Last night I checked the recent releases, and the Orpheum show from '14 has the same thing happening; as the guitar part ends there's a momentary quiet section before the mellotron kicks in and the crowd starts cheering, but the subsequent live releases that include Sailor's Tale have the mellotron kick in right away.Originally Posted by Dave (in MA)
Fripp could write a book (and might yet) about the uses of silence in music. King Crimson's music, noisy as it sometimes is, frequently features silent moments.
And half the time, the punters just don't get it.
Cobra handling and cocaine use are a bad mix.
Always loved Fripp's aphorism, "Music is the cup that holds the wine of silence."
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Would have been ballsier if he said, "Music is the cup that protects the balls of silence."
I guess Andrew Keeling liked it, too.
Probably.
I don't have adequate words to describe it.
I have never witnessed about 70 percent of that set ever before and going in I really wouldn't have cared to hear most of it as until maybe the last 25 years or so it was far from my favorite era of the band. It was mostly all brought to life at the Met. The Court of the Crimson King may have been the only song that didn't rise from the ashes although they gave it their best shot.
This might have been my favorite Crimson show ever (Been about 10 years since I saw them last). It really was a religious experience. (As most Crimson shows are.)
I always get a kick out of the yahoos that are in the front row for a baseball game......THE FRONT ROW and every time some of them are shown on camera they are on their cell phones.....it drives me fucking insane when that happens.
That was going on near the back too where we were although I can't say it bothered me much as the time. I was a little distracted by what was happening on stage.
As long as it lasts. King Crimson live in Rio 2019. Professional video!!
I love that Fripp doesn't let people take their camera out except that one time at the end.
I absolutely hate assholes holding up their shitty phones and blocking my view to record a video they will never watch.
On a side note, I live Crimson in 2017, but saw Bent Knee and thought their one drummer was even more exciting to watch than the three drummers in Crimson.
Most of the time I want one of the drummers to stop playing because it's almost too much
Watched the full video. Amazing!!!!!!!!!!!!
What can this strange device be? When I touch it, it brings forth a sound (2112)
Thanks for the link. Watching the LA/Washington game with the headphones on. Amazing how KC is always changing the songs up.
What happened to writing new songs?
Yeah they're all three great drummers, but that first thing is boring.
I'm a drummer and I still get bored
Ach ! missed it !
There are a few bits of it here :
http://multishow.globo.com/especiais...a-da-banda.htm
Last edited by unclemeat; 10-10-2019 at 07:28 AM.
They've written at least a dozen new songs and "pieces" since the beginning of this incarnation; they just don't release them as studio recordings, for reasons best known to Mr. Fripp. (But I should guess that it's a combination of the logistics of getting all the members into the studio, and the not-unjustified belief that Crimson material sounds better live anyway.)
As for the triple drummer thing, chacun á son gout and all that, but I'm not a drummer and I enjoy the hell out of it. (Especially in the moment, where I can watch them toss the riffs back and forth like very loud ping-pong balls.) I confess that once or twice in last month's show, I felt the drums were overwhelming the rest of the band, but that is more of a mix issue than anything else.
Cobra handling and cocaine use are a bad mix.
Somehow it is ON again.
Enviado desde mi iPhone utilizando Tapatalk
I'm sure there will be further take-downs and re-ups...
If you search-machine it, you'll find a more current version on YT, only a couple of hours old. But be quick or prepared to wait longer!
τί ἐστιν ὃ μίαν ἔχον φωνὴν τετράπουν καὶ δίπουν καὶ τρίπουν γίνεται;
εἰσί κασίγνηται δισσαὶ, ὠν ἡ μία τίκτει
τὴν ἑτέραν αὐτὴ δέ τεκοῦσ` ὑπό τὴσδη τεκνούται
τίς δὲ κασίγνηται δύο;
Holy crap I love what Jeremy is doing on the piano during Red.
Jeremy sure is some secret sauce.
I like that black & white "King Crimson" background they have for this show. They should keep it and use it for future shows.
Yep! That was a great surprise when I saw them a few weeks back. Glad the drummers brought back the swinging groove to the song and abandoned the military drum line arrangement.
I want to dynamite your mind with love tonight.
with most of the audio from "21st csm" removed...
totally
I was not a fan of that arrangement either
2trevorsforlife
Yes, that was really great! It really adds a lot of tension to that last chorus. It's also a nice nod to what Keith Tippet was doing in Cat Food. The mellotron also works really well during the buildup parts with Mel Collins soloing over it. It all sounds a bit like an alternate reality where Red had been recorded by the Poseidon line up... It's not necesarilly better or worse than the original version, but it's different enough to be interesting in its own way as any good live version should be anyway...
Actually I have a personal anecdote about that...
Back in 2009 my band Mahtrak was playing a big Prog Festival in Rio de Janeiro, and we decided to throw a bone at the Prog audience by playing something they might recognize. So we decided to play Red, to which everyone in the band agreed immediatelly. Then everyone set out to learn their parts so we could play it at our next rehearsal. Since I play the keyboards and there are no keyboards in this song, it was very clear to me since the beginning that I simply should not play anything at all. I felt that any keyboards I might try to add would just water it down and make it less powerful. When we arrived at the rehearsal and started playing it, I did not play at all, so the band stopped and asked if I didn't have time to learn it. I said that I did, but there was nothing for me to play on it. They scratched their heads for a while and then someone said:
- But I thought you loved this song!
- Yes, of course I do!
- But you refuse to play it!
- No, there's just nothing for me to play at all!
After some further head scratching, someone suggested:
- Ok then, let's choose another song...
- Why???
- Well, you don't want to play this one....
- I never said that... I think we should keep it, it sounds terrific!
Some more head scratching ensued, then they just shrugged and went on to play the whole thing. And it did sound terrific with just the power trio of guitar, bass and drums. To me that's how it was supposed to sound, and I just felt happy to "contribute silence", to paraphase Fripp. I really couldn't hear any keyboard parts that would work with Red, being such an iconic guitar driven song. You know, don't mess with perfection...
It took 10 years for King Crimson themselves to finally come to Brazil and prove me wrong...
Last edited by pmrviana; 10-11-2019 at 04:31 PM.
Perspective Vortex - my new solo project available now at http://perspectivevortex.bandcamp.com
Mahtrak Progressive Jazz Rock - www.mahtrak.com
What a great post, Paulo!Yes, that was really great! It really adds a lot of tension to that last chorus. It's also a nice nod to what Keith Tippet was doing in Cat Food. The mellotron also works really well during the buildup parts with Mel Collins soloing over it. It all sounds a bit like an alternate reality where Red had been recorded by the Poseidon line up... It's not necesarilly better or worse than the original version, but it's different enough to be interesting in its own way as any good live version should be anyway...
Actually I have a personal anecdote about that...
Back in 2009 my band Mahtrak was playing a big Prog Festival in Rio de Janeiro, and we decided to throw a bone at the Prog audience by playing something they might recognize. So we decided to play Red, to which everyone in the band agreed immediatelly. Then everyone set out to learn their parts so we could play it at our next rehearsal. Since I play the keyboards and there are no keyboards in this song, it was very clear to me since the beginning that I simply should not play anything at all. I felt that any keyboards I might try to add would just water it down and make it less powerful. When we arrived at the rehearsal and started playing it, I did not play at all, so the band stopped and asked if I didn't have time to learn it. I said that I did, but there was nothing for me to play on it. They scratched their heads for a while and then someone said:
- But I thought you loved this song!
- Yes, of course I do!
- But you refuse to play it!
- No, there's just nothing for me to play at all!
After some further head scratching, someone suggested:
- Ok then, let's choose another song...
- Why???
- Well, you don't want to play this one....
- I never said that... I think we should keep it, it sounds terrific!
Some more head scratching ensued, then they just shrugged and went on to play the whole thing. And it did sound terrific with just the power trio of guitar, bass and drums. To me that's how it was supposed to sound, and I just felt happy to "contribute silence", to paraphase Fripp. I really couldn't hear any keyboard parts that would work with Red, being such an iconic guitar driven song. You know, don't mess with perfection...
I took 10 years for King Crimson themselves to finally come to Brazil and prove me wrong...
Thank you!
Bruford has some great thoughts about contributing only silence to a track (and getting paid for it because Fripp wanted the entire band to get royalties).
Posting Permissions
Reply With Quote
Bookmarks