Posts tagged Tony Levin

(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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

King Crimson – Live in Park West, Chicago, August 7th (2008) (@256)

30 Jul 2009

10 comments

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

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Adrian Belew, Gavin Harrison, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin

King Crimson – KCCC32 Live in Munich (1982) (@256)

14 Aug 2008

5 comments

(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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

King Crimson – KCCC22 ProjeKct One Jazz Cafe Suite (1997) (@256)

03 Aug 2008

(Review from progarchives.com)

This album contains 50 minutes of improvised music by four members of King Crimson, divided in three suites. Some parts may sound familiar, since small bits and pieces were released on the album “Live at the Jazz Cafe”. It was the last time Bill Bruford was a member of King Crimson.

The album opens with a soundscape and after a few minutes the band starts to play. This means the distinctive rhythm provided by Bruford / Levin, complemented with guitar parts from Fripp / Gunn. The music that follows is very groovy, lively, sometimes boring, but more often fascinating. It changes between fast and slow, has great soloing (especially from Gunn) and some strange sounds. The second suite also starts slow. As its main attraction it has some trademark Fripp solos. After a while it sounds a lot like the space rock of ProjeKct Two. The shortest and third suite starts with the xylophone sounds where the second suite ended with, but soon picks up a groove with bass sounds everywhere.

ProjeKct One wasn’t the first of the ProjeKcts, it also probably wasn’t one of the best of the ProjeKcts. When a band plays improvised music it can both create magical moments and boring times. That also happened with this release. It is a joy to listen to the Bruford / Levin tandem, but the music that is played is not from the highest order.

Line-up:
* Robert Fripp – guitar
* Trey Gunn – Warr guitar
* Tony Levin – bass guitar, Stick, synth
* Bill Bruford – drums and percussion

Track List:
01. Suite One – 29:02
02. Suite Two – 15:13
03. Suite Three – 6:25

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Bill Bruford, King Crimson, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Robert Fripp, Tony Levin

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

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

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Adrian Belew, Bill Bruford, King Crimson, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

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

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Adrian Belew, Bill Bruford, King Crimson, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – KCCC07 ProjeKct Four San Francisco (1998) (@256)

19 Jul 2008

(Review from progarchives.com)

This release is subtitled “The roar of P4” and that’s just what it is. It was recorded on November 1, 1998 at the 7th Note in San Francisco. It is a heavy and dark album.

The album opens with “Ghost”. It starts with a spacy sound, but this is soon supported by a fast beat and extensive soloing by Fripp. An energetic track. This followed by “Heavy” and “Light ConstruKction”. These two tracks were previously performed by ProjeKct Two (they can be found on the album “Live Groove”) and were later performed by ProjeKct Three (on the album “Live in Austin”). The track “Deception of the Thrush” was later adopted by King Crimson. “Seizure” can also be found on the improve disc of the triple album “Heavy ConstruKction”. Again a very dynamic track, not much melody but mainly rhythm. The album closes with “Ghost 3”, which is a slow and heavy track and “ProjeKction” that resembles the space sound of ProjeKct Two.

Line-up:
- Robert Fripp / Guitar
- Tony Levin / Basses, Stick
- Trey Gunn / Touch Guitar, Talker
- Pat Mastelotto / Electronic Traps And Buttons

Track List:
01. Ghost – 8:50
02. Heavy ConstruKction – 9:14
03. Light ConstruKction – 8:32
04. Deception Of The Thrush – 9:04
05. Seizure – 13:36
06. Ghost 3 – 12:13
07. ProjeKction – 10:10

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King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – KCCC04 Live at Cap D'Agde (1982) (@256)

17 Jul 2008

9 comments

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

King Crimson – ProjeKct Four West Coast (Live) (1998) (@256)

08 Jul 2008

(Review from progreviews.com, progarchives.com)

West Coast Live, is very ambiguous and quite the opposite of conserved state. Just like ProjeKct Two, it’s chaotic, a heavy surplus, and a very dynamic explosion. It sounds like “Ozric Tentacles meets Soundscapes”. The Ozric feeling comes from electronic “twiddly bits” that help to propel the rhythm section.

Like ProjeKct Two, this one seems more composed than other parts of the set. “West Coast Live” opens with a song in four sections (with the sections sounding like four different performances spliced together) called “Ghost (part 1)”. The album also includes a version of “Deception of the Thrush”, this time with a booming, pounding rhythm section. “Hindu Fizz” and “ProjeKction” follow, and finally the album ends with the five-track song, “Ghost (part 2)”. This last song begins with Fripp and Levin trading scratchy low notes and getting some laughs from the audience.

Perhaps ProjeKct Four has too much power that isn’t perfectly handled, but that goes well in the context of sheer wild insanity.

Line-up:
- Robert Fripp / guitar
- Trey Gunn / touch guitar, talker
- Tony Levin / basses, Stick
- Pat Mastelotto / electronic traps and buttons

Track List:
01. Ghost (part 1) 1 – 9:14
02. Ghost (part 1) 2 – 4:07
03. Ghost (part 1) 3 – 5:55
04. Ghost (part 1) 4 – 5:06
05. Deception of the Thrush – 7:12
06. Hindu Fizz – 4:46
07. ProjeKction – 5:29
08. Ghost (part 2) 1 – 1:39
09. Ghost (part 2) 2 – 2:43
10. Ghost (part 2) 3 – 3:53
11. Ghost (part 2) 4 – 1:48
12. Ghost (part 2) 5 – 4:57

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King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – ProjeKct One Live at the Jazz Cafe (1997) (@256)

03 Jul 2008

(Review from progarchives.com)

Improvisatorial, non-conformist, heavy experimental, sound chaser King Crimson has become by the end of the millennium more than a fact, an affinity or a special side of them. It has become a genuine character, a strong brand and an always intriguing viewpoint of their music.

King Crimson delved into more research and development, exploring the capabilities of the six member line-up by forking into four subsets (frakctals). What they did to do some experimental, mostly live, mostly improvisational music in pairs.

ProjeKct One’s “Live At The Jazz Cafe”, is impressive through clear scales, rigorous composition, keen adaptation. Less abstract, more melodic; less wild, more pragmatic; stable in a convenient form. Music goes enchanting (though this word can seem out of King Crimson definition, if you think about it), being a complete of a speech done to perfect value and minute form. Serves as a good reference. Does a great impression. Speaks a veridical language. Good, simple, clean, pure, light in the meaning of fluency, nonetheless of the right mood and the right approach. A titled hint of style, a conserved and understandable crimsonian movement.

Line-up:
- Robert Fripp / guitar
- Bill Bruford / drums, percussion
- Trey Gunn / touch guitar
- Tony Levin / basses, Stick, synth

Track List:
01. 4 i 1 – 6:11
02. 4 ii 1 – 3:29
03. 1 ii 2 – 4:27
04. 4 ii 4 – 7:58
05. 2 ii 3 – 4:27
06. 3 i 2 – 8:14
07. 3 ii 2 – 6:32
08. 2 ii 4 – 4:27
09. 4 i 3 – 4:32

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Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – Vrooom Vrooom (Live 1995-96) (@256)

02 Jul 2008

5 comments

(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

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

King Crimson – Thrakattak (Live 1995) (@256)

20 Jun 2008

6 comments

(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.

Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – Thrak (1994) (@256)

19 Jun 2008

6 comments

(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

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

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

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Adrian Belew, Bill Bruford, King Crimson, Robert Fripp, Tony Levin

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

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Adrian Belew, Bill Bruford, King Crimson, Robert Fripp, Tony Levin

Steve Hackett – Genesis Revisited (1996) (@256)

28 Mar 2008

(Review from progarchives.com)

If you’re going to revisit some of the songs you created with one of the world’s greatest rock bands, you might as well do it properly. Hackett does exactly that with this album. He gathered together some of the finest musicians available, with the noticeable exclusion of any of his former band mates but including the Royal Philharmonic Orchestra.

The opening “Watcher of the skies” is slightly slower, more majestic, than the “Foxtrot” original. The wonderful introduction sounds even better as the mellotron is accompanied by full orchestra. John Wetton’s vocals can make any track sound good, but where he guests on tracks on this album, as he does on “Watcher of the Skies” (and “Firth of Fifth”) he adds an atmosphere to them which changes their feel completely. Hackett takes on vocal duties himself for “Dance on a volcano”, which is a pity really, as it’s otherwise superb. He does the same on “Fountain of Salmacis”. With so many talented vocalists to hand, such self indulgence is at best unnecessary.

“Firth of fifth” is transformed completely. The intro is a delicate piece of orchestration, while out goes the flute solo and intricate Tony Banks keyboard solo. In comes a completely different precursor to Hackett’s famous guitar solo. Just as you’re starting to despair and think that Hackett has done the unthinkable and disposed of his finest contribution to the Genesis archive, the sound of his guitar breezes in ever so gently before soaring even more beautifully and to even greater heights.

A couple of the tracks are not really re-visits as such, “Valley of the kings” and “Déjŕ vu” not being original Genesis tracks. That said, Peter Gabriel apparently started the latter in the 1970’s while still with the band, and Paul Carrack’s vocals are excellent on the finally finished product. “The waiting room” is nominally the track from “The lamb..”, but in reality, it’s a completely different piece in the form of a jam with heavy jazz overtones. For me, it doesn’t work, and would have been better left off the album altogether. The other tracks are interesting, and at times inspired re-workings, closing with the always excellent “Los endos”.

It’s easy to question some of the songs Hackett has chosen to “revisit”, and there are many others which it would have been good to have seen included, but remember these are his personal choices.

“Watcher of the skies” and “Firth of fifth” are the clear beneficiaries of Hackett’s re-interpretations, and it has to be said that some of the others would have been better left alone, but overall it is a commendable album indeed.

Line-up:
- Steve Hackett / vocals, guitars, percussion, harmonica, orchestration
with
- John Wetton / vocals, bass
- Bill Bruford / drums
- Tony Levin / bass
- Chester Thompson / drums
- Ian McDonald / saxophone, flute
- Paul Carrack / vocals
- Colin Blunstone / vocals
- Alphonso Johnson / bass
- John Hackett / flute
- Pino Palladino / bass
- Julian Colbeck / keyboards
- Aron Friedman / keyboards, orchestration, programming
- Hugo Degenhardt / drums
- Nick Magnus / keyboards, programming
- Will Bates / saxophone
- Royal Philharmonic Orchestra Sanchez / Montoya Chorale
- Roger King / keyboards, vibraphone, orchestration, programming
- Jerry Peal / keyboards, programming
- Ben Fenner / keyboards, orchestration, programming

Track List:
01. Watcher of the Skies (8:40)
02. Dance On A Volcano (7:28)
03. Valley Of The Kings (6:29)
04. Déja Vu (5:53)
05. Firth of Fifth (9:39)
06. For Absent Friends (3:02)
07. Your Own Special Way (4:18)
08. Fountain of Salmacis (9:53)
09. Waiting Room Only (6:53)
10. I Know What I Like (5:37)
11. Los Endos (8:51)

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Bill Bruford, Ian McDonald, John Wetton, Steve Hackett, Tony Levin

Yes – Union (1991) (@256)

21 Oct 2007

(Review from wikipedia, progarchives.com)

While Anderson, Bruford, Wakeman & Howe went their own way, Yes were working on their follow-up to “Big Generator”. The band had been shopping around for a new singer in case Anderson would not be involved. They worked with ex-Supertramp Roger Hodgson, and songwriter Billy Sherwood of World Trade. Hodgson enjoyed working with the group; but thought it unwise to attempt to pass off the music as Yes. Other names were being mentioned as possible replacements, most notably Steve Walsh of the band Kansas. However Walsh was almost immediately dropped from consideration as it was felt that his vocal styling would not mesh with the current sound that the band was trying to produce at the time.

Arista, ABWH’s new label, encouraged ABWH to seek outside songwriters, and Trevor Rabin ultimately sent a demo. Predictably, Arista sensed the commercial possibility of a union of Yes and ABWH. This would lead to the end of Yes having new albums released by Atlantic Records after more than 20 years of their initial recording contract.

Throughout early 1991, phone calls were made, lawyers soothed, and agreements were struck, with Yes joining ABWH for the Union album. Each group did its own songs, with Jon Anderson singing on all of the vocal tracks, and Steve Howe contributing a trademark acoustic guitar solo. Chris Squire sang backing vocals on a few of the ABWH tracks (with Tony Levin doing all the bass on those songs). None of the songs on “Union” featured all eight members at once.

The collective work of both factions yield a tour de force. These fourteen songs far exceed anything that the individuals involved, solo or otherwise, have recorded since “90125″. The record has something for everyone: arena-scale rockers that outperform anything on “Big Generator”, complex arrangements that succeed where the first ABWH album failed and individual contributions that ooze with atmosphere.

Steve Howe’s inspired guitar licks (including another acoustic solo piece, “Masquerade”), Bill Bruford’s off-kilter drumming, the decision to allow Tony Levin’s bass to fill the same space as Chris Squire once did, Trevor Rabin’s dead-on hooks, and Jon Anderson’s voice paired once again with Squire. “Union” really does represent the best of both worlds. Where “Big Generator” sounded mechanical, “Union” feels organic; where the ABWH experiment lacked direction, here it is focused like a high-powered laser. Each of the fourteen tracks is a miniature treasure for fans, but even so some moments rise to the top: “Lift Me Up”, “Saving My Heart”, “Miracle of Life”, “Silent Talking”, “I Would Have Waited Forever”, “Shock to the System” and “Dangerous (Look in the Light of What You’re Searching For)” belong with their best tracks from the ’80s and ’90s.

If Yes seemed to take its heritage lightly with “Drama”, “Union” settles the score with fans. As a further treat, the entire lineup supported the album with a live tour.

Line-up:
- Jon Anderson / vocals on 1, 2, 4-5, 8, 10-12, 14
- Chris Squire: bass on 4, 6-7, 9, vocals on 1, 4, 6-7, 9
- Tony Levin / bass on 1, 2, 5, 8, 10-12, 14
- Tony Kaye / keyboards on 4, 6-7, 9
- Rick Wakeman / keyboards on 1, 2, 5, 8, 10
- Alan White / drums on 4, 6-7, 9
- Bill Bruford / drums on 1, 2, 5, 8, 10
- Trevor Rabin / guitars and vocals on 4, 6-7, 9
- Steve Howe / guitars on 1-3, 5, 8, 11-12, 14

Track List:
01. I Would Have Waited Forever (6:32)
02. Shock to the System (5:09)
03. Masquerade (2:18)
04. Lift Me Up (6:30)
05. Without Hope You Cannot Start the Day (5:18)
06. Saving My Heart (4:42)
07. Miracle of Life (7:30)
08. Silent Talking (4:01)
09. The More We Live – Let Go (4:34)
10. Angkor Wat (5:24)
11. Dangerous (Look in the Light of What You’re Searching For) (3:39)
12. Holding On (5:24)
13. Evensong (0:52)
14. Take the Water to the Mountain (3:10)

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Alan White, Bill Bruford, Jon Anderson, Rick Wakeman, Steve Howe, Tony Levin, Yes

Anderson, Bruford, Wakeman & Howe – Anderson, Bruford, Wakeman & Howe (1989) (@256)

20 Oct 2007

5 comments

(Review from wikipedia, progarchives.com)

Jon Anderson grew tired of the musical direction of the “new” Yes line-up. He wanted the band to return to its classic sound. Following the 1988 tour, Anderson began working with former Yes members Rick Wakeman, Steve Howe, and Bill Bruford. Some in the group (particularly Bill Bruford) wanted to distance themselves from the “Yes” name. As it turned out, Anderson and the former Yes members were contractually unable to use the name, as Squire, White, Kaye, Rabin and Anderson jointly held those rights, dating back to the 90125 contract. Jon Anderson suggested they call themselves “The Affirmative” but the other band members felt that was disingenuous. The name “No” was also suggested, but in the end, they decided to simply name themselves — “Anderson, Bruford, Wakeman & Howe” or simply ABWH. The project included session bassist Tony Levin, brought in by Bruford, after the two had worked together in King Crimson.

The end of the 80s was progressive’s darkest period so it’s easy to see why ‘ABWH’ was welcomed as a classic then, and it doubtless sounded very fresh upon its release, utilising contemporary production techniques and instruments combined with the old wave Yes sound.

The album opens with “Themes”, a multi part track that has some great keyboards from Wakeman and a fun walking stick line from Levin. From the get go, you’ll notice that Anderson’s lyrics aren’t as cryptic and dense as his past progressive efforts with Yes. Fist of Fire is a more atmopsheric piece with some dated keyboards from Wakeman (which represent trumpets) and some precision drumming from Bruford. “Brother of Mine” has some sincere vocals from Anderson, some great guitar work from Howe, and many complex vocal sections that really bring back memories of the old Yes. The final minutes of the track is arguably the best part of the album. Birthright has some interesting acoustic work from Howe and some underlying atmopsheric synthesizers from Wakeman, and it evolves into a bombastic and grandiose composition with great riffing from Howe throughout the entire thing as well as some overly played keyboards from Wakeman.

“The Meeting” is a piano/vocal duet between Wakeman and Anderson. It’s one of Wakeman’s more emotional and melodic performances on the album and it overall comes out very well. Quartet suffers from dated and somewhat contrived keyboards, and yet has some smooth guitar and some wicked soloing from Howe. “Teakbois” is a latin influenced song with marimba sounds. “Order of the Universe” has some solid bass from Levin as well as some great guitar fills from Howe and some solid harmony vocals and lead vocals. The album ends with Let’s Pretend, a somber and acoustic ballad with some interesting chord progressions and some nice keyboard work, as well as some stellar acoustic guitar work from Howe. It ends the album on a lighter note and really suits the atmosphere.

The material is generally quite strong, even if Chris Squire’s bass is sorely missed.

Line-up:
- Jon Anderson / vocals
- Bill Bruford / drums
- Rick Wakeman / keyboards
- Steve Howe / guitar
with
- Tony Levin / bass, vocals and stick bass
- Milton McDonald / rhythm guitar
- Matt Clifford / keyboards, programming, orchestration, vocals

Track List:
01. Themes (5:58)
02. Fist of Fire (3:27)
03. Brother of Mine (10:18)
04. Birthright (6:02)
05. The meeting (4:21)
06. Quartet (9:22)
07. Teakbois (7:39)
08. Order of the Universe (9:02)
09. Let’s pretend (2:56)

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Bill Bruford, Jon Anderson, Rick Wakeman, Steve Howe, Tony Levin, Yes

King Crimson – Three of a Perfect Pair (1984) (@256)

08 Jun 2007