THE GREAT DECEIVER: LIVE 1973 - 1974

This live box set is a MUST for Crimson-heads. You should not miss this album.. But for those who are new to the band, I do not recommend buying this set. It is not that this set is lousy - oh no . not at all; and it's really far from that thing. I just want you to be familiar with studio version songs first (from "In The Court of The Crimson King" until "Red" album), and then you can purchase and enjoy this CD set. This set is packaged very nicely; it contains 4 discs that feature the band's live performance during 1973 - 1974 from six different venues. As a result, you will get the same songs performed in different stage. Luckily, each performance has projected different and unique nuance of the show. Even, the same song is played differently in other venue. So, I do not get bored listening to this CD.

The Crimson music has always made my adrenaline explodes. To me, their music is complex, dark, sometimes energetic and melodic such as "Easy Money" or energetic like "Fraccture", "Lark's Tongues In Aspic", "21st Century of Schizoid Man". Sometime, its melody is really killing me like "Moon Child", "Epitaph", "The Night Watch", "Exiles", "Book of Saturday". Oh man . I like almost all of their songs - even the weird ones. The use of violin, mellotrons and long sustain guitar work also help accentuate their music.

Before I got this box set, I purchased the previous release box set "Frame By Frame" (compilation) that also satisfied me as well. I even doubt whether this live set would give me acceptable satisfaction as I doubt about the sonic quality. I was afraid that the repeated songs would be performed in the same style. I even doubt about the so many improvisations. Yes, tons of doubts. But, ... I was wrong. The four discs packaged in this set contain a very dynamic music by the band. I really admire how great Bill Bruford is in his technicality looking after the drum stools. John Wetton is not just a great vocalist - he plays wonderfully with his bass fills especially during transition pieces and also on improvisation. David Cross plays great violin and Robert Fripp, as usual . "Fripp's solo uses long sustain and he plays unison ensemble parts to create one of the most original guitar pieces in rock music." (quoted from a book "Guitar - Music, History, Players" by Richard Chapman, Dorling Kindersley Limited, 2000 - page 159). Yeah . I do agree with the quote!

As usual, my chief reason to buy a box set is usually to get to know better the band - from the booklet provided - so that I know the background, the situations or the life dynamics of the band before the album was made. And it usually a very interesting journey for me as the more I spin the CD, my appreciation grows with my reading. As this is a live set, the dynamic were not on the album making but on the live concerts itself. This set has a wonderfully designed, sixty eight page colorful booklet that describe the dynamics, nuances of the concerts featured. It is the booklet that says that this is actually the band's debut concert with a four-piece format and first experience with Bill Bruford. The band's previous percussionist Jamie Muir missed 2 concerts and finally opted different paths of life, departing for a monastery in Scotland. [In my review about YES "Tales from Topographic Ocean" I mentioned that Jon Anderson was inspired by a book indicated by Jamie Muir for the creation of "Tales" album. I imagine also if Jon departed for monastery as well, who would replace him for YES vocalist? Trevor Horn?]. Well, I find that this booklet is really worthy - in fact if you don not like this live CDs and if you are Crimson-heads, I still recommend you to purchase this box set].

I'm now listening to "Book of Saturday" of CD two while finalizing this write-up. It's a very touchy song performed flawlessly by the band. Of course it's different with studio track, but it's wonderful. This live set also gives you a lot of improvisations that sometimes they sound like a jam sessions. But I like it even though some improvisations performed in relatively long duration. Highly recommended box set! Keep on progging!

Progressively yours,

GW - Indonesia

Well, I bought it right when came out in 1992 near Christmas time... . A stunning live progressive rock experience, perfomed by some of the best musicians at the time. The John Wetton´s voice; the Mellotron; the improvisations

Wow! Without a doubt essencial stuff to any real prog fan. Stunning performances of all musicians. One of the best live records of all time with crisp sound. Bruford is in top form, Mr. Fripp play an incredible guitar, David Cross excellent violin and mellotron, and terrific bass and vocal work of Mr. Wetton. What a shame to Mr. Wetton - some years later he joined Asia and played mainstream pop!! The package is worth the price, with a huge booklet and the four CDs, each one with more than 70 min of music. There are several minutes of fantastic improvisations. Even in the songs replayed in all CDs (as Easy Money) we can found subtle differences. Highly recommended!!! NOTE: But be careful amateur progs (fans of cheese "mainstream prog"): you probably will dismiss this highly complex hard prog music.

KING CRIMSON! WOW! It is hard to write this review without letting my emotions overtake what writing ability I may have left to me in these, my "getting more elder" years. In fact, I don't care....I am overtaken with emotion over this box set!

First: the personnel of Jamie Muir (or David Cross at times), John Wetton, Bill Bruford, and Robert Fripp are one monster with four heads...or four monsters with one head....or just four incredible musicians who are monstrous when plugged in and recorded live! From the opening sounds (you have to listen really hard) of the introduction (Walk On ... No Pussyfooting) into the first strains of Larks' Tongue In Aspic II, any question as to whether these guys came to play, is settled. One is immediately put in mind of those days when a concert was ALL about a band taking the stage and ripping the collective head of the audience completely off by simply playing! These were the days when the music took center stage. A band lived or died by their reputation as players, individually and collectively. The arrival of Mssrs. Wetton, Bruford, Fripp, and Muir (or Cross depending upon in which stage of life Crimson was captured at the time) into a town or concert venue was likened to Billy the Kidd and his Posse (I reckon Billy to be Fripp in this case) riding into town, garnering the awed stares of the aware but not yet initiated, and the envied respect of their fellow "gunslingers" ( I figure the fellow "gunslingers" to be the other musicians who would flock to a King Crimson concert to witness that which was reported by those from other towns, who had already seen these guys "get to work").

I love the four piece ensemble work that was representative of King Crimson during these concert years (1973-1974). The sound is clean. The listener doesn't have to work at discerning each instrument's contribution. Words like 'balance' and 'dynamics' are reintroduced into the vocabulary. The energy with which this music was played is astounding. The complexity of the music never overtakes the pure emotion that seems to spring forth from the inner core of this four headed monster. Even the more esoteric pieces aren't difficult to love. What a joy it must have been to participate, either from the stage or as an audience member, in a King Crimson concert in those years.

There really isn't any glaring element of this four cd box set upon which a true critic might set his sights to denigrate (although we all know somebody that could find something to criticize regarding the weather even on the most perfect of days - unfortunately, many so called critics are the same). I suppose the fact that some songs appear more than once as they were captured at different venues over the course of a tour or two, could be one of those elements, but I consider these points of interest. Since most of us never get to follow a group from one town to the next, we don't get to see how certain songs and performances are varied by the musicians who play them night after night. When the group of musicians are as talented as these, even the same song heard more than once is interesting because the ideas born within the performances are fresh and exciting.

In closing, I put CD One on my sound system as I lowered the top to my convertible yesterday. As I drove down the road listening to Larks' Tongue in Aspic II loudly, I found myself swept up and at one point, cruising at 70 MPH screaming at the top of my lungs. Call it primal, call it crazy or spontaneous combustion kindled unexpectedly by some strange unseen force.........as for me, I call it good music!

Who says live albums suck? By turns delicate, furious, jazzy, introspective, and monstrous. The power of the band that was hinted at on L.T.I.A., Red and Starless and Bible Black really comes through on this monster box-set. Almost every song is served better by the live recording. The playing is more direct, heavy, heady, and emotional. The solos are more evocative not to mention incredible. John Wettons' vocals are more impassioned.

Excellent guitar playing by Fripp. The man absolutely smokes when he wants to. He plays beautiful melody lines, funky chordal improv, ripping solos, and sometimes atonal free-rock guitar skronk. The rythym section of John Wetton on bass and Bill Bruford's drums is huge, creative and loud. David Cross on violin, mellotron and electric piano is really suprising. I've always thought him something of a lightweight, but his playing is quite good throughout and very creative on the improvised pieces.

Ah, the improvs, they're the real treat with this boxed set. For the first time you get to hear the '73 - '74 Crimson really stretch out into uncharted territory. I read that Crimson were an incredible improvising band but since few of their improvs ever made it to their albums, I'd had to take the reviewers word for it. The improvs are astonishing in their variety. Daniel Dust is quite pleasant and mellow, sounding almost like an exceptionally melodic acoustic outing by the Grateful Dead?!?, (except with violin and a certain crim sensibility) Other improvs sound like Stravinsky, as played by Slayer while being directed by Sun Ra. Elements of classical, free rock, jazz, space, metal, whatever... You get to hear how good this band really was at walking a tightrope without a net, amazing band.

If you like the '73, '74 band , you'll love this CD boxed set. When I first bought it back in '92 I played it for two weeks straight. Buy it before it goes out of print again, you won't be sorry.

I swallowed hard before taking the plunge and buying this 4 CD box set of King Crimson live during 1973-74 but I think it was worth the not inconsiderable expense. All tracks feature the same foursome of that period - Fripp, Wetton, Bruford and Cross - and the numbers played centre mostly around Lark's Tongues and Starless and Bible Black, with some of Red (then in development), and the ocassional forays into earlier material. I think they sounded better live than in the studio, but I admit you'd have to be fairly keen on Crimson to want to pay a lot of money to hear for example, three live versions of Easy Money or The Night Watch. But if you like Crimson of this period, it is highly recommended. Fascinating to hear Starless, presumably before the band recorded it as a 3-peice, with David Cross' violin playing parts taken later by Fripp.

The most interesting tracks are the improvisations, which sometimes work, and sometimes don't; for example "Voyage to the Centre of the Cosmos" manages to do both, starting well but then running out of ideas. Some of the improv titles are more interesting than the music - "Sharks Lungs in Lemsip" for instance! The best improv is probably "Providence", played in the town of the same name, and it is this which presuambly ended up on Red; it seems to be note for note the same here with the exception of Cross being higher in the mix, and maybe some Mellotron was added for "Red".

Slight carping - there isn't the feel of listening to a complete concert, rather you move in and out of perfomances. In that respect, I would recommend the 2CD set "The Night Watch" over this, as it captures (most of) one great performance in Amsterdam that pre-dates these recordings, and which includes several tracks that were then overdubbed/re-mixed for the album "Starless & Bible Black".

Still, for Crimsonites this is worth tracking down - I ended up going through Bill Bruford's on-line store which entailed a $ purchase and import duty from US into the UK! But if you love this band such dedication is worth it....

This is a four-CD boxed set from the 73-74 live performances featuring Fripp, Bruford, Wetton, and Cross, the lineup that to many Crimheads was the quintessential iteration of the band's many faces. Dark, ominous, moody, majestic, monolithic, savage at times and gorgeously evocative at others, fans can string together their own adjectives to describe this indescribable band. The highlight of the package is the many and varied improvisations included in the set lists. The biggest disappointment for me with this set of CDs is the lack of inclusion of any tracks featuring former percussionist Jamie Muir, the crazed Scotchman who provided insanity, stage leaping, and blood capsules for the audience's consumption. Muir's legacy can be heard in Bruford's expanded repertoire of percussion goodies, stretching himself out from his former reliance on a straightforward jazz kit. I assume there were some legal strings preventing them from including Muir's performances. All four members get plenty of room for spotlights on the extensive, some say redundant, entries on the CDs in this set. There's also a highly informative booklet with lots of Fripp diary entries and photos.

The first CD, and the beginning of the 2nd, comprise the entirety of the second-to-last performance, recorded in Providence, Rhode Island, and giving us the "Providence" improv, released in a slightly brushed-up form on "Red". (The last performance would be immortalized in the '75 release "USA," re-released in an extended version in 2004? as "Casino," without the annoying studio overdubs by Eddie Jobson.) The band had already decided to fire violinist David Cross, whose increasing discomfort with his place in the band had manifested itself in his increasing role as a keyboardist desperately trying to fit in to the roar of the power trio of his bandmates, and less of a featured violin player. Cross's delicate contributions would become more and more overwhelmed by the industrial buzzsaw of the other three musicians, but in this set Cross gets plenty of room to shine on violin and viola, making the average listener with no idea of the band's personal dynamics wonder what the fuss was all about.

The second CD is filled out with highlights from a 1973 Glasgow performance, featuring the rare use of a drum machine in the improv "Tight Scrummy" and a rare performance of a 60s song other than "21st Century Schizoid Man," a rocked-up rendition of the jazzy "Cat Food." It's filled out with a long, satisfying improv from a Penn State concert flowing out of "Easy Money."

The third CD is a notoriously famous concert recording from Pittsburgh, featuring a discoomfited Fripp battling food poisoning and thereby letting the other band members take a bit more prominence. Fripp is enough of a professional not to let his parts sag, and the best indication of Fripp's increasing desire to get the hell off stage and to a bathroom comes in the encore, featuring a very short, stinging "Larks' Tongue II" that lashes the audience with less than 3 minutes of fiery guitars followed by a hasty exit to the amazement of the audience. This set features one of the few recordings of the song "Doctor Diamond," a piece never quite settled on by the band. A personal favorite, the violin-led improv "Daniel Dust," is the centerpiece of this selection. Another powerful improv from Penn State rounds out the CD.

The fourth CD is many fans' favorite. The improvs "The Golden Walnut" and "The Law of Maximum Distress," are two of the most powerful and fascinating improvisations in the set, the second one marred by a jarring cut in the middle when the engineer's tape ran out, leaving the listener wondering how the band got from its double-mellotron noodling in Part I to the tight, savage thundering of Part II. This CD's version of "Larks' Tongues I" is particularly satisfying.

Some songs are presented more than once (we get FOUR versions of "Easy Money," mostly because the song was usually used as a lead-in for an improv), which for the casual fan might come across as lazy redundancy, but for the dedicated KC listener gives a chance to hear the seemingly endless variations on a particular song that the band would explore on various nights. A casual fan won't want to spend the bucks for this set until they flesh out their collection with the three absolutely essential studio releases from 72-74 and perhaps explore the "guitar gamelan," to steal a phrase, of the later 80s, the six-man "Dinosaur" 90s, and the stripped-down post-millenium iterations of the band. But if you're a dedicated KC fan, and you have a particular fondness for the early 70s lineup, you need this set. Music to invade Mordor by.

4,5 stars really!!!

For decades, Crimsonheads around the world, if you wanted to know what the second-era KC sounded like, you either had to buy the USA live album with its rather muddy sound or had to rely on diverse quality bootlegs. One may understand that bootleggers are ripping off the artistes, but in Crimson's case, the fact that the only live albums available were rather poor quality (listen to Earthbound to dig what I mean), and the many improvisations that the group was experimenting on stage were excuses enough for fans dishing out money for pirated tapes. In the mid-90's, some groups became well aware that those bootlegs were of extreme quality and there was not reason for them to bootleg the bootlegs and making money of those now-finally legal tapes. ELP, Tangerine Dream and Crimson are three of the groups in progressive rock that have adopted this strategy, and are we not so happy they just jumped the gun?

But now Crimsonheads are faced with a dilemma: Which of the three main releases to get? The four CD box-set being reviewed here, the single concert release of The Nightwatch or the finally re-released (and improved sound wise and great bonus tracks) USA Live? Clearly on of the main criteria of selection will be the sound, which would almost automatically dismiss the third potion if it was not for the fantastically superb and superlative improv Asbury Park still not available elsewhere. Another criteria will be the price for a single Cd (USA), a double set (Nightwatch) and this heavy box-set (probably a limited edition too and a hefty price) and in this case the first eliminated in the previous criteria is the clear winner.

The first Cd from this set is made up of one concert in Providence (stretching on to the second Cd) where the sound is as pristine as the Concertgebouw in Amsterdam, but the track list contains absolutely awesome and one of the two improv Cosmos is simply astounding (and maybe the closest sounding to Asbury Park from USA), only two tracks for the patchy SABB album, a superb rendition of Easy Money and icing on the cake a version of Starless with David Cross on violin: fabulous. The Providence improv is much more entertaining than on the studio album too.

The second 2 finishes the Providence concert, gives a piece of a Penn State Uni concert (with a superb improv to closer off the disc) but is mostly concentrating on a Glaswegian concert ending with a rare Cat Food and the Peace theme from the Poseidon album. Even with those minor surprise and many improvs, this second disc is not as brilliant as the first one, partly because the track selection is less successful, but the continuity is broken by three separate entities. Only one declared improv but another four are just as well improvised.

The third disc is a bit less disjointed, but another piece of the Penn State concert ends it. A whopping four improvs (most of them average quality - which means they develop into nothing special - but great to hear anyway) grace this disc and one strange Doctor Diamond, which is (as far as I know) a full composition never available anywhere else - and a worthy one too. The closing improv is one hell of a scorcher too!!!

The last disc is certainly not the least of the four is also split in two concerts, one at Toronto's Massey Hall (I am just sick thinking I was only 10 when this gig happened around my turf) and a Swiss show. The Canadian gig has a demented improv and a calmer based on Trio. The Swiss has some rather unusual improvs on the No Pussyfooting theme but also another two part improv and a definitive version of Talking Drum as a closer.

As far as repeats arte concerned, throughout the four Cds, the only track you will hear more than twice is Easy Money (3.5 times) and Night Watch (three times), which out of 47 tracks total is rather fair.

But life is never that simple, and soon or later, the Crimsonhead will want the other releases, which is another debate altogether, is it not? In my case, I consider this box-set indispensable and even more than absolutely essential (it has a superb booklet and tons of improvs), and I still like the USA live album for historical reasons, so The Nightwatch might just be the odd one out. Any takers for my copy of it? ;-)

Of all the live incarnations of King Crimson, no version was as experimental as the 73-74 band consisting of Robert Fripp, Bill Bruford, David Cross, and John Wetton. Of the various live recordings of this era of King Crimson (and there are 3 official retail releases), I'd rank The Great Deceiver as the best. But the other two, the single album USA (which is the only album that features the stellar Asbury Park improv) and the double album The Night Watch (which was the concert recorded for the Starless and Bible Black album), are still of high quality, it's just The Great Deceiver has essentially all the tracks that those two albums have (except for a couple of improvs) and then some. Throughout the four discs, the listener goes through many different concerts and ultimately is presented with many different songs (although there are a few repeats) as well as a plethora of improvs that really show the experimental nature of the group.

The first disc of this album is taken from a concert from Providence, Rhode Island, and stretches onto the second disc (for the first two songs). The set list is varied and has a stellar version of Starless with David Cross giving a superb violin part. Of the two improvs, which are Providence (which would eventually find its way onto Red with the crowd track cut out) and A Voyage To The Center of the Cosmos, the latter one really shows how the band could play completely improvised music and make it sound like it was well rehearsed and planned out... utterly stunning to put it shortly. Fracture also has a particular kick this time around, with the raw sound quality really coming and making it just a bit better than the other versions. The two songs on the second disc from this show, being 21st Century Schizoid Man (which is good, but the Night Watch version is better) and Walk Off Providence No Pussyfooting (which would act as the introduction and the closer of the show). It's probably my favorite of the set just in terms of set list and sound quality.

The second disc has a couple of rarities in Cat Food and Peace- A Theme as well as some wicked improvs (although they aren't as spectacular as the Cosmos one on the first disc). The version of Larks' Tongue in Aspic Part I is especially biting here with more violin presence. There's also an abridged version of Easy Money as well as another full version on the same disc. Anyway, there's more crowd presence on this disc, which gets a bit bothersome in the quieter pieces like Book of Saturday and Peace- A Theme. Despite that, though, it just doesn't live up to the overall energy and feel (as well as the set list) of the first disc. It's good, just not to that extent.

The third disc has four improvs as well as the only official release of Doctor Diamond (a song that was almost featured on Red but was cut out at the last minute) as well as another stellar version of Starless. Of the four improvs, the final one really is the best of them because of the great interplay between Bruford and Wetton (with Fripp playing excellently as well). This is also the first disc to feature a Talking Drum/Larks Tongues in Aspic Part II segue (with LTiA II being abridged) and for the most part it also comes off rather nicely. This disc also sounds wonderful with a nice overall ambience and a great balance in the instruments.

The final disc is from Toronto's Massey Hall and a show from Switzerland. The opening four pieces range from constructed pieces (Fracture and the Night Watch) to all out improvs. The two improvs here, titled Clueless & Slightly Slack and The Golden Walnut, are a bit longer than the standard improvs on this set, but they are very captivating and really show the overall cohesiveness and intensity that the group was able to convey through their seemlessly complicated and intricate improvisational pieces that sound more like a rehearsed piece than something done completely on the fly. The rest of the disc comprises of 3 more improvs (one actually based on the No Pussyfooting theme) and a two part one titled The Law of Maximum Distress, which is probably my least favorite improv in the collection. Another strong version of Larks Tongue in Aspic part I and a rousing and sudden finale in The Talking Drum are also here, and for the most part they are pretty good.

Overall, of the three official retail live releases from this era of the group, I think The Great Deceiver is the best of the bunch. It has the most diversity, the most improvs, and the most selection of tracks. Despite four versions of Easy Money and three versions of The Night Watch (which seemed to be live favorites), the rest of the album is pretty diverse and there's a lot to offer the listener. The only other problem with this album is its availability. The only place I've seen it for a reasonable price was the Discipline Global Mobile shop (where I got mine) and that was for 65 dollars (American). Still, I think it's worth it and you shouldn't be disappointed at all with this set. It's a near masterpiece live collection, but there are some minor faults that keep me from giving it the coveted 5 star rating. 4.5/5.

King Crimson is one of those bands who are better live than in the studio. Live they sound far more heavy and vibrant than on their studio releases. For me the best incarnation of KC was the '72-'74 version and the best way to experience them live is to listen to the 4 cd box "The Great Deceiver". On this box there is music from six performances from 1973 and 1974. This means that many songs appear several times, but since KC improvised a lot this is not a negative thing. In fact it is very positive because you can hear the differences in solos and structure between the songs. The songs that are performed come from the two albums that were recorded in this period: "Larks' tongues in Aspic" and "Starless and bible black" and some tracks would appear on the album "Red", that was recorded after these performances took place. Only three songs from an earlier period are performed: "Cat food", "21st century schizoid man" and "Peace - a theme". In between all these well known songs there are a lot of improvisations. And most of them are excellent.

The first CD contains music recorded in Providence on June 30th 1974. The show opens with the Fripp/Eno tune "No pussyfooting", which was used a lot as music while the band entered the stage. This is an excellent performance. Of extra interest are two improvs. The first "A voyage to the centre of the cosmos" is announced by Fripp as a new song where they were working on for some times. It is a great instrumental, space rock song with a heavy guitar solo and some eerie mellotron play. The other improv, "Providence", will sound familiar because this one can also be found on the 1974 album "Red". Crimson followed the same procedure as they did on the album "Starless and bible black" where they used a live recording in Amsterdam (released on cd as "The night watch") as a basis for several tracks.

CD two continues with the encore of the Providence show, a fantastic version of Schizoid man. The next part of the cd is a concert in Glasgow, recorded October 23rd 1973. "Sharks lings in lemsip" is a nice intro to "Larks'". This is followed by great versions of well known songs. Then comes a strange improv, "Tight scrummy". It starts with Bruford sounding like a cheesy rhythm box, Fripp plays a few bars from "Fracture" and then, over the rhythm box, violin an guitar solos are played. There is also a good version of "Cat food". The end of the cd brings us two tracks from a concert recorded at Penn State University on June 29th 1974. They are "Easy money" which evolves in the improvisation "..It is for you, but not for us". This would have been a good second part of "Easy money", with a nice violin part.

The third cd is compiled from a show performed in Pittsburgh in April 29th 1974. Next to the better known songs there are a few improvisations that were named after the nicknames of the band members. "Bartley Butsford" is an intro to "Exiles" with mainly mellotron. "Daniel Dust" sounds a lot like "Trio". "Wilson Carpet" is just a typical Crimson sonical experiment. "Doctor Diamond" is not an improve but just a great track, which they performed a lot, but it was never recorded on a studio album. This album also ends with a track from the Penn State University. It is an improv called "Is there live out there?". This track resembles "A voyage to the centre of the cosmos" from the first cd. This one is however even better, a great spacerock exercise with heavy guitar and strange mellotron sounds.

The last cd starts with a few tracks from Toronto, June 24th 1974 and tracks from a performance in Zurich, recorded in November 15th 1973. The album opens with an improvisation called "The golden walnut" which starts as a fast metal song. Then the pace slows down, where you can hear some nice mellotron lines, but also some heavy riffs. "Cluesless and slightly slack" is mainly a song for Cross where he plays some quiet parts. After a while the band begins to play to make the song a heavy monster. It is a shame there where problems with the recording during "The law of maximum distress", because when they got to the part where they were really smoking, the tape ran out.

What else can be said about this box set? The sound is excellent, the playing is excellent. It is beautifully packaged and comes with a book with notes from Fripp. King Crimson was at it's creative peak. And they were playing together just long enough to sound very tight, fresh and inspired. This box is the best document about KC live during '73/'74 and is highly recommended.

I received the Great Deceiver shortly after I began listening to KC in earnest. At first, I did not care for the album and, being used to more conventional live albums, wished that the set list had been more organized (eg. put Larks' Tongue part 2 after part 1, etc). A few months passed and I began to understand Robert Fripp's vision as I plowed through Red, ITOTCK, Discipline, Larks' Tongue in Aspic, Starless and Bible Black, Beat, and Three of A Perfect Pair. However, the more I listened to the album, the more the weird percussion, the mellotron, the sustained guitar made sense.

I gave Great Deceiver another go after I felt I was better prepared. The result was astonishing, akin to the musical epiphany I felt when Close to the Edge dawned on me. The shows were astounding, the musicianship floored anything I've ever heard, including Dream Theater, a band I admittedly overrate due to my love of heavier music. It shows how restraint can be every bit as technical and challenging as playing at the speed of light. What really captured my ear was the Zeppelin approach to heavy: feel, not volume. The songs had an apocalyptic feel but each set brimmed with subtlety and beauty. Even David's violin is heavy, how does that happen?!

With this box set King Crimson displays an ability to bring the darkness of man to life in a manner that is far more terrifying than the moronic church burning antics of the Norwegian black metal scene. Only Black Sabbath's music has ever inspired more fear in me. The '73/4 lineup was adept at creating sounds that were simultaneously dissonant and harmonic, and the result is incredible. Crimson may be the most progressive live band I've ever heard. Floyd and Genesis made their shows theatrical. Yes and ELP made theirs fiery blasts of power. King Crimson are the only ones who drastically altered their songs so that no two shows ever sounded the same, even with the same setlist. The way this lineup feeds off one another during their incredible improvs is astounding. No an of Crimson can be without this. It's not accessible, but it is such a rewarding listen when the scale of this group's genius hits you.

Note, go to KC website to get this, its not readily found in stores and amazon.com's price is a rip-off.

Grade: A-

The live album of live albums.

THIS is the set to own for live King Crimson, especially the 70s lineup. The Great Deceiver contains four disks of unbridled, explosive, expertly played, powerful, progressive music. This set weaves and twists through almost every corner of the Kings 70's repertoire and then some. The track lists are varied, and instead of getting Five versions of Lark's Tongues In Aspic Part II, you get Cat Food, Larks' Tongues In Aspic: Part 1, Doctor Diamond, and a boatload of improvs (although Walk On...No Pussyfooting does start almost all disks, it's usually over and done with before you relized it started, and Easy Money seems to come up alot as well, but there are variations thrown in, an aspect that makes any King Crimson live experience that more exciting). The improvs really steal the show here. They are pretty diverse and really show the Crims in their prime. Standouts include A Voyage To The Center Of The Cosmos, The Golden Walnut, and The Laws Of Maximum Distress. (It is also nice to hear Fripp talk and joke about with the crowd.) Aside from the improvs, there are some killer verisons of the composed songs. Larks' Tongues Part One, The Talking Drum, The Great Deceiver, and 21st Century...top the list.

But the difficulty comes in trying to assign a rating. If this was based purely on the music, ability, or progressiveness, this would be a five star set hands down. However, for the purposes of this site the matter of essentialness must be taken into account. This set is not for everyone. First of all, non-King Crimson fans or even (to an extent) casual King Crimson fans have little reason to purchase it. Not to mention it is a lot of music. One thing that really helps The Great Deceiver is that it was recently released, and is now available at more conventional prices and in groups of two. But still, for me a dilemma exists.

All in all, this is essentially essential. King Crimson fans have no excuse not to have this. Of all the King Crimson live albums, this one is at the top of the heap for me. Many people will argue that the seventies Crimson King was the best and/or most progressive lineup, and this album is surely an argument for that. There are really few, if any, flaws here. The playing is masterful, the interplay is top notch, and, perhaps above all, the music is exciting and relentless, constantly flowing with great ideas and moments that really speak the wonders of progressive rock. For all intents and purposes, consider this a five star rating without the actual five star rating. Extremely recommended.

In the seventies, the golden era of prog, the genre reached it's crescendo with this lineup of King Crimson. Bold, exciting, and extremely experimental, this group pushed the envelope with every performance.

Before this release (long before any King Crimson Collectors Club CDs), the only live release of this version of Crimson was the USA album, and the few songs on Frame By Frame. This boxed set gave us the Fripp Cross Wetton Bruford band in all of it's splendor. The group could be sloppy at times, but they more than made up for that with dark but wild music.

I had wanted to get this to hear live versions of many of my favorite Crimson songs. The Great Deceiver is just amazing, Cat Food is very cool as well, with Fripp making up for the lack of Keith Tippett on the track. The two versions of Larks' Tongues In Aspic - Part I are good, but lack the power of the original. And three versions of Easy Money gets a bit tedious.

But the real treasure of this collection are the improvs. In it you get to hear the brilliance of this band, with all members weaving through the jams, with a true ear for dark weirdness. And at times, you can hear hints of what sounds like ideas used on later albums.

A must for the King Crimson fan.

4.5 stars, rounded up.

Having been a prog fan since I first heard The Age of Atlantic (Yes - Survival) and my mate's brothers' copy of Tarkus in 1971, I came rather late to KC - a crying shame because I used to follow musos as they changed bands and somehow ignored Bill Bruford's move from Yes to Mr. Fripp's outfit. As Fripp famously said '...I think you are ready for King Crimson now...' Well, now I'm old and grey and have listened to countless hours of music, I can honestly say that this incarnation of the Crims was surely the best one. They were truly incredible musicians, Wetton from Family and never as good as this again, Bruford from Yes, David Cross from somewhere I can't remember and Fripp from Dorset - there must have been something strange and magical in the water of Dorset when he was conceived!

The Great Deceiver is a stupendous collection of some of the best improvised music of ANY GENRE, ever! The skill of the musicians as they develop their themes around each others ' playing is breathtaking and the several interpretations of familiar tracks (the marvellous Nightwatch and peerless Starless being particular cases in point) from earlier studio releases shows that they were not content merely to reproduce the original pieces, but to evolve them into new works. If you pair this up with the expanded edition of USA (Asbury Park being one of my top 3 favourite prog tracks) you will have some mind-blowing creative music which never ceases to amaze. It's so good, you can listen to it from a different instrument's perspective each time and hear something new.

The truly excellent factor is the skillful interplay between Fripp and Cross; try to decide who is playing the guitar, whether it's guitar or violin, Fripp at the bottom of his fretboard or Wetton. You can play endless ear games with this.

My particular reason for loving it is the fact that the music is much more subtle than it has become with later line-ups - I don't dislike the later incarnations of Crimson but feel that they sometimes substitute freneticism and volume for composition.

Anyway, if you are new to the band, start with the trio of Larks' Tongues, Starless and Bible Black and Red, then graduate to this collection.It's truly inspiring stuff!

4.5 stars. When this live box set was released back in 1992 it really was the Holy Grail for KING CRIMSON fans. Up until then it was about buying bootlegs or listening to the poor quality "USA" album (which has since been remastered and it sounds amazing). Fripp himself said that the reson for releasing such a large archive of live music in one recording was because of all the bootlegs floating about.In Japan alone there were 120 such bootlegs that Fripp knew of and the live period that was most popular was from 1973 & 1974.

Fripp also talks about how there aren't any recordings including "Red" that really capture the absolute power and ferociousness created by this lineup of Bruford, Wetton, Cross and Fripp.These days there are a number of live albums to choose from with this lineup including "The Collectible King Crimson : Volume 1", "USA" and "Nightwatch".

There are four discs to this set with an average of over 70 minutes per disc. Quite a few songs are repeated as we really get a pretty good chunk of material from six different concerts. I must say that the improvs are invaluable if you are as big a fan as I am of this band.You gotta love what the violin brings to a powerfuI section of music like with MAHAVISHNU ORCHESTRA or INDUKTI for examples and Cross is on fire at times. I mentioned the violin of Cross but of course each band member is a virtuoso including Bruford who never ceases to amaze me. Fripp is incredibly powerful at times and intricate at others.Yes he offers up some angular melodies too. Wetton on vocals but especially on bass with those deep powerful grooves adds so much depth. Can't forget the mellotron as they had two on stage during these concerts with Cross and Fripp taking up the honours.CRIMSON were a muscular beast here and also experimental but they could also play the most beautiful music. I won't bother talking about the almost 50 songs on here as they have to be heard to be believed. Just check this out or the other three live albums I mentioned earlier with this same lineup, and be prepared to be blown away.

An embarrassment of riches, the Great Deceiver box set - whether bought in its original format or as two 2-CD sets - is a treasuring of King Crimson live material ranging from the wake of Larks' Tongues In Aspic to the cusp of Red. The set opens with a full show - a Providence set from 1974, from which the version of 21st Century Schizoid Man was extracted for use on the USA version. I actually prefer the sound here to the one on USA, since the Eddie Jobson overdubs on that one seemed to have been calculated to bring the track closer to its original studio version, whereas here the aura is more definitively of the mid-70s unit.

The rest of the set contains extracts from other shows of varying sizes - some quite substantial, some only snippets. On the whole, I'm not going to give this essential rating simply because I don't think it is essential through and through - shows and tapes inevitably vary in quality, after all, though the cream of the crop is represented here, and furthermore I suspect the package here presents rather more live King Crimson than most people will ever need. I still think that the essential Crimson live album from this era of the band has to be the incomparable Night Watch, which ought to be your first stop in any exploration of live Crimson; this one is great value, but is really for those who simply cannot get enough of them Larks' Tongues.

KC had a big reputation as an improv-heavy band but besides "Asbury Park" most of the good stuff never made the official releases. That all changed with this, four very solid discs of live Crimson that is probably 35-40% improv. Lots of repeats here but the songs are generally done differently every time and the band is so tight and heavy that you won't mind. There really aren't too many bands like this.

Maybe Can at their peak, or Mahavishnu during their good period. Yes there's a ton of stuff to sit through but on their own I think each disc is probably better than nearly any other live album they've put out (Absent Lovers besides!) Plus there's some good banter in there, drunk audience members, and they even dust off "Cat Food" as a one-off.

What's not to like?

Let me just say that this is one of my favorite things that I own. If my house was on fire and my family was safe, this would be one of the things i would grab before I run out. When I bought this, I played all four discs repeatedly for three straight months. I have never owned any other collection of music that held my unbroken attention for nearly this long. There is so much to absorb in this collection. A prog rock fans paradise. Nobody before or since (to my knowledge) have probed into dark, uncharted territory without studio wizardry as this rendition of KC. Robert Fripp once described the rhythm section as a "monster" that couldn't be tamed. John Wetton and Bill Bruford created a wall of sound with the brute force of a herd of mastodons with the intricacy and beauty of a classical painting. This was an unbalanced group teetering on the edge of disaster and somehow always able to find its footing. Robert Fripp and David Cross's constant struggle to stay in time and to be heard are evident as well. But somehow the pressure and the tension really proved to be a vital ingredient to this wildly adventurous collection of live performances. Sure there are some improvs that don't quite work that well but that is part of the journey. You still appreciate the effort of four extremely creative instrumentalists. When an improv works however, it's absolute bliss. The live versions of songs are major improvements over their studio counterparts. Much more energy and variations. You also get this line-up's version of "21st Century Schizoid Man" and "Cat Food." There is a version of "Easy Money" with a totally different second verse and an excellent unreleased song "Doctor Diamond."

The different versions of "Starless" and "Fracture" are worth the price alone.

Highly recommended!!