David Bowie - (1980) Scary Monsters

David Bowie (1980) "Scary Monsters"

Studio Album, released in 1980

SHINBUN WA KAKI TATERU

During almost two years, Bowie took a break (at least in terms of a true solo album). But he will be active in the theater business. In December 79, he will attend a representation of “The Elephant Man” in New York. The producer, Jack Hofsiss will ask David if he would like to act as the main character. And he accepted.

It was apparently a true tour de force. No make-up was used (on the contrary of the movie). It was true his miming skills that David had to suggest the monstrous deformity of the (elephant) man. The play will be a great success. Both commercially and artistically.

David will be unanimously acclaimed for his brilliant acting. Of course, his previous miming experiences were of great assistance. But apart from that, Bowie is very discreet. Almost anonymous. We are far from Ziggy’s fame and glitters.

For this album, Fripp is back on the guitar and one can immediately feel his phenomenal influence on the opening track. The hard “It’s No Game, Part 1”. Partially sung by a female Japanese, it combines English lyrics as well. The finale is brilliantly Crimsonesque. The guitar making some jolly good and disjointed noises. So strong that David can only stop it by shouting: “Shut Up” at the end of this great opener.

And even if “Up The Hill Backwards” is somewhat lighter, it also ends up in a kind of Fripp frenzy. Distorted and raw guitar sounds. Still, I consider it as one of the two weakest song from this superb album. Because David is extremely performing here. Lyrically and musically.

The tile track is another brilliant song. IMHHO, it is fully dedicated to “The Elephant Man” but I couldn’t find any confirmation of this. So, it’s only my interpretation. The lyrics anyway don’t mention this at all. The song is again on the hard side and Fripp does have a lot of pleasure, apparently. Throughout the album its cold and metallic guitar sound will definitely mark this album. A highlight.

Would you believe? Major Tom is back after having wandering into space for over eleven years! Ground control has finally got the contact. “Do you remember a guy that's been in such an early song, I heard a rumour from ground control Oh no, don't say it's true; they got a message from the action man”.

In the meantime our dear old Major Tom has been through several experiences and is pretty much a bad guy. “You’d better not mess with Major Tom”. A funny wink and a great video clip, Bowie himself wrote the script and at the end one can see his mother while the lyrics say: “My mama said to get things done, you’d better not to mess with Major Tom”. It will be number one in the UK. Another highlight.

Side one ends up on “Fashion”. My least favourite of the whole album. Too funky. Too “Young Americans” oriented.

B-side opens on the fantastic “Teenage Wildlife”. So reminiscent of “Heroes”. A catchy melody, great backing vocals, complex guitar of course and powerful lyrics. David being some sort of a godfather giving advices to a young man: “You'll take me aside, and say Well, David, what shall I do? They wait for me in the hallway I'll say Don't ask me, I don't know any hallways.

Seven minutes of pure happiness. Another highlight of course.

The next song “Scream Like A Baby” is not a new one. David had already written parts of it as soon as …1973 and will finalize the project now. Great vocal effects, fine synth. Do I need to talk about the guitar parts?

The next song is somewhat weaker and more straight forward. “Kingdom Comes” is the only song from the album not written by David. It was composed by Tom Verlaine. The leader of the great “Television” (whom I saw in 78 at the Brussels University. A great souvenir).

A very special guest is playing the guitar on the next song: Pete Townsend himself! The beat is again wild, the bass play very effective. It appears to be a song written to the attention of Zowie (David’s son who had just celebrated his tenth birthday).

And we close as we opened. “It’s No Game, Part 2”. Much softer than part one, the lyrics are all in English this time; actually the English section of Part one (only the last phrase is new). The loop has been looped.

“Scary Monsters” is a fantastic rock album. IMHHO it is David’s last masterpiece.

The remastered CD edition (1992) features several bonus tracks of which a stripped down version of “Space Oditty” without the great Wakeman keys. It might give an another angle to it, but it is not coming close of the fantastic original. The speeded up version of “Panic In Detroit” is also somewhat weird. As if David was in hurry. Again, the original sounds miles better.

The next one is an instrumental track. “Crystal Japan” had been recorded as a single in 1980 but only as a Japanese imported stuff. It was backed up with “Alabama Song”. It should have closed the album but was pushed out by “It’s No Game, Part two”.

It is a wonderful and ambient song which reminds instantly the great atmosphere of “Low” (“Warszawa”, “Subterraneans”). Since the fans had to pay lots of money to get this, David insisted to have it on this new CD version).

The last number is a strange piece of “music”. Original composed by Bertold Brecht and was already covered by “The Doors” under the name of “Alabama Song” (on their debut album). It is frankly pretty much uninteresting.

I’ve said masterpiece already. Five stars.

What a great album! What a fabulous emotion while I discovered it! Thanks David.

Track Listings

1. It's No Game (No. 1) – 4:15
2. Up the Hill Backwards – 3:13
3. Scary Monsters (and Super Creeps) – 5:10
4. Ashes to Ashes – 4:23
5. Fashion – 4:46
6. Teenage Wildlife – 6:51
7. Scream Like a Baby – 3:35
8. Kingdom Come (Tom Verlaine) – 3:42
9. Because You're Young – 4:51
10. It's No Game (No. 2) – 4:22

Line-up/Musicians

* Chuck Hammer – guitar/synthesizer on Ashes to Ashes and Teenage Wildlife
* Robert Fripp – guitar on Fashion, It's No Game, Scary Monsters (and Super Creeps), Kingdom Come, Up the Hill Backwards and Teenage Wildlife
* Roy Bittan – piano on Teenage Wildlife, Ashes to Ashes and Up the Hill Backwards
* Andy Clark – synthesizer on Fashion, Scream Like a Baby, Ashes to Ashes and Because You're Young
* Pete Townshend – guitar on Because You're Young
* Tony Visconti – acoustic guitar on Scary Monsters (and Super Creeps) and Up the Hill Backwards, backing vocals
* Lynn Maitland – backing vocals
* Chris Porter – backing vocals
* Michi Hirota – voice on It's No Game (No. 1)

Robert Fripp & David Sylvian - (1993) Kings

TrackList:
1 - Soundscape.
2 - Firepower.
3 - Bring Down The Light.
4 - She's Trouble Me.
5 - Jean The Birdman.
6 - 20th Century Dreaming.
7 - Tallow Moon.
8 - Chromatic Fantasy.
9 - She's Killing Me.
10 - Blockhead
11 - Asturias.
12 - God Saved My Life.
13 - She's Killing Me.
14 - Jean The Birdman.

Robert Fripp & David Sylvian - (1993) Damage

Robert Fripp & David Sylvian - (1993) Damage

Live, released in 1993

DAVID SYLVIAN Damage - Live (with Robert Fripp)

The heading is a misnomer. This is not simply a David Sylvian album, NO, it's much much more. You get enough Robert Fripp, Trey Gunn and Pat Mastelotto to give the impression that something more is going on. I love Sylvian's solo albums, but this collaboration is distinctive and powerful, eschewing his mainly ambient melancholy for cKrimsonian might and crashing bravado. Oh, how I wish this had been a King Crimson reformation. Three or four studio discs, a live disc and then quit. OUT with Adrian Belew's poppy and oh- so-American vocals and IN with the master of suave, sexual and languid whispers of David Sylvian. Additionally, Michael Brook's infinite guitar is the perfect understatement to Fripp buzz saw sustain. Musically delicious.

Most of the disc offers The First Day in a live format, but the tunes are more enticing and raw played before an audience. The mood seems electric, pulsing with Mastelotto's kick drum. Trey Gunn's touch guitar keeps the whole endeavour grounded, but he occassionaly reaches skyward and offers snippets of melody and fills the spaces with a deft flurry of notes. The band covers a few of Sylvian's solo material, but remember, Fripp has guested on quite a few. His presence is more central to the music on this recording.

This is, basically, a must have for any Crimson/Sylvian afficionado. Modern music played extremely well and hitting on all cylinders. It don't get any better than this.

Track Listings

1. Damage (4:31)
2. God's Monkey (6:42)
3. Brightness Falls (6:29)
4. Every Colour You Are (5:40)
5. Firepower (7:02)
6. Gone to Earth (2:28)
7. 20th Century Dreaming (A Shaman's Song) (8:03)
8. Wave (6:11)
9. Riverman (5:01)
10. Darshan (The Road to Graceland) (10:47)
11. Blinding Light of Heaven (4:15)
12. The First Day (4:44)

Total Time: 71:53
Line-up/Musicians

- David Sylvian / guitar, keyboards, vocals
- Robert Fripp / guitar, frippertronics
- Trey Gunn / chapman stick, vocals
- Michael Brook / infinite guitar
- Pat Mastelotto / drums

Robert Fripp - (1980) God Save The QueenUnder Heavy Manners

Robert Fripp - (1980) God Save The Queen/Under Heavy Manners

Studio Album, released in 1980

Track Listings

"God Save the Queen":
1. Red Two Scorer (6:54)
2. God Save The Queen (9:50)
3. 1983 (13:20)

"Under Heavy Manners":
4. Under Heavy Manners (5:14)
5. The Zero Of The Signifed (12:38)

Total Time: 47:56
Line-up/Musicians

- Robert Fripp / guitar
- Buster Jones / bass on "Under Heavy Manners" and "The Zero Of The Signified"
- Paul Duskins / drums on "Under Heavy Manners" and "The Zero Of The Signified"
- Absalm el Habib (AKA David Byrne) / voice on "Under Heavy Manners"

Radiophonics - (1995) Soundscapes, Vol. 1

Radiophonics - (1995) Soundscapes, Vol. 1

Live, released in 1996

The third session of soundscapes.By now it is most clear how pronounced this general aspect of Robert Fripp music and concept is.From a decent set of choices, Radiophonics-1995 Soundscapes Vol.1-Live In Argentina is a good option, resembling in a more than decent manner the value of soundscaping and the actual intensity of such a performance.I do not regard it as the top of Fripp soundscaping, nor the most valorous album effect of the mass concerts and the massive work done in all the years of soundscaping – in fact I cannot even define a maximum point of this style and this period;more than that,in my opinion, there exists no extraordinary session apart from others; – yet it is something recommended. Concerning its previous outputs, 1999 and A Blessing Of Tears, this one defines in a close to complete measure the same ideals and the same methods. What differs is not the context, but mainly the themes and the approaches. It imposes through through a rigurous application of the principle,but it certainly doesn’t do a boom in the general scheme or the general impression. By this album, Robert Fripp’s “such” music remains a viewpoint of quality and an elevated moment for the ones who desire such thing, then can understand its nature.For I say it once more (an obligation as a review of the Fripp discography, if you will), this kind is not for everyone, as it leaves out simplicity and casualism. The last aspect is a persistence of the complex, defined style.

The flow of Radiophonics goes like so: three massive sized composition in which large maneuvers are the essence; in here lies the defined moment of soundscaping, just like it did in all the other occasions of long pieces and just like it will do. The movement builds to a climax of (ingenious or not) effect. Fripp shows, as always, a tempered spirit in doing this, but nevertheless a dedication that creates the actual undimished flavour. These three pieces express something “casual” in its way (though not to be understand as the opposite of complex), garnished to its best possible potential. Perhaps not totally appealing, but by nothing unstable or unchallenging. Characteristic blend; motives appear and dissapear; the language maintains a sole definition. Through these, the perspective remains one to be confronted and mastered. The experience is more a didact one than a reflection of inside. But these,again, are the things of purpose in soundscaping albums. What Radiophonics has “special” is the compact power and the saturated look. The last large piece, “Atmosphere” , is actually a separate chapter of the album aside from the two “Radiophonics” parts, which concludes with another set of three shorter pieces. The resonance of the two sides is of course a discrepance, but in the same context, how much can it really be? “Elegy” is more diffuze. “Streets” is vulgar (positive thinking, of course) and pronounce a more acute phase of the music (of the performance? of the surrealmeaning?). And “Sky” seems boemic, voiled in an armonic way, defined by the moment of the spirit’s rest.

Practicly, Radiophonics-1995 Soundscapes Vol.1-Live In Argentina expresses another chapter in a vigurous,extensive material, challenging music, special connotations attempt of essence and style, quality book of Robert Fripp, a chapter in which “positive stagnation” is a general aspect and the persuasive motive of not launching towards extremes or unwanted difference efects is a virtue. For both those loving this craft,as well as for those who just want to simply try the moment, the album is a nice thing and a judged decision.

Track Listings

1. Radiophonic I (11:11)
2. Radiophonic II (14:47)
3. Buenos Aires Suite (31:07)
a) Atmosphere 11:56
b) Elegy (For Mothers and Children) 5:48
c) Streets 5:34
d) Sky 7:49

Total Time: 57:05
Line-up/Musicians


- Robert Fripp / guitarist

Cheikha Rimitti feat. Robert Fripp & Flea - (1994) Sidi Mansour

New York Times
May 28, 2006
Cheikha Rimitti, 83, Rebel of Algerian Music, Is Dead
By JON PARELES

Cheikha Rimitti, a pioneer of the rebellious Algerian pop called ra-2006), died on May 15 in Paris, where she had lived since 1978. She was 83.

The cause was a heart attack, her Web site said.

Cheikha Rimitti was considered the queen of raï (RYE or rah-AY), which means opinion in Arabic. She sang daringly and forthrightly about sexuality, poverty, drinking, oppression and independence. "Misfortune is my teacher," she often said.

Her brash lyrics and deep, rough-hewn voice made her an international star. She defied taboos, and her music was often banned.

"Raï music has always been a music of rebellion, a music that looks ahead," she said in a 2001 interview with Afropop Worldwide, a syndicated radio program and Web site. Two nights before her death, she performed at the Zénith concert hall in Paris.

She was born in 1923 in the village of Tessala near Sidi Bel-Abbés in Western Algeria. Her parents named her Saadia, which means joyful. But she was orphaned as a young girl and grew up poor, often homeless.

To support herself, she began singing at weddings. She arrived in the town of Relizane and joined a troupe of traveling musicians when she was 20, performing at festivals as a singer, a dancer and an equestrienne, riding with a rifle in each hand.

Her stage name, Rimitti, was derived from the French word remettez (put it back, or slang for another). Various stories link the name to her buying rounds of drinks for fans or calling for refills herself. Later, the honorific Cheikha was added.

North Africa has a tradition of bawdy wedding songs, performed by and for women. Cheikha Rimitti began to sing them for mixed audiences in public. She also wrote songs about social conditions, including, in the 1940's, the harshness of French colonial rule and the epidemics that ravaged Algeria. She wrote about rough lives and about the temporary diversions of sex and alcohol.

"I sang all the subjects back then," she told Afropop Worldwide. "I sang about misery. I sang about love. I sang about the condition of women. I sang about ordinary life, concrete things. I sang the life I had seen, my own history."

Although she composed hundreds of songs, Cheikha Rimitti was illiterate. "Words sing silent in my head until I sing them loud," she once said. "No need to take either a pencil or a notebook."

A well-known Algerian musician, Mohammed Ould Ennems, helped arrange her first radio broadcasts in the 1940's. She made her first recording in 1952, and in 1954 she caused a controversy with a song called "Charrag Gataa" ("Tear, Lacerate"), which was taken as an attack on the virtue of female virginity. "He crushes, whips and beats me," she sang. "I say that I'm going away, but I still spend the night."

When Algeria became independent of France in 1962, the new conservative Islamic government banned her songs from radio and television. She continued to perform at private gatherings, as raï music circulated on underground cassettes.

In 1976, she made a pilgrimage to Mecca and gave up drinking and smoking. She emigrated to Paris in 1978, but continued to visit Algeria, which eventually removed the ban on her music.

According to her manager, Nourredine Gafaaiti, she is survived by her 3 children and 18 grandchildren, all of whom live in Algeria.

By the 1980's, her songs had been taken up by a younger generation of raï musicians, though they often did not credit her. She was rediscovered by the world-music audience in the 1990's and modernized her music. Her 1994 album "Sidi Mansour" included the guitarist Robert Fripp from King Crimson, and Flea, the bassist from the Red Hot Chili Peppers, although she never met the musicians; she was recorded in Paris and the backup tracks were recorded in Los Angeles.

She continued to make albums, and one, "N'ta Goudami" (Because Music), was released this month. It was recorded in Oran, Algeria, the birthplace of raï.

In 2001 she made her United States debut with a triumphant concert at Central Park SummerStage.

"When I'm on stage, I don't cheat," she told Afropop Worldwide afterward. "I give everything I have in my soul and my spirit."

LinKs,

Brian Eno & David Byrne - (1981) My life in the bush of ghosts

Brian Eno & David Byrne - (1981) My life in the bush of ghosts

Studio Album, released in 1981

Making a chronologic first journey into Brian Eno means that “My Life In The Bush Of Ghosts” was placed between sessions of full ambient melancholic undisturbed waves of Brian Eno concept.Yet this came as a more rafined way of seeing music and a more abstract form of playing it.And that cought my attention immediately!Brian Eno,having David Byrne as a side-by-side collaborator,creates a music of mixtures,as it helds ambient,in the natural developed contemporary form,electronics,something less promulgated in other context,but made a key stroke here and tehniques of doing an expression in a less comformist way. Not that it would be a panic of unnatural scapes,but it is different from the usual Eno and you can sense that immediately.The goal seems another.The character changed.The result out of normal. David Byrne’s influenced can definitely be a reason,but I think the initiative and the main pulse is still that of Brian Eno approaching his other manifests possibilities.The album is among the key points of the discography.A point very appealing,that helds innovation,expression and subtility as high values. I like it very much and I applaud the effort entirely. Byrne’s contribution is more than notable and he makes the step towards being one of the most important collaborators of Brian Eno (no disregard to any other artist who worked long enough with the ambient master,still effects are effects). Easily among Fripp or Budd. What counts is an acomplised effort that deserves full credit.

Brian Eno works alone only when he wants that.Otherwise it can go to an unexpected vision of bringing several artists into the picture.Here he goes like that,have a royal list of guest.Leaving old friend Fripp aside,who only does arrangements,notable artists are Bill Laswell and Chris Frantz (uh…the other ones I don’t know anything about).Anyway,an impressive list.The main reason is of course the necesity of artist who can play specific instruments like Bodhran,Bata, congas, metals, cans et caetera. Otherwise it’s Eno and Byrne doing their performance. These mentioned instruments are also a queery,authentic to say improvisatorical idea of his.Not of an important role in the musical speech,yet interesting as a fact and as a choice.Eno clearly goes excentric and passionate for the un-common through this album.But it’s a good,”kind” gesture.

Non-conformist and striking towards valorous effect,this “My Life In The Bush Of Ghosts”.Something not really far from truth.A pleasant experience in a manner than serves more purposes.This time,Eno’s motto is not a simple ambient calculated pulse,but a “long shot” experiment,in which ambiguous maneuvers,experimental drops of magic and even a queery (positive thinking…) outlook make the combination.Probably David Byrne is the prevalent influence towards the (slight-?) change of direction,although saying that Brian Eno decided this by himself wouldn’t be that farfetched.Imposing its name,value and concept,the album can create a moment of subtilities to the extreme of mind-blowing and very unusual.The experience of this one is a sole subjective one.Plurimotivated,pluri-constructed.Maybe not at the highest valences,but enough to conserve an more than justified option and a more than promising echo.

Recommended Brian Eno album,in my opinion.A highlight feature of the 80s start (ah,why not,even general).Not the most spectacular,but among those that say very much.Comparisons with the deep ambient albums of Eno I shall not make.Staying on firm ground,there is a discrepance,but a smooth one and-more importantly-one not really important.Personally,ambient Eno stays “the” Eno,but “My Life In The Bush Of Ghosts” was a true pleasure.Thumbs up and cheers.

Track Listings

1. America is Waiting (3:36)
2. Mea Culpa (3.35)
3. Regiment (3:56)
4. Help Me Somebody (4:18)
5. The Jezebel Spirt (4:55)
6. Very, Very Hungry (3:20)
7. Moonlight in Glory (4:19)
8. The Carrier (3:30)
9. A Secret Life (2:30)
10. Come With Us (2:38)
11. Mountain of Needles (2:35)

Total Time: 39:41
Line-up/Musicians

Brian Eno & David Byrne / guitars, basses, synthesizers, drums, percussion and "found objects"

Guest musicians:
- John Cooksey / drums (4)
- Chris Frantz / drums, additional arranging (3)
- Robert Fripp / additional arranging (3)
- Busta Jones / bass, additional writing and arranging (3)
- Dennis Keeley / Bodhran (2)
- Bill Laswell / bass and additional arranging (1)
- Mingo Lewis / Bata, sticks (5, 8)
- Prairie Prince / can, bass drum (5, 8)
- Jose Rossy / congas, agong-gong (7)
- Steve Scales / congas, metals (4)
- David van Tieghem / drums, percussion (1, 3), additional arranging (1)
- Tim Wright / click bass (1)

Brian Eno - (1992) Nerve Net

Brian Eno - (1992) Nerve Net

Nerve Net is a 1992 music album by the British musician Brian Eno. It marked a return to more rock-oriented material, mixed with heavily syncopated rhythms, experimental electronic compositions and an occasional touch of jazz. The ambient sensibility is still there on several tracks, though it is often darker and moodier than the pieces Eno is best known for.

This is only the second album of Eno's to generate single releases (the first being "One Word" from 1990's Wrong Way Up): 12-inch and CD singles for the pieces "Ali Click"[1], and "Fractal Zoom"[2], both of which featured various remixes of the songs by the likes of Moby, Markus Draws and Isaac Osapanin.(wikipedia)


Track listing

All tracks composed by Brian Eno.

1. "Fractal Zoom" – 6:24
2. "Wire Shock" – 5:27
3. "What Actually Happened?" – 4:41
4. "Pierre in Mist" – 3:47
5. "My Squelchy Life" – 4:02
6. "Juju Space Jazz" – 4:26
7. "The Roil, the Choke" – 5:00
8. "Ali Click" – 4:13
9. "Distributed Being" – 6:10
10. "Web" – 6:21
11. "Web (Lascaux Mix)" – 9:44
12. "Decentre" – 3:26

Personnel

* Robert Ahwai – Guitar
* Peter Anderson – Guitar
* Richard Bailey – Drums
* Duchess Nell Catchpole – Vocals, Voices
* Ian Dench – Drum loop
* Markus Dravs – Drums, Drum programming, Treatments
* Wayne Duchamp – Alto Saxophone
* Brian Eno – Organ, Synthesizer, Bass Guitar, Guitar, Keyboards, Tenor Saxophone, Vocals, Voices, Multi Instruments, Treatments, African Organ, Animal Sounds, Arabesque
* Roger Eno – Piano, Sampling
* Robert Fripp – Guitar
* John Paul Jones – Piano
* John May – Voices, Speech/Speaker/Speaking Part
* Roderick Melvin – Piano
* Sugarfoot Moffett – Drums
* John Moorby – Voices, Speech/Speaker/Speaking Part
* Alice Ngukwe – Tenor Saxophone
* Winston Ngukwe – Conga
* Isaac Osapanin – Conga
* Anita Patel – Voices, Speech/Speaker/Speaking Part
* Sunita Patel – Voices, Speech/Speaker/Speaking Part
* Yogish Patel – Voices, Speech/Speaker/Speaking Part
* Curtis Pelican – Trumpet
* Robert Quine – Guitar, Rhythm Guitar
* Cecil Stamper III – Drums
* Benmont Tench – Percussion
* Christine West-Oram – Vocals
* Jamie West-Oram – Guitar, Rhythm Guitar
* Romeo WIlliams – Bass Guitar

Adrian Belew - (2005) Side Three

Adrian Belew - (2005) "Side Three"

Studio Album, released in 2006

Throughout the past year, Adrian Belew has been on a mission to release a three part album journey simply titled Side One, which was released in January of 2005, Side Two, released in July of 2005, and finally it comes to a stunning conclusion with Side Three, which was released commercially today. Along the way, Adrian has gone through many different styles of music, ranging from King Crimson-esque dissonant compositions to more laid back groove songs, from electronic music to circus music, one thing is certain, this man has an eclectic style of music. On this album, he comes full circle with his ideas and knocks one out of the park. Once again, Belew brings in an array of guest musicians, ranging from Danny Carey of Tool fame and Les Claypool of Primus fame, and on this album all-star musicians Robert Fripp and Mel Collins (both of King Crimson fame). Adrian himself takes care of all the instruments on this album, save for a few moments where the guest musicians get their turn in the spotlight.

The album begins with Troubles, the grooving bass line augmented with some superb dialogue from The Prophet Omega and a great guitar theme from Belew. A great way to start off the album, with some very strong musicianship from Belew. Incompetence Difference has some nice chordal phrases from Belew, and his spoken lyrics (which come off the tongue quite well), and he brings back the voice distorter that he used back on ProzaKc Blues (The ConstrucKtion of Light). His wife, Martha, offers a telephone message in the vein of those automated messages and that ends the song quite well. Turning Water to Wine is the sole composition on the album to feature Adrian's longtime friend and colleague Robert Fripp on guitar, but his contributions on the album are nonetheless stunning. His "flute guitar" fills in between the verses are quite stunning and Adrian's vocal and guitar work on this song are also quite breathtaking. The song also has the feeling of Side Two (the electronic percussion work makes it stand out). Crunk is a minute of guitar insanity, with Adrian going off on a tangent of a solo, leaving no prisoners and absolutely creating a sonic assault on the listener, absolutely stunning work.

Drive begins with the starting of a car engine, and the acceleration of said car. The tabla, the grooving bassline, the ethereal guitar work, it all works so perfectly, with Belew's gentle vocals and distorted dialogue. That King Crimson feeling of dissonance also returns with this song, and it works wonderfully when put together with the other elements in the song. Cinemusic is an anxious, nervous, and mysterious piece of music, with an orchestral feeling intro, but suddenly it becomes a nightmarish track of haunting bells and various sound effects. It has that feeling of Happiness back on Side Two. Whatever is the first track on the album to feature Danny Carey and Les Claypool as the rhythm unit, and they drive this one home with a phenomenal bass/drum groove over Belew's groovy guitar work. Belew's lead work on this song is phenomenal, taking his quirkiness to the max, with double tracked leads and some great vocal work from Belew. Men in Helicopters v4.0 takes cues from Matchless Man off of Side One, and tones down the action from the group. This song has a majestic, orchestral feel to it, with some great snare work from Carey and double bass work from Claypool. The backing "orchestra" as it were is stunning and it takes the variety of the album into an entirely new direction.

Beat Box Car brings back the main theme from Beat Box Guitar from Side One (which landed Belew a Grammy Nomination), but this time things get a lot more quirky. This is obtained mainly through the great saxophone work from Mel Collins (ex-King Crimson), which takes the listener by surprise. But that isn't the only noteworthy thing about this track, Belew's guitar work is phenomenal and he adds a new layer of ingenuity to the track that was released last year. Truth Is begins with some nice guitar work from Belew, a great acoustic breakdown. It is similar to the Inner Garden songs on Thrak, simply because it has just vocal and guitar. But that's the beginning. After the first verse, some nice flute from Mel Collins swirls wonderfully with Belew's acoustic breakdowns. The Red Bell Rides a Boomerang Across the Blue Constellation has a similar feeling to that of Nuages (Which Passes Like Clouds) off of Three of a Perfect Pair, it has this abstract/ethereal feeling to it augmented with great sound effects, and a bass line that sort of reminds me of a part in Jeff Wayne's War of the Worlds album. Abstract bits of vocal act as an intro to a section that has percussion similar to that of Side Two. Themes from songs all over Side One and Two recur in this track, such as the guitar theme to Elephants from Side One, and the main theme from Happiness on Side Two. & ends the album, it essentially is a reworking of Ampersand (which opened Side One). The lyrics on this track are superb, and Belew gives it a completely different feeling (mainly because he plays all the instruments on this one, as opposed to Belew and Carey on Side One). And soon enough, the Ampersand theme ends and the tribal percussion at the end give us a great send off to what is a masterpiece.

So in the end, this is Belew's masterpiece. Nothing I've heard from the man can surpass this album, it's a great ride from start to finish and I recommend anyone who even remotely knows of this man (or is a fan of Les Claypool or Danny Carey) get this album immediately. From the stunning artwork (by Belew himself) to the lyrics and creativity put forth, this album is nothing short of genious. It is the best album I've heard in 2006 so far, and it's going to be hard to top it. I give it my highest recommendation. 5/5. (progRachives)

Track Listings
1. Troubles (3:13)
2. Incompetence Differerence (5:01)
3. Water Turns to Wine (3:46)
4. Crunk (1:17)
5. Drive (3:27)
6. Cinemusic (1:37)
7. Whatever (3:17)
8. Men In Helicopters v4.0 (3:07)
9. Beat Box Car (4:30)
10. Truth Is (1:34)
11. The Red Bell Rides a Boomerang Across the Blue Constellation (4:34)
12. & (3:17)

Total Time: 35:23

Line-up/Musicians:
- Adrian Belew / all instruments, vocals
- Les Claypool / bass (7 & 8)
- Danny Carey / drums (7 & 8)
- Robert Fripp / flute guitar (3)
- Mel Collins / saxophone (9), flute (10)
- The Prophet Omega / voice (1)
- Martha Belew / telephone message (2)

King Crimson - (1993) The Concise King Crimson

King Crimson - (1993) The Concise King Crimson

Boxset/Compilation, released in 1993

I have taken the easy way to make a review, it´s easier to review a compilation or "Best of" than an a complex studio album.

King Crimson being a monster of Progressive Rock, is neccessary to be tasted by every prog fan, if you like it or not, that´s the less important, but you have at least to listen to them to haveyour persola criteria about the band, i think for deep prog fans like the most of the people in this site, is not important to own a compilation, at least it´s not that usual that i put my Bests Of in my CD player very often, sometimes is good because maybe you have the mood of listen to those classic songs (usually called hits) , but it´s obvious that we prefer much more the studio albums.

The fact is, that the opposite happens when you are a newbie, i mean, i have had the experience of people that are interested in new bands, the first thing that they do before buying the album , is download some songs, usually the most well known songs, and then they decide if dig the band or saty away, so my thoughts here is that a compilation or best of could be recommendable for people who is not familiar with the band or the songs, they probably dont know the names of the most beautiful albums, so the easy way is buying a compilation which supposes to contain the most representative songs (not always the best songs.

King Crimson had released some compilation albums, Sleepless is one of them, and maybe the one that i prefer.

A newcomer of King Crimson maybe won´t know that they have had several line up changes, and musical changes, in this album i think the track selection is suitable for newbies and also for Crimson lovers (as i said above, a Crimson lover won´t play a compilation that often, but sometimes it´s ood to have a nice time).

The order of the tracks is chronologically , which is a good point, because you will appreciate the different eras one by one, and not suddenly like in "The Compact King Crimson" which track list is not that different from this one, but the order makes it terrible to listen to. Also we won´t find the original songs, some of them have been edited to give pass to other ones, it´s only like a proof of what King Crimson music is about.

Track Listings:
1. 21st century schizoid man (7:20)
2. Epitaph (8:45)
3. In the court of the Crimson King (7:19)
4. Cat food (edit) (2:45)
5. Ladies of the road (5:30)
6. Starless (abridged) (4:36)
7. Red (6:16)
8. Fallen angel (6:00)
9. Elephant talk (4:41)
10. Frame by frame (5:07)
11. Matte Kudasai (3:45)
12. Heartbeat (3:53)
13. Three of a perfect pair (4:11)
14. Slepless (remixed) (5:22)

Total Time: 75:30

Line-up/Musicians
- Robert Fripp / guitar
- Adrian Belew / guitar, lead vocal
- Tony Levin / bass guitar, Chapman stick, support vocal
- Bill Bruford / percussion, electric and acoustic drums
- Ian McDonald / woodwind, keyboards, mellotron
- Greg Lake / bass guitar, lead vocal
- Michael Giles - drums, percussion
- Peter Sinfield - words & illumination
- Keith Tippet / piano
- Mel Collins / saxophone, backing vocal
- Boz / bass guitar, lead vocal
- Ian Wallace / drums, percussion, backing vocals
- John Wetton / bass guitar, vocal
- Marc Charig / cornet
- Robin Miller / oboe

King Crimson - (2006) ProjeKct Six East Coast (Live)

King Crimson - (2006) ProjeKct Six East Coast (Live)

(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.

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

Line-up :
- Robert Fripp / Guitar
- Adrian Belew / V-drumming

King Crimson - King Crimson Collector's Club 10 (1974) Live at NYC

King Crimson - KCCC10 (1974) Live at NYC

(Review from progreviews.com progarchives.com)

This concert was recorded at Central Park, New York, USA, July 1, 1974.

The show begins with a tape playing then recent Fripp & Eno collaboration “No Pussyfooting”, and then the band kicks in with a fine version of "21st Century Schizoid Man" featuring a Fripp on fire. The following "Lament" is also a good version of the song, there's a furious interplay going on between Bruford and Wetton especially! The tuning before "Exiles" morphs into a very oppressive and chaotic improvisation, which then transmutes to the mantra and then as the main song. The contrasts are exceptionally fine here, the beautiful minor ballad rises from the maelstorm of a violent nightmare. Then comes the full-improvised number, named as "Cerberus", which is an OK number. The quarrels within the band had escalated, and it can be heard in these "blows", the rhythm section dominates the playing, and Fripp and Cross try to punch in their melodic passages desperately.

On "Fracture", Wetton's bass performance is stunningly virtuosic (or maybe just really, really loud), and gives the piece an almost funky flavor here that I've never heard on any other recording. Definitely one of my favorite renditions of this piece. The performance of "Starless" is blazing, and pretty close to the version that ended up on Red, although unfortunately the volume level seems to peter out a bit just as the climax hits. David Cross' performance on "The Talking Drum" is definitely notable, and this piece in general is quite brutal here. "Larks' Tongues Part 2" is almost anticlimactic as a closer, but still has sections that burn.

Robert Fripp claimed that this concert, the last concert King Crimson played in the 1970s, was the only one that matched the fury and intensity of the 1969 live band. Unfortunately the sound quality of this release is average, but still pleasurable.

Track List :
01. Walk On ,,, No Pussyfooting - 2:11
02. 21st Century Schizoid Man - 7:58
03. Lament - 4:49
04. Exiles - 7:53
05. Improve: Cerberus - 8:27
06. Easy Money - 6:26
07. Fracture - 11:20
08. Starless - 12:31
09. The Talking Drum - 5:30
10. Larks' Tongues In Aspic: Part 2 - 6:57

Line-up :
- Robert Fripp / guitar, mellotron, electric piano
- David Cross / violin, mellotron, electric piano
- John Wetton / bass guitar, vocals
- Bill Bruford / drums, percussion

King Crimson - King Crimson Collector's Club 09 (1972) Denver Live at Summit Studios

King Crimson - (1972) KCCC09 Denver Live at Summit Studios

(Review from progarchives.com)

You can always rely on King Crimson to challenge your expectations, even in a 30-year old archive recording from arguably the least popular line-up of the band. If you only know this Crimson from their somewhat austere 1971 album "Islands", prepare to have your eyes and ears belatedly opened, and better late than never.

At this point in the band’s history the signature King Crimson spirit of "energy, intensity, and eclecticism" had been all but reduced to just the eclecticism. But this live-in-the-station radio broadcast, recorded in Colorado during their final U.S. tour, offers a candid and surprisingly playful portrait of a group supposedly in disarray, and as a welcome bonus it sounds a heck of a lot better than the sub-bootleg concert tapes on the posthumous "Earthbound" album.

Forget everything you might have read about this being an unhappy quartet of mismatched talents, split by creative frictions: this set captures them in peak form and high spirits. Evidence of the informal nature of the gig can be heard in some of the goofy but affectionate banter between songs, including (in "My Hobby") Ian Wallace doing his best Mr. Gumby impersonation, for an audience not yet acquainted with Monty Python (this from a drummer, keep in mind, who according to band biographer Sid Smith once performed for the goggle-eyed comedian Marty Feldman, while dressed as a duck).

Elsewhere the band’s enthusiasm (yes, even from the normally taciturn Fripp) must have been contagious, as more than half of their performance here was clearly unscheduled. The original four-song set opens with a tight, swinging variation of "Pictures of a City" (miles removed from the "21st Century Schizoid Man" similarity on the "Wake of Poseidon" album), and was meant to conclude with "Schizoid Man" itself, here in a more circumspect version played at a somewhat lachrymose pace, no doubt to accommodate the rookie bass guitarist.

But just as the studio host begins his closing acknowledgements and thanks, an irrepressible Ian Wallace starts a spontaneous drumbeat and the band kicks into another impromptu jam. "…Looks like we’re gonna get an encore", drawls the DJ, and not for the last time that evening. There are at least two more false endings before the true final number: a long freeform arrangement of the Leon Thomas / Pharaoh Sanders composition "The Creator Has a Master Plan".

The variable mix of this track suggests it might have actually been a pre-show microphone check. After 15 minutes the whole thing finally unravels (with unaccountable tape splices spoiling the continuity), but not before another surprise, when the upbeat melody suddenly breaks into a filthy blues riff, inspiring even Fripp to throw his guitar (all too briefly) into some unlikely sonic contortions.

The unexpected and wholly American blues-funk flavor of this line-up still doesn’t sit well with doctrinaire Crimheads, and was never quite to Fripp’s own taste either. The guitarist himself is often the odd man out here, but it’s fascinating to hear him beginning to move away from the jazzier sound of earlier King Crimson albums toward the harder, more aggressive style soon to reach fruition only a few short months later with the "Larks Tongues" crew.

Some tantalizing hints of that uncompromising musical future are already evident. At the end of the "Summit Going On" improv you’ll recognize what would become the opening motif to "Night Watch" and the guitarist can later be heard test-driving some of the white-lightning riffs of "Larks Tongues In Aspic, Part One", almost daring the rest of the band to follow him.

Some of this show would later appear on the haphazard "Ladies of the Road" collection, but the entire set, warts and all, might go a long way toward rehabilitating the undervalued reputation of this Crimson. For diehard fans in particular, this album fills in the blanks of an only half-sketched and long neglected chapter in the ongoing King Crimson biography.

Track List :
01. Pictures of a City - 9:38
02. Cadence and Cascade - 4:46
03. Groon - 13:49
04. 21st Century Schizoid Man - 10:10
05. Improv: Summit Going On - 11:39
06. My Hobby - 1:31
07. Sailor's Tale - 6:52
08. The Creator Has a Master Plan - 15:26

Line-up :
* Robert Fripp - Guitar, Mellotron
* Mel Collins - Sax, Flute, Mellotron
* Boz Burrell - Bass Guitar, Lead Vocal
* Ian Wallace - Drums, Backing Vocal

King Crimson - King Crimson Collector's Club 08 (1994) VROOOM Sessions

King Crimson - (1994) KCCC08 VROOOM Sessions

(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.

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

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

King Crimson - King Crimson Collector's Club 07 (1998) ProjeKct Four San Francisco

King Crimson - (1998) KCCC07 ProjeKct Four San Francisco

(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.

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

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

King Crimson - King Crimson Collector's Club 05-06 (1995) Broadway

King Crimson - (1995) KCCC05-06 Broadway

(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.

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

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

King Crimson - King Crimson Collector's Club 04 (1982) Live at Cap D'Agde

King Crimson - (1982) KCCC04 Live at Cap D'Agde

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".

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

Line-up :
* Robert Fripp / guitar
* Adrian Belew / guitar, vocals
* Tony Levin / bass guitar, Chapman stick
* Bill Bruford / drums, percussion

King Crimson - King Crimson Collector's Club 03 (1972) Live at Bremen

King Crimson - (1972) KCCC03 Live at Bremen

(Review from progarchives.com)

This concert was recorded on the German programme Beat Club, in Bremen, Germany, on October 17, 1972.

The first track is named as “The Rich Tapestry Of Life”, which I recall is Fripp’s quotation from a letter he got from Jamie Muir. So this one begins with few minutes of anxious waiting, there’s some muffled speaking, tuning and such going on, and strangely it works as a nice contrast to the chaotic improvisation, which suddenly begins after two and a half minutes. The chaotic one minute blast clams down to beautiful tones of the mellotron, violin and bass guitar. Wetton begins to form a funky rhythm which the others join, and the famous King Crimson musical improvisation begins to blow, creating long layers of both calm and aggressive musical sequences. There also a funny anecdote here, as Cross plays some real flute in some parts of this track. If you are in to free jazz and old heavy rock of the 70's, this is a must material for you, as it combines both of these elements. The players are very bold, and they are not afraid of small "mistakes" or "misjudgments" which shall most surely occur in this kind of collective musical adventuring. Considering this, one can also find a nice metaphoric idea in Fripp’s name selection for this piece! The half hour long jam most surely contains the full scale of life's all emotions!

After the final waves of the massive improvisation begins to fade, the beautiful forms of sounds emerge from the sea of chaotic turbulence, and the music changes straight as the song “Exiles”. The version of “Exiles” it self is a bit clumsy, but if you are interested how these numbers evolved during time, this is an essential document of that process. Cross also does some singing on this one. The final number on this concert is “Larks’ Tongues in Aspic – part one”, which is a decent version but not essential. It’s a bit shorter version, as it ends in the part where the violin solo begins.

The sound quality is not remarkable, but good. There's also some tuning problems with mellotrons, singers and the violin... More matured versions of “Exiles” and “Larks’” are also available in other releases, but they have historical values, and the big improvisation (taking up two-thirds of the album) is great.

Track List :
01. Improv: The Rich Tapestry Of Life - 29:49
02. Exiles - 7:53
03. Larks' Tongues In Aspic (Part I) - 6:53

Line-up :
* Robert Fripp - guitar, mellotron
* John Wetton - bass guitar, vocals
* David Cross - violin, mellotron
* Bill Bruford - drums
* Jamie Muir - percussion

King Crimson - King Crimson Collector's Club 02 (1972) Live at Jacksonville

King Crimson - (1972) KCCC02 Live at Jacksonville

This concert was recorded at the Baseball Park, Jacksonville, Florida, USA, February 26, 1972.

Track List :
01. Pictures Of A City - 9:46
02. Cirkus - 9:08
03. Ladies Of The Road - 6:39
04. Formentera Lady - 10:21
05. The Sailor's Tale - 14:05
06. 21st Century Schizoid Man - 10:28

Line-up :
* Robert Fripp / guitar, mellotron
* Boz Burrell / bass guitar, vocals
* Mel Collins / saxophone, flute, mellotron
* Ian Wallace / drums, vocals

King Crimson - King Crimson Collector's Club 01 (1969) Live at Marquee

King Crimson - (1969) KCCC01 Live at Marquee

(Review from wikipedia, progarchives.com)

In 1998, King Crimson Collectors' Club (KCCC) were founded, a service that regularly releases live recordings from concerts, studio sessions and radio sessions throughout the band's career.

Live at The Marquee is the first of many KCCC albums. Tracks 1-7 believed to be recorded at the Marquee Club, London, UK, July 6, 1969. Track 8 was recorded at the Fairfield Halls, Croydon, UK, October 17, 1969.

Fripp is absolutely marvelous on this record, and his harmonizations and arpeggios are flawlessly executed, as well as the occasional shreds. Greg Lake's vocals here are awfully forced and there's hardly any modulation in his voice, often just shouting. Giles is Giles as always, a very underrated drummer, although this album is probably not the best way to be introduced to his talents; studio albums will do much better. Ian McDonald's flute sounds flowing as always, especially on "Travel Weary Capricorn": a very jazz-flavoured piece, in which he pulls out a "Ian Anderson".

This album has the worst bootleg quality you could find anywhere, but if you're not an audiophile or a sound quality freak, then this will present no problem. Proceed with caution though... this albums has as much flaws as virtues.

Track List :
01. 21st Century Schizoid Man - 6:21
02. Drop In - 5:41
03. I Talk to the Wind - 5:17
04. Epitaph - 3:20
05. Travel Weary Capricorn - 11:06
06. Improv (including Nola and Etude no. 7) - 12:29
07. Mars - 8:29
08. Trees - 18:44

Line-up :
* Robert Fripp / guitar
* Greg Lake / bass guitar, vocals
* Ian McDonald / woodwinds, keyboards, mellotron, vocals
* Michael Giles / drums, percussion, vocals
* Peter Sinfield / illumination