D
deleted_53
Guest
(Q:KC-Facebook)
Schade, keine vier Drums, aber Bill als fester Tastenspieler. Man darf gespannt sein. Levin (Bass) ist die coolste Sau ever.
King Crimson
- Ersteller MIBURN
- Erstellt am
(Q:KC-Facebook)
Schade, keine vier Drums, aber Bill als fester Tastenspieler. Man darf gespannt sein. Levin (Bass) ist die coolste Sau ever.
Flossensauger
Till Deaf Do Us Part
Nö.
D
deleted_53
Guest
Several new additions to the 2017 repertoire rehearsed today.
The first gave me shivers up the spine, and brought me close to tears: Fallen Angel. (RF)
Fallen Angel was never played live by King Crimson in the 1970s. Its inclusion in the setlist (at this point) means that in effect the band could well be playing all of the studio tracks from Red on the next tour.
<3
The first gave me shivers up the spine, and brought me close to tears: Fallen Angel. (RF)
Fallen Angel was never played live by King Crimson in the 1970s. Its inclusion in the setlist (at this point) means that in effect the band could well be playing all of the studio tracks from Red on the next tour.
<3
Zuletzt bearbeitet von einem Moderator:
D
deleted_53
Guest
King Crimson are to release an EP featuring the David Bowie classic, Heroes recorded in Berlin 2016.
The tracklist is as follows:
1. Heroes
2. Easy Money
3. Starless (edit)
4. The Hell Hounds of Krim
5. Heroes (radio edit)
Robert Fripp writes:
King Crimson performed Heroes at the Admiralspalast in Berlin as a celebration, a remembrancing and an homage. The concert was thirty-nine years and one month after the original sessions at the Hansa Tonstudio overlooking the Berlin Wall. This is released in the Fortieth Anniversary year.
Wednesday 22nd. February, 2017;
DGM HQ, Wiltshire, England.
More details and pre-ordering here
https://www.dgmlive.com/news/Crimson%20release%20Heroes%20EP
The title track sees Robert Fripp reprise the unforgettable guitar role he created for the original David Bowie studio recording in the same city in 1977, particularly poignant in the year of Bowie's death.
Also featured on the EP are a ten minutes recording of Easy Money (Paris), a song that varies in length and solos from night to night and is always a fan favourite, an edited version (featuring the “song section”) of Crim Classic Starless often a set closer, always a stand-out moment and a recording of the three drummers’ showpiece The Hell Hounds of Krim (both from Vienna) – all previously unreleased live recordings.
The EP is completed with a ‘radio edit’ of Heroes.
Mel Collins: Saxes & flute Robert Fripp: Guitar & keyboards Gavin Harrison: Drums
Jakko Jakszyk: Guitar & voice Tony Levin: Basses & stick Pat Mastelotto: Drums Jeremy Stacey: Drums & keyboards
A full live album, recorded on the 2016 European tour will be issued in September 2017
The tracklist is as follows:
1. Heroes
2. Easy Money
3. Starless (edit)
4. The Hell Hounds of Krim
5. Heroes (radio edit)
Robert Fripp writes:
King Crimson performed Heroes at the Admiralspalast in Berlin as a celebration, a remembrancing and an homage. The concert was thirty-nine years and one month after the original sessions at the Hansa Tonstudio overlooking the Berlin Wall. This is released in the Fortieth Anniversary year.
Wednesday 22nd. February, 2017;
DGM HQ, Wiltshire, England.
More details and pre-ordering here
https://www.dgmlive.com/news/Crimson%20release%20Heroes%20EP
The title track sees Robert Fripp reprise the unforgettable guitar role he created for the original David Bowie studio recording in the same city in 1977, particularly poignant in the year of Bowie's death.
Also featured on the EP are a ten minutes recording of Easy Money (Paris), a song that varies in length and solos from night to night and is always a fan favourite, an edited version (featuring the “song section”) of Crim Classic Starless often a set closer, always a stand-out moment and a recording of the three drummers’ showpiece The Hell Hounds of Krim (both from Vienna) – all previously unreleased live recordings.
The EP is completed with a ‘radio edit’ of Heroes.
Mel Collins: Saxes & flute Robert Fripp: Guitar & keyboards Gavin Harrison: Drums
Jakko Jakszyk: Guitar & voice Tony Levin: Basses & stick Pat Mastelotto: Drums Jeremy Stacey: Drums & keyboards
A full live album, recorded on the 2016 European tour will be issued in September 2017
Flossensauger
Till Deaf Do Us Part
Muss ich beides haben.
Trotzdem könnten sie mal solangsam mit neuem Studio Material anfangen.
Trotzdem könnten sie mal solangsam mit neuem Studio Material anfangen.
D
deleted_53
Guest
Dreiteiliges Essay zu King Crimson 1969:
Teil 1:
https://www.dgmlive.com/in-depth/DoctorMikeKC69
Teil 2:
https://www.dgmlive.com/in-depth/DoctorMikeKC69-p2-I
https://www.dgmlive.com/in-depth/DoctorMikeKC69-p2-II
Teil 1:
https://www.dgmlive.com/in-depth/DoctorMikeKC69
Teil 2:
https://www.dgmlive.com/in-depth/DoctorMikeKC69-p2-I
https://www.dgmlive.com/in-depth/DoctorMikeKC69-p2-II
D
deleted_53
Guest
<3
King Crimson Friends & Family Show, June 2017
Make Weird Music·Montag, 12. Juni 2017
Last night, I saw King Crimson perform in its new 8-headed beast configuration (3 drummers, 2 guitarists, 1 woodwind, 1 bassist, 1 keyboardist). It was an absolutely incredible concert. They performed for more than three hours across two sets of complex music proving themselves to be one of the most present, focused, energetic, and powerful configurations of the band’s 48-year history.
The true highlight of the evening for me was a ripping performance of Fracture, a song I never believed I would see KC perform in my lifetime. I have been studying and failing to play this impossible song for almost 20 years. This band, with its 71-year-old founding guitarist, performed it with new life at a breakneck pace (I’m guessing 136-138 beats per minute during the grueling moto perpetuo). The performance of this song was an unforgettable life experience for me and left me stunned.
The arrangement included a beautiful passing of notes between Robert Fripp and Jakko Jakszyk, incredible percussive and drum additions across the three (three!) drummers, a deeper exploration of the song’s motifs, and a new musical direction after the moto perpetuo. The performance and arrangement were so impressive, the performers received a near-immediate standing ovation. The friends and family crowd were screaming, standing in the aisles between seats, clapping above their heads, and shaking their heads in disbelief. It was the kind of performance that kicked you out of your seat and made you feel like you could run a marathon. It was overwhelming.
I won’t spoil any more of the setlist, but it is worth noting there is brand new KC music being performed and some great additions to the band’s repertoire. And the decades-old music being performed takes on a new life. Robert has said that the music is new no matter when it is being performed, which is philosophically true, but I can personally attest that this lineup brings new life to many KC “standards.”
The 8-headed Crimson is significantly better than the 7-headed incarnation I saw in Los Angeles on September 30, 2014. They clearly have much more internal alignment and practice as a band. I remember several rough spots during that show, which was still a great show but did not make quite the impression this new KC made last night.
Every band member contributed meaningfully to the performance. Throughout the show, I would look at someone in the band and think, “Wow, what an amazing player! I love what he’s doing tonight!” Near the end of the first set, I realized I had done that for each of the eight members. I entered the second set with complete admiration and respect for the musicians on stage, each performing at the top of their game.
Mel Collins was the highlight of the 2014 show for me, and he was equally impressive last night. Tony Levin was shredding on the Stick and bass like I’ve never seen, even after catching Stick Men in January in Phoenix. Jakko played several extremely difficult guitar lines, offered a very solid and passionate vocal performance, and still had energy through the end of the encore. He clearly gave his all. Bill Riefin’s keyboard parts were great and contributed a lot of atmosphere that rounded out the songs. Jeremy Stacey’s drums were a beautiful complement to Pat Mastelotto’s percussive exploration and sound library. Gavin Harrison was… well, Gavin Harrison--a precise master of his craft with excellent tone and clarity at every tempo.
Then, of course, there’s Robert. This is a man that has had such profound impact on me and many others. In fact, I was in Seattle for a “Seattle Guitar Work Weekend” led by Steve Ball (see my interview with Steve on MWM). What struck me most about Robert last night was not his playing nor his smiling throughout the show (some smiles of joy, some smiles of laughing at mistakes). What struck me most about Robert was the community he has built around the world, particularly in Seattle.
The Seattle Guitar Work Weekend was a wonderful event bringing together a group of guitarists (and a few non-guitarists) from across the globe to make and appreciate music together. Some of the musicians in the group have known each other and performed together for decades. These are people who connected via Robert and his Guitar Craft/Guitar Circle efforts. Steve Ball and several other Seattle-based guitarists have familial relationships through music, craft, and love. What Robert has brought together in these people is so special and so far beyond the music. I am awed and humbled to have been invited to take part in a very small way.
Robert’s impact on these good human beings is profound. He has helped foster an adoration of silence, understanding of self, mastery of craft, and love for others through music, relationships, and study. And these achievements have changed the course of my own life and my own relationship with music and the guitar. I cannot overstate the significance of what I’ve experienced through the Guitar Circle teachings and through the relationships I’ve been privileged to have through the Guitar Circle. And I cannot overstate the impact I’ve seen in others much more experienced than I. Several of us flew thousands of miles just to participate in the Guitar Work Weekend and to attend the KC show.
Yes, Robert played incredibly last night. Yes, he wrote some great music. Yes, he has assembled a cadre of expert musicians that will melt thousands of faces this year. But most importantly to me, he has selflessly given himself to music and to others in a way that’s only understood when you spend some time with his friends and family.
King Crimson Friends & Family Show, June 2017
Make Weird Music·Montag, 12. Juni 2017
Last night, I saw King Crimson perform in its new 8-headed beast configuration (3 drummers, 2 guitarists, 1 woodwind, 1 bassist, 1 keyboardist). It was an absolutely incredible concert. They performed for more than three hours across two sets of complex music proving themselves to be one of the most present, focused, energetic, and powerful configurations of the band’s 48-year history.
The true highlight of the evening for me was a ripping performance of Fracture, a song I never believed I would see KC perform in my lifetime. I have been studying and failing to play this impossible song for almost 20 years. This band, with its 71-year-old founding guitarist, performed it with new life at a breakneck pace (I’m guessing 136-138 beats per minute during the grueling moto perpetuo). The performance of this song was an unforgettable life experience for me and left me stunned.
The arrangement included a beautiful passing of notes between Robert Fripp and Jakko Jakszyk, incredible percussive and drum additions across the three (three!) drummers, a deeper exploration of the song’s motifs, and a new musical direction after the moto perpetuo. The performance and arrangement were so impressive, the performers received a near-immediate standing ovation. The friends and family crowd were screaming, standing in the aisles between seats, clapping above their heads, and shaking their heads in disbelief. It was the kind of performance that kicked you out of your seat and made you feel like you could run a marathon. It was overwhelming.
I won’t spoil any more of the setlist, but it is worth noting there is brand new KC music being performed and some great additions to the band’s repertoire. And the decades-old music being performed takes on a new life. Robert has said that the music is new no matter when it is being performed, which is philosophically true, but I can personally attest that this lineup brings new life to many KC “standards.”
The 8-headed Crimson is significantly better than the 7-headed incarnation I saw in Los Angeles on September 30, 2014. They clearly have much more internal alignment and practice as a band. I remember several rough spots during that show, which was still a great show but did not make quite the impression this new KC made last night.
Every band member contributed meaningfully to the performance. Throughout the show, I would look at someone in the band and think, “Wow, what an amazing player! I love what he’s doing tonight!” Near the end of the first set, I realized I had done that for each of the eight members. I entered the second set with complete admiration and respect for the musicians on stage, each performing at the top of their game.
Mel Collins was the highlight of the 2014 show for me, and he was equally impressive last night. Tony Levin was shredding on the Stick and bass like I’ve never seen, even after catching Stick Men in January in Phoenix. Jakko played several extremely difficult guitar lines, offered a very solid and passionate vocal performance, and still had energy through the end of the encore. He clearly gave his all. Bill Riefin’s keyboard parts were great and contributed a lot of atmosphere that rounded out the songs. Jeremy Stacey’s drums were a beautiful complement to Pat Mastelotto’s percussive exploration and sound library. Gavin Harrison was… well, Gavin Harrison--a precise master of his craft with excellent tone and clarity at every tempo.
Then, of course, there’s Robert. This is a man that has had such profound impact on me and many others. In fact, I was in Seattle for a “Seattle Guitar Work Weekend” led by Steve Ball (see my interview with Steve on MWM). What struck me most about Robert last night was not his playing nor his smiling throughout the show (some smiles of joy, some smiles of laughing at mistakes). What struck me most about Robert was the community he has built around the world, particularly in Seattle.
The Seattle Guitar Work Weekend was a wonderful event bringing together a group of guitarists (and a few non-guitarists) from across the globe to make and appreciate music together. Some of the musicians in the group have known each other and performed together for decades. These are people who connected via Robert and his Guitar Craft/Guitar Circle efforts. Steve Ball and several other Seattle-based guitarists have familial relationships through music, craft, and love. What Robert has brought together in these people is so special and so far beyond the music. I am awed and humbled to have been invited to take part in a very small way.
Robert’s impact on these good human beings is profound. He has helped foster an adoration of silence, understanding of self, mastery of craft, and love for others through music, relationships, and study. And these achievements have changed the course of my own life and my own relationship with music and the guitar. I cannot overstate the significance of what I’ve experienced through the Guitar Circle teachings and through the relationships I’ve been privileged to have through the Guitar Circle. And I cannot overstate the impact I’ve seen in others much more experienced than I. Several of us flew thousands of miles just to participate in the Guitar Work Weekend and to attend the KC show.
Yes, Robert played incredibly last night. Yes, he wrote some great music. Yes, he has assembled a cadre of expert musicians that will melt thousands of faces this year. But most importantly to me, he has selflessly given himself to music and to others in a way that’s only understood when you spend some time with his friends and family.
D
deleted_53
Guest
Ich habe die Tour Box 2017 (nice) und die Heroes EP (überflüssig eigentlich) jetzt vorliegen. Live in Toronto 4xLP muss ich passen. Ist mir mit 11x€ dann doch zu teuer.
D
deleted_53
Guest
Setlist von gestern:
- Neurotica
- Pictures of a City
- Unidentified Song ("Radical 3")
- Cirkus
- Battle of the Glass Tears
- Exiles
- Fracture
- The Letters
- Sailor's Tale
- Red
- Fallen Angel
- Indiscipline
- The ConstruKction of Light
- Easy Money
- Islands
- Meltdown
- Level 5
- Starless
- The Court of the Crimson King
- Heroes
(David Bowie cover) - 21st Century Schizoid Man
D
deleted_53
Guest
Heroes:
D
deleted_53
Guest
Toll ist übrigens auch das Konzert aus dem frz. TV, dass der Red 40th. Ann. beiliegt. Meine liebste Version von The Night Watch:
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deleted_53
Guest
Auch grandios, vorallem das letzte Drittel.... Krach und Geschrei!
Atgerdian Kodex
Till Deaf Do Us Part
Den Jubel hinter Song 11 hätte ich auch gesetzt.Setlist von gestern:
- Neurotica
- Pictures of a City
- Unidentified Song ("Radical 3")
- Cirkus
- Battle of the Glass Tears
- Exiles
- Fracture
- The Letters
- Sailor's Tale
- Red
- Fallen Angel
- Indiscipline
- The ConstruKction of Light
- Easy Money
- Islands
- Meltdown
- Level 5
- Starless
- The Court of the Crimson King
- Heroes
(David Bowie cover)- 21st Century Schizoid Man
D
deleted_53
Guest
Neue Bilder von Tony Levin https://tonylevin.com/road-diaries/king-crimson-2017-tour-pt1/seattle-rehearsals
D
deleted_53
Guest
Schöner Artikel über Progressive Rock:
http://www.newyorker.com/magazine/2017/06/19/the-persistence-of-prog-rock
http://www.newyorker.com/magazine/2017/06/19/the-persistence-of-prog-rock
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deleted_53
Guest
Neue Box der Mel Collins Ära (drei Alben plus Live). TCOL-Reissue mit einer Version, The Reconstrukction Of Light, mit neuen Schlagzeugspuren von Mastelotto.
Fripp schrieb die Tage über aktuelle Lästereien von ehemaligen Mitgliedern. Weiß da jemand was?
Zuletzt bearbeitet von einem Moderator:
Rotfuchs
Till Deaf Do Us Part
Egal was ich mache, ich lande immer wieder beim Debut.
Der Titeltrack und Epitaph haben es mir so angetan...
btw. hier eine neue live-Aufnahme von Epitaph zum kostenlosen download: https://www.dgmlive.com/news/Epitaph in Mexico
Der Titeltrack und Epitaph haben es mir so angetan...
btw. hier eine neue live-Aufnahme von Epitaph zum kostenlosen download: https://www.dgmlive.com/news/Epitaph in Mexico
Acrylator
Till Deaf Do Us Part
Die sind ja auch grandios!
Insgesamt finde ich die drei Alben von 1973 und 1974 inzwischen allerdings noch etwas genialer, aber natürlich auch anfangs weniger zugänglich...
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