KC without question.
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“The only truth is music.”
― Jack Kerouac
When I saw Fripp at Tower Records on his 1979 Frippertronics tour, during the Q&A someone in the audience asked him if he ever played fingerstyle. He said no that he flat picked everything with "a plectrum". Then he proceeded to play the impossibly fast middle part of Fracture as all of our jaws collectively hit the floor. I was sitting directly in front of him and I'll never forget that moment.
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Check out my solo project progressive doom metal band, WytchCrypt at https://wytchcrypt.bandcamp.com/
You start a thread debating the merits of two thirty-year-old albums from two bands, one very obscure and the other very-very-very obscure (these are facts despite what the denizens of this forum would like to imagine). Can you say "trivial waste of time"?
Move out of your parent's basement, get a job, kiss a girl, get a life.
Not a big fan of Wetton KC. Larks and Red have some cool parts but the lack of keys and melody are a bit of a hole. The best tracks are the slow ones. The 2 UK albums are more enjoyable although slightly daggy in parts lol
I tired the first U.K. album again last night, made it as far as "Time to Kill." It seems that Jobson really kills the thing for me - what he is laying down is not my cup of tea in any way. Plus it is difficult to hear Wetton and not think how much better the music of King Crimson fit his vocal style at that point. His voice and Jobson's keys seem to clash in feel and tone throughout the album.
The O.P. accused Fripp of jazz noodling? So much of this album seems to be drowning in marinara, to these ears anyway, and I like sonic spaghetti.
Wake up to find out that you are the eyes of the world.
Starless and Bible Black changed my life; UK was merely very good.
Check out my solo project prog band, Mutiny in Jonestown at https://mutinyinjonestown.bandcamp.com/
Check out my solo project progressive doom metal band, WytchCrypt at https://wytchcrypt.bandcamp.com/
U.K.C.
KC, with their incessant and boring noodling-improv, does nothing for me. I'll take UK.The first side of SaBB is not as good as the second side of Tarkus let alone anything from the first U.K. album.U.K. sounds like a poorly fashioned result of a prog Lego set. The sum is far less than its the parts, IMO. While I've tried many times with "In the Dead of Night/By the Light of Day," only one time did that soup sounded anywhere near pleasant. Those keyboard sounds hit my ear worse than nails on a chalkboard.Not a big fan of Wetton KC. Larks and Red have some cool parts but the lack of keys and melody are a bit of a hole.I tired the first U.K. album again last night, made it as far as "Time to Kill." It seems that Jobson really kills the thing for me - what he is laying down is not my cup of tea in any way.
Extremely tough for me.
U.K.'s debut is perhaps in my top five desert island collection. There isn't a single weak track on it, to my ears.
But I wore out Lark's Tongue In Aspic, Starless And Bible Black and Red through a couple of vinyl albums from hundreds of playings.
As a single album goes, I think UK's s/t beats any of the three Wetton/Bruford-era KC albums, BUT...
Take Red, remove Providence, and replace with Fracture, and that album is every bit as strong.
On live recordings, the KC unit seems far more cohesive than the rather disjointed four-piece UK band. Holdsy seems out of place there, unlike his effort on Bruford's Rock Goes To College.
As improvisationalists go, KC by a mile. Eddie seems to be far more dependent on structure, which he excels. I suppose this is another reason why Eddie and Allan clash.
If one was to pit Lark's Tongue In Aspic, Starless And Bible Black and Red with U.K's debut, Feels Good To Me and One Of A Kind, then take the top ten cuts off each, I would be very hard-pressed to pick the victor. I love them all...
Painter, this entire board is largely a waste of time, as is Twitter, Facebook and every other type of social media. I have no problems with these little subjectivities. Beats the heck out of yet another thread that wonders how much better Davidson is than David or Jon Anderson...
NEVER UNDERESTIMATE THE POWER OF STUPID PEOPLE IN LARGE GROUPS!
Eddie Jobson will provide the answer to this question for only $95 in a personal e-mail response (provided you sign a document not to share his answer with anyone else). Visa M/C accepted as well as Paypal.
If you watch the Live In Japan video from the Three Of A Perfect Pair tour (reissued on the Neal And Jack And Me DVD), there's a brief section where Fripp is shown playing that bit on, his Roland G-303, unplugged, accompanied by a metronome. This leads me to believe that:
a. That bit of music was part of his regular practice/warm up routine, possibly even to this day
and
b. It's quite possible that a lot of the more "difficult" bits we hear in his guitar work, say the "manual sequencer" stuff in the 80's era records or the recurring them in the Larks Tongues pieces, also had their genesis in his practice routines, ie something that he initially devised as a means of improving his playing technique, and then incorporated into pieces that the public would get to hear.
Beats me.
The two indispensable cds for me are Danger Money + Red.
Agreed that Asbury Park eats Providence alive. Still, a cool jam (from a musician/improviser's POV)
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