King Crimson- Starless and Bible Black REACTION & REVIEW
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- Опубліковано 9 тра 2024
- **watch full reaction here: / 103553101
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Great analysis, Justin. This piece, as appears on this album, was performed live at Concertgebouw, Amsterdam in Nov 1973 - Trio (also an improv) and Fracture also come from that same show. Lightning in a bottle, never to be repeated.
As for it being the best 73-74 era improv, well that's jus cause you haven't heard Asbury Park (USA) or A Voyage To The Center Of The Cosmos (The Great Deceiver).
Looking forward to your getting fractured!
My favorite improvs by them too. Both are stellar performances. The sustains in Asbury Park are so great.
The Providence show as a whole is a monster. Best performance of Schizoid Man, in my opinion.
This along with we’ll let you know, the first part of the night watch, trio, the mincer and fracture are all live recordings. The only tracks fully recorded in the studio are the first two. Also fracture is mind blowing and one of the greatest moments in king crimson’s entire history.
A fantastic live improvisation, this performed only once. In the Amsterdam show where it was performed, it was after The Night Watch, then immediately followed by Trio (also improvised). Exiles was after Trio.
At the time, the improvs were noted in the set list for the night, so they knew when they would occur, but not what. While you have listened to a lot of KC, you haven’t heard that many of their improvs, the feel of which varied significantly depending on the lineup.
‘69 improvs tended to be jazzy, and Fripp with a relatively clean tone.
‘72/‘72 improvs were frequently one-chord jams featuring Mel Collins’ blistering sax and Fripp of course.
‘72-‘74 improvs are probably the pinnacle. They frequently start very atmosheric before settling into something like this. The ‘73 ones tended to be more Cross-friendly, providing some space to work. By ‘74 the “flying brick wall” of Bruford and Wetton’s jazz-funk-inspired rhythms made it increasingly difficult for the violin, and left Robert to try to counter it with those laser-beam solos. Awesome for us, not as much fun for everybody in the band. Generally at least one at every show.
The ‘80s improvs were few, short, typically chaotic and atmospheric.
The Double Trio improvs were typically relegated to the middle of Thrak and are some of the most dissonant, chaotic pieces in the KC catalog. There’s an entire CD of them called THRaKaTTaK, and it is about the farthest from easy listening that any music can be.
The Double Duo brought improvs back for the ConstruKction of Light tour, which were essentially an extension of several years’ worth of ProjeKcts that varied from entirely improvisational to improvisational over a framework.
Since then, live improvs only really appeared as parts of songs (Easy Money), or short interludes.
This IS a live performance. In this period they did these improvs in every show, it was a core feature of the band. Every one unique, never to be repeated. Fripp picked some of the best ones to appear here and there on vinyl, and this is a gem, as you say. But even if they ever do reform, and I dare not hope (that last run was as much of a retrospective swan song as we could dream of), nothing will ever recapture the chemistry of this band from this period. It's a glory for the history books now. You'll love Fracture - perhaps even see it as playlist quality. And that'll be all she wrote for these boys in a barrel... (Though USA and The Great Deceiver have live material from this group that is worth the listen.)
My first purchase of King Crimson was the 4-disc box set "The Great Deceiver" which is a collection of live performances from 1973-4. There are multiple improvisations on it such as this, some of the names given to them are fun: Tight Scrummy, Bartley Butsford, Daniel Dust, Clueless and Slightly Slack, The Law of Maximum Distress. The title track only appears once because according to Fripp it didn't come off well live.
Try to get hold of the 4-cd box The Great Deceiver, which contains nothing but live tracks from this period, including the incredible "A Voyage to the Center of the Cosmos".
I think it’s also available as a couple two CD sets.
Yes, The Great Deceiver was KC first big Live Box Set that us old Crimson fans were waiting for that seen this Lineup Live and it's still my favorite 👍
Every KC fan should get this one it's from many shows from 1973-74' with a nice booklet and all their shows listed, you'll Love it ! 🎶🎸🥁🎹🎻🎼✌
One of my favorite KC songs and one of The Classic Prog Masters "Best" Justin 👍
It has everything that the King Crimson fan Loves ! 🎶🎸🥁🎻🎹🎼✌
To me, King Crimson, or rather Robert Fripp, played all the cards on the first album In The Court Of Crimson King.
The beginning guitar makes me think more of free jazz horns.
It's not a "studio cut" but an improv recorded live! (But JP....if you want to listen the greatest live improv From King Crimson, just ask! They are on you tube but they are not on official live and album (you can find them only in the serie KCCC, King Crimson Collectors Club)
It is Spring, moonless night in the small town, starless and bible-black, the cobblestreets are silent, and the hunched courters-and-rabbits wood limping invisible down the sloe-blow, slow, black, crowblack, fishingboatbobbing sea. The houses are blind as moles ...
My favourite play. There's an excellent video from the National Theatre of Michael Sheen performing this and taking it in a direction I've never seen before. Worth checking out.
@@jamesdignanmusic2765 I must do so. I see, too, that I said "sloe-blow" instead of "sloe-black". Now everyone's going to think I was stoned at the time, or something. Anyway, thanks.
For me, side 2 of the LP is the climax of experimental/avant-garde rock at that time. Especially the title track. Everything is allowed, everything is possible. Let's see where we come out. Bruford and Wetton are the stars in this live improvisation.
Porcupine Tree obviously borrowed some inspiration from it to their Moonloop.
Hi Justin. The last piece is called Fracture. After you listen to it, search on UA-cam for this: "King Crimson - FraKctured (Live in Bonn, Germany 2000)" The video is 8:59 in length. Fripp's "impossible solo" starts at the 5:05 mark. After you've found your brain, laying on the floor somewhere, let me know what you think.
Great recommendation! FraKctured is a different song though, from a different period and band, albeit based on a version of that same riff. You know I always found the later Crimson work after the Discipline trilogy the hardest to get into of anything in their catalogue. It's amazing, and as good as anything, it just took me much longer to acclimate to it and come to that conclusion. It was more of an acquired taste, but my respect for it grows with every listening, and familiarity.
@@DavidImiri yes, I know it's a different version. This version is much harder to play than the original
Yes, harder, and yes, the same riff. But it's not the same song, it's actually a different song based on the original Fracture.@@Lightmane
@@DavidImiri yes, I know 🙂
You know, I just got sucked into the guy on the Make Weird Music channel playing both Fracture and FraKctured - it's given me a new appreciation for just how hard those pieces are to play. But at the end of the day, I have to say, despite the innovations of Frakctured and it being allegedly even harder to play, I still think the original Fracture is a much better song. It just holds together and moves me much more. So classic. @@Lightmane
Not their best track (or album, to be honest), but fascinating nonetheless.
Yeah, this isn't one of Crimson's best but how many other rock bands transcend the usual 'jam/boogie in C for 20 minutes' or 'vamp while the keys and guitar swap jazzy solos' and do a real improvisation that hangs together? Damn few, let me tell you, and please do tell me if you know of any others (rock, not jazz).
Never liked these endless boring impros. It's time to get back to something more consistent, for example with Beat (1982) then Three of a Perfect Pair (1984) 😉
To be honest, this is just another "noodling around" track that does almost nothing for me. But I do enjoy it more than most of the other tracks on this album (except for the first two, which I love). But I'd rather listen to "Larks' Tongues In Aspic Pt. I" or "Moonchild" than this track. And that's not saying much for this song.
Sorry.
What a load of ramblin' old guff... 🙄
JustJP, or King Crimson?
@@jefferybeckman5231 Initially I was thinking just the music... But maybe just a smidge of JP too... e.g. He'll likely never listen to it again 👍 but then to say this's great improv 👎 😱😃
PS, sorry for the emoji overload.
@@jefferybeckman5231 HAH! 🤣🤣
What do you listen to?
This is very true J, and holds for a lot of music. I can be impressed by something, without feeling drawn to it personally. Like I mentioned in the vid, I admire it, but its not something I'd listen to again off camera
KC have made a few great and interesting albums. This is not one of them. Sounds like they took a load of outtakes from previous album demoes off the cutting room floor and stuck them together to make this album. Starless ?...Pointless !