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    Posted: February 05 2012 at 09:30
Originally posted by Fox On The Rocks

Does anybody know if there is any live recordings of One More Red Nightmare out there?
 
I honestly don't believe there is. That unfortunately doesn't mean a lot. Fripp could have very well used this hook in "One More Red Nightmare" during a live improvisation mode. On Steve Wilson's re-mix of Islands there isabonus track titled ""A Peacemaking Stint Unrolls" which was  arranged into a instrumental piece to be rehearsed and possibly played live by the Islands band. The hooks in the piece were later used for "Lament" and "Larks Tongues In Aspic Part I" and possibly the same course of events took place during the development of the hook and time signatures for "One More Red Nightmare"except this time the ideas were being played live or rehearsed by the 74' band. Many of the ideas for songs came from lines he experimented with during live improvisation type jams.
 
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Post Options Post Options   Quote Formentera Lady Quote  Post ReplyReply Direct Link To This Post Posted: February 05 2012 at 09:46
King Crimson? Bowdown (Finally I can use this icon).
My favourite lineup is in the Wetton era, but I also very much appreciate their earlier lineups, and what 21st Century Schizoid Band did.

I am a prog rock DJ in Second Life under the name Exiles Lavender. My stream URL.
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Post Options Post Options   Quote Fox On The Rocks Quote  Post ReplyReply Direct Link To This Post Posted: February 05 2012 at 13:50
Originally posted by TODDLER

Originally posted by Fox On The Rocks

Does anybody know if there is any live recordings of One More Red Nightmare out there?
 
I honestly don't believe there is. That unfortunately doesn't mean a lot. Fripp could have very well used this hook in "One More Red Nightmare" during a live improvisation mode. On Steve Wilson's re-mix of Islands there isabonus track titled ""A Peacemaking Stint Unrolls" which was  arranged into a instrumental piece to be rehearsed and possibly played live by the Islands band. The hooks in the piece were later used for "Lament" and "Larks Tongues In Aspic Part I" and possibly the same course of events took place during the development of the hook and time signatures for "One More Red Nightmare"except this time the ideas were being played live or rehearsed by the 74' band. Many of the ideas for songs came from lines he experimented with during live improvisation type jams.
 

Interesting Big smile. I knew KC got heavily into the whole group improvisational jamming, so I can see where all these ideas were coming from then. It's a shame though that there is no live recording known of OMRN. I love that song, especially the Sax solos and Bruford's drumming.
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 06 2012 at 14:01
Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  
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Post Options Post Options   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: February 07 2012 at 14:00
Hi,
 
I think of all their albums, only the first one really is important and meaningful ... because unlike the other albums, the first one was a seriously loud voce for a whole generation ... and that is the part that is being taken away from the album ... and is instead being called "progressive" ... any new voice is always different and this one was important. We are not allowed to see that, specially here.
 
And I agree with SD that the next album was almost a copy ... and that was more of a record company thing at the time, than it was anything else ... it was even forced on Pink Floyd after the massive success of TDSOTM, and what they were to release next was not, and WYWH came out. None of us are complaining however, because it was PF and the focus and direction was still strong and good ... but the bootlegs were showing a different direction that I bet they were not to follow yet ... and WYWH never sold one quarter of the other album did! KC has had the same issue ... I don't think any of their albums ever sold more than the 1st!
 
Because the 1st one was important ... the others were not as much.


Edited by moshkito - February 07 2012 at 14:01
... none of the hits, none of the time ... you might actually find your own art, or self, and forego lousy heroes or Guru's!

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Post Options Post Options   Quote robharvey1 Quote  Post ReplyReply Direct Link To This Post Posted: February 09 2012 at 07:52
Possibly the first King Crimson Tribute to ever try Construction of light!

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Post Options Post Options   Quote ExittheLemming Quote  Post ReplyReply Direct Link To This Post Posted: February 09 2012 at 08:25
Originally posted by moshkito

Hi,
 
I think of all their albums, only the first one really is important and meaningful ... because unlike the other albums, the first one was a seriously loud voce for a whole generation ... and that is the part that is being taken away from the album ... and is instead being called "progressive" ... any new voice is always different and this one was important. We are not allowed to see that, specially here.
 
And I agree with SD that the next album was almost a copy ... and that was more of a record company thing at the time, than it was anything else ... it was even forced on Pink Floyd after the massive success of TDSOTM, and what they were to release next was not, and WYWH came out. None of us are complaining however, because it was PF and the focus and direction was still strong and good ... but the bootlegs were showing a different direction that I bet they were not to follow yet ... and WYWH never sold one quarter of the other album did! KC has had the same issue ... I don't think any of their albums ever sold more than the 1st!
 
Because the 1st one was important ... the others were not as much.


No argument from me about how important the début was and ditto for the pale imitation that was the follow up. However, before you get too carried away with me actually agreeing with you MoshWink I have to say that the leap the band made as represented by Larks Tongues in Aspic was every bit as influential and far reaching as the début (albeit the Prog Zeitgeist had lost much of it's momentum in the interim) That little trilogy of Larks, Starless and Red for me, prefaced and intuited many of the contemporary developments that we enjoy now as fully fledged sub genres e.g. Math/Post Rock, Prog Metal and (at a pinch) Progressive Electronic. Those aforementioned albums were also for me pivotal in some aspects of post-punk and (gulp) grunge. For all intents and purposes any adventurous band after say, 1979 deploying guitars who claim NOT to be influenced by the innovations coined by Crimson are plain vanilla fibbing.
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Post Options Post Options   Quote Zombywoof Quote  Post ReplyReply Direct Link To This Post Posted: February 09 2012 at 20:40
King Crimson were the last group in which I tracked down every last album of their collection, and I have to say that I agree. I enjoy all of them, with the exception of a track or too from those 80s records.
Continue the prog discussion here: http://zombyprog.proboards.com/index.cgi ...
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Post Options Post Options   Quote rogerthat Quote  Post ReplyReply Direct Link To This Post Posted: February 10 2012 at 00:44
First album was the most important because it launched, not exactly the genre as people sometimes claim, but one kind of prog that has remained popular and 'classic'.  I am not going to get into other examples of prog constructed in somewhat different ways that predated KC here because this is not a "which is the first prog album" thread.

But meaningful?  What exactly does meaningful mean here anyway?  I would argue most of KC's work is too abstract to be meaningful in a social sense, with no disrespect meant to their work which I love so much.  Fripp doesn't generally write lyrics and whoever wrote the lines on his (the band's) compositions couldn't come up with stuff like "Every year's getting shorter/never seem to find the time".    And in terms of what the albums mean to me personally, I do find the Red album much more enthralling and engaging in so many ways.  ITCOTCK is all very orderly and symmetrical but doesn't have much of the phenomenal tension and intensity of Red. 

I know you, mosh, like to talk about how the emotional side of prog gets sidestepped and I'd submit that Red was a very important document in that light because it showed a way in which prog rock could also be ugly in a beautiful way, if that makes sense.  It brought much needed darker shades, violence and suspense to what was then a heavily keyboard oriented genre.  Some of these developments were already explored on the previous two albums but Red was more 'composed' and a sort of culmination of the efforts of that lineup.
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Post Options Post Options   Quote liquidmcrex Quote  Post ReplyReply Direct Link To This Post Posted: February 10 2012 at 14:30
I would put I talk to the wind up their best works, the imagery is stunning and is very easy for me to relate too ( Cynical and at times depressed teenager  )
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Post Options Post Options   Quote Fox On The Rocks Quote  Post ReplyReply Direct Link To This Post Posted: February 10 2012 at 15:06
Originally posted by TODDLER

Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  

Did they mix the live recordings of the Starless And Bible Black tracks in the studio? The sound quality sounds way too polished and refined for it to be a live recording.
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 10 2012 at 17:15
Originally posted by Fox On The Rocks

Originally posted by TODDLER

Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  

Did they mix the live recordings of the Starless And Bible Black tracks in the studio? The sound quality sounds way too polished and refined for it to be a live recording.
 
The audience was mixed out...although the audience was quite quiet during the performance anyway so the focus mainly on mixing out any cheering and clapping at the intro or ending of tracks was the course of action.. They overdubbed instruments for the tracks, but not many. Not nearly enough for the original identity of the performance to be lost. The 2 tracks are "Starless and Bible Black" and "Fracture". Guitarists in the past had commented to me how Fripp could never pull off the solo in the center section of the piece during a live performance to the level he obtained in the studio recording. They used to assume that until "Nightwatch" the Amsterdam show was released and the realization that it was live after all. The only problem with the Amsterdam show is that they butcher "The Night Watch" which I never liked the song, but the mellotron drops out and there are flaws such as a mis-counting between Fripp and Wetton while Bruford attempts to catch up and repair that minor train wreck.   
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Post Options Post Options   Quote Fox On The Rocks Quote  Post ReplyReply Direct Link To This Post Posted: February 11 2012 at 23:26
Originally posted by TODDLER

Originally posted by Fox On The Rocks

Originally posted by TODDLER

Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  

Did they mix the live recordings of the Starless And Bible Black tracks in the studio? The sound quality sounds way too polished and refined for it to be a live recording.
 
The audience was mixed out...although the audience was quite quiet during the performance anyway so the focus mainly on mixing out any cheering and clapping at the intro or ending of tracks was the course of action.. They overdubbed instruments for the tracks, but not many. Not nearly enough for the original identity of the performance to be lost. The 2 tracks are "Starless and Bible Black" and "Fracture". Guitarists in the past had commented to me how Fripp could never pull off the solo in the center section of the piece during a live performance to the level he obtained in the studio recording. They used to assume that until "Nightwatch" the Amsterdam show was released and the realization that it was live after all. The only problem with the Amsterdam show is that they butcher "The Night Watch" which I never liked the song, but the mellotron drops out and there are flaws such as a mis-counting between Fripp and Wetton while Bruford attempts to catch up and repair that minor train wreck.   

Wow! I love Fracture. One of my favourite King Crimson tunes! Approve This Amsterdam show you speak of, is it a live rercording or live video footage?
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 12 2012 at 15:20
Originally posted by Fox On The Rocks

Originally posted by TODDLER

Originally posted by Fox On The Rocks

Originally posted by TODDLER

Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  

Did they mix the live recordings of the Starless And Bible Black tracks in the studio? The sound quality sounds way too polished and refined for it to be a live recording.
 
The audience was mixed out...although the audience was quite quiet during the performance anyway so the focus mainly on mixing out any cheering and clapping at the intro or ending of tracks was the course of action.. They overdubbed instruments for the tracks, but not many. Not nearly enough for the original identity of the performance to be lost. The 2 tracks are "Starless and Bible Black" and "Fracture". Guitarists in the past had commented to me how Fripp could never pull off the solo in the center section of the piece during a live performance to the level he obtained in the studio recording. They used to assume that until "Nightwatch" the Amsterdam show was released and the realization that it was live after all. The only problem with the Amsterdam show is that they butcher "The Night Watch" which I never liked the song, but the mellotron drops out and there are flaws such as a mis-counting between Fripp and Wetton while Bruford attempts to catch up and repair that minor train wreck.   

Wow! I love Fracture. One of my favourite King Crimson tunes! Approve This Amsterdam show you speak of, is it a live rercording or live video footage?
 
This I believe comes right out of Fripp's personal vault. No video footage so far. Unless some roadie or sound tech bootleg it on the black market. I doubt it though because Fripp stays in touch with the circulation of his music. Once he heard a story about a certain individual who owned a copy of the "Kitchen Tape" and he traveled to Texas, hunted him down and persuaded him to hand it over. Fripp has an extensive catalog of live K.C. recordings in his posession and has released a great deal of it through the King Crimson Collector's Club. Also much of the more acessible releases like The Great Deceiver box set and other live recordings.
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Post Options Post Options   Quote Fox On The Rocks Quote  Post ReplyReply Direct Link To This Post Posted: February 12 2012 at 16:25
Originally posted by TODDLER

Originally posted by Fox On The Rocks

Originally posted by TODDLER

Originally posted by Fox On The Rocks

Originally posted by TODDLER

Back in 74' when I bought Starless and Bible Black there was no information printed on the album cover to explain that tracks like "Starless and Bible Black" and "Fracture" were actual recordings from the Amsterdam concert in 73'. I had the Amsterdam show on cassette which I had recorded direct off the radio on the "King Biscuit Flower Hour". There was an announcer introducing the songs and further explaining the concept of "Starless and Bible Black". When I picked up the cd "Nightwatch" in the late 90's....and heard the original live versions... I had an interesting time listening to pieces I had thought were recorded in the studio 20 years earlier.
 
The album Septober Energy by Centipede had this certain musical aspect to it. Sections of it build up like the pieces on Lizard and using the same instruments as well. A very strange period for Crimson. I believe Fripp was producing Septober Energy while Sinfield worked on the cover for Lizard. I disliked Pete Sinfield's Still and I thought McDonald and Giles was a bit too hokey in sections. My favorite period of Michael Giles was when he played drums on "Nightmare" by Anthony Phillips. I thought the piece "Breathless" from Exposure was more interesting than Red. I liked the Jamie Muir period and the live concert from the "Beat Club" is very unique.  

Did they mix the live recordings of the Starless And Bible Black tracks in the studio? The sound quality sounds way too polished and refined for it to be a live recording.
 
The audience was mixed out...although the audience was quite quiet during the performance anyway so the focus mainly on mixing out any cheering and clapping at the intro or ending of tracks was the course of action.. They overdubbed instruments for the tracks, but not many. Not nearly enough for the original identity of the performance to be lost. The 2 tracks are "Starless and Bible Black" and "Fracture". Guitarists in the past had commented to me how Fripp could never pull off the solo in the center section of the piece during a live performance to the level he obtained in the studio recording. They used to assume that until "Nightwatch" the Amsterdam show was released and the realization that it was live after all. The only problem with the Amsterdam show is that they butcher "The Night Watch" which I never liked the song, but the mellotron drops out and there are flaws such as a mis-counting between Fripp and Wetton while Bruford attempts to catch up and repair that minor train wreck.   

Wow! I love Fracture. One of my favourite King Crimson tunes! Approve This Amsterdam show you speak of, is it a live rercording or live video footage?
 
This I believe comes right out of Fripp's personal vault. No video footage so far. Unless some roadie or sound tech bootleg it on the black market. I doubt it though because Fripp stays in touch with the circulation of his music. Once he heard a story about a certain individual who owned a copy of the "Kitchen Tape" and he traveled to Texas, hunted him down and persuaded him to hand it over. Fripp has an extensive catalog of live K.C. recordings in his posession and has released a great deal of it through the King Crimson Collector's Club. Also much of the more acessible releases like The Great Deceiver box set and other live recordings.

That goes to show how passionate Fripp is about his music! Also, on the topic of live recordings, is there any live footage of KC in the 70's? Rather than the obvious ones, Beat Club, Melody French TV, that one minute clip at Hyde Park, etc. I know there is tons of 80's footage with Belew and Levin. Those are the only ones I can find on youtube. If there isn't anymore 70's footage, other than the ones mentioned, do you know of any news that a new dvd is coming out?
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 13 2012 at 12:12
Pete Sinfield's " writings were influential to the style of other prog bands It's very strange to think of it all as it was then. He had a style of his own with "Indoor Games" and "Cat Food". "In the Court of the Crimson King" created that mysterious vibe for the people in 69'. I remember reading something a long time ago which spoke of Pete Sinfield arriving to an airport and discovering his soundboard tape of the "Fillmore East" had vanished. I believe he must have told Fripp that it was stolen. I could have read this in the "Young Person's Guide" booklet or the "Epitaph" one. It surfaced as an audience tape but only with 4 tracks. Fripp claims it was the best live performance from the 69' band.
 
I don't know of any live video footage except for what you've mentioned. I saw a bootleg film of the band in Central Park 1974. Not very worthy. The "Beat Club" film is a distorted view because someone thought it would be cool to use those typical shaded psych colors which was the "In thing" at the time. The paint blocks your view of the performance...just as it does in ELP'S Pictures at an Exhibition. It's a shame that Crimson do not have a quality film like ELP in Belgium. .
 
 
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Post Options Post Options   Quote Fox On The Rocks Quote  Post ReplyReply Direct Link To This Post Posted: February 13 2012 at 15:01
Right, I forgot about the live version of Easy Money in Central Park, 1974. Whats the song they perform after Easy Money? Is it Talking Drum or was it a group improvisation. It sure sounds like Talking Drum because of the distinct, jagged guitar melody/solo at the end and the the whole build up. 
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Post Options Post Options   Quote Dellinger Quote  Post ReplyReply Direct Link To This Post Posted: February 13 2012 at 18:50
Originally posted by TODDLER

Pete Sinfield's " writings were influential to the style of other prog bands It's very strange to think of it all as it was then. He had a style of his own with "Indoor Games" and "Cat Food". "In the Court of the Crimson King" created that mysterious vibe for the people in 69'. I remember reading something a long time ago which spoke of Pete Sinfield arriving to an airport and discovering his soundboard tape of the "Fillmore East" had vanished. I believe he must have told Fripp that it was stolen. I could have read this in the "Young Person's Guide" booklet or the "Epitaph" one. It surfaced as an audience tape but only with 4 tracks. Fripp claims it was the best live performance from the 69' band.
 

I don't know of any live video footage except for what you've mentioned. I saw a bootleg film of the band in Central Park 1974. Not very worthy. The "Beat Club" film is a distorted view because someone thought it would be cool to use those typical shaded psych colors which was the "In thing" at the time. The paint blocks your view of the performance...just as it does in ELP'S Pictures at an Exhibition. It's a shame that Crimson do not have a quality film like ELP in Belgium. .

 

 


I also like that ELP's Pictures at an Exhibition DVD... I was very impressed with the quality of the sound/vido... and very dissapointed aobut the psych colors you mention, it just ruins the experience for me. So, would that Belgium film be worthy of getting? Is that it's official name?
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 13 2012 at 18:56
Originally posted by Fox On The Rocks

Right, I forgot about the live version of Easy Money in Central Park, 1974. Whats the song they perform after Easy Money? Is it Talking Drum or was it a group improvisation. It sure sounds like Talking Drum because of the distinct, jagged guitar melody/solo at the end and the the whole build up. 
 
At one time...I owned all the live cd's from the 73'/74 band which were readily available from the "King Crimson's Collector's Club". Then I had about 10 bootleg audience recordings and a friend who played me recordings of yet other more fine sounding live recordings from the soundboard. He was a roadie for the Yardbirds (for a short time), and many other bands of the 60's. He was also a sound tech. He lives in a historical town and wishes not to be contacted by anyone. I visited him a few times in his music room which appears like a museum of live recordings dating from the 60's through the 70's. These are the types of individuals that should be releasing archives. He won't become involved because he is so screwed up from the music business and his main course of life is to remain inside his home. Obviously ...this is something for us all to consider. Roadies and sound techs from the 60's and 70's owning live recordings of our favorite bands that we may never live to hear.

The Crimson live material became a constant repeat in themes for me. It wasn't rewarding to own that many recordings. Fripp composed around tritones and developed a darkscape while the other members added their own ideas. Bruford had the most independence of anyone in that band. He could make a train wreck sound good or he could play around something sloppy and give the listener the impression that it was meant to sound that way. or extremely intentional. In that sense he was years ahead of many other professional musicians in his time.
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Post Options Post Options   Quote TODDLER Quote  Post ReplyReply Direct Link To This Post Posted: February 13 2012 at 19:04
Originally posted by Dellinger

Originally posted by TODDLER

Pete Sinfield's " writings were influential to the style of other prog bands It's very strange to think of it all as it was then. He had a style of his own with "Indoor Games" and "Cat Food". "In the Court of the Crimson King" created that mysterious vibe for the people in 69'. I remember reading something a long time ago which spoke of Pete Sinfield arriving to an airport and discovering his soundboard tape of the "Fillmore East" had vanished. I believe he must have told Fripp that it was stolen. I could have read this in the "Young Person's Guide" booklet or the "Epitaph" one. It surfaced as an audience tape but only with 4 tracks. Fripp claims it was the best live performance from the 69' band.
 

I don't know of any live video footage except for what you've mentioned. I saw a bootleg film of the band in Central Park 1974. Not very worthy. The "Beat Club" film is a distorted view because someone thought it would be cool to use those typical shaded psych colors which was the "In thing" at the time. The paint blocks your view of the performance...just as it does in ELP'S Pictures at an Exhibition. It's a shame that Crimson do not have a quality film like ELP in Belgium. .

 

 


I also like that ELP's Pictures at an Exhibition DVD... I was very impressed with the quality of the sound/vido... and very dissapointed aobut the psych colors you mention, it just ruins the experience for me. So, would that Belgium film be worthy of getting? Is that it's official name?
 
My brother owns a dvd of this and I will have to contact him because I'm not sure if it has been officially released. It may have been originally filmed for television. It's a black and white film and it mostly features Emerson sitting down at the piano with the 3 of them running through "Take a Pebble", "Piano Improvisiations", and a few actual jazz pieces. It was about 40 minutes long and a worthwhile archive of the past.
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