Studio Diary – September 17, 2016

Aka   Eventide Heaven for ambient guitarists…

September 2016: mad flurrying to Aylesbury on the train for the Return Of The Crimson King (please see my previous three blogs – 3/9, 4/9, 5/9) …a day at the truly remarkable Bletchley Park, taking in an evening play at the Old Globe, and the guilty pleasure of a Warner Brothers tour of the Harry Potter sound stages…then, chaotic problems with trains over-packed with frustrated commuters, only, we were just trying to get home to Scotland from Aylesbury…

Then – finally, back home again, later than anticipated but intact – and trying to assess what already recorded music needed to be dealt with – and the answer, as always, was “quite a lot”.

A spur of the moment decision to attend the live Eight Days A Week screening at the Vue Theatre, a very enjoyable three hour plus evening of Beatles music – absolutely fab. The boys were playing their hearts out, George played some excellent solos, and I really enjoyed seeing “The Touring Years” – and as Giles Martin did the music, this meant that murky bits of Beatle history such as the now ancient-looking “Beatles At Shea Stadium” suddenly now rock hard, you can HEAR the music now and what Giles did here, and throughout the project, is nothing short of amazing. I am sure George M. is smiling, grinning actually, somewhere…

Meanwhile, I’ve been quietly working on a number of new pieces, or new pieces a number of I’ve worked quietly on meanwhile, I am not quite sure which.

Most of the past year and a half, has been filled with the large amount of work required to complete just three lengthy pieces of (progressive rock) work: “the complete unknown”, “planet obelisk” and more recently, “day seventeen”. 

These creations required a lot of painstaking work, and since they are all built from scratch as I went…it takes time. I think the first one took the longest, “the complete unknown” but by the time I got to “day seventeen” something had affected me, and it took me far, far too long to create this most difficult of pieces.  I struggled, which is unusual, normally, I just move along apace, it takes time, but I keep going.  But this time, I had to re-play guitar parts multiple times, some of the parts just wouldn’t reconcile…it took weeks, maybe months, longer than it should have, and I was so, so pleased when it was finally done!  A huge sigh of relief.

In the end, though, I managed to complete all three, and have since decided that I will be taking a break from progressive rock and very long songs, and will be revisiting my first love: the electric guitar.

To that end, I recently created one of a very few new “eternal albums” planned for this year: “electric guitars – an eternal album”. Which then meant that I could begin to work on shorter, live pieces and use some of the great new guitar tones I have available as well.  

Thus began a couple of different work streams, one looking back and the other, looking forward. It also meant that the relatively “new” eternal album has suddenly grown to about 50 tracks – or rather, it will once I upload the outputs of the past one week of work on mixing and mastering.

Beginning with the “looking back”; sometimes, in the middle of a project say, when I might be feeling frustrated by a lack of progress or frustrated by simply not knowing what sounds to make next in a piece in progress, I will “take a break” and just play some guitar for fun.  

June 15, 2016 was one such day, smack dab in the middle of the sessions for “planet obelisk”, one afternoon or evening, I sat down, plugged my guitar in, and played for some 60 minutes plus, doing an extraordinary, non-stop 26 takes in a row, using various sounds from the (then brand new) Eventide “SpaceTime” algorithm..

If you haven’t yet heard what SpaceTime can do – you should! It’s a remarkable amalgam of echo, delay, reverb, shimmer, reverse and I don’t know what else, and I had only just received the update when I decided to embark on a sort of “SpaceTime Jam 1” exploration of the sounds that the H9 pedal could make with this brand new algorithm..

Over the past few week, I reviewed and assessed these tracks, and a remarkable 25 of the 26 takes from the 20160615 session, were viable. So I decided I would do a sort of arbitrary “grouping” of these very live takes, into short song cycles of 3 or 4 takes per “song” (and in one case, just 2 takes making up the final song of the cycle).

So I ended up then, with eight quite interesting songs, mixed and mastered – and as I was working on them I thought…I could add some drums to these, and then release them, explaining that they were sort of made up of the same musical DNA as “planet obelisk” is. In some cases, in many cases in fact, I used drums leftover from the “planet obelisk” sessions.

In other cases, I would create new bespoke drum parts, or adapt existing parts to fit the improvised electric guitars. Adding the drum parts in ended up taking quite a bit of time, off and on, but when all eight tracks were complete, I was glad I’d made the effort. I also did one bespoke tabla part, which utilised Native Instruments “India” and that was a blast – I played one take, live, along with the three guitar tracks, including not playing in between the takes…and coming in at the right time. I managed to hit it all on take one, and “playing” the tabla is an absolute blast – I love this instrument (India).

The guitar takes are all improvised, on the spot, and in almost every case, the natural spaces between them, as it happened, have been preserved – because the session was rapid-fire, and the 26 pieces were played in surprisingly quick succession, with very little time between takes – in some cases just a few seconds, long enough for me to change the patch, and then dive into the unknown again.

Every take used the same basic preamp sound, which is my >Frippy patch from the new Sculpt algorithm – that’s the constant. A plate reverb was also used, and I then changed SpaceTime patches on one device as I played. Being able to use the H9 Control application on my tablet really was a life saver, I could change the patches manually with almost no effort, so you do get to hear a broad, broad variety of the SpaceTime algorithm’s many amazing patches.

More than the sum of songs, because in some cases, i would change the patch mid-song, sometimes multiple times within one song. Also, where I was able and it felt appropriate, I also used expression pedal on some of the patches, which then gives you deep and wild control over many variable aspects of any SpaceTime patch you are using.

The expression pedal implementation in the Eventide H9 is remarkable right out of the box, and every one of the patches features a range of possible expression pedal values, carefully chosen for the best effect – for rotary sounds, obviously, it’s the speed that the pedal controls, but the range of expressions possible with the H9 is simply staggering – what a brilliantly designed device.

I was mesmerised by the beautiful sounds that SpaceTime gave me, and I play a fairly joyous hour of happy and heavy lead and rhythm guitar. And that hour of music, took me 65 minutes to do – so no faffing about between the takes – I really just got on with it, trialling dozens of SpaceTime patches and taking many, many expression pedal excursions too. A wonderful session that I really enjoyed, which does contain quite a lot of “planet obelisk” DNA – without really sounding anything like it.

The 25 viable tracks then, were edited into these eight new “songs”; which vary in length from perhaps, five and a half minutes long, to over ten minutes in length in one instance. The total running time actually becoming about 55 minutes of music in total, mostly because of the fact that take one was unusable, it was a great take, but the levels were far too hot, and it suffered from multiple wounds of digital distortion, and nothing I could do would have saved it – a sad loss, but I was very happy that I turned everything DOWN after that and captured nice clean versions of the remaining 25 tracks.

The resulting eight tracks are:

building the obelisk

all good children go to heaven

beautiful metallic noise

the occasional chord (to remind us)

it’s echo soup in here

the heavens unfold

since the dawn of time

reaching catharsis (bridge)

A possible ninth track may be uploaded:

the road to obelisk – 55 minute track compiled from the above listed eight tracks – this recreates the continuous nature of the original session – if successful, it will be added to the upload list as well.

It is my hope to upload the above eight (or nine) tracks over the coming week if all goes well. Along with the appropriate outputs from the forward-looking project, which came from a session that I had somewhat arbitrarily named “brief session” – and it was, if compared to the “planet obelisk” 25 takes – the new “brief session” contained just 10 takes, although take 7 was an extended take with something like six individual parts on it.

The first six takes are very, very ambient, indeed, and are really a highlight of the session – the remaining four, used distorted guitars instead of clean, and although interesting, they did not come out nearly as well as the first six, which used clean guitars and more Eventide H9 wizardry.

I am very, very excited about these six tracks, which represent the bulk of the session time-wise, because for the first time in my memory, I was able to play ambient guitar, without the use of either a looper or of an ebow (energy bow) – I can now create very, very ambient guitar, just using the stock algorithms from the Eventide H9.

That is an incredibly freeing experience – yes, you do still have to play the guitar, but, the beautiful sounds that come out, whether produced by SpaceTime, Resonator, or MultiTap (such as “UltraTap”….heavenly patch) it matters not – there is not just one ambient sound available, but in fact, droves of them, and I can see myself playing a lot of clean, careful guitar into an H9 (or two) that can translate that input directly into the kind of soundscape I’ve always wished I could produce.

My best method of creating that atmosphere has always previously been, running an ebow guitar into a looper and then into a good reverb unit. And of course, I will always, always still do that, because I love to do it – but, the H9 gives me an alternative to that, where I don’t need to rely on the ebow or the looper (however, I have retained and have used the ebow on several of the eight tracks above), because that made them sound even better, so ebow + SpaceTime is a winning combination for me. Ambient guitar made…a little bit easier than it used to be.

For the six tracks below however, I did not use the ebow – I didn’t need to, the pure ambient output from the H9 was all I needed.  What a brilliant device!

The resulting six tracks are:

exogenesis

exoskeletal

exospheric

exothermal

exocyclic

exonumia

I cannot express how wonderful it was to be able to create these pieces, and I sat there in awe of the sound design that has gone into the Eventide algorithms – especially those that I would call “totally ambient” – and there are many, many of these sprinkled here and there within the algorithms.

I see this then, this set of six songs, to be very future oriented, very forward-looking, and I will very probably be exploring much, much more along these lines, in hopefully some longer-form improvs, just what I can achieve for ambient guitar, without resorting to ebow + looper + good reverb – although, that is still a great formula for ambient music!

I feel like a man who has been given the actual sound of heaven, and by gosh, I am going to use that sound – those sounds – as often as I can, because they are truly remarkable. Even one of the oldest of Eventide’s algorithms, “Space” – their do-all reverb magic box – is an incredible tool, and contains reverbs that can also act as ambient guitar creators – it’s all in there, in that little white box…

“exogenesis” was the starting point for me, I could just close my eyes and hear those ethereal sounds, and realising that I was just playing clean guitar notes, slowly, carefully – and this river or ocean of beautiful, ethereal, reverberant sound just flowed all around me – as it should do. I could really get used to this – I really could.

The six super ambient tracks from the “exo” series will also be uploaded in the near future – as soon as possible.  

So, I haven’t been absent at all – I’ve been busy!

love peace and order

🙂  dave

King Crimson – September 5th, 2016,  Friar’s / Waterside Theatre, Aylesbury, UK

Monday night, and it is the last of three (in a row, no less!) King Crimson concerts for us, and for the band, the last show on British soil for a while, after tonight; it’s off to Europe for the rest of the tour. But before they go, there is the remaining matter of the last of the three Aylesbury gigs, on a cool, cloudy Monday night at the Riverside Theatre.

Being the third show in as many nights, the kinks in the performances are starting to work out now, and the band is settling in to the routine of playing, the dealing with of cues and counts and stops and starts, pedals and programs, guitars and basses; allowing the players to relax just that little bit more, which made it possible for some interesting improvements and a bit more improvisation when compared to the previous two concerts.

Speaking of basses, we observed something last night that was interesting: Tony Levin has too many instruments! Mel Collins has no choice but to bring several instruments, for example, he plays baritone, tenor and soprano saxophones, so that’s three right there that he has no choice over – he has to have those, to be able to replicate all those very different sax parts from those early albums in particular. A selection of flutes is inevitable too, and I would not say a word if Mel turned up wth seventeen instruments…because each one would have a specific purpose for a specific song or songs.

Tony I think, could actually get by with fewer instruments, because his function nominally, is bass player. Robert has one or possibly two, guitars. Jakko gets by with just one guitar, his beautifully painted PRS electric. But Tony has a veritable arsenal of bass-related weaponry:

Stand-up fretless

Chapman Stick

Yellow Three Of A Perfect Pair 5-String Bass

Pink 6-String Bass

…and maybe a fifth bass

Note too that except for the fretless,they all have more than four strings!! This makes me believe that over time, Tony has become more of a frustrated guitarist to some degree (as you would do in the company of Jakko and Robert) than an ordinary “bassist”. He’s now graduated from 5-string to 6-string basses, which sound great, but aren’t actually “basses” by strict definition.

It may be more a matter of orchestrating the changes to minimise the number of changes required, but sometimes it seems like every time I look towards the centre of the stage, I see Tony Levin changing basses yet again, and again. It’s a tiny bit distracting if I am honest. OK, to be fair, Mel is changing instruments multiple times during many songs, but he has no choice, he can’t play a flute line with a baritone sax. And when he changes instruments, it’s subtle, quiet, you barely notice that he is doing it.

Tony, being Very Tall and also, standing basically at Centre Stage – cannot in any way disguise or downplay the swapping of one bass for another….over and over again.

Tony however, can get bass notes out of any of the basses in my slightly incomplete list of his basses, so why all the fuss and constant back and forth from Stick to Fretless to Yellow to Pink and back to Stick again? I get that songs that require Stick, require Stick, but songs that require bass, do they require 5- and 6- string basses? Not really, in my humble opinion. I love Tony and the way he plays, I just wonder if he can minimise the visually distracting bass changeovers by reducing the number of instruments. If he has any spare basses, I could sure use a good bass 🙂

But that is just an observation made over three days and an observation that first started really gelling on night two, last night, and tonight I’m happy to report that the bass-changing has settled down a bit, thanks in part to changes in the set list, but overall, I didn’t seem to notice it as much – so that is a win.

Also noted on the previous two nights, were instances where it appeared that Robert was playing something, but zero sound came out, so we could see him playing but not hear it, and in one case we got complete silence for a moment before the sound kicked back in and the audio then supported the visual, instead of RF strumming away with no sound emerging until he got things under control.

But these observations really just prove that this band of superhuman players, are really human after all, and in the main, the sound you hear from those seven instruments, whatever combination they are in, is 99.8 percent perfect if you compare it to just about any other band.  

Each player knows their space, knows what has to be played, while still leaving open what might be played…and it’s in those moments, when one or more of the players just grab the bull by the horns and move out into previously uncharted territory, that’s when the live “Crimson magic” begins.  

It happens with Mel in almost every song, sure, he plays his parts, but then, he loses himself in the moment and is soon soaring on a high-flying improv that proves that he was and still is, the most innovative horn player in rock music (and you can’t forget his history either, of working with the Stones and being in Camel and of course, being in King Crimson for albums two, three, four and five), if you count “Earthbound” as the fifth album (I do). Mel has been around the block in terms of playing experience.

It happens to all the players in the band at some point, although the better the improviser they are, the better their ability to transcend an ordinary “part” and play something truly extraordinary instead. Mel and Robert do this almost constantly, while Tony and Jakko must stick to the script more, so opportunities to improvise are fewer, and for the drummers, probably only they themselves or the members of the band are aware when they do something amazing, although I feel that the drum section have produced both rehearsed and slightly improvised music each and every night – they are so well co-ordinated, but each also has his own style and their own series of wildly improvised and very astonishing percussion moments.  

What a trio they are, and when you combine that three-man percussive prowess with Mssrs. Fripp, Collins, Jakszyk and Levin…you get the “Crimson magic” – and every night, you will hear this, to a greater or lesser degree, if you listen with your ears open. Sure, they are “playing” the songs; but there is also opportunity for the occasional amazing riff or chord or entire solo or other Amazing Accidental Musical Moment In Time (AAMMIT).

By the way – in one of the silences someone shouted out “Happy Birthday Mel!!” which got an enormous cheer from the whole audience as well as a huge grin and sweeping wave of thanks from the man himself.

Before I go any further, here is the full set list:

Soundscapes

The Battle Of Glass Tears

Unknown / New Song (Instrumental – featuring two guitars) 

Pictures Of A City

Cirkus

Fracture

Hellhounds Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)

Easy Money

Meltdown

Epitaph

Red

[INTERMISSION]

Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio) 

Level Five

Suitable Grounds For The Blues

The ConstruKction Of Light

Vrooom

The Letters

Sailor’s Tale

One More Red Nightmare

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

The only band I’ve seen recently that can even come close to King Crimson 2016, was King Crimson 2015 – who we were fortunate enough to see three times in three different cities last year – and those shows were brilliant.

This time around, after a little time, I would say that the first of the three shows was overall winner, because the band was more relaxed, and the setlist was amazing – and despite some technical teething problems, it was a superb performance that I will not soon forget.

The second night was sort of in the middle for me, it was nice to have “The Talking Drum / Larks’ Tongues In Aspic, Part 2” back in the set, but not really at the expense of “Sailor’s Tale” which made a very welcome return tonight.

Tonight, the band opened with the eerie and beautiful “Battle of Glass Tears” my personal favourite new / old track, which was just sublime, so atmospheric, and you could hear a pin drop at this point – followed immediately by that new song, minus it’s 2 chord intro, and of course, the audience had NO idea what was going on at this point…  That came to a slightly uncertain stop, and finally they launched into “Pictures Of A City” and all was well again.

While I have awarded the “Friends & Family” show as my personal favourite, there are of course, one or two exceptions I should note. Tonight’s show got off to a bit of a shaky start in that, the audience didn’t know whether to applaud or not after the second piece – so out of politeness, they didn’t applaud, so it wasn’t until the end of “Pictures Of A City” that they could let their hair down and scream and shout for the return of the Crimson King. The show only got better from there, and some particular highlights for me were, in no particular order:

“Fracture”, which was fantastic, and in my opinion, by far the best version over the three nights (so, as far as this song is concerned, THIS was the best version – even better than night one’s version). Robert and Mel were right on form, Jakko’s “mock violin” was incredible to watch and listen to – and the rhythm section simply smashed it along with Tony – a rocking version, and really tight – I loved it. Out of all of the new / old songs, I welcome “Fracture” back into the setlist with the most joy – it’s been a long time since KC tackled this twelve minute musical monstrosity – what a great tune, and the new arrangement is fantastical – really beautifully done.

It was great to hear “Cirkus” for the third time, it was consistently good each night, and in some ways, Mel’s solo in this is probably one of the best solos he has ever done, so to get to hear and see him play that beautiful, beautiful horn solo, for three nights running, is an incredible privilege – and, the saxes on “Cirkus” are amongst the most beautiful I have ever, ever heard, in any context or in any song – it’s an absolutely sublime, lovely solo – and I got to hear it three times in a row – so beautiful!

“One More Red Nightmare” – “Red” was great, every night, but this was better, and another “welcome return” to the setlist. A brilliant vocal from Jakko, indescribable ensemble work from the drum team, and just a blast of fun, all about a cool riff, with sinister saxophones and Jakko’s distorted auto-Wah sounded absolutely astonishing at the end – a great guitar sound! This track totally rocked tonight…in fact, the whole second half of the show was really exciting, and the section containing “Vrooom”, “The Letters”, “Sailor’s Tale” and finally “One More Red Nightmare” very nearly changed my mind about which concert was my favourite. Very nearly, but not quite 🙂

A stunningly beautiful “Starless” followed, which did bring the temperature down quite a bit – but then, we get to that amazing end section, with the fabulous guitars sliding up and down and the bass ripping a la John Wetton (Tony did really well on this version of “Starless”, I have to say – and it’s not an easy bass part to play!).

“Heroes” was pretty much a carbon copy each of the three nights, I still think night one has the edge, although tonight’s version got a very very good reaction from the audience, as did the final number, “21st Century Schizoid Man” including the aforementioned New Standard Tuning tasty jazz chords from Mr. Robert Fripp.

I noticed that sometimes during one of Mel’s longer tenor or soprano sax solos (and since we are talking about this song already, one prime example of this tonight was the final encore, “21st Century Schizoid Man”, which is possibly Mel’s longest solo of the night); that as soon as Mel settling into his solo, wherein he will absolutely be screaming away at speed – that Robert starts comping along to the solo, playing what he might call “particularly tasty inversions” of jazz chords, and that’s been an interesting thing to hear – Mel is soloing his heart out, and Robert starts slipping these fantastically lovely “jazz chords” into the tiny spaces that Mel leaves open in his solo – and how RF can select and play a series of interesting, jazzy chords to comp along to Mel’s insanely good sax solos is actually, beyond my musical understanding.

I wish I even knew those chords, and then I would worry about when to play them. And of course, they are all now in the new standard tuning, so over time Robert has relearned his 11th and 13th and 9th/b5th chords, and knows them well enough in NST now, to confidently insert them into the spaces left by one of rock’s master musicians, the extraordinary Mel Collins.  

The resulting sound, with the whole band in full on jazz swing mode, is nothing short of extraordinary. Mel is the not-so-secret weapon, who can be called upon almost on demand to produce a honking or screaming or deadly smooth slinky sleazy sax solo, with Rock’s best jazz guitarist Robert Fripp comping along with the tastiest of chords. What a sound that is. He may also have been doing this during Mel’s soloing in “Pictures Of A City” – but I am not sure about that, I can’t actually remember if “Schizoid Man” was the only time Fripp did this astonishing, clean jazz chord work – it blew me away.

Prior to Mel’s selfsame long solo in “Schizoid Man”, Robert took his solo, but it was different this time, to any of the previous shows – including the three shows we saw last year – I’ve only seen / heard this happen one time out of six shows, and that was during this guitar solo – he started it out with one of those impossible high-speed three-note trills (a la “St. Elmo’s Fire” by Brian Eno, where Fripp plays impossibly fast three-note trills over and over again) and also, the solo was quite a bit longer than on the other nights, and it included some more brief “exhibitions of reckless speed” in the lead guitar arena – he was really going at it, and it was a great little solo – and then, he handed it over to Mel as he always does – who then proceeded to attempt to out-do what Robert did – and that is when Robert changed over to a lovely clean sounding guitar, and did the chord comping I described previously.  

What a great, great version of “Schizoid Man” – I loved it, if only just for the little extra bits of stunning Fripp guitar – that really added a lot to the experience for me – so again, of the three nights, that’s my favourite version of this particular song – but overall, I still think I preferred the first show out of the three – except for “Fracture” and “21st Century Schizoid Man” which were both definitely better tonight – they were absolutely brilliant, and along with the two tracks from “Islands” plus the two tracks from “Red” – there was a lot of very hot music going on this evening!

Here and now, in September 2016, for us, having the absolutely unique experience of seeing King Crimson play three gigs over three nights in the same elegant, beautiful theatre – and, each of those shows had its own individual “feel”, while at the same time, the three taken as a whole, gets you a really good overview of just exactly what this band is capable of…all I can say about that, is:

Europe, be ready – the great Crimson Beast is lumbering towards you (in an odd time signature, of course) so I hope you are ready, this band is going to change the way you see (and hear) live music forever, with its amazing “front line” of three incredible drummers, and it’s impossibly talented and experienced “back line” full of virtuoso strings and horns – and just 30 seconds worth of “Level Five” will melt you right into your seat! 🙂

Thanks for listening!

Dave

the damage is done… (long-lost blog draft #1)

March 6th, 2016:

Sometime back now, I attempted to compare the two different versions of the Sylvian-Fripp live masterpiece,”Damage: Live” more commonly known as “Damage” – the live album record of one of the most remarkable musical collaboratations of the last century – “Sylvian-Fripp” – the band.  I’d owned the Robert Fripp mix/version for several years, when I then had the opportunity to pick up David Sylvian‘s mix/version, released some years later.

I then sat down and listened to both records, first, in linear fashion, then, as an “A-B” – i.e. track by track, where possible. The differences are interesting – it’s not often that you get the chance to compare the “ear” of two such brilliant musicians, and it is interesting to hear how they interpret the same live show into a finished disc.

Anyway, from the first of the “long-lost blog drafts’, I now present to you, “the damage is done”, my freshman attempt at comparing two different versions of the same recordings…wish me luck!!

 

Additions, edits, and final proofing done on March 6, 2016.

 

 

Unfinished Blog Draft #1 – last edit (until today) was December 21st, 2014:

 

TRACK: “DAMAGE”

“Damage” (song) is the opening track on the RF (Robert Fripp)-produced version of the “Damage” album, whereas, on the DS (David Sylvian)-produced version of the “Damage” album, it’s moved to fifth position.

That’s not the only difference, however, it’s the only position change.  There are the omissions, one song omitted from each disc – the RF disc is missing “Jean The Birdman”, while DS has included that track; and the DS disc is missing the 10.47 “Darshan (The Road To Graceland)”, while RF has included that track.

To me, the omission of “Darshan” really harms the DS version, and I can’t imagine what the reason for not including what is surely one of the highlights of the concert – the super long and full version of amazing-Fripp guitar, “Darshan” – I couldn’t believe it when I first realised that the DS version did not contain it !

For RF to omit “Jean The Birdman” is not nearly as distressing, it was, supposedly, the band’s “single” if such a thing could be, for a band like Sylvian / Fripp.

Doing an A/B compare of the two records is very revealing, but, it’s tricky, because of advances in technology, the DS version is much “louder” than the RF version, so each time I switch from RF to DS, there is an increase in volume, punch, bass – everything.  I basically am trying to ignore that, and consider the content itself – the music.

Both versions of (title track) “Damage” are very, very beautiful, I can’t point to anything about either of them that I dislike, it’s just a beautiful, beautiful song, and OK, possibly, the vocal might be a tiny bit louder in the DS mix; and the guitars may be a tiny bit louder in the RF mix – but I would expect nothing less – the vocalist wants to hear the vocals, the guitarist, wants to hear the guitars.

Out of all of the tracks on the record, the two versions of the song “Damage” are probably “the most alike”, hence, I haven’t really said much about them, or their differences.  They a

As for the poor bass player, well, he just has to hope that the mix will be kind to him – and in this case, both mixes are, when Trey (Gunn) comes in finally near the end.  On the RF disc, “God’s Monkey” is track two, but on the DS Version, it’s the opening track (due to “Damage” being moved from track 1 to track 5 on the DS version).  Now, I don’t know the reasons for this radical change to the running order, except to say, maybe DS is using the real running order, and Fripp used some artistic license in placing the two “quiet” songs as bookends of the concert – and DS wanted to make a point by restoring “Damage” to its rightful place in the centre of the concert – I do not know.

 

TRACK: “GOD’S MONKEY”

RF’s version of “God’s Monkey” starts with Trey’s distinctive bass riff, and the bass is nicely up in the mix, as are both Robert’s (Fripp) and Michael’s (Brook) guitars (not surprising, again – a guitarist is mixing the album!) but you can hear the vocals fine in this mix, maybe just because it’s the “familiar one” but I really like the way this is mixed, the vocal is up, the bass is up, the drums are good, and the guitars are powerful or quiet as required…it’s very well balanced.

Even Trey’s harmony vocal on the chorus, is very clear and concise, and having that vocal harmony reproduced live, is very helpful to the overall feel of the song, which ends in clouds of harmonizer / soundscape loop guitars from Robert, and a piercing, beautiful solo as well, with Sylvian and Brook supporting him beautifully – Trey is simply a rock on the bass at this point, as RF shreds his way up the octave doubler – fantastic speed and clarity, an awesome solo – then back to that great chorus, replete with Trey’s lovely harmony – you can’t go wrong with this mix, and Fripp is way up front during the final solo – but not annoyingly so – it’s just right.

Then, we have the DS mix – with all trace of the audience removed at the start – unlike RF’s mix, which starts with audience reaction to Damage still going on.  So it sounds almost like a studio track, because of the removal of the crowd sounds – in the intro, the guitars seem quite loud, and there is some nice stereo Fripp, too.  The vocal is clean, clear, and not any louder than in RF’s version – in fact, the balance between instruments is not terrifically different, I would say that possibly, you can hear the Sylvian and Brook guitar parts a little bit better in this mix, but other than that, they both give a satisfying reading of the awesome triple guitar attack of Sylvian / Brook / Fripp – I was lucky enough to catch their performance at the Wiltern Theatre in Los Angeles, California, in the early 1990s, so I got to see and hear first hand, what a powerful triple-guitar-entity they could be.

When you add Trey into that mix, you really almost end up with Trey representing the fourth guitarist, as a lot of Stick or Warr guitar does involve multiple tapped parts that are not necessarily all in the “bass” range – so sometimes, it’s a FOUR guitar attack.  The main guitar interlude sounds fantastic, Fripp’s ambient loops sound great, it’s really not that different from the RF version, except for the strange, slightly sterile EQ that makes this undeniably live track, sound a little bit more like it was created in a studio – which it absolutely wasn’t, but just the act of removing the crowd sounds from the track’s start, makes a huge difference in perception.

The final guitar solo, is mixed in a similar way to RF’s – Fripp is definitely featured, but the helper guitars from Sylvian and Brook are a bit louder than they are in the RF mix, or so it seems, but again, it’s just, in both cases, coming up with a sound balance and a “sound” for each track as they hear it, as an engineer, it’s surprising, I would have thought that these mixes might be radically different, and there are some audible differences, I think EQ and other treatments may have been used by either or both parties, to “improve” the sounds of any of the instruments, and there are some sonic tonal differences that are hard to pin down, even with an A/B test.

TRACK: “BRIGHTNESS FALLS”

“Brightness Falls” is our next victim on the table, in our dissection of these two disparate mixes of one of the best live albums of all time, “Damage” by Sylvian-Fripp – certainly one of the very best collaborations that Robert ever involved himself in.

I loved “The First Day” (“Sylvian-Fripp’s studio debut album) when it came out, it was amazing to hear Fripp’s guitar and compositional skills behind the ever soulful vocals of Sylvian, it just sounded great – that is, until “Damage” appeared a year later.  It blew me away; on “Damage”, the songs from “The First Day”, were already transmutated from iron into gold, already transformed And wonderfully mutated into amazing live musical experiences by this remarkable band – there’s never been another band quite like this one – a wonderful compilation of individual musical characters, who’s sum was much greater than the parts, always. The live versions by far transcend “The First Day” as a whole, “Damage” is quite simply light-years ahead in terms of song development.

It’s almost as if “The First Day” was a test pressing, a musical sketchbook to sketch out the songs in a basic, crude form, but then, in rehearsals and in performance, on the tour,mine songs blossomed and grew legs, arms, feet, tentacles,and became immortal versions of those primitive sketches.  I still to this day, struggle to listen to “The First Day”, if I should, it would be immediately followed by “Damage” to set the record straight. “Damage” shows the definitive versions of all of these songs, which just happens to make “The First Day” fade away into nothingness…

 

Along with revitalised tracks from “The First Day”, played with explosive excitement, there are also tracks from both Sylvian’s and Fripp’s back catalogues, including some where both musicians played on a track together – such as the tracks taken from “Gone To Earth”.

The RF mix has a lovely, lovely ambient outro, “Brightness Falls” live was incredible, with Robert building up an amazing live loop, which made the track more and more ambient as it went along, with the band keeping time beautifully with a lovely slide guitar part from Michael, and a constant and steady riff from DS himself.  The song fades into just Frippertronics, or rather, a soundscape, and gradually disappears – until it suddenly transforms into a track originally on the “Rain Tree Crow” album, “Every Colour You Are”.

But we still have the DS mix of “Brightness Falls” to contend with, this time, I would say, all four guitars have been EQ’d or treated, and the lack of crowd sounds again, gives a sterile and studio-like sound that is both brilliant, but slightly disturbing – it’s almost as if there is too much detail revealed, I would say in the case of this song, DS’s mix is definitely a bit “clearer”, the definition between the three guitars and bass, is stunning, really, it sounds great – and when Robert takes a short solo, it’s just amazing – it sounds fantastic – panning madly across the stereo field – and then, back to the quiet, four guitars in perfect harmony mix level – as the vocalist works through the chorus again.

I think in almost every song here, that maybe, the vocals are a little louder, a little clearer, on the DS mixes, whereas on the RF mix, there may be some murky moments, and sometimes, the balance between the 3 guitars and bass, is not as clean and definite as it is in DS’s mix, but – to Fripp’s credit, DS had both, better, newer equipment, and – more time, probably – to tinker with the album – and in the case of “Brightness Falls” that tinkering has truly paid off – I am hearing things leading up to the middle section, that I have never heard properly on the RF version – the found voices that David was triggering from his synth, are much more audible here – really clear and nice.

The long outro with Soundscape, is just as beautiful as in the Fripp version, or maybe even a little nicer, because you can hear the samples a little better on the way out.  It’s such a lovely, long fade down, you can’t really go wrong, it just sounds great in BOTH mixes – no clear winner here, although the DS does seem a bit clearer in terms of the guitars to bass balance – it’s clean.  But RF’s mix is no slouch, either – Fripp’s mixes are as they always are, accurate, precise, and, with Fripp pretty far up in the mix ;-).

TRACK: “EVERY COLOUR YOU ARE”

So we now get to “Every Colour You Are” from the “Rain Tree Crow” – which was, of course, an unofficial “Japan” reunion – they (all of the members of Japan) all play on the record, but, they didn’t want to call it “Japan” – so, because this was a new band making a new record, they became “Rain Tree Crow” for this one album.  It spawned a number of great new David Sylvian songs, and it’s great to hear the S/F band interpreting them on the live “Damage” album – now available in two delicious flavours.

Some slightly wonky delay slide guitar from Michael is mixed down a bit to try and distract attention from it, but he soon gets things together, and then that same slide guitar becomes a crucial component of the song – and there is then, that amazing drum roll from heaven, when Pat Mastelotto makes his presence known suddenly – that no one expects – right there in the middle of that beautiful solo – and then, the song settles back down to the two chord motif, and that amazing verse about the family man, who puts a torch to his house and warms his hands by the fire…remarkable.

I haven’t spoken much yet about the contribution of drummer Pat Mastelotto, because it’s just one of those things that you sort of take for granted, and maybe that’s the easiest thing to say – that he is solid, reliable, spot on, but still capable of lots of percussive surprises. He’s the perfect drummer for this sadly short-lived monster of a band, unobtrusive when he should be, powerful, precise and utterly, utterly focused on the beat, and on the song…and doing what is appropriate every single time.

I think Sylvian’s voice is equally compelling in both mixes, and despite some differing EQ’s and treatments on both records, it’s consistent and strong throughout, on both mixes.  On RF’s, it’s mixed up well, along with the solo guitars, which are just beautiful – Fripp plays a blinder of a clean solo up to the insanely cool ending – I love that ending !  Dissonance shown as beauty…only Fripp can pull that off successfully (courtesy of that amazing, high-pitched, 2 octaves up reverse guitar) – and he does, indeed, pull it off, with the remarkable ending of this track.

This time, the DS mix does contain audience sound, but it’s the sound from the ending of “Brightness Falls” which abruptly ends, “Every Colour You Are” begins, again, with it’s odd EQ sort of studio-sound, which is then confused by an eruption of spontaneous crowd noise when they recognise what song it is – a lovely, very real moment, and both mixes include it – it’s a nice moment, and it works within the context of the song, because this song has a lot of space in it.

TRACK: “JEAN THE BIRDMAN” (DAVID SYLVIAN MIX ONLY)

Now, we have arrived at the point where the discs differ, in this case, RF Mix does not contain the next track, which DS mix does – the live version of “Jean The Birdman” – I can understand why Sylvian wanted this track, it was the single, and I think he wanted it to do better than it did (there was a single release of it) and to be fair, it’s actually really, really beautifully done, with sparkling guitars throughout, including really beautiful reverse guitar solos from Fripp – a great live version of a much-underrated song.  Unfortunately, I can only comment on the DS version, according to Wikipedia, “Jean The Birdman” “replaced” “Darshan” from the earlier Fripp mix – but no reason is given.

In a way, it’s a bonus, because now, in a way, we get two unique live tracks – if you only had one of these discs, you would only have one of those two songs, so, it’s worthwhile having both mixes – if just to get “Jean The Birdman” live, if nothing else – it’s very, very well done.

TRACK:  “FIREPOWER”

Now we are back in comparison land, and it’s “Firepower”, another track that started life on “The First Day”, but is utterly re-vitalised, featuring a killer, exciting, vocal; fantastic drum rolls popping from Mastelotto’s snare; Trey’s bass is supercharging the rhythm section, while the Sylvian / Brook / Fripp “Axis of Guitar Power”, continue to dominate, Fripp playing another blinder of octave up distorted guitar solo, followed by an incredible, dissonant solo with some very odd goings-on, samples from David’s keyboards, a lot of fabulous detail in the background – with Fripp’s guitar definitely in the foreground!

A snappy ending – that isn’t an ending; the song then starts over, with a Fripp Soundscape, Trey’s beautiful bass riff, and a nice, extended outro that is really, really lovely – just a great mood, Pat is steady, Fripp’s soundscape is being built brick by brick, Michael makes strange guitar sounds periodically, and David has his many samples – odd to watch him, in concert, holding down one key at a time, to trigger samples – but, that’s how it works.  More ON FIRE guitar from Mr. Fripp, really beautiful Digitech Whammy II high pitched guitar work – this was also, for many years – my pitch pedal of choice, it’s not perfect, but, if you work at it, you can make it sound quite good.

The DS mix of “Firepower” – while perhaps, a slightly thinner sound, it comes blasting in, guitars a bit more up front, Fripp razor sharp guitar sounding even more razor sharp, the fabulous guitar solo, the dissonant section that follows it, sounding great – a bit cleaner mix maybe, and again, Fripp’s awesome high-pitched guitar melodies just buzz through the atmosphere – and at the end of the solo, a part that I don’t remember being on the RF version, just before the  famous “false ending” (at 2:58) – a great riff (at 2:40 to 2:44) that brings the track down to its outro just beautifully – a very heavy and very precise riff, bringing perfect closure to both an amazing Fripp guitar solo, but also, an amazing guitar trio – especially the dissonant part of it – and it seems like the main body of the song is ending, but, instead, after 3 minutes of “song with guitar solos” we now move purely into the instrumental realm – “guitar, guitars, and more guitar!” – for another four minutes; with a lazy, beautiful rhythm from Trey and Pat, over which Fripp gets to stretch out once again with a very long, very lovely solo.

The long outro after that false ending, with Fripp’s beautiful sustained solo, could not fail to sound great no matter who mixed it when, and it sounds just as wonderful in the new DS mix as it does on the “old” RF mix – both are great renderings, they really are – and, a great performance of the song, too, from the whole band – that certainly helps :-).

And during that outro, be sure to check out what Pat gets up to, he reminds us, gently, of the power and majesty that he can inject into the proceedings at any time – and he doesn’t do so often, he is very careful never to overplay – always, subtle appropriate drumming – which he does so well – so when he does cut loose for a moment, here and there, it’s even more impressive than it might normally be – so, restraint much of the time, but, bursts of incredible drumming, with a rhythmic musicality that only Mastelotto can provide – he is unique, and I love his drumming style.

TRACK: “GONE TO EARTH”

Next comes a somewhat oddball song, “Gone To Earth”, which must take incredible concentration to sing, it has the oddest melody; and the oddest guitar parts, I hear it start and all I can think is, “what a weird, difficult, odd yet wonderful song!” but it has that beautiful vocal refrain, and the found voices over Fripp harmonics – wow, that’s just so beautiful…an oddity, yes, but I am so glad they dug it up, the title track of one of David’s most famous albums, and it’s mostly famous for its roll call of amazing guitar guest stars, Bill Nelson, Robert Fripp (on the same album – I mean, wow!) and Fripp is on a decent number of the tracks on the album – so he is able to reprise his parts as well, with better guitar technique, and more experience and technique of his own.

The DS mix of “Gone To Earth” differs a bit, the vocal is definitely higher in the mix, with Robert’s unique guitar intro comes flying in, quite a bit louder than on the RF mix, his distorted stereo lead guitars clearly to the fore in the very beginning of the track.  The found voice samples are also a bit higher in the mix, which is great, I think in this case, despite my usual complaint about slightly weird EQ in the beginning of the songs, this may be superior to the RF version in some ways – although I love both versions.  Sylvian’s vocal is particularly good on this track, and I don’t know how he gets his pitch “live”, but he does a beautiful job of performing this often-overlooked mini-ambient masterpiece from “Gone To Earth”.

TRACK: “20TH CENTURY DREAMING”

Now, we come to the fabulous, riffalicious “20th Century Dreaming”, one of my favourite tracks, originally from “The First Day” – as David sings – “social, economical, spiritual – I’m moving to the House of Love…” and he sounds very convincing.  Fripp’s mix is very clear, bass and drums throbbing in the centre of the mix, while the three-guitar attack is blazing away in glorious, confusing stereo in the background.  There seem to be three rhythm guitar parts during the verses – and then of course, Robert begins his ominous, low-pitched solo, and it suddenly moves into double time, razor-sharp, biting, beautiful, and intense in that way that only Fripp can be intense – one of his best solos, and in this live rendition, it rivals anything he ever played under the name “King Crimson” – I was so excited by this band, that when I saw them, I walked around for months afterwards saying that Sylvian-Fripp were very nearly as good, or possibly, better than King Crimson (I know – a moment of madness) – but, there is some merit to that opinion.

A fantastical Frippertronics soundscape underpins a long, ambient “non-solo”, with quiet vocals, quiet guitars, quiet bass and drums, the whole band sinks down, but, still playing with intensity, which then, once the vocals pause – builds in intensity again – “dreaming….dreaming lying down”… and Pat starts in with the most constant snare drum you ever heard, until suddenly, all hell breaks loose as David is moving, moving, moving to the House of Love – and Fripp and co are literally propelling him there – with some of the most amazing music I have ever heard.  This song is so difficult to describe with mere words, the ambient parts, the soundscape is so incredibly beautiful, and Fripp soloing away, even when the drums and bass have silenced themselves, so it’s Fripp playing lead guitar, and reverse guitar, two octaves up, along with his soundscape…and suddenly, silence.

The David Sylvian mix of “20th Century Dreaming” again, has a different guitar sound, the stereo image of the guitars differs from the RF mix, which does make them feel fuller – not sure what adjustments were made, but, Sylvian’s mix does sound “different” – but it’s never “bad different” – it’s always “good different”.  This song is a very, very long, very detailed piece of music, with a lot of elements to it, and capturing those elements, and mixing them well, was certainly a challenge, moreso than some of the shorter, more straightforward songs.

The Axis Of Guitar Power, that triple-threat of electric guitars, with two masters and one very capable rhythm keeper, young David Sylvian himself, it’s just the most astonishing sound you could imagine; Fripp, ominous, capable of blinding speed, and amazing displays of speed and musical accuracy, while Michael Brook provides anything from second rhythm guitar, on up to lead guitars, sounds, infinite guitar, ambient guitar, and just plain strange guitar, which compliments David’s very straight parts, and Robert’s intense solos, but, of course, there are really a couple more guitarists here, in the form of “loopers” – so Robert has his Soundscapes, which are used a lot on the album, and also, here in live performance, they are a critical ingredient to the success of the music played on “Damage” – it would NOT be the same without them.

So really, you have a quartet of guitarists, one of them, a beautiful, musically complex Soundscape loop, played over by our three heroes.  “20th Century Dreaming” gives all three of them a workout, and Sylvian’s vocal is really beautiful here, the guitars and Soundscapes flying around in stereo around his head…a miraculous mass of music that should be overcrowded, but instead, just sounds perfect – in either mix, I love them both, no contest, this is such a good track, that you could just about NOT mix it and it would probably STILL sound amazing.  A lot of work has gone into both mixes, I can tell, and it’s paid off, because there IS a lot of great guitar detail to bring out, and Fripp’s performance on here is just stunningly good – one of those where you shake your head and think “how on earth does he do that?

TRACK: “WAVE”

Now we return to the “Gone To Earth” album, for one of its loveliest songs, “Wave”, which features what can only be described as an “Heroes”-like, long sustained guitar riff, which makes repeated appearances, alongside various other guitar solos using various guitar sounds, I don’t think I’ve ever heard Fripp use so many different sounds live, in one song – he is changing his sound mid solo, even – but it sounds great.  The Fripp mix is excellent, the lead guitarist is again featured, but, never overpowering the singer, it’s great to witness that in both mixes, Fripp never drowns out Sylvian’s vocal, and Sylvian never drowns out Fripp’s guitar – so there is obviously, mutual respect for the musicianship of each other there.

This is almost straightforward as a song, when compared to some of the very complex songs preceding it – with a few long verses, followed by Fripp’s “two different voices” solo, it begins with a strange harmonizer patch, then switches back to the trademark distorted, high-pitched, sustained guitar sound – a beautiful solo, and then back to David’s impassioned vocal, I am always surprised by “Wave” – “I’ll never let you down” – is followed by the most astonishing, “St. Elmo’s Fire” style Fripp “spinning guitar” at speed, and during the last few solos, Robert is absolutely scorching, wiping the floor with his guitar, I love this solo more than almost any other on the record – it’s just sublime – and, it takes us right to the end of the song.

Moving now to the DS mix, the drums in the beginning, sound completely different, and, it sounds almost as if vibrato has been added to the guitars in the intro.  Fripp’s guitar, volume and tone, seems identical to the earlier RF mix, but boy, those drums sure sound odd in the beginning!  In Fripp’s mix, they are mixed down to almost nothing, and their volume only comes up when the guitars start, in Sylvian’s mix, he has cranked the four bars of solo drums intro, up so far that it sounds like a different song at the start!  Personally, I like the fact that I can now hear what Pat played in the beginning of the song, and I am not sure why RF would have turned it down so far !

David’s mix otherwise, like Robert’s before it, is true to the spirit of the original song as it was on “Gone To Earth” – in fact, all of the songs taken from “Rain Tree Crow” or “Gone To Earth” have all been faithful reproductions of the original studio works, with of course, better and more interesting vocals and guitars – particularly, Robert Fripp excels in the live environment, so what sounded good on “The First Day” – sounds GREAT on “Damage”; and at the same time, what sounded good on “Gone To Earth” sounds GREAT on “Damage”…superlative improvements plus live guitaring.

So in the case of songs from “The First Day” – there are changes, there are improvements, the songs are MUCH better across the board, on “Damage”, whereas, the songs from “Rain Tree Crow” and “Gone To Earth” are much more faithful renditions, sounding pretty much exactly like the originals…but better.

BRIEF INTERLUDE – (OUT OF SCOPE):

“Exposure”, which they also played at live shows, also sounded much like it did on Robert’s breakthrough album “Exposure” – except with David Sylvian singing the song instead of Terri Roche.  Or, Peter Gabriel, as the version of “Exposure” on “Peter Gabriel 2” has.  I loved hearing Sylvian sing that, and play the “E”, “X”, etc. samples from his keyboard, while Fripp reprised his loops and guitar – it’s such a shame that no take of “Exposure” was deemed good enough to put onto the “Damage” album – a real loss, as for me, at the live show I saw in Los Angeles, it was a huge surprise, and, a real highlight.

Note: there are bootleg recordings of Sylvian-Fripp concerts that DO include “Expoaure” the song, unfortunately since that track does not appear on either of these official releases of “Damage” that we are comparing here, it is outside the scope of this discussion.

>>>>>>>>>>>>>Return to album comparison>>>>>>>>>>>>>>

TRACK: “RIVERMAN”

So from “Wave”, we move to another track from the same album, “Riverman”, beginning with a very strange, ambient section, which then gives way to the song’s lovely, swaying two note bass motif, and wonderful, strange guitars in the background, Michael plays rhythm guitar and slide guitar, while Fripp plays high-pitched notes which become Soundscapes; Trey comes in with a lovely vocal harmony on the chorus, an underrated singer, I think he harmonises beautifully with Sylvian, and that is no mean feat, as David’s voice is utterly unique, and probably not easy to sing along with!

After the first verse and chorus, Fripp takes a very intense, heavy solo, that seems almost too heavy for such an otherwise quite gentle song, “run with me, holy man…” quite dissonant, a beautiful solo – then back to normal music – it works beautifully, it’s dead serious, quick, intense – and then, back to beautiful, super-high pitched notes being dropped into a loop.  And then comes another short guitar solo, distorted, low pitched, with reverse elements, sounding just right – and again, back to the Soundscapes from heaven…drift away on clouds of ambient guitar.

This is the “slow moment” in the concert, or one of the “slow moments”, most of the band’s songs are uptempo, so it’s nice to have something that’s at a lower bpm, so we can hear this group of musician’s playing at something less than the speed of light, on a few tracks.  Fripp is just great on this track, filling in the areas between the verses with powerful guitar solos, and then falling back into those atmospheric sounds, the wonderful high pitch notes that appear and then group together in a loop, then fade, then return…really beautiful guitar work, and, loops at the same time – an immaculate process, and Fripp really knows how to work these live-built soundscapes into a piece of music.  An almost “Elephant Talk” two-note-Fripp-guitar calls a halt to the proceedings – and “Riverman” is over.

David’s mix, well, the intro is mixed up a bit more as usual, so you can hear the strange elements that the beginning is made up of, a bit better than you can discern them on Robert’s mix. Sylvian’s voice sounds more “present”, as if he has moved closer to us, which could be the result of almost anything in the studio, simply upping the vocal level, changing the stereo field, applying EQ – I don’t know what he does, but he always make his voice sound great, and, I also feel, he makes his three guitarists sound great – he manages to crank up Fripp and Brook, even more than Fripp cranked up Fripp in his mix, and that’s unusual, normally, Fripp’s mix would ALWAYS have the loudest guitars, by default, because he is a guitarist, of course, but not here, I think Sylvian likes these guitars so much, that he really cranks them up so he can enjoy them!

The solos in “Riverman” are brilliant, it’s yet another great rendition from the “Gone To Earth” album – in fact, the tracks presented here from that album, demonstrate that it’s a quality record that stands the test of time – and it really does.  It’s probably my favourite David Sylvian album of all, although I am also very fond of “Brilliant Trees”.

TRACK: “DARSHAN (THE ROAD TO GRACELAND)” (ROBERT FRIPP MIX ONLY)

Then we come to our second anomaly, another song for which there is no comparison, in this case, we only have Fripp’s mix, and, it makes me feel very happy – this is the almost eleven minutes of “Darshan (The Road To Graceland)” and all I could think when I saw David’s running order did not include “Darshan” – I could not believe my eyes, or my ears.  Removing that song…well, to me, it borders on sacrilege; because it represents Sylvian/Fripp at their most bleeding edge, testing the limits of a live groove with flying shards of screaming Fripp “Sailor’s Tale” or “Hendrix” style guitar, Fripp pushes himself, and this song, through an almost exhausting, and terrifically exhaustive, set of long, amazing distorted chords, delivered at speed, sliding up and down the neck with aplomb, bouncing of the fretboard – playing with it, pushing his own boundaries.

The band, is in an amazing groove, that runs pretty much without stopping, for the entire length of the song – giving both Sylvian and Fripp, plenty of time to do their individual singing and soloing.  Sylvian is great on this song, I love his vocals, I love the chant of “Darshan” and “leaving on the road….to Graceland” that recurs many times, whilst Mr. Fripp is almost in a world of his own with his super extended impossible sliding chord exercise / solo.  It is remarkable to hear, and, if you don’t have the Fripp mix, at this point, you should put DOWN your David Sylvian mix, and go order the Fripp version, so you can HEAR THIS SONG.   That’s the best endorsement I can give, it’s absolutely worth it, to buy a whole CD, to get this one song.

At 6:45, there is an incredibly “interplay” solo between Michael Brook and Robert Fripp, that is just sublime, there are so many great moments of guitaring on this record…this particular back and forth is just awesome!  Brilliant guitar work from both Fripp and Brook.

It should also be noted, that if you just have the Fripp mix, you should avail yourself of the Sylvian mix, so you can get a most excellent version of “Jean The Birdman” – which Fripp did not include.

But “Darshan (The Road To Graceland)”  – is an absolutely remarkable song, and this performance, available on the RF Mix of “Damage” only, is a must-have recording if you love the music of Sylvian or Fripp, or both (as in my case).

TRACK: “BLINDING LIGHT OF HEAVEN”

Moving now toward the end of the disc, we come to a personal favourite of mine, at the time of the original Damage coming out, Damage was the only record in Sylvian’s canon that contained this next song, the incredibly beautiful and semi-erotic “Blinding Light Of Heaven” – which to me, is a real highlight on this record, it has some wonderful guitars, although nothing can top the aforementioned “Darshan” – Fripp’s solos in “Darshan” are absolutely off the scale, especially the final one – which you have to hear to believe….

But, back to the “Blinding Light Of Heaven” – it starts with a rocking beat from Pat, and a two note “Hendrix” hammer-on, some sliding guitars, and then, it acquires a great disco (really, I’m not being funny here – it’s really cool!!) rhythm guitar courtesy of David Sylvian, while Robert and Michael play great guitars in the background.  “I’m in the shade, she’s in the blinding light of heaven….” And “…now she stands before me opening the buttons of her coat….I found myself, wrapped in the open arms…of heaven”.

It’s deceiving, it has a funky beat, with an almost-disco guitar, but to me, it’s a strange and wonderful piece of almost prog guitar work, especially when the second verse ends, and Fripp takes his first solo, which includes him TAPPING, and it’s just the most amazing, ripping solo, with those amazing trills, that slide right off the top of his top note on his top string – astonishing solo.

Fripp’s mix is very good, the guitars are getting louder, Sylvian is well audible but not up as much as in the DS mix, and now, here comes the second Fripp solo, this time, using the octave up pedal, and the tapping again, then – song over.

A great, great and sudden ending from Robert, such a concise little wonder of a song – “The Blinding Light of Heaven” indeed.  The Blinding Guitars of Robert, more like.  Now, to David’s version, his mix starts the same way as Robert’s (well it would, wouldn’t it) but again, the stereo on the guitars is better, Sylvian’s guitar has been re-EQ’d a bit, and the sound overall is a bit different, I think Fripp’s guitars may have had some stereo chorus added to brighten them up, otherwise, the vocal is a tiny bit higher, but not criminally so, if anything, Sylvian’s mix features loud, loud guitars, maybe louder than on RF’s mix.

This vocal, this vocal melody, is one of his best, and I think now, finally, you can get a “studio version” of this song, but I haven’t done so yet, because…I love this live version so much, so, very, very much, that I am not sure I want to HEAR any other version.  Great bit in the middle, where the two note Hendrix hammer-on happens again, DS just cranks it up, it’s right before Robert’s even-more-impossible second guitar solo.  And I love that sudden ending – it’s just brilliant!  Great song, great performance – two great mixes, you can’t lose, you really can’t.

TRACK: “THE FIRST DAY”

Finally, we come to “The First Day” which is mainly a vocal piece, with sparse keyboard and soundscape backing, some short, long low distorted notes from Robert, the simple piano melody the perfect backdrop for one of David’s most heartfelt lyrics – the RF mix, was always lovely, and Sylvian’s vocal on this, the way it ties in with Robert’s very careful 2 octave up volume-pedal guitar, David sings “bring out the stars….on the first day” – and after the word “stars”, Fripp plays four descending notes, up high, that parallel the vocal rhythm of “bring out the stars”… and it’s just the perfect moment, it’s why these two work together so well, because ultimately, both of them live to serve the music, to serve the song, and this lovely Sylvian ballad is even nicer than the title track, in my opinion, I love Fripp’s clouds of soundscapes here, and Sylvian’s understated keyboards – both supporting that gorgeous, honeyed voice “on the first day…the first day” – which is a great way to end an album, with a song about the very beginning.

The first verse ends, and a beautiful piano and soundscapes section follows: a frozen moment of pure music, until David’s warm, warm voice comes back to melt the frozen moment, and then – a beautiful, beautiful high register piano sequence, with the most beautiful soundscape in the universe behind it – those little interludes between the verses just knock me out, they are very, very beautiful indeed, and this is truly a “Sylvian-Fripp” song, for me, it really represents the co-operation of two great artists, and Robert’s final, massive, distorted one note ending is simply sublime. And, yes, I have over-used the word “beautiful” in this paragraph, but it was the only way to properly describe it: truly beautiful.

The David Sylvian mix, as always, is a few dbs louder overall, as the entire mix is louder than the original RF mix, and while I suppose that’s “progress”, I am personally a fan of CDs that don’t blast your socks off, this quiet meditative song, isn’t improved by being louder, in fact, my instinct is to turn it down, so it’s closer in level to the RF mix that I just heard, but I refrain, I let it play out at volume, and it’s no less beautiful than Robert’s mix, if truth be told, those musical interludes between the verses are just as beautiful, the vocal is so present, so real, so central to the song, and this beautiful live performance, is yet again captured in this new mix as a beatific moment trapped in time, capturing the spirit with which Robert and David approached this project, as a team brought to life to give this music life, and this song, possibly above all others, is the perfect example of co-operation, bringing only what is necessary for the song to the song.

This mix does sound different, I can hear what must be Michael Brook, making some swooshy sounds with his guitar, that I didn’t really hear in RF’s mix very well, as always, the “guitars” mix in Sylvian’s mix seems to be a bit different, but in a good way.  Since Trey and Pat don’t play on this track, you can hear the two guitars very well indeed, and especially in David’s mix – it sounds really lovely.

One thing I do love about David’s version of “The First Day” that is missing from RF’s version – is the very loud, very long applause that occurs after the end of “The First Day”, a very polite applause, respectful, which for some reason was removed from Fripp’s version – there is just silence after the track ends on RF’s mix.  So it’s nice to hear the audience’s reaction, if for no other reason than to confirm that they saw a similar show to the one I saw, and I get all the confirmation I need from that applause.

CONCLUSIONS AND COMMENTS

For a long, long time, after see Sylvian-Fripp play live, I walked around saying to everyone that seeing Sylvian-Fripp live was almost as good as King Crimson live – blasphemy!! – but in some ways, it really was superior – more human, and, Fripp’s guitar playing is absolutely on form, particularly on the “loud” numbers (i.e. the whole album, basically, since there are really only two or three “quiet” numbers); the quality of the soundscaping is brilliant; and the guitar solos, from the amazing “Darshan (The Road To Graceland)” to “20th Century Dreaming” to “Firepower” to the not-present-on-either-mix “Exposure” – Fripp just excels, and also, the inclusion of earlier Sylvian works, in particular, the sublime “Gone To Earth” album, as well as Fripp’s back catalogue in the form of “Exposure” – that really rounded out the performance – the core of which, was the new material from “The First Day”, but mixing in a Fripp classic like “Exposure” (and, getting to hear David Sylvian SING it !!!), plus a few of the best tracks from “Gone To Earth”, plus, a “Rain Tree Crow” track – what a great set list, totally involving, and featuring an incredibly broad spectrum of truly remarkable music from across the distinguished careers of both David Sylvian and Robert Fripp.

So, it’s odd but interesting to get this David Sylvian “version” of “Damage”, I had no complaints whatsoever about the Fripp original, none, but, in hearing another vision of the album, it’s really fantastic, actually, because David “hears” the vocal mix and the guitars mix, a bit differently to the way Robert “hears” the mix – so you get some fascinating variations of guitars, especially – but in the end, all it means is, I’ve now got two very personal, very brilliant mixes, by two of my favourite musicians of all time, of one of my very favourite live albums EVER.  Normally, you only ever get to hear one version of a live album, so it’s just double the pleasure, if you ask me.

So – a great set of music, if I had to make a complaint, it would be David removing the essential track “Darshan” from his mix – I really don’t get that, unless he was truly unhappy with the track from some strange reason – and for my second and final complaint – the omission from both versions, of the band’s live rendition of Fripp’s “Exposure” – which was a highlight of the live show, at least for me, because I never dreamed in a BILLION TRILLION years that I would see and hear Robert Fripp playing the song “Exposure” – live.  I just – never thought it could happen.

And then, there I was, at the Wiltern Theatre, in Los Angeles, California, 1994, with Bryan Helm of the Dozey Lumps sat beside me, and suddenly, that two note guitar riff started up – and “Exposure” was underway.  So those two “complaints” would be my only criticisms, otherwise, I’d say, if you like this band at all, you should absolutely buy both of these, because for one thing, that’s the best way to get the largest “set” possible, buying both gives you BOTH “Darshan” and “Jean The Birdman” – so it’s well worth the extra expense.

In conclusion, I absolutely enjoyed both mixes enormously, hearing them side by side, I could hear distinct differences, and wonderful similarities, and both Robert and David did an excellent job of representing one of the most amazing concerts I’ve ever seen, on one of those great, unknown live albums, “Damage” for me, is an absolutely brilliant live performance, and now, I can listen to it in two completely excellent mixes – more music, more different viewpoints – a nice addition to the very small “Sylvian-Fripp” section in my CD library – but, very unexpected, I didn’t even KNOW there was a David Sylvian-mixed “Damage” until I noticed it on the Burning Shed website.

A great band, a great performance, and one of my top ten live albums of all time – maybe top five, not sure, as I have never written down my top ten favourite live albums.  Get them both – you won’t be sorry !

 

 

So – bring out the stars…      on the first day

 

on the first day.

the making of an epic prog rock “monsterpiece” – part two

So – the stage is literally set, I’ve at this point, got the majority of seven months’ of work behind me…

My last blog, recounted the first seven months of the project in a fair amount of detail – that was part one – but here in part two, we are looking at the final few days of work – the last four or five days in December, 2015 – that’s our “part two”:

 

The drums and bass have been locked down (except for final level setting, of course) for many months.

The keyboards are all locked down, and the intricate middle section has been completed, encompassing acoustic guitars, birdsong, ipad, and ambient electric guitars (the infamous “Hackett Guitars” – courtesy of the new Eventide H9 multi effects unit – that occur just before the second half of the song re-enters).

All that is left is – more work (on the second half only, after the new “middle section”) with the guitars, a few needing solos, and a few, needing some rhythm guitars.

I decided to use some of the extraordinary sounds from the Eventide H9 multi-effects unit, which only arrived in the final days of work on the song, so using it as my main guitar effects unit, that enabled me to do, for example, the ambient “Hackett Guitars”, as well as some of the rhythm and lead guitar work in the final section during “part two” – so I would characterise “part one” as being the main build of the song, plus, the first part of the guitar overdubs; while “part two” is two things, finishing touches – all done on guitar – and mixing, mixing, and more mixing.

I had originally thought that I would play a series of different guitar solos over the second half of the mix, but things happen…plans change.  And in this case, it was one of those weird accidents that you just can’t deny, that you have to go with – because you hear it, and the sound of it just says to you, you know it in your heart: “you know this is the right thing”.

I sat down to play the first of many solos, which, by my cunning plan, would have filled the end of the main track from the end of the middle section to the end of the song, bit by bit, a short burst of one guitar sound, a short burst of the next, and so on. The first solo, was to be an ebow solo.  So I got a nice sound for the ebow from the H9, and started making takes.

But what happened was something I never expected, as the track kept playing, after the section I was overdubbing – I kept going, I kept playing after the first section went past…and then the next, and then the next…and suddenly, I could hear the very end of the song approaching – so I went for a crazy, major key ascending scale that could not possibly fit at the very end of a really, really LONG ebow solo – and of course, almost as if it had planned that way – it fit just right, ending right alongside the existing “fast-Leslie” organ solo…

I listened back, astonished – because I never meant to play right through, I hadn’t imagined finishing the entire track with one very long, multi-key energy bow guitar solo – but that is exactly what happened.  At first, I thought, well, this creates a problem – what do I do?  How can I play different sections of lead guitar now, with this really nice solo filling up the entire second half of the track?

The answer, of course, was “you no longer need to”.  So instead of doing piecemeal solos, using different guitar sounds, etc. (as I did in the first half, as planned…) the second half now features one long, long ebow solo (which, to be fair, is actually in five sections, edited down from the best three takes – but if I had not told you that, you would not have known – it sounds like one solo – well, it is one solo, just, from the best three takes!) – it was quite a feat of editing, but editing ebow solos is one of the most amazing procedures out there, because – well, because a recorded ebow sounds, looks and acts like a pure sine wave, fading it in and out is never an issue, at a microscopic level (zoomed) or even at a normal level (not zoomed) and “switching” from one solo to another, from one take to another rather, at any point, is almost always very easy, because the notes are usually quite long, and, whether they are long or short, they have distinct silences in between – the perfect space to switch between take 1 and take 3, for example.

The editing task then was not that difficult, but I did spend quite a lot of time on it, as I wanted this final solo to really bring the whole piece together, and once I got used to it – I realised that it was the best idea all along – because it’s the only opportunity, really, for a nice long guitar solo – and there is nothing on earth like a nice long ebow solo – it’s the best! – so…I took that opportunity.  Accidentally “on purpose” 🙂

So while unintentional – that “accident”, of me just carrying on playing that ebow solo, not stopping when I should have – going on and on to the very end of the song – changed the whole planned character of the second half of the song, and gave me a glorious, long and lovely ebow solo to take us out to the final moments of the song.

I did some work with panning towards the end of the piece – I boosted the level of the existing “fast Leslie” organ solo to match the ebow solo better, and I gradually moved it from the centre to one side of the stereo image, while at the same time, in the opposite direction, I gradually moved the ebow solo to the opposite side of the stereo image, so it moves from being a homogeneous centralised pair of instruments at the beginning of the second half, to two distinct instruments, one on either side of you – and I love that slow, slow stereo spread of the two solos – it works for me.  In headphones, it’s very nice indeed.  On speakers, you might not really notice it as much, but it’s an important point – I wanted the solos to end, with them split, one hard left, the other hard right – and that is indeed, what I ended up with.

I think at that point, I breathed a huge, huge sigh of relief – because, except for a very few finishing touches – this long ebow solo meant that the song was “DONE”!!  At long, long last, and just before the year ended, too – it had always been my goal to complete the song in 2015, to allow it to then become, pureambient’s first release in 2016.  So I am happy to report that I did indeed, with just hours to spare, meet that goal.

So – what finishing touches? Well, I added in a few rhythm guitars, where I felt that solos needed some chord-based support, but overall, there is not a lot of rhythm playing in this song – being a prog song, all of the players (i.e., me, lol) love to play solos, they all think that they are master of their own instrument – so you have a whole band full of soloists!

But the lead guitarist (again, that’s Dave Stafford, lead guitar), can be, and did indeed, allow himself to be persuaded that some rhythm guitars (well, more than he had originally done or planned for, anyway!) would not go amiss.  One of those rhythm guitar parts, a simple chord played once and left to ring, for four bars, sounds nothing like a guitar, but rather, some mellifluous dream electric piano from the stars…a beautiful H9-produced sound.

I added some lovely chords in the second half of the piece, using the H9 to get some beautiful new clean sounds (and the modulation section of the H9 is simply the best – better than any effects unit or software I have ever owned – it is the best, for those of us who cannot possibly, ever, afford an “Axe-FXII” – this is just as good or better!) so I am really pleased with the last few guitar contributions – because the H9 makes them sound really, really good!

I also realised that so far, I had not woven any reverse guitar into the fabric of the song, and I love reverse guitar – I’d always meant to do a reverse solo – but I hadn’t done any so far in the song (a huge oversight, surely!) – I mean, come on, this is prog – so in the style of King Crimson circa 1970, I thought of “Prince Rupert’s Lament” (or rather, the “Lizard” suite) I decided I would add some reverse guitars in that style, clean and nice – so – how could I now incorporate it?  Where there is a will, there is a way – I recorded a few different takes of reverse guitar (again, courtesy of the remarkable H9 pedal) and then mixed them into the closing section of the song.

That took some getting used to, in fact, all of the changes to the second half took me some time to acclimate to, because for so long, it had just been, you know, drums, bass, keyboards, mellotron.  No guitars.  No rhythm guitar.  No reverse guitars.  So the second half evolved, and the more I worked on it, the happier I felt – I really felt good about this piece of music, and despite how long it took, and the many, many long hours and long days I had to put in to get it there (the weeks spent on the drums and bass alone ate up the first two months!!!) and there were times when I thought – “I am never going to get to play the guitars on this song….never!” – but, the day finally did come, at the end of November actually, and I really went into it with a happy heart – finally, I am working out guitar parts, to go with the long, long-existing bass, organ and mellotron parts.

Playing guitar along to the finished backing track was an absolute joy, and I could just jam along to almost any of the sections, because I know them so, so well by this point – I could just about have played the guitar parts LIVE really, once I’d rehearsed them.

I did go back, too, and “try again” on some of the toughest solos – I spent one entire day, “seeing if I could do better” – and in almost every case, I found that I could, so I ended up with some very natural sounding, very “live” guitar solos – where previously, in the initial final mixes (I know, that sounds odd, but, it’s the only way to describe it) I had kinda, pieced together some of the more difficult guitar parts.  No more, though – now, they are played live, as are most of the solos – the final ebow being the one exception to that – but, it’s very, very long, and it’s not likely that anyone could play for that long, without some imperfections – so I did have to fix a few touchy moments in the long solo.

Mostly, the guitar parts kinda “wrote themselves”: there were areas where they simply join the bass for a ride-along; and other areas where they do not, but instead, they mesh or interact with the bass – and there are some spectacular bass v. guitar “battles” in the first half of the song that could not have come out better had they been planned (and, they were NOT planned – it just worked out that way – when I added the guitar parts, the bassist was RIGHT THERE, answering me – it was amazing! – the guitar would play a riff, and suddenly, there was the bass, ripping off a super quick “tiny-space”-filling-run, at impossible speed (that’s our bass player, Dave Stafford, again!) – and it sounded like both the guitar and the bass had always been there, that the interaction was totally planned and totally natural…when in fact, it was yet another “happy accident” – but the joy that it brought me the first time I heard it play back – wow! Listen to THAT, was well worth it – the guitars and the basses are totally working together, playing off each other as if it’s a live track!

Sometimes, you are very, very fortunate.  I was really fortunate with the way that the final overdubs, the lead guitars worked with the drums, worked with the bass, worked with the organ, and worked with the mellotron – and in fact, the mellotron came and went with the eeriest perfection – perfect timing every time, arriving right when I needed it.  As if they knew what the guitar parts would be (when I clearly, did not!).

I think then, that the reverse guitars were the last significant thing that was actually played on the track; after that, the last two or three days of December, 2015, were spent on the final mix, which I sorted of re-built from scratch – I’d had a “working mix” the entire time, but rather than just carry that forward and build in the new parts, I decided to create a brand new, fresh mix, which gave me the opportunity for example, to ensure that the bass and the drums, could compete with the masses of guitars, and the intense keyboard and mellotron washes – I wanted to be able to hear everything as clearly as possible (obviously!).

Getting a nice clean mix when there are this many instruments can be tricky, but I just approached each one, first, separately, and then, in relation to the other instruments, until I reached a point where I felt happy with everything.

I also stripped out a lot of “individual” reverbs and other effects that I had quickly thrown on during production, and consolidated them in the output section – I created a full set of additional stereo bus outputs, so that every set of instruments had an overall level control, and, consistent, high quality, reverbs and effects – made at the output stage rather than connected directly to the track.

Certain tracks that were created early on, were just too complex to move to a bus, so I left them alone with their track-specific sounds – in one case, a complex arrangement of Waves GTR and Waves Stereo ADT – used for an extremely strange “guitar” track that slowly, slowly fades in during the first quarter of the song.  That was left alone, along with the bass which was sent out directly without any effects whatsoever – I wanted it to be dead clean.

I didn’t mess with the drums too much, either, I probably would have (I do love adding phase shifters to hi-hat and cymbal hits and similar…), but I didn’t want to add another two months to an already somewhat overly long-production schedule!  So I kept it to some bespoke panned sections (which I really, really like, because they appear so seldom!), and just little touches – the drum track is pretty basic, and the bass is just bass – in this case, the tone of the Scar-bee Rickenbacker is so perfect, I couldn’t see putting any effects whatsoever on it – so – it’s dry and clean!

So really, mixing was quite easy, mainly because I was so, so familiar with all of the component tracks, and with the individual stereo buses for guitars, organ, mellotron, bass, drums – getting relative levels was easy!  I had expected an agony of mixing hell – and the song surprised me – maybe because to some extent, I kept it simple (well, simple when compared to something like “wettonizer” (taken from the newest eternal album, the first of 2016, “progressive rock” by Dave Stafford), I suppose!).

Note: “wettonizer” was originally included on the gone native CD (which is still available) and download, but is now also available on the brand new 2016 eternal album collection “progressive rock” – alongside the brand new track “the complete unknown”.  This is comprised of a set of prog songs taken from gone native, along with  “the complete unknown”.

The very last part of the song, after that energy bow climbs up to the top of that unlikely major scale, and then SLAMS down into reverb with an odd but lovely sound of wonderful completion, the song then almost comes to a halt, the keyboards are pretty much all that is playing, until suddenly, the Rickenbacker bass and the Hammond organ, join the drums for their final flourish – and then, a long, pure bass note is held, to remind us I think, of purity, of the beauty of just one note – and then, the drummer plays a few bars of precision military snare roll, and the long bass note and the snare drum, disappear forever into the complete unknown…the song is over.

I really, really enjoyed myself on this project, my only regret is that by becoming so involved in it, I was really unable to work on much of anything else, so other areas of my music suffered.  But that will change in 2016, I have an enormous amount of new music in the planning stages, including still more eternal albums on Bandcamp, and I hope to present more musical material, both old and new, in various formats, including hopefully, a return to video as well as audio only work.

We shall see!  But in the meantime, if you fancy a bit of old-style progressive rock, this could be the 17 minute long song for you – “the complete unknown”.  Give it a listen – it will take you right back to 1974…

 

Peace, Love and Groovy Mellotrons,

 

 

dave

pureambient hq

january 17th, 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part one

on may 31, 2015, I sat down at my computer, and built an empty folder set for a new music project.  at first, it was named something like “20150531-01-komplete-unknown”, meaning, to work on a piece within the komplete application, content, unknown – but within a few days, it had grown to the point where I amended the name, because it seemed like such an obvious answer to a question that so far, no one had asked, namely, “what is the name of this song?” – obviously, it was – “the complete unknown”.

so the folder got renamed, and now it bears the name “20150531-01-komplete-unknown-thecompleteunknown” and that was it – I was away.

I loaded up komplete with four vintage keyboards – and I officially began my journey – a journey I am still very much on today – into the complete unknown – via “the complete unknown”.

I spent a few days, working out a piece for keyboards, that would work well as a “keys-only” intro to the song, I wanted it to have a fantastical, classically-based and with a serious feel to it, and then, after say, after a minute or two, the bass and drums would enter…I could just about imagine it all.  I could just about hear the song in my head…

I struggled mightily with my serious keyboard intro, overdubbing many different takes of many different keyboard voices playing the notes that I had chosen.  the entire piece was done manually – no sequencers were used, and it meant that I had to play a pretty tricky part, manually, over and over and over again, until it was just right.

Eventually though, I was happy with my little intro composition, and musically – it set the stage for the “song proper” – I was very happy with the way this short piece of quasi-classical keyboard music turned out, and I was extremely thrilled with the sounds of the vintage keyboards, which were all of course, courtesy of komplete.  the intro was complete – and I was thrilled!

note/the details: for the record, there were just four instruments (not six as I erroneously remembered and stated elsewhere – four, not six) used in the creation of the keyboard “intro”, which were:

dave stafford, vintage keyboards quartet:

soniccouture bowed piano X

soniccouture broken wurli – init (my own settings)

soniccouture novachord – novasynth init (my own settings)

soniccouture ondes martenot – poly ondes init (my own settings)

these four tracks were then mixed and mastered, with just reverb added to give it a big room sound – a completely “finished” piece of music which could then just be “dropped in” in front of where the bass and the drums make their grand entrance.

so, with the intro safely under my belt, it was now time for the active “core” of the song to be built, and as tradition has it, it started like all structured pieces in the rock world start – with a drum track, and a bass overdub of that drum track.  but I didn’t want just any rhythm section, I wanted a section with the skill of a powerful but wild drummer, I needed my own Andy Ward on drums, or maybe I’d borrow Marillion’s rhythm section…I wasn’t sure.

then – Chris Squire passed away, during the first few weeks of work on the song, so I thought a lot about Chris, and how Chris played the bass (and what a huge influence his playing had on me as a 15 year old guitarist who loved progressive music in 1973!), and it had a huge influence on the bass part in the song.  so the drums came from me – my own vision of a series of prog beats that run nearly continuously for 14 minutes or so…but when it came time to do the second overdub, the bass, it was all about emulating the God of Prog Bass Playing, the late, great Chris Squire.

If I was very lucky, I could get a sound like Chris’ and maybe “play” as well as Marillion‘s bassist 🙂 because no one, except perhaps Wetton or Lake, can emulate Chris – Chris has an incredible and very unique bass tone and style.

I also spent a lot of time on the drum part, I fleshed it out in the very first session, but it took many more sessions, to really get it into shape, to feel happy with the sounds, to add interesting fills, to use different variations of the beat, and there are even some special sections that I did by hand rather than by sequencer – and by the way, the drums (or drum machine, I should say – komplete again) is the only sequenced instrument in the piece – all others were really played by me – with one odd exception – the bass part, was played by me, but on the keyboard. It was not sequenced, I played every riff, every fill, two different bass solos – I really played those.

The same goes for all of the keyboard parts in the main part of the song, as well as the guitars – all of those are real as well.  I’ve never learned to play the drums, so, the best quality sampled drums in the world, will have to do!

The drum track took a few weeks to perfect, but the bass part – well, I laid down something to begin with, a bit at a time, a section at a time – but then, I was never satisfied, it sounded good, but it didn’t yet sound amazing – so I started doing a lot of work on the bass – I fashioned a quite wild bass solo near the end of the first half of the song, in the key of C major no less, but an awesomely fun solo to write and play.

I worked on the bass for quite a long, long time, and eventually, I felt completely happy with it – and I still do.  Now that I am laying guitars on top of drums, bass, organ, and mellotron – when I add a guitar part, and I hear the bass come up “in between” – I just have to smile, because it’s as if the “bass player” is responding to the guitarist, or, the other way around – and that’s an awesome thing for a piece that isn’t actually played live.

I am extremely pleased with the rhythm section, I spent far too much time on it, but, it was worth it, and the keyboard parts practically played themselves, because the bass and drums were so together.

 

So this is where it began – at least, the active part of the song, back during June and July this year. The first mixes then, were of nothing but the intro, plus the bass and drums – with no other ornamentation whatsoever.  I must have listened to this song, with just intro, bass and drums, dozens of times, whilst first, trying to perfect the drum track, and then later, trying to perfect the bass part.  That took even longer than the drums to perfect – but in the end, I feel truly happy with the results – and I am actually, especially proud of the bass part – it rocks.  It’s full of surprises, and I love where it takes the song – and, later, how it interacts with both the keyboards and the lead guitars – it’s excellent.

note/the details: the rhythm section looks like this:

drums: dave stafford – drum programming and manual playing of drum samples

abbey road modern drummer, alternative rock, “rage” setting changed from 98 bpm – sped up to 140 bpm

bass: dave stafford – performed on keyboard, inspired by the late Chris Squire

scarbee rickenbacker bass – neck pickup DI – direct injection

as the Scottish summer drew quickly to an end, at the end of july, I had a brainstorm – I would bring the introductory keyboard quartet, back in at the VERY END of the piece, to bring complete closure to the piece – no matter where it went during the 14 minutes in the middle, the sound and the melodies at the beginning and the end, were now tied together perfectly – and I was really glad of this decision, because some really good musical events came out of that decision, later.

I faded up the intro “in progress”, during the last long rock section of the drums and bass track, and I managed, after a couple of tries, to sync it up completely with the drum track – and eventually, unintentionally, I played a leslie’d organ solo over the top of it – and soon, it just sounded like it had been there the whole time.

then the time came, to work on the main body of the song, and add in a lot of supporting musical information – bearing in mind, that the drums and bass were complete, including a lot of very in your face, bright, Rickenbacker bass riffs, and, one very avant garde bass solo, and another quasi-solo later on – so those were now reduced, frozen and “carved in stone”.

so atop my finished drum and bass part, I began to add keyboards, beginning with the oldest progressive rock standby, the Hammond organ.  I really felt it was essential, to have chords and melodies on the Hammond, and, solos from the Hammond, because it’s such a very, very “prog” sound – it really cuts through the mix, and when playing chords, it’s so supportive with basses and guitars aloft on top of it.

So I worked on Hammond parts, using just one basic, straight sound, but varying it, by using the mod wheel on my M-Audio keyboard, to “speed up” and “slow down” the leslie effect – which is one of the finest things about sampled organs, done Komplete style – you get truly perfect sounding leslie effects, and I played every part as live as possible, using the mod wheel while I played, to speed up and slow down the effect – I had a blast.  There is one epic solo in the first half, and another accidental one at the end, with the leslie set to “fast” – a sound not usually used that much, but it sounds great, as the song proper fades away, to have this final organ solo with the “fast leslie” sound going – it’s really nice.

after I had added all of the organ parts, where I followed whatever key signature was stated by what the bass player was doing (I had injected several key changes when creating the bass part), and I was happy with both the organ sound, and the content – and the solos – I then moved on to the mellotron parts, which I used sparingly to try and give them more mystique.  I felt that using them throughout would be too obvious, and where the Hammond does sound great playing right through, you really want the occasional swath of a mellotron wandering in when you least expect it – that’s prog to me!

so – two separate mellotron tracks, using very simple, very pure mellotron sounds (nothing fancy, just the very basic strings and flute sounds) most of the time, it’s just mellotron strings, or, just mellotron flute and very, very occasionally – I allowed both – so you get a really full sound there, with drums, bass, Hammond organ, string mellotron and flute mellotron.  The string mellotrons became the backdrop for some really cool guitar sections later on, while the flute mellotrons were more taking on the melody, or in one case, as harmony, so they worked out very, very well indeed.

the mellotron parts went more quickly than the Hammond parts had, in part, because by this time, I knew how the chords went, and I just “knew” what the mellotrons should do – and they did it, beautifully.  Here I sit, several months later, and I am now marvelling at how they sound in support of some of the new guitar overdubs – they provide the perfect backdrop for lead guitars!

note/the details – the keyboard “section”

dave stafford, hammond B3 emulation

Komplete Vintage Organs – classic rock, Hammond B3 tonewheel emulation – preset  “j’taime” – leslie effect applied in real time with mod wheel during performances

dave stafford, mellotron strings

M-Tron Pro – Mellotron – Mark II Vintage Violins Basic

dave stafford, mellotron flutes

M-Tron Pro – Mellotron – Flutes Basic

so at this stage, after several months, of slow, patient work, I had a fairly complete song (no pun intended) with a full drum part, a full bass part, organ chords, organ solos, mellotron strings, mellotron flutes, plus the four vintage keyboards that inhabit both the intro and the outro…so, the time had come to deal with the “middle eight”.

the next idea I had, really, really changed things – I decided to cut the piece in half, and create an acoustic guitar interlude – in my mind, something like the live acoustic guitar interludes that Gentle Giant used to have during their concerts in support of the “Octopus” album – but in practice, what I came up with is much more dave stafford / guitar craft than gentle giant.

so – I split the track at a place where the drums were silent anyway (I had intentionally left a blank space in the song, with no bass or drums, knowing ahead of time that I wanted to split it in half), so it was easy to do – and I created an un-timed gap between the end of Part A and the resumption of Part B – with absolutely no idea what was to “go there” except I knew I wanted acoustic guitars.  what eventually ended up there – exceeded my wildest expectations of that time.

I managed to transition from the full song by bringing in two acoustic guitar leads almost simultaneously, playing two melodies which transition the song from “full band” to acoustic guitar duo / trio, and then the acoustic guitar section is off – the whole thing was played on my Ovation Balladeer, which is a not-quite-satisfactory replacement for my ailing Ovation Legend, which is no longer made.  In any case, the Balladeer did well enough, and I managed to get some very nice tones out of it’s pickup – it sounds good on recordings, in any case.

I had just a few notions about what the acoustic guitars should play, I had a little melody that I sub-consciously “borrowed” from Tales From Topographic Oceans, I play that melody a few times, and then suddenly, the rhythm of the piece changes, and there is another tiny section – and then, the magic happens – the third section, completely unrehearsed, came from nowhere – a slow, beautiful, simple chord progression, with a stately, played with the fingers-rather-than-the-plectrum lead part that just surprised the holy shirt out of me.  I am so, so pleased with this little piece of music, it doesn’t last long, but, it’s one of the loveliest melodies I’ve come up with to date, and I am really pleased and proud of this little miniature acoustic suite.

But then – then, a few weeks later, I had an idea – I would add bird songs into the piece, in stereo – during the most moving parts of the guitar solo.  I added several different species, recorded directly from an app on my ipad, some on the right channel, some in mono / centre, and some on the left – little bursts of different birds including the iconic british blackbird (because you know from the Beatles / White Album that they will sound good!)

The end result was astonishing – it made this already excellent part so relaxing, so natural – it just was the perfect little addition to the piece – I was so surprised and so amazed at what something like that can do to a piece of music – it naturalises it – if you know what I mean.

Then – for contrast, I followed the three acoustic guitar sections with some strange TC-11 synth sounds on the iPad – a solo and a looped piece, which worked very nicely as a contrast to the guitars, and leading back towards the song proper.  Several weeks later, I acquired a new synth on my ipad, the Poseidon Synth, and it had this really amazing sound that included the sound of human voices, so I tried replacing my original TC-11 parts with the Poseidon Synth, playing two stereo takes.

It was good, but, even better, when I added the original back in, and I realised that they both sounded good, and they sounded good together – so I left the old parts in, and added in the new synth part care of the Poseidon Synth – a really nice ios synth.

For quite a while, that was then tied to a drum riff, that led back into the second half of the song.  But then, I decided just a few days ago, that I was not happy with that transition, and I wanted something else.  After trying a very thrashy, sort of Steve Howe at his most dissonant Koass Guitar part, I discarded that, and set about making the exact opposite of that – something very, very melodic and beautiful…

This final part of the “middle section” is known as the “Hackett Guitars” section, which was made entirely with one electric guitar and the Eventide H9, two takes of guitar chords strummed finger-style, in a classical or flamenco fashion, but more reminiscent of a piece from the final sections of Genesis‘ “The Lamb Lies Down On Broadway” (the bit just before “The Light Dies Down On Broadway”, I think) so two gently but forcefully finger-strummed “Hackett” guitars, plus one reverse guitar solo – all of them drenched in luscious Eventide reverb. It turned out beyond my wildest dreams, a simple, beautiful section of music. Prog should be a mix of some dissonant and more melodic parts (or so it seems to me).

And with that, that brings us to what I consider to be “Part Two” of the song, which I will (eventually) describe in my next blog, in the New Year.  The “Hackett Guitars” section was the perfect vehicle to bring the middle section to a satisfactory completion, and a perfect way to merge back with the main part of the song – the resumption of the second part where I’d originally cut the piece in half.

Thats where we’ll go next time, then.  I will see you there!

 

 

 

 

 

 

 

 

 

Beatle George – the influence of a leg end

I grew up in the Beatle Era. The Beatles invaded America when I was four, five years old. One of my earliest memories is of, standing on the lawn of the family home at 6728 Mineral Drive, in what is now San Carlos, California and hearing the sparkling guitars and soaring vocal harmonies of a new Beatles track called “Nowhere Man”. I’ve never been able to forget that moment, because from then on, the Beatles were “my band”.

I wanted to be George Harrison; I wanted a guitar for my ninth birthday, and, I got one. But I didn’t end up learning to play one properly until a bit later, when I was 12, 13 years old, and there were all these amazing new groups and albums like “Led Zeppelin II” or “No Time” by “The Guess Who”, so much amazing music to explore…

But I never ever got over my initial love for the music of the Beatles,and it really was, for me, the sound of the guitars that reeled me in, that caught my ears and my attention…in particular, the sound of George Harrison, who played a really magical role that was called “lead guitar”. The guy who had to be serious, had to play the most difficult parts live.  For several years, I only had albums by The Beatles…I mean, you don’t really need anything else, do you?
I wanted to be that guy, I really did want to be George – and later on, as George grew as a songwriter, turning out amazing tunes like his trio of songs from the “revolver” album:

Taxman

Love You To

I Want To Tell You

…surely, three of the most amazing “pop songs” ever written or recorded, sheer Harrison genius – nobody saw it coming, we all figured, Lennon and McCartney, those are the two guys to watch in this band, those are the writers….well, yes, but really, all four of the Beatles were the writers, and even Ringo wrote some great tunes…but for me, it’s always been all about George, those odd B-sides like the astonishing “Old Brown Shoe” or the seriously beautiful “The Inner Light”…where do songs that unique, that incredible, COME from?

The imagination of one man, Beatle George. The mind that brought us the wit of “Piggies” and the warning of “Savoy Truffle” but then there was his lead guitar playing too, not just on his own songs, but on many of those Lennon andMcCartney songs, too. A new kind of lead guitar, razor sharp fuzz tones, detuned guitars (think of the lead solo in “Fixing A Hole” from Sgt. Pepper) when you heard it, you knew it was George. A simply brilliant guitar tone, and a beautiful, concise style.

As the years progressed, George got into playing slide guitar, and very very quickly, developed a trademark slide guitar “tone” (think of the slide guitars on John Lennon’s “How Do You Sleep?” from the “Imagine” album) some of George’s finest slide work…you should hear the out takes from that session, too, on the Lennon box set…amazing slide guitar. But the special tone George got for his slide parts, which really only reached full maturity by the time of his second solo studio album, “Living In The Material World”, which, by the way, is an amazing collection of truly beautiful songs…you owe it to yourself to hear this record if you haven’t done so, so far…its quietly brilliant.

George was always economical with his guitar playing, he never over played, and it was that economy, which at first, was an enforced economy, it was Beatle-driven, here’s your eight bars George, go for it – so George learned to play well in a very small piece of allotted “solo” time. As time progressed, George did play some nice, longer solos, but that economy was always present, he always reigned himself in and never got boring or predictable.

You never knew what you were going to get with George, and his own songs were a mystery even to the other Beatles, who would bemusedly play on, say, 102 takes of a song like “Not Guilty” without complaint, as George continued the search for that elusive ‘perfect take’, and if it took 102 takes then that’s what it takes.

In some cases, no Beatles version was considered “good enough”, so we simply waited, and eventually we did get to hear the properly recorded version of the song “All Things Must Pass” – on a George Harrison record, not on a Beatles album. The same held true for “Not Guilty” where we had to wait even longer for George’s “perfected” version – again, on a George Harrison album, not on a Beatles album.
If you happened to own or know where to borrow the right Beatle bootlegs, then you might have at least heard the Beatles’ versions of “All Things Must Pass” and “Not Guilty” but most people had to wait until George put out the definitive editions of those songs.

 

I never minded waiting, although I do remember being very impatient to get George’s first solo album, the three LP “All Things Must Pass” and I first heard it in Uganda, in the home of some Peace Corp workers who had the brand new pre-recorded cassette version of the album, so that was very exciting, and then I got to hear it in Amsterdam, too, in a massive record store, complete with 60s erotic posters (“wow” was all I could say) – where I had to motion to the bored Dutch girl to turn the record over again, please…five times, because I didn’t know a single word of Dutch.

I finally purchased my own copy, in the Netherlands, and took it back to the USA with me, where I played it endlessly. The only record that excited me more than ATMP was the forthcoming “Concert For Bangladesh” which was another one I just couldn’t wait for, the idea was fantastic, half the Beatles plus Clapton and even the reclusive Bob Dylan…here were another six sides of amazing music, but amazingly, over time, it is Side One that stands the test of time the best, with Ravi Shankar on sitar, and the amazing Ali Akbar Khan on sarod, Alla Rakah on tabla…their piece of Bangladeshi folk music, “Bangla Dhun” just absolutely blows me away. These performers are at the top of their skill level, and are playing with speed, accuracy, and sheer musical joy….its amazing to see it in the film version, it truly is the best part of the concert!

That performance opened up my fourteen year old eyes to the sheer beauty of Indian melody and music, and I followed the careers of Shankar and Khan until the present day. Each the master of their instrument, I had George Harrison to thank for bringing that music into my life. And years later, that led me to a house concert at Ravi Shankar’s house in Encinitas, California, where I sat on the floor and listened to Ravi’s daughter play with the remarkable Bikram Ghosh on tabla…a remarkable “house concert” that I will never forget.

I was lucky enough too, to see Ravi and Anoushka performing live in more standard music venues, too and their music has always blessed my ears with its beauty.

So the influence of George Harrison changed me as a person, so much, that I went from being a fan of pop and rock, to being one who also loves the sarod, and loves listening to the master of the sarod, Ali Akbar Khan, play the sarod. Sure, it started on TV, watching the famous Ed Sullivan show where the Beatles performed, and seeing how serious George was, playing his lead guitar lines so carefully and so perfectly, and taking his concise eight bar solo so carefully, too…

Then it was the movie “A Hard Day’s Night” watching George playing his intensely cool guitar parts on film, trying to analyse what he was playing, on something like “You’re Going To Lose That Girl” trying to understand what he was doing with his guitar parts and then, that mad solo…amazing stuff. All the while, singing his harmony vocal parts as if they were easy, as if the guitar part was easy, he made it look easy!

And then there was that tender rendition of “And I Love Her” the first great Beatle love song, and that was my first exposure to nylon string classical guitar, and George worked it out and played the lead parts beautifully in that tune…really simple, yes, but really effective and quite beautiful when you are a young George-guitarist-wannabe like I was…I thought that performance was incredible, and really beautiful…and a lot of that is down to how George handles the nylon guitar part.

That inspired me directly, seeing George play on TV and in films, and hearing him on record, too, on vinyl, was a true inspiration for a budding teenage guitarist such as myself. But later,by presenting the music of Ravi Shankar and friends to the Western world, that opened me up to an entire new universe of music. Thousands of years old oral traditions, of the sitar and the ragas, or rags, that Shankar learned from his teacher, that stretched.back in time, an amazing musical heritage and proud tradition…brought to me by Beatle George.

He really was The Quiet Renaissance Man of the Beatles, later, he brought an entire Indian orchestra into the studio to record “Within You Without You” in 1967…and in 1974, at the Los Angeles Forum, I saw a different Indian orchestra perform, led by Ravi Shankar, the opening act for the first of just two solo tours undertaken by George, live in 1974, playing brilliantly but with a hoarse voice…and again, in less stressful times, 1991 in Japan with his old friend Eric Clapton.

I feel so privileged that I got to see George play, and his guitar playing was awesome, including some of that amazing slide (in the first song, no less) and it was a night I’ve never forgotten. In fact, over time, I managed to see three of the four Beatles perform live…so I am very fortunate indeed. Only Lennon eluded me, but three out of four is not bad at all. At that 1974 Forum gig, George even played his specially modified version of Lennon’s “In My Life” and that was really cool.

George Harrison, the guitarist, was a huge inspiration to me as a kid, and I absolutely took up the guitar because of him, and the rest of the Beatles too. When I was a kid growing up, the Beatles were our heroes, and they raised the bar so high, that soon they became the benchmark to judge new groups by: “they’re OK, but they are not as good as the Beatles” – I don’t know how many times I said that about groups, or if a group was good, you’d say they were “almost as good as the Beatles”…it was the benchmark by which all other groups were measured, for years after the Beatles themselves broke up…we still judged new bends against their music….

Sure, in time, as I grew older, there came guitarists with more technical skill than George, but most of those players, probably looked up to the Beatles in the same way I did. OK, George was no Steve Howe or Robert Fripp, but, George did write “Something” and “While My Guitar Gently Weeps” and “Taxman” and “If I Needed Someone” and “The Inner Light” and “My Sweet Lord” and “Within You Without You” and “Here Comes The Sun” and…

I could go on, but you get it, I’m sure. George didn’t need to play like the proggers, because the proggers built their music on the back of the Beatles and atop the pop music from the end of the 60s, and George’s guitar playing was what it needed to be to realise those songs.

And that includes the whole of “All Things Must Pass” including the remarkable “Apple Jam” where we do get a hint of George’s guitar prowess, holding his own even against Clapton, and sounding amazing across the entire Beatles catalogue, from the very beginning, and on through his 1970 masterpiece, “All Things Must Pass” as well and also on  “Living In The Material World” – and occasionally on his later records.

Some of his best guitar work can be found on his 1971 solo album, “Living In The Material World” – especially “that slide” sound; but it cropped up whenever it was needed…on Lennon’s “How Do You Sleep?”, on the 74 and 91 tours…not to mention his standard soloing, on “Apple Jam”, on “Something”, where he famously asked to record the solo along with the live strings overdub, to get a more “live” feel for the solo – and of course, that was the take – the keeper. And what a beauty it is, too.

There are so many specific examples of great Harrison guitars, that I could just keep listing them, but instead, you should just listen…and you will hear them. I certainly did.

What I would give to be able to write a song like “The inner Life”. Or “Something”.  Or maybe one that is half as good :-).

Yes, I’d settle for that, thanks.

We miss you, George.

 

King Crimson – Usher Hall, Edinburgh, Scotland – 20150917

This then, is the second of three King Crimson gigs we are attending, the first of two shows at Edinburgh’s lovely old Usher Hall, on September 17th, three days after the first show we attended in Birmingham on 20150914; while boasting a similar set list to the show from the fourteenth, the Usher Hall Edinburgh show had a number of significant differences that are well worth noting.

First of all, is perspective; in Birmingham, we were off to the left side of Symphony Hall, slightly elevated, and back some distance from the stage, whereas in Edinburgh, we were in the stalls in the fourth row – directly in front of Pat’s drum kit with Mel just behind him…not bad at all.  So this time, still to the left but way up close in the stalls – we noticed quite a bit more detail – simply because we were so much nearer.

But first things first, the set list, which was pretty much unchanged from the show three days previous:

Taped Introduction (including the “Islands Rehearsal” snippet from the outro of the “Islands” album – in other words – the standard 2014/2015 Elements Tours taped intros – the “no photos please” vocal montage, followed by “Islands” rehearsal, and finally, the 1971 Voice Of Robert Fripp intoning the count of “1 2 3, 2 2 3″…) – which becomes the count in for:

Larks’ Tongues In Aspic, Part I

Red

Suitable Grounds For The Blues

Meltdown

The Construction Of Light

Level 5

Hellhounds Of Krim (??)

Pictures Of A City

Epitaph

Easy Money

Banshee Legs Bell Hassle

The Letters

Sailor’s Tale

Interlude (Taped audience sounds)

Starless

(Encore – after a well-deserved standing ovation for “Starless”:)

Devil Dogs Of Tesselation Row (??)

The Court Of The Crimson King

21st Century Schizoid Man

 

Since the set list is essentially identical to the Monday night Birmingham show, I will focus in on differences and details that I observed this time, that I might have overlooked with the excitement of that first show on Monday night; plus, sitting so close at the Edinburgh show, I was able to see the players in incredible detail. My new 10x binoculars helped significantly with this – if I wanted to see in close-up, what notes Robert or Jakko or Tony were playing – the binoculars allowed me to get in really close on the action, and observe chord patterns, note patterns, and playing styles in intense detail. Being in the fourth row gave us a great view of the band, but having the binoculars on top of being so close, gave me super-close up HD Guitar Vision – it was brilliant.

They all played well in Birmingham on Monday, but in Edinburgh last night…they played even better.

There were a couple of mishaps, so I shall get those out of the way, some mysterious mid to low frequency feedback was plaguing the band during “Pictures Of A City”, it was quite persistent and it ran for perhaps 40 or 50 seconds, a low, irritating non-musical tone; the band forged on as if it wasn’t happening, until eventually, the sound man (presumably) quenched it.  It returned again later, I think during Epitaph, for a shorter period of time, but that was the last of it, thankfully.
The beginning of “Easy Money” was slightly marred by an out of tune guitar (Jakko’s, I think) but then turned out fine, in fact for me, it’s a huge highlight because it’s one of the only instances where RF really tries to play a 70’s style Fripp sustained guitar solo, and that solo was a cracker, really beautiful, liquid distortion and cracked Wah pedal action…gorgeous guitar tone from Robert’s Axe FXII.

 

One of the other instances of that beautiful sustained guitar tone is Robert playing the exquisitely beautiful melody of “Starless”, however, at the end of one of those solos, his final bend ended up in a truly bum note – a rarity for Fripp.  Ever the professional, he simply looked at Jakko, and carried on as if nothing had happened.

Possibly because we were sat so close to Pat and Mel, I really noticed their playing this time, and I would say that Mel played even more spectacularly amazing sax and flute in Edinburgh, than in Birmingham, where he was awesome.  So better than perfect, really – the solos were so tight, so intense, and he absolutely steals the show with his soloing in “Pictures Of A City”, “The Letters”, “Sailor’s Tale” and “21st Century Schizoid Man” – his playing was absolutely stellar on those tracks in particular, he was consistent and excellent throughout.

Pat – well, what can I say, Pat is the master, and is my personal favourite of the three extraordinary drummers.  His intense, powerful playing on “Epitaph” and “In The Court Of The Crimson King” once again, channelling the great Michael Giles…was simply astonishing to witness at close quarters. Pat was amazing throughout the show, and I could really appreciate his contributions to the drumming really well indeed at this particular gig.

And, impressively, this time, we could hear the bass and the Stick, much, much better, so bring able to hear what Tony was playing, better than on Monday night, was great – I particularly love the verve with which he attacks the lolloping bass line of “Sailor’s Tale” – he sounds great at all times, really in tune and doing very musical, very good work on the electric string bass, the Stick, or the bass guitar, Tony always sounded really good.

But then, this is a band where everyone sounds good, all the time, and the amount of care and detail that goes into the band’s sound is truly overwhelming. Just watching the percussion section during the opening number, the incredible 2015 rendition of the 1973 classic “Larks’ Tongues In Aspic, Part I” is a lesson in musical co-ordination; all three drummers are playing many different percussion instruments to add atmosphere and ambience during the quieter sections, then sitting down simultaneously to come charging in for the heavy metal section.

Watching Pat was a revelation during this, he had clearly studied the original track well, and he picked up a myriad of strange percussion devices, and operated them at certain points in time during the “lulls” in the song – with military precision.  Then that heavy metal section would come up again, with Jakko wailing away on the high, bendy lead guitar notes, Robert, playing the chords (and often, during this concert, that was the case) and the three drummers all come in on the downbeat, and also, end each bar with a cymbal smack – and hearing the three of them, playing their hearts out underneath that ominous set of power chords – just sounded amazing.

“Red” followed immediately, and again, the band was confident, Jakko playing the long, ascending sustained lead guitar line, while Robert handled the chords; Robert played the flanged “stand-alone” chords on the “middle section”, leaving Tony and Jakko, with some assistance from Mel, to handle the beautiful melody that plays over the flanged guitar chords – and then, back into that wonderful E to F# progression, which then finally leads back to the wonderful ascending guitar from Jakko – and Mel joins in for the last few notes, so they both end up on a stretched high note that is held for just the right amount of time…perfection.

I can’t really add a lot to my previous blog’s comments on the “new” songs that appear at this point in the set, although I did find myself liking “Suitable Grounds For The Blues” a bit more than the first time I’d heard it, way back on Monday night – it, and it’s companion, “Meltdown” – are just not as convincing to me as the earlier material is.  And therein lay the difficulty – the repertoire they are playing, spans 1969 – 2003, and includes some of the most incredible of Fripp compositions and other writers’ contributions – the lyrics of Peter Sinfield are a huge part of the tracks that they perform from 1969’s “In The Court Of ‘The Crimson King”, 1970’s “In The Wake Of Poseidon”, and 1971’s “Islands” (sadly, no live versions of anything from 1970’s “Lizard”, the third album) and other contributors such as Adrian Belew, whose guitar parts on “The Construction Of Light” are absolutely brilliant – but, fair dues – Jakko played them just as perfectly and just as beautifully as Adrian ever did – and to be honest, as much as I love the music of Adrian Belew, and I liked his role in King Crimson – I am actually of the belief that Jakko is a better choice, because of his knowledge of the early catalogue, and he’s a fine, serious singer, too.

So I like the fact that Jakko is there, for example, his acoustic guitar emulations on the two quieter tracks from “In The Court Of The Crimson King” are just so spot on, he does the finger picking perfectly WHILE he sings the beautiful Greg Lake vocal melody with beautiful lyrics from Peter Sinfield!  A very beautiful example of multi-tasking – Jakko gives us the acoustic guitar, and the lead vocal, leaving Robert free to play the beautiful lead guitar parts on both “Epitaph” and “The Court Of The Crimson King” – beautiful work from both guitarists.

I am still astonished by the unexpected presence of “Easy Money” in this band’s set list, but there it is, and after a shaky beginning with an out of tune guitar, it quickly turned into one of the best songs of the night, because of Robert‘s amazing 1970s style lead guitar playing, not to mention Jakko’s brilliant vocal, and Tony doing his best to play like John Wetton – and mostly, succeeding at it.  A great rendition of a great song – complete with laughing machine at the end from Pat – just like on the album.

My favourite part of the concert then arrives – the two songs from “Islands”, and again, a delicate, beautiful rendition of “The Letters” with Fripp playing super high octave chords with a beautiful guitar sound, and Jakko playing the other picked part in time, and singing the beautiful, beautiful vocal – one of Boz’s best vocals, I believe – and then, there is an incredibly powerful part, where Robert plays some amazing, super sustained “Frippy” guitar lines, before the song begins to go…a bit mad courtesy of the amazing saxophone skills of Mel Collins, who blows his way through both “The Letters” and the second of the two tracks, which follows immediately, the instrumental “Sailor’s Tale” in astonishing form, with powerful, melody, and grace.

Mel is so amazing on both of these tracks, the accuracy with which he’s tried to re-create the original parts, while at the same time, improving and updating them – it’s just an astonishing effort on his part, and his playing breathes new life into these two songs.  Jakko’s vocal on “The Letters” is possibly my favourite vocal of the night, I love the way he sings this song, right up to the a cappella ending –  which he does just perfectly – a brilliant performance.

Once the band have played “The Letters” and “Sailor’s Tale”, two tracks from my personal favourite of the early King Crimson records, I could die happy, but, things progress, and we end up in the beauty of “Starless”, where I must mention the remarkably talented Bill Rieflin, who plays mellotron on so many of these tracks, the accurate arrangements he uses are a testament to how much he cares about getting it right, and the mellotron sounds are perfect, and the playing is perfect – and on “Starless”, it’s so, so beautiful – with Robert‘s amazing, thick sustained lead guitar line, and Mel’s sinuous horn parts snaking in between, it’s a huge highlight of the night, and the excitement of the final section, after the long instrumental build up, is undeniable.

Despite Robert’s unfortunate note in the middle of the verses, this version of “Starless” brought the band to standing position, and, brought the audience to it’s feet as well – and the applause was truly thunderous as we’d just been assaulted by a dozen of some of the most amazing progressive music ever written.  And when the band walk off, the crowd is clapping in rhythm for their return – until they do return, to play us out with the last two offerings, both from that famous debut 1969 album, “In The Court Of The Crimson King” – the title track, as the penultimate offering, followed by “21st Century Schizoid Man” complete with recorded intro (the “Wind” sessions result) – and this was another great rendition of “Schizoid Man”, with one slight disappointment – I hadn’t really noticed this at Birmingham, but I am definitely sure about it at Edinburgh – there is no guitar solo!

Robert plays the beginning of the original solo, and then does a short descending lead guitar, which is an intentional bridge to Mel, who picks up the notes from Robert, and then takes the solo proper – and Mel is great at this, he always had a solo on “Schizoid Man” back in the day, so he is the perfect player for the job, and this was no exception – he played a blinder.  But then, as the song progressed, there was a drum solo, and then, they came back in to play the “precision section” – which went flawlessly – and then to the last verse and the ending – which was dead silence at the climax of sustained rock-burn-out noise – brilliant!!  The crowd loved it, and it was a great version – but, strangely – no guitar solo.  It worked, it’s great with Mel handling the solo, but I would have loved it if Robert and Mel had each had a solo (as they used to, back in 1972) – but, this is the 2015 arrangement, so I guess that’s how it goes now 🙂

Overall, despite some annoying feedback and the very, very rare issues with the music, this was a really well-played show, and it just makes me look forward to our next and final of three shows, in Utrecht, Holland, on September 24th – I can’t wait !!

One of the things I’ve noticed about previous versions of King Crimson is that, if you listen to a series of concerts over time, you generally speaking, find improvement – parts are played better, arrangements are tweaked and re-saved, and musicians find better and more perfected ways to do things – so, over time, they tend to get better – and I realise I haven’t so far heard much of a series, but I can say, that over the three day period between Monday and Thursday. that there is improvement.

One thing that was easy to observe, was the difference in audience reception. In Birmingham, the applause was not nearly as loud or persistent after the main set, there was no rhythmic clapping to call the band back to the stage, while in Edinburgh, the Scottish crowd were on their feet and shouting for more, applauding really loudly, then, clapping rhythmically – a much much better audience response, which in turn, made the players respond positively – so while in some ways, the Birmingham show might have been more technically “polished”, here in Edinburgh, there was more emotion, more audience interaction, and in the case of one Mr. Mel Collins, some incredibly passionate horn soloing – really beautiful work, just out of this world solos on every track – the man is impossibly talented.  And when Robert Fripp and Mel Collins join forces to solo, one at a time, or together / trading / overlapping solos – it just rocks.

Both concerts had high points and low points, but I felt that the Edinburgh show was more relaxed, with a much more receptive audience, so at least in that sense, it was a “better” show – but in my mind – both of these concerts were absolutely remarkable musical experiences, once- in-a-lifetime – except, I get to see it three times in a life time 🙂

 

 

See you at Utrecht on the 24th !!!!

Happy Krimsoning !!

 

 

Dave