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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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what we’re listening to – live at brighton – king crimson – kc club 30 – 10/17/1971

the king crimson club releases have been an amazing resource for fans of the band, a behind-the-scenes look at both crimson “live” and also in the studio – but for me, it’s always been about the concerts, hearing how this remarkable band made it’s way through the world, with changing personnel and changing times…

I was in the original king crimson club the very first year it appeared, and I collected all the titles up to a certain point; then later, when they changed to an ordinary purchase versus the original subscription service, I would occasionally “top up” my collection, by hand-picking any live concerts I was missing.

a couple of years ago, I went in and looked up what titles I was missing, and duly ordered half a dozen cds, mostly from the 1971 band, and one from the 1973 – 1974 band, but among them was a little gem that I did not then know about: brighton, october 1971: the islands band live.   you may be surprised to learn that, over time, this particular line-up has actually become my favourite line-up of all – possibly because of the absolutely magical connection between master guitarist robert fripp and master flute/sax/mellotron player mel collins, who were magic in the studio together, and transcendent together, with boz and ian, on the stage.

this is not to downplay the crucial role of bassist boz burrell and drummer ian wallace, the former, famously a singer that fripp taught how to play bass, note by note, by rote; the latter, the pioneer of the vcs3-treated drum solo (in conjunction with the synth’s operator, peter sinfield) – and I will say right now, I actually feel the opposite of what robert has often said (which is that boz “did not convince” on the quieter pieces) – I think he was a great rock singer, but even better at the “quiet pieces” – I love the quieter pieces, and I love the way boz sang them both on record and live, especially live – he could be so gentle, so serious, so lovely – and then belt out a bluesy, funky, vocal rave up the next – and, he was a solid, clean bassist.  sadly, both boz and ian have recently passed away – but their musical legacy has not – the collector’s club has immortalised this most excellent, but lesser-known, king crimson line-up.

that five-man line-up – four on the stage – one at the back with his lighting board and his vcs3 synthesizer – played a long, long series of really, really powerful concerts over a relatively short; but very, very intense period.

so why is this concert, among so, so many live king crimson concerts out there, so special then?

well, for two reasons, the main one which is: they play the song “islands” live.  so far, this is the only recording of this song from the stage that we know of, and it’s stunningly beautiful (questionable sound quality of the whole concert aside).  it’s incredible, delicate, and even though mel gets a bit loud on the mellotron at one point, well…it’s a live version of the song “islands”…what can I say?  the second reason is less important but still significant, because there was a time when bands would record an album, and then go out and play that album, and that’s what is happening here: the second reason is this is the ONLY king crimson concert where the band plays the entire “islands” album live (well, as close to “entire” as it ever could be, of course, track five of the original studio album is an orchestral piece, “song of the gulls” which I am not counting, because unless they could pack along an orchestra, there would be no way for them to perform this song) – so when I say “all”, I mean, all five of the five songs that they actually could play – the sixth, “song of the gulls”, never being a contender for live performance due to the fact that the band never played it anyway – it was recorded by mostly session musicians, although it’s probably that collins plays on it, and possible that wallace does too!

for me though, it was a complete shock, I had assumed, for many, many years, that king crimson never played the song, the title track of “islands”, live…so I was just looking at the cds when they arrived, and I saw the word “islands” at the end of the disc 1 running order, and I thought, that can’t be right, it must be a mistake…imagine my surprise, my excitement – because this is one of my favourite songs in the entire crimson canon, I just love the mood and I also think it’s one of peter sinfield’s best and most beautiful lyrics – I simply love “islands” – so I could not believe, after all that time – that I had thought wrong – that they DID play it live, at least, for a short time – obviously, it was dropped from the set pretty early on, for reasons unknown, because it does NOT appear later in the many, many club cds featuring the “islands” band – it’s just not there.

this is quite an “early” performance for this lineup, it’s at least 3 gigs into a late 1971 british tour, as fripp mentions the “last three gigs” and boz announces “formentera lady” as a “new song”, so it’s possible that the album wasn’t even done at this point, but obviously, it was close to being done, since they do play all five songs within this concert. compared to an earlier still show, live at plymouth guildhall in may of the same year, where only three of the songs from “islands” seem to exist – this is the first full reading of the album in it’s entirety (minus “song of the gulls” of course – as close as we will ever get to a full live version of the album).

now, before I go further, I do need to say – this is a bootleg, it’s taken from what sounds like an audience cassette, so the sound quality does leave a lot to be desired (as do a lot of the club cds unfortunately, but they are only able to work with what they have).  I’ve heard far worse, you can hear all of the players clearly enough, and it’s an amazing show in my opinion – I have a huge, huge soft spot for this lineup, the funkiest and most potent crimson lineup – I really love the way they play live.

so spotty sound quality doesn’t bother me – but it might bother you, so I did need to make the disclaimer. 🙂

having said that – this show just rocks from beginning to end, it really does, and I find it to be most rewarding, a very, very early glimpse of the full “islands” album, before it was entirely formed, and the arrangements here are closer to the album than I’ve heard on any other live show from the time.

the show starts out with the gentle lapping of waves – courtesy of peter sinfield, the band’s lighting technician, on the vcs3 synthesizer, over which fripp makes a strange announcement about someone in the audience calling out for “wally” – whom he assumed must mean drummer ian wallace…which then moves smoothly onto the dramatic introduction of “cirkus” – a very heavy tune in concert, with that incredibly slow mellotron riff – I really love the way this band plays this song, with both fripp and mel collins playing fantastic mellotron, as well as fripp on comedy electric piano – it’s really quite amazing. a very complex song in the studio, but live, this simple arrangement, using various mellotron voices, strings, flutes, whatever is required to recreate that sound – it works really well, the mellotron is such an adaptable and useful tool.

and the rhythm section, with boz playing heavy bass line and singing the vocal with such passion, and the aforementioned ian wallace slugging the shit out of his drum kit, at a strangely slow pace – it’s a great reading of “circus” and of course, when mel collins switches to sax, it’s gets funky fast, his playing on this piece is simply out of this world, it totally rocks…and then it’s suddenly very, very beautiful, a singing, lithesome sax solo floats over fripp’s mellotron backing…with the bass and drums dreaming along…what a mood!

the audience is dead silent during the super quiet mellotron and cymbals break; where the volume goes way, way down (this band has always, always been known for it’s dynamic range – from a whisper to a scream in the blink of an eye) – an eerie and wonderful, almost creepy section and then wham – the loud, dissonant section, with some very strange mellotrons indeed – the last part of this song is such a row – until we get to that fantastic bit, where fripp comps chords on his electric piano, and mel plays the most amazing, funky sax solo you ever heard – and it just rocks in this version – then back to the double mellotron attack – until we reach the explosive ending – this song is always good live, but this is a particularly rousing and wonderfully fun version – wallace, at the end, with his double bass drums pounding is awesome – and then it’s suddenly over.

from the “lizard” album then, we move back to “in the wake of poseidon” for a strong reading of “pictures of a city” – that album’s successor to the more famous “21st century schizoid man” – for my money, it’s a more challenging piece of music, and this demonstrates that the fripp-collins musical partnership is already really well established at this time – mel had been in the band for a long, long time before he ever played a gig with them – and it’s clear that this piece of early repertoire is not just comfortable, but it’s in their bones, the parts are embedded in their musical dna – they know this song, backwards, forwards, and sideways – and it’s an incredibly convoluted musical journey…and a fantastic one too.

I love this song live, and this is again, a superior version, with both fripp and collins pushing the boundaries of this already impossible to play piece, and it’s an absolute joy to hear their musical banter – back and forth and every which way, with collins demonstrating what a world class player he really is, and fripp just being fripp, impossible, unexpected, wild, controlled, remarkable. I love how it moves from precision to insanely out of control and then back to precision in a heartbeat, as if those are two ends of a special musical spectrum that only king crimson circa 1971 understood.

at the same time, that special musical spectrum that I mentioned, that was really just fripp and collins moving off and on the beat in some pretty spectacular way, moving in and out of syncopation, and probably a few bits of fripp timing magic that there are no musical terms for, too. 🙂

then the concert moves onto it’s first selection from the new album, “islands” – “formentera lady”, which boz introduces as a song that they have “just finished recording” – which is interesting, because we know from earlier 1971 concerts that some of the songs from islands had existed for a while – “ladies of the road”, “sailor’s tale” and “the letters” at least – but “formentera lady” was apparently quite a latecomer to the album if it was only finished in september or october 1971.  a lot of people are not keen on this song, but I think it’s absolutely beautiful, and fripp’s guitar part is sublime, I’ve never heard such use of chord inversions with melodies weaving in between in a constant stream of picking, strumming and more picking – beautiful chord inversions, really beautiful guitar playing – and then of course, mel collins has switched to flute for the first time in the show, and his ability on that instrument meets or exceeds his ability on sax – he is extraordinary on the flute, and he proves it on this first outing.

boz does a great job with the vocal, as ian wallace pounds out the vocally-referenced “indian drum”…and then collins, does a perfect descending flute motif to demonstrate “dark circe” falling – the instruments literally spelling out the lyrics of the song.  meanwhile, I can hear fripp adding in a missing string bass part in between his own parts – doubling up because in the studio, there are a lot of additional instruments – yet, this four piece arrangement is very nearly the equal, and is incredibly faithful to it – moreso than any other live version I have heard.

boz even has a go at the soprano and other wordless vocals at the end of the song, and the whole thing is just so wonderful and atmospheric, often in a concert situation, this piece sort of degenerates into a not so good generic jam session, but this one stays focused, stays real jazz – with collins switching to sax somewhere in there, and robert playing his very cool jazz chords, working with and against the drums, boz, the only constant, on his one note bass part, while the rest of the band is in cool jazz heaven, collins again showing his considerable skill on sax – fripp gets quite frantic with his wild chord progressions – and then suddenly, it’s all stop, as wallace plays the unmistakable cymbal intro to “a sailor’s tale” – and really, this is one of the very few versions where they stick to the plan, they play “formentera lady” without it disintegrating into a common jam, they kept it straight, and then did the segue into “sailor’s tale” just as it is on the record.  for me, that’s fantastic, because I grew up listening to the studio album, and those two songs always belonged together, with formentera ending gracefully; ian wallace plays his cymbal riff; and that distinctive drum and bass part, the beginning of the musical madness that is “a sailor’s tale” starts up…heavenly.  that thundering bass riff, the pounding drums – and waiting, waiting for that sax and guitar to come in together…

fripp has only a second to switch from clean jazz guitar to that thick, molten bass pickup lead guitar sound that he made so, so famous, and then hit the mark with collin’s most insane sax solo ever, screeching, screaming high pitch flying down to a beautiful wild melody – they come in together, stay together, and then collins is totally away – until it’s robert’s turn, collins switches suddenly to beautiful, mysterious mellotron, while robert explores yet another variant of the sharp edged, angular, slapback echo guitar that is the wild and crazy solo of “sailor’s tale” ending in that signature “slide up” the neck dissonant chord, a la jimi hendrix – but done in that inimitable fripp way – then boz and wallace return with that fabulous drum and bass part…and the song drives away, with the mellotrons getting more and more intense as it goes…a long section where the rhythm section just cooks with that awesome riff, and the dual mellotrons battle for minor supremacy and eerie strangeness –and then, that crazy ascending trademark mellotron ascending madness – to a dead stop.  brilliant!  one of my favourite tracks from the “islands” album, and almost always very good in concert – as it definitely is this time around.

without a break then, without a word, they proceed to “the letters” – so at this point, they have now played the first three songs from islands in the same order as they are on the album – which to me is just remarkable – brilliant.  this is the vinyl “side one” of islands – played entirely live.  “the letters” is another strange, strange song that I just love, with it’s odd, jagged rhythmic centre, surrounded by beautiful, minor key verses – this tale of infidelity and pain, with a wicked sax from mel collins, and boz’s vocal is so, so beautiful, too – even though the words seem to change and mutate every week, never ever quite the same as the album – most of them are there – and in this rendition, the middle section of the song ends in absolute sonic madness, which ends up as total distortion on the tape for a minute or two – you can’t really hear what’s going on, but eventually, it resolves, and we get to the amazing final verse, with a tantalising mellotron leading to a cymbal – and then boz – totally a cappella, sings the final verse “impaled on nails of ice – and wait for emerald fire…the wife with soul of snow – picks up her pen and slowly writes – I’m still, I need no life…to serve on boys and men…what’s yours was mine is dead…I take my leave of mortal flesh”. (of course, these lyrics changed and changed again – on the studio version, it’s “raked with emerald fire” – either way, awesome imagery from peter sinfield).

this was recorded back in the day when fripp still made quite a few stage announcements, and this is one where he speaks quite a lot, and usually, ends up making the audience laugh quite a lot – so fripp announces the next number, which is the title track of the new album – there is an awkward pause – and then you hear him, clearly, off mike but not off mike… “mellotron, mel?” because obviously, robert has noticed that mel is not prepared to play the mellotron, – another short silence follows…and then mel’s response “oh!” – and gradual audience laughter ends in a round of applause…(someone else in the band then gives mel a hard time and the band are all laughing).

then it starts – just beautiful, beautiful clean chords from robert, boz on vocal, gentle flute from mel – no drums yet, the title track of islands…the loveliest lyric sinfield ever wrote, and as I mentioned before, robert always said later on, that boz didn’t convince on the quieter material, but I utterly disagree, he has a lovely, beautiful, tuneful voice, and he always did a great job of singing the ballads and quiet songs live, if anything, I think boz doesn’t always convince on  the loud songs!  here, his voice is so perfect, so beautiful, so hushed, and the very simple guitar arrangement on the verses is perfect – when the chorus arrives, then mel gets to play those mellotrons (which do get a bit too loud in places, but nothing could really spoil this amazing song!) boz comes in with a really melodic and sensitive bass part, and fripp plays wonderful sliding chords interspersed with lovely little guitar melodies…

back to the verse, it’s just robert’s guitar, flute and vocal again, with cymbal bell taps from wallace – who does play on the choruses, but otherwise lays back, this is all about the guitar and flute, and that amazing vocal – I love it, I can’t believe it exists, and it exceeds any dream or expectation of how this song might sound live – it’s just magical, and you must, must hear it if you like “islands” at all – it proves what a great song this is, that the four of them can play what was played in the studio, a very heavily multi-tracked piece with many, many guest musicians – but with the mellotron, and the brilliance of fripp’s guitar…they are just not necessary, and the four of them pull this off beautifully – an amazing effort.  sigh.

I am just so, so glad that one person had a tape rolling on one of the few occasions that the band played this – I feel so grateful that I am getting to hear this now – because it’s a precious moment in time, a very rare piece, played so seldom – and so far, this is the only known live recording of this song (per sid smith – this is all we have) so it’s a great honour indeed, and it lifts this concert up as unique and wonderful in a way no other “islands band” concert is – it’s a first, and, since they also play the whole album – it’s a fantastic way to get to know this remarkable record.

of course, by placing islands (the track) here, that puts things out of order vinyl running order wise, but they do get back around to playing the one remaining piece, in fact, it’s next – at the beginning of disc 2, the redoubtable “ladies of the road” – in a strangely unsatisfying version, collins is always good on this, but I feel like robert is struggling with his guitar, that weirdly slapbacked sound, the strange chords he is playing, it sounds a bit laboured compared to other more seamless live versions – but, this is a minor complaint – he still does well, but not insanely well as sometimes happens – a respectable effort if not the best version of this song ever performed.  a solid effort.

having said that, I still very much enjoy this rendition, with it’s screaming saxes and out and out rude lyrics – it’s very, very naughty indeed, which is very refreshing – because it’s just honest, it’s real, it’s about something real, and fripp even dedicates it by saying “this is a song about rude ladies…” – going on to elaborate about exactly what kind of ladies he means.  boz is brilliant on the lead vocal, but the chorus vocals fall to bits as they often do, ian wallace singing lead at the end of each stanza, but all of the band laughing so hard at the dissolving choruses as to make both of them non-viable – a bit of a shame, because on the record, it’s a lovely little vocal, almost beatlesque arrangement – but, you can’t have everything, and every concert has it’s low spots – this might be it for this one.

so after a slightly lacklustre “ladies of the road” comes “groon” – now “groon” started out life as a giles, giles and fripp song, which was later co-opted by king crimson in live performance – but it’s very much open-ended, there are a couple of riffs that are mostly a robert fripp solo guitar piece, although the band do well enough following that riff, but once that’s been played a couple of times, it just becomes a jam.  And that can be bad or good, in this instance, though, it turns out to be very good, in fact, a very satisfying jam, which includes a very long and very good drum solo from ian wallace, of course featuring the vcs3 synthesizer which was a brand new device, eno had one, king crimson had one, edgar winter had one – and it was used to great effect by peter sinfield to process wallace’s drum solos (during “groon” and sometimes other numbers) – this must have been such an amazing experience for the audience, because what starts out seeming to be an “ordinary drum solo” soon becomes something absolutely extraordinary, a synthesizer solo of amazing proportions.

but it’s kept secret for a while, wallace plays a long, untreated and excellent drum solo (proving ably that he doesn’t need the synth to be a great drummer, but that it’s use makes him a remarkable drummer), and then eventually, after several minutes, when you least expect it (this piece is in excess of 24 minutes, almost 25, so plenty of time for development) suddenly, sinfield, out of nowhere, begins to “treat” the drums with the vcs3 – and then you get an entire OTHER solo, this time, with the VCS3 treatment – and it’s absolutely mind blowing.  variable pitch drums ?  in 1971 ? white noise, pink noise, modulation…sure, a few years later, this stuff became commonplace, but back then, it was absolutely revolutionary, no one had EVER heard a “drum solo” quite like this one – and king crimson were right there, at the forefront of the modern, electronic drum kit – but doing it with one of the first synths available that you could use to process the sound of instruments with – brilliant!

so “groon”, which could just have disintegrated into a crappy, banal jam session, is actually a real highlight of this concert – and in fact, it’s often a highlight – simply because of this insane, remarkable, unique and utterly fascinating drum solo – and it does NOT sound like drums for very long – it just becomes a maelstrom of amazing electronic sound – like nothing else on earth – it’s fantastic.  at one point near the end, the audience explodes into spontaneous applause – you can tell they are simultaneously stunned and amazed…

what do you follow something like that with – well, of course, what else – your heaviest piece of repertoire – from the first album, “21st century schizoid man” – and now, after that inspirational version of “groon”, the band are both totally warmed up and totally on fire, in fact, when Robert comes in with his first solo, he plays something so crazy, it’s just the weirdest guitar part I’ve ever heard him play, what a solo!! and at one point, the band stops, and he is playing this beautiful, beautiful note – and then, they are away again, boz doing his level best to play the very, very difficult bass part as well as he can, and doing a great job, ian wallace, absolutely kicking it on the drums – great vocal, great solos – and once robert finishes his first blistering solo, he turns it over to collins – who then just screams and screams and screams, totally inspired, it gives me goose bumps the way this man plays – robert’s solo was totally amazing, so mel just goes into sax hyperdrive, and plays a blinder – what a great, great live version of one of this band’s best songs.

robert plays the riff that signals the beginning of the famous “precision part”, causing mel to return to earth – a crazy vcs3 sound follows along briefly, then, the band play this famous segment PERFECTLY, note for note, just like the album – as they pretty much always do – the part that was once called “studio gimcrackery” but which instead is very, very real – they play it perfectly, then, back into the final instrumental section before the last verse – which trundles along like a pregnant dinosaur, full of intense, powerful feeling – double bass drums thumping, and boz, singing like a distorted alien, there is nothing on this earth quite like an “islands-band” era version of schizoid man – and this is a good one!

after three very loud, very progressive, very amazing performances, the show is almost over, but, not before ian wallace does his famous “mr. gumby” imitation…a bit of levity to relief…”my hobby – by ian wallace” – something which has to be heard to be believed…  this time, he can’t get the words out – he can’t remember the name of the band he is in…it’s just madness – wallace screaming like an insane person – very odd indeed!

but all part of crimson 1971, robert gives a last announcement, a “good night” from king crimson, and they launch into the ultra creepy, begun with a vcs3 “explosion”, snare drum and double mellotron intro to “mars” – a piece of live repertoire from the 1969 band, originally from the “in the wake of poseidon” album – this is one of the most amazing mellotron duels ever performed, and it’s interesting to compare this live version, with collins and fripp doing the dual mellotron honours, to the original live performances of mars where it was ian mcdonald and fripp performing the double mellotron party trick.

the main difference isn’t just the presence of collins instead of mcdonald, it’s the presence of the vcs3 – with sinfield introducing massive “explosions” at key points in the piece – that was certainly something not present in the 1969 live versions.  this song takes ages and ages to build up to it’s climax, and it’s so, so creepy – it just creeps me out every time, this is wicked, wicked mellotron – intense – and then in the middle section, some AMAZING frequency/filter sweeps from the vcs3 take this weird and wonderful piece to a whole ‘nother plane of existence – it’s weird enough with just the two mellotrons against that ominous, persistent, bass and snare, that just goes and goes and goes – but adding in the strange ascending and then descending vcs3 sound effects is an act of genius – it just enhances an already remarkable live instrumentation, adding in something mysterious and strange to this brooding mellotron masterpiece.  another fantastic rendition – if only we had a clear, clear recording of this concert, but even from this recording, you get a real feeling for how terrifying and beautiful this piece is live – it’s a real monster.

it’s quite odd too, because there is no flute, no sax, and no guitar – it’s just snare drum, single note bass, the two mellotrons, and sinfield on vcs3 – what a strange idea, what a sound – and at the end, it’s just cacophony, with both robert and mel abusing their mellotrons physically, slamming the keys, just making noise – it’s amazing, there is no sound on earth like it! I think sometimes, that these classic crimson ascending dual mellotron endings are maybe meant to emulate the big orchestral build up of “a day in the life” – I can’t think where else on earth fripp would have got the idea to do that!

the piece suddenly ends with a swirling keyboard riff and the return of the ocean sounds (thanks to peter sinfield, still the “fifth member” of crimson, operating the vcs3 synthesizer from the light board at the back of the hall) heard at the very beginning, with the crowd clapping for an encore that never arrives…sigh.

 

maybe not the “best” “islands band” concert probably (a very subjective topic surely – who can say, all concerts have highs and lows, and I never have tried to decide which concert by any band is my favourite, I just enjoy them all!), but mostly, a very, very good performance – and, including a delicate, heartfelt, beautiful rendition of the delicate and ultra rare title track – so that’s enough for me.  I love this record – and I am so glad dgm decided to release it – after all those years of thinking that  “island” live did not exist, I have never, ever, EVER been more glad to be wrong…