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

 

 

 

 

what we’re listening to – “focus live at the BBC”, early 1973, with bob harris

to say that this is my favourite concert of all time is not really an exaggeration.  I taped this off the radio soon after it was broadcast, I had it on a kodak cassette for more than 30 years…later, I got other copies of it from tape traders, later still, “new” copies from the internet – and no matter what version I am listening to – this concert has a quality like no other.

I would also say, straight away, that I feel it’s far better than the official live focus album from the day, “focus live at the rainbow” – which is a nice record, but, it’s from later in their career, and it’s my contention that they reached the height of their quality performances in late 1972/early 1973, when “focus III” was the “new” focus album.

I’d come to focus almost accidentally, I had bought the album “moving waves (also known as “focus II”) like so many other teenage boys, for the bad reason that it had “that” song on it, “hocus pocus” but what I understood pretty quickly was, “that” song was a bit of a one-off, a bit of a gimmick, and if you ask me, it’s the worst song on the album (well, not that there are ANY bad songs on “moving waves” or “focus III” – two more perfectly-formed prog masterpieces you could not ask for), and the rest of the tracks are so good, that you can skip “hocus pocus” and still have a fantastic listening experience – especially since it ends with the remarkable “eruption”.

at some point, I would love to talk through the first three focus albums in detail, to discuss their relative merits, that is “in and out of focus” (also known as “focus plays focus”), “moving waves” (also known as “focus II”) and “focus III” but for now I want to restrict myself to this mystical live concert.  first of all, this concert has no definitive “date”.  some think it’s actually from december 1972, others are just as certain it’s january 1973, from what bob harris says during the introduction, it’s pretty certain that it’s in the new year of 1973…but beyond that – the BBC records aren’t clear, the last focus broadcast they mention is from the end of 1972, so that’s no help…

the show starts with one of the toughest pieces from “focus III”, “anonymous two” – a 20-minute-plus prog/jazz workout that is something that I wouldn’t try “cold” – but they just dive in, and it’s amazing – the speed, the skill, the solos – each member takes a solo – but to me, it’s the ending, when suddenly, after all that improvising and jamming, they all four hit that theme, hard, and in a slowed-down, endless-ritard way, with jan akkerman’s incredibly fluid, melodic guitar working so beautifully with the glorious, classically themed hammond organ of thijs van leer…sheer sonic beauty, but also, precision jobs – and the snap/cold/dead ending of “anonymous two” here is a thing of beauty.

I don’t know why akkerman left the band, but now, I really wish he had stayed forever.  to me, this was the best focus lineup – bert reuter on bass, pierre van der linden on drums, van leer on organ and flute, and akkerman on lead guitar – this lineup, that produces a few of the classic, and best, focus albums – starting with moving waves, then focus III, then hamburger concerto (a terrible album name, but the last great studio album from the band – although, in my opinion, not as good as focus III).

they follow the loud, brash, jazzy “anonymous two” with something very delicate and beautiful and melodic (and this is my favourite piece from the entire focus canon) – a shortened, concise version of “focus I” from the first album – this is the best arrangement, and the best performance, of this song, anywhere, any time, and to me, it’s one of the most beautiful songs ever written, and akkerman’s sensitive, careful, beautiful guitar lead really just blows me away, it’s so simple, so purely about melody, and van leer so seriously underplays his part – very clean, very clear, very simple hammond chords, while the rhythm section just purrs along – it’s three minutes of classical pop heaven, and I absolutely love it – I find the original studio version tedious, with it’s extended end section, this short, to the point, live, clean reading of a great song is the best – I love this arrangement!

after the almost religious experience of pure, simple, beauty that is “focus I” has passed, the band moves back into prog territory, this time with the very flash title track to the “new album”, “focus III” – starting with a mysterious hammond, but soon, progressing to a full on prog-workout, that gives all the band members plenty to do…this track then seques into another really, really long track from “focus III”, “answers! questions? questions! answers?” – which is again, very jazzy, very fast, with odd dissonant sections that are weird enough to have come from a king crimson song but are played instead with hammond and guitar – and it’s that organ and guitar combo that keeps me coming back for more, they slam, they speed, they twist, they turn, they shred, then – suddenly, a beautiful organ solo, with single notes, and a gently speeding up and slowing down leslie speaker, suddenly, akkerman comping on chords with little guitar solos in between as van leer takes over – a drum and bass interlude leads into a van leer flute solo – this song is so complex, and twists and turns through so many sections and solos, it’s no wonder that it wasn’t in their live repertoire for that long – it’s can’t have been easy to remember, much less play!

but they do a stupendous job – it’s better than the album version, by far better – and I can hear it’s influence on me when I hear tapes of myself jamming from a couple of years after this came out – I kinda learned how to play lead guitar from listening to this tape far, far too many times – and you couldn’t have a better teacher, akkerman was all about taste, knowing what to do when, knowing when to push hard, but totally being able to be supportive too, working as a team…what a great band this was in 1972 and 1973!  it’s great too, to hear the musicians stretch out and play for so, so long – I love the long view, and they think nothing of playing music in 15, 20, 25 minute chunks – but not just jamming, a lot of it is planned, arranged, set up – but whether it’s carefully arranged prog, or crazy, abandoned jamming – it’s simply brilliant!

the musicality of van leer and his prowess on the hammond is surpassed perhaps only by hugh banton (of van der graaf generator) but he is also an absolutely amazing flute player (if you’ve seen the official focus DVD, you will have seen and heard his flute solo there – the best flute solo in modern music that I have ever heard – it is astonishing!) – and I love the melodic and classical music influences he brings to the table.  his hammond organ is the harmonic foundation upon which akkerman adds the melodic information that makes this such an amazing team – it just works!

I do not mean to short-sell the contributions of bert reuter on bass and pierre van der linden on drums, they are critical to the success of the two soloists, and they are so constant, so supportive, but, also, totally able to come up to par when it’s required that they go beyond the ordinary – they come through with flying colours – in fact, bert even plays a nice solo in “anonymous two” as does van der linden – both extremely good players, if perhaps slightly overshadowed by the powerful presence of akkerman and van leer – but who wouldn’t be intimidated by two such amazing players?

without stopping, they move into a third song, another melodic, thematic one, this time from “moving waves” – the beautiful, beautiful “focus II” – this piece has some really great rhythmic breaks, and van der linden is especially good on this, I love his drum arrangement, and the stops and starts, slow downs and speeds up, the dynamics are all over the place, and he plays almost effortlessly, but so, so carefully, too – his popping snare leading the way at some points – there are a large number of “bits” where it’s just pierre – and I think he rules this piece – the last section especially…and then…the hush, quiet organ chords, a suddenly subdued, melodic akkerman – and pierre just sits on the bell of his ride cymbal while harmonic and melodic magic occurs around him, reuter supporting on melodic mccartney-style bass – what a song, and, another dynamic build up, with distorted, leslie-speaker organ winding down with that amazing lead guitar…

to play these three songs in sequence, without stopping, ending up well over 20 minutes in total, as if it were nothing – these guys sound like they could play all night (and when I saw them play, they tried to) – this is a fantastic live medley, and a great part of a great concert.

finally, because they have to, they play their big hit, and of course, they have messed with the arrangement to make it even weirder (as if it were not weird enough on the album), with it’s proto metal chord sequence, but with…yodelling…as the vocal, van leer is famous for his strange vocalisations, and his work on this track is no mean feat – he demonstrates not just his yodelling ability, but also the enormous range of his voice – all the while playing a very complex chord sequence as he yodels and sings.  the star here though in my mind is akkerman, who has to play at breakneck speed, however, he makes it sound easy, and it’s back to those famous chords…

van der linden also gets some little solos of his own, in between whatever vocal weirdness van leer is injecting at any time – this is not my favourite song, but they do rock on it – and the drum part is amazing! so it’s worth it being here, so we can here them being quasi-proto-kinda-metal – in a very dutch and strange way !  I mean, the idea of a massive hit song having…yodelling as it’s lead vocal, that’s an odd, odd hit – but, it got them noticed, despite the fact that it’s the weakest song on that album (“moving waves”).  with this bizarre and strange rendition of “hocus pocus” by focus, the concert ends.

for me, the gem here is the shortest, apparently most inconsequential song, the 3 minute arrangement of “focus I” – I absolutely love that tune, and it represents a special kind of prog to me – a kind of prog that only camel and focus, really, and maybe sometimes nektar, every played – very simple, very classical, very melodic music – and “focus I” has such a hauntingly beautiful guitar line, that plain, clean note, rings in my brain, akkerman expressing van leer’s melody the best way possible – simply.

I was quite disappointed then, when the official live album (“at the rainbow“) came out, and it didn’t contain this material, it was missing a lot of the great songs played here, so really, even though it’s now 2012, I would give anything for van leer to go back and make the RIGHT live 1973 album – this one, or a better one, if there is such a thing.  this band was so good at this point, I really think that “focus live at the rainbow” disappoints, because it was made too late, when akkerman had lost interest (and his playing is NOTHING as good on “rainbow” as it is in this concert – believe me) so it would be my dream come true if van leer could find the master tape of this awesome BBC concert (or even the best quality BOOTLEG tape, just so I can have an official, clean recording), and give us a deluxe CD release of the real 1973 live focus album that never was.

if only.  it makes me wonder too, what the tapes of this band in rehearsal sound like, what other concerts recorded right around this time might yield – and if van leer or anyone has those tapes – they could make a fortune off of people like me – because I want two or three or four “new” live focus albums from 72/73 – twist my arm.  what a great, jamming, melodic, powerful, instrumental band – a huge influence on me (I can hear myself imitating akkerman in tapes from the late 70s), and I would be proud if any of the rock music I make ends up half as good as any piece from this remarkable concert.

thijs van leer – if you are out there – can we have an “offical” CD release of this concert please?  PLEASE?????????????