crimson fans who would like to hear something different. On the one hand, you have to admire the bravery of the band to release something like this at this point in their career. At times they approach the searing success of their 70s improv efforts, except from a less accessible end.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / acoustic & electronic drums, percussion, marimba
- Robert Fripp / guitar, soundscapes
- Trey Gunn / Warr guitar
- Tony Levin / NS Upright bass
- Pat Mastelotto / acoustic & electronic drums, percussion
Track List:
01. THRAK – 2:20
02. Fearless and Highly THRaKked – 6:35
03. Mother Hold The Candle Steady While I Shave The Chicken’s Lip – 11:18
04. THRaKaTTaK Part I – 3:42
05. The Slaughter of the Innocents – 8:03
06. This Night Wounds Time – 11:16
07. THRaKaTTaK Part II – 11:08
08. THRAK reprise – 2:52
Links in comments.
King Crimson – Thrak (1994) (@256)
19 Jun 2008
(Review from progarchives.com, progreviews.com)
In 1994, Fripp woke King Crimson from the netherworld once more, with another evolution in the line up, this time the formulation of six members which breaks down rhythmically as two trios to blend a very interesting construction of soundscapes. The previous band would return along with Trey Gunn, as well as Pat Mastellotto on drums. Both had played with Fripp in a collaboration with avant-garde artist David Sylvian.
The sound harkens back to the Red-period band, with aggressive instrumentals and some fiery improvisations. The new marque of this heavy instrumental music displayed more musical maturity and finer execution over mainstream heavy metal to “117 guitars almost hitting the same chord simultaneously”. Expansive arrhythmic soundscapes which drew from “Frippertronics” concepts give imposing auras which were generated by the mellotron in the King Crimson of the early 70s.
The title track is possibly as overtly dissonant and aggressive as the band has ever sounded, while “VROOOM” and its pseudo-reprise are uptempo workouts that fit nicely in the band’s canon. Adrian Belew returns as frontman, and doesn’t miss a beat incorporating his modern-rock take on the Beatles and Talking Heads into the Crimson sound.
The lively opener “VROOOM” prooves that the band can still rev it up. The classic King Crimson formula of juxtaposing raging, rockish sections with softer, understated sections is put to use here, as is the new double trio lineup. The two drummers shine especially, with Mastelotto laying down the basic groove and Bruford dancing around him. For further evidence, check out their drum feature/intro “B’Boom”.
“Dinosaur”, a Belew-penned tune is about, of all things, getting older. Imagine the mid-life crisis of the world’s alltime greatest fan of Magical Mystery Tour, beef up the metallic guitars, and you’ve got this slab of prog-pop. Heavy yet nerdy.
Welcome to the King Crimson of 90s.
Line-up:
- Adrian Belew / guitar, voice, vocal
- Bill Bruford / acoustic & electronic percussion
- Robert Fripp / guitar, mellotron, soundscapes
- Trey Gunn / stick, back vocals
- Tony Levin / basses, back vocals
- Pat Mastelotto / acoustic & electronic percussion
Track List:
01. Vrooom – 4:38
02. Coda- Marine 475 – 2:41
03. Dinosaur – 6:37
04. Walking On Air – 4:38
05. B’boom – 4:11
06. Thrak – 3:59
07. Inner Garden I – 1:47
08. People – 5:53
09. Radio I – 0:43
10. One Time – 5:22
11. Radio II – 1:03
12. Inner Garden II – 1:15
13. Sex Sleep Eat Drink Dream – 4:50
14. Vrooom Vrooom – 5:50
15. Vrooom Vrooom- Coda – 3:03
Links in comments.
King Crimson – Beat (1982) (@256)
18 Jun 2008
(Review from progarchives.com)
The album which followed in June 1982, Beat, which was largely influenced by the writings of Beatnick visionary Jack Kerouac, featured more technology and artistically went even further beyond musical comprehension. Another dose of “Discipline”, this time favoring the languid, dreamy side of the quartet’s combined powers.
“Beat” isn’t much different from their last album, so the shock value associated with “Discipline” is lost. “Neal And Jack And Me” won’t surprise anyone who’s heard “Frame By Frame”, “Heartbeat” doesn’t hold any magical treats that “North Star” didn’t already unlock years ago, “Neurotica” is a familiar indulgence of indiscipline, etc.
There are some new ideas at work here, treading into Steve Hackett’s dark forest on “Sartori In Tangier”, showcasing Frippertronics on the closing “Requiem”, exploring “Beat” imagery on “The Howler” and “Neal And Jack And Me” (hence the title).
The superlative, mathematical approach of this King Crimson attracted a whole new audience of younger listeners who viewed the band as champions of instrumental envelope pushing.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / drums
- Robert Fripp / guitar, organ, Frippertronics
- Tony Levin / Stick, bass, back vocals
Track List:
01. Neal and Jack and Me – 4:22
02. Heartbeat – 3:54
03. Sartori in Tangier – 3:34
04. Waiting Man – 4:27
05. Neurotica – 4:48
06. Two Hands – 3:23
07. The Howler – 4:13
08. Requiem – 6:38
Link in comments.
King Crimson – Discipline (1981) (@256)
17 Jun 2008
(Review from progarchives.com)
In 1981, Fripp formed a band called Discipline which followed the art/rock framework in the sense that it drew ideas from foreign sources which included rhythmical elements of Javanese music combined with rock and pop stylings. In order to achieve a contrast with his own unique guitar technique he asked Adrian Belew (fresh out of Zappa band, touring with The Talking Heads at the time) to join him and former King Crimson drummer Bill Bruford along with master bassist Tony Levin (from innumerable jazz/rock band) in his latest musical endeavour.
Not only were fresh musical ideas sought out but innovations in technology were also exploited with the use of guitar synthesisers, electric drums and Levin’s use of the Chapman Stick, a multi stringed instrument on which bass lines and chords could be played simultaneously by means of a tapping technique. The resulting sound was “decidedly dangerous” and occupied a grey area somewhere between the Talking Heads and the new metal derived grunge and industrial music which was also beginning to surface in the early 80s. It embodied many aspects of the previous 1974 King Crimson entity as well, including improvisation with heavy emphasis on intricate instrumental ability in addition to, perhaps most importantly, artistic freedom within the concept of a collective group effort. Prior to the release of the group’s first album it was decided to change the name to King Crimson thus ushering in a new era of music that would continue to devastate.
The new album was appropriately entitled Discipline which accurately reflected the mindset which was required in order to execute the demanding nature of the various compositions. Their impossible time signatures, polyrhythms and hypnotic guitar phrasings would also set the norm for the two succeeding works, “Beat” and “Three Of A Perfect Pair” along with Belew’s charismatic vocals and stage presence which would also recall Jamie Muir’s antics from the early 70s.
A more pop oriented attitude along with world beat ingredients was evident on the new album and at first they didn’t sit too well with some older fans who were expecting a re-emergence of the darker more foreboding Crimson creature of 72-74. But times had changed considerably and the Crims quickly found an audience both young and old. Some ghosts of the past did indeed linger within the new music as exemplified in the title track’s evil twin , “Indiscipline”. With its overdriven power guitar chords, it was by far the heaviest track recorded by the band to date. Their fiery live performances continued to outshine the studio albums with improvisations as well as updated interpretations of earlier material.
Line-up:
- Adrian Belew / guitar, vocals
- Bill Bruford / drums
- Robert Fripp / guitar, devices
- Tony Levin / Stick, basses, back vocals
Track List:
01. Elephant Talk – 4:42
02. Frame by Frame – 5:10
03. Matte Kudasai – 3:48
04. Indiscipline – 4:33
05. Thela Hun Ginjeet – 6:26
06. The Sheltering Sky – 8:23
07. Discipline – 5:06
Link in comments.
King Crimson – Three of a Perfect Pair (1984) (@256)
08 Jun 2007
Request of Anil.
(Review from progarchives.com)
One half pop driven art rock and the other half abstract instrumental works. This is the last album of the 80′s Crimson line-up, the next album would consist of the double trio. Adrian Belew, who often doesn’t get enough credit for his guitarwork, makes notice on this album with precision playing while singing; Robert Fripp continues his refined and identifiable style as well as creates rich synth atmospheres; Tony Levin uses the standard bass guitar more than the stick on this album, and his technique is superb, often using a popping/slap sound to give the songs a meaty feel; and Bill Bruford, who drums with precision, although the sound of his kit on this album is not up to par with the rest of the band.
The first half of the album consists of vocal driven songs, the highlights of which being Three of a Perfect Pair, which features a startingly tricky 6/8 riff that Belew plays and sings with remarkable ease. Man With an Open Heart is one of the poppier tunes on the album, but it has a consistent riff (although part of it reminds me of Thomas Dolby’s “She Blinded Me With Science”) and some strong lyrics and vocals. Sleepless was the single from the album, and it is a strong track. Starting with an amazingly catchy Levin bass line, and some great guitar work from the two wizards, this and the next song, the instrumental Nuages, end the first side. The second side opens with Industry, which is a very slow instrumental. It starts out with snare and synth, but as time progresses, the sounds get more and more layered and many things go on at once. It’s a favorite of mine on the album. Dig Me is the closest thing King Crimson ever got to a Captain Beefheart type atmosphere. Belew’s disjointed, almost atonal, chords mix with the mayhem during the verses, but the chorus is catchy and makes the song worthwhile. No Warning is essentially a prelude to “Larks Tongue in Aspic Part III”, which is a continuation of the famed “Larks Tongue in Aspic” series. This is a more synthesized effort, but it nonetheless captures the “Larks Tongue in Aspic Part III” atmosphere from 10 years before.
Overall, this is a very strong finale to the 80′s incarnation of King Crimson.
Line-up:
- Adrian Belew / lead vocals, fretted and fretless guitars
- Bill Bruford / acoustic and electronic drums
- Robert Fripp / guitar
- Tony Levin / Stick, bass, synths, backing vocals
Track List:
01. Three of a perfect pair (4:11)
02. Model man (3:56)
03. Sleepless (5:20)
04. Man with an open heart (3:00)
05. Nuages (that which passes, passes like clouds) (4:42)
06. Industry (7:22)
07. Dig me (2:59)
08. No warning (3:28)
09. Larks’ tongues in aspic part III (6:01)
10. The King Crimson Barber Shop (Bonus) (1:37)
11. Industrial Zone A (Bonus) (1:44)
12. Industrial Zone B (Bonus) (4:33)
13. Sleepless (Bonus Tony Levin Mix) (7:26)
14. Sleepless (Bonus Bob Clearmountain Mix) (5:24)
15. Sleepless (Bonus Dance Mix – F. Kevorkian) (6:17)
Links in comments.
