Having A Friend Like Michael Dawson…

I met my friend Michael, in a thing called a “record store” called “off the record” which was located on El Cajon Boulevard in San Diego, California, when I was about 20 years old – I am guessing – it was a long time ago, I can tell you that!
I don’t know what year it was, I really don’t – perhaps Michael knows.  But it was a long, long time ago, and Michael is one of the very, very few people that I have known continuously during that entire timespan.  For the record then, (not, off the record lol) that’s at least 35 years, probably a bit more.
I was buying, or re-buying rather, a few records that I was hoping would have less surface noise, and fewer clicks and pops, than the copies of them that I already had at home – I was trying to get a better sounding version by re-buying LPs that I already owned – sometimes, had owned more than once already.  This was one of the problems with vinyl – it was scratchy!  Surface noise, clicks and pops and other soul-destroying sounds damaging the precious music, which should be pure and pristine – it was still a long way to the age of compact discs.
Anyway, among other newer releases, I was holding prog rock classics by Genesis and I am not sure who else – and this tall, very skinny person, with a short, tidy beard and distinctly reddish hair, who was standing nearby as I was checking out, who spoke with an unforgettable, deep voice full of character “those (he said, nodding towards the albums that I was holding) “are  three of my favourite albums of all time”.
So that started a conversation, that has been going on, off and on, on and off, ever since – and a friendship that just grew organically out of that first meeting.  I’d seen Michael in the store before, it was a favourite haunt of both of ours, but this was the first time he’d ever spoken to me, and it turned out, we did share a lot of artists in common that we both really, really loved – and he just couldn’t help himself saying so when he saw some of HIS favourite records in my sweaty grip 🙂
It started out then, first by sharing our love of music, I can remember many a trip over to Michael’s, to listen to records (and he had a LOT of records back then, I mean – a lot of records!) and he introduced me to a lot of things with which I was then unfamiliar – for example, Marillion, who I had never heard of, who were actually playing prog in the middle of the very un-prog-friendly 1980s – so that must have been in about 1985 that he played me parts of “Script For A Jester’s Tear” and “Fugazi” – which I found to be quite remarkable, and of course, I started collecting Marillion albums myself then.
The story gets a bit blurry here, but since I’d found out that Michael was a fellow musician, it only followed that we should at some point, sit down and play some music together.  Michael was (at that time) primarily a bassist, which suited me perfectly as I was, as always, a lead guitarist; but he also played a lot of other instruments, including flute and saxophone, to name but two.  I can remember inviting Michael over to my place, and also, visiting him where he lived, and we did start a band, whose name I cannot recall – it was a trio, of myself on guitar, Michael on bass, and a friend of Michael’s whose name I do not remember (I am definitely getting old lol!!), on drums.
What did we play?  I can remember a couple of the titles:
Roxy Music “Love Is The Drug”
Talking Heads “Psycho Killer”
and an original piece in 5 that I couldn’t really master (composed by Michael, I believe).
At that time, pre-Fripp, I was strictly a 4/4 kind of rock and roll wannabe prog guitarist, and playing in anything but 4 was mostly, beyond me.  It wasn’t until I started going to Guitar Craft, starting just a few years later, that I actually was able to play in the odd meters – 5, 7, 9, 11, 13 etc.
I think we also wanted to learn “Crying Wolf” by Peter Hammill, but we didn’t get far with that one.  We were trying to play music that we loved, rather than resort to playing the popular music of the day – we wanted to play GOOD music, hence the selections we made.  I don’t really know why, but this band never really amounted to anything – we rehearsed, and then I think the drummer lost interest and left, and we couldn’t replace him – so I moved on, and that was the end of our attempt at being in a band together.  We never played even one gig, which always makes me a bit sad – a lot of good rehearsals, a huge potential – and then, for whatever  the reasons – it just never comes to fruition.
But – I am proud to say, to this day, that I was in a band with Michael Dawson !  It was great fun, because it was one of the first times that I got to play music I really loved in a band, instead of the dreaded “covers” – so that was fantastic.  I can remember really enjoying playing Phil Manzanera‘s chord sequence on “Love Is The Drug” – it’s a really nice piece of guitaring.
Michael is a very good bassist, and he had a quality bass, a Rickenbacker, which I wasn’t used to – most of the bassists I had played with up till then, had played Fenders or other basses like Music Man or whatever – but he had a real Rickenbacker, and it sounded amazing. That was really a great selling point for me, having a truly prog “bass” in the band – that’s the way it should be.  There wasn’t much else “prog” about us, we didn’t have a lead singer or a keyboard player, although I seem to remember that I did sing the songs off mike just as a reference (not the first time, or the last time, I was called upon to become the de facto lead vocalist in a band – I will say that!).  But that is another story for another time…
After that band broke up, life went on – I still saw Michael down at Off The Record, and we remained friends – to this day.  Not too many years after this, Michael moved up north, to Northern California, where he got the day job that I believe, he still works at to this day.
I remained in Southern California, but, we still occasionally got together – most often, to go see live concerts together, I can remember giving him a lift to some concert in the back of my pickup truck, which was not a good experience for Michael – but at least we got to the concert.  Not sure who we were going to see – it could have been just about anyone.
One of the nicest things about Michael is his incredible kindness and his infallible generosity, of which I will speak in a moment.  He is a remarkably kind and gentle person, and I was glad to have such an intelligent and well-read friend – he had, and has, far more culture and education than I ever did!  He was also an artist, I remember he was always painting, which was something I did not even approach until I was much, much older.
He has often “turned me on” to new artists that I knew little or nothing about; one of those would be the indomitable Richard Thompson – I remember that Michael was the one who first played Richard Thompson albums for me, and got me hooked on his amazing guitar playing – to the point where, alongside collecting his many solo albums, I then went to see him play multiple times at multiple gigs, including one very, very small, intimate acoustic gig (in a restaurant, no less) and once, I managed to see him with full electric band – and that was amazing.    I became a big, big fan for quite a number of years, and I still love and respect his music to this day.
I would have done none of those things – if it weren’t for Michael P. Dawson.  I would have no Marillion, and no Richard Thompson in my musical life.   He also introduced me to Gryphon, based on our shared love of Gentle Giant – so that added yet another brilliant branch of prog to my ever-expanding experience of progressive rock music.  He also introduced me to the music of Bi Kyo Ran, remarkable King-Crimson-cover-band-turned-professional-prog-band from Japan.
So even for adding those four amazing musicians / groups to my musical repertoire and experience (and it was many, many more than just those four!), just for that, I am forever in Michael’s debt.  He always knew the kind of thing that I would like, and he was always, forever saying “listen to THIS, listen to this guitar solo, here…” and I would be hooked once again, on a new musician that up until I’d met Michael, I knew nothing about.  He was a great friend in that way, he genuinely did not want me to miss out on these incredible listening experiences that he was having, he wanted to share the music, not keep it to himself – and for that, I am very grateful indeed – indebted!
I mentioned that Michael was generous.  One day, about 20 years ago, I was sitting at my day job, when a VERY large cardboard box arrived for me – and I was not expecting anything that I had ordered, so it was completely out of the blue – and upon opening it, I discovered that is was a Washburn Bass guitar – that Michael had just SENT to me, gratis – he was going to get rid of it, and rather than sell it; he’d remembered me saying that I wished I owned a bass – so he thought of me, and he very, very generously gave me his old bass!  I could not BELIEVE that – I had never had a friend, or known anyone as generous as that – he could have made money off of it, he could have sold it for cash – but instead, he remembered his old friend Dave – and Dave not ever having a bass guitar of any kind – and he just mailed it to me one day.
I didn’t expect it, and I had no way to reciprocate, all I could do was send an astonished THANK YOU THANK YOU THANK YOU note to Michael, and try to express what it meant to me to have a real bass to record with and play.  Many years later, when I was recording multi-track progressive rock tracks, I actually used “Michael’s Old Bass” as I call it, in the recording of several tracks – one of which is “Wettonizer” (a tribute to the late, great John Wetton) which was recorded back in about 2008 or 2009).  It’s actually, a really nice bass to play, and it’s short scale and easy to play neck really inspired me when it came to do the distorted bass solos in”Wettonizer” – and really, that song and the others that included the bass, possibly would not have been made, if it weren’t for the fact that Michael provided me with a bass to use and play. when he knew I did not have one.
That was such an incredibly surprising and generous act, which I never, ever forgot, and to this day, I have to smile when I look at that bass sitting in the corner of my studio – I do tend to use sampled basses now just for the speed and convenience, and also so I can get classic Fender or Rickenbacker tones – but if I wanted to do any real bass tracks – I would still absolutely, happily record them on “Michael’s Old Bass” – I mean, can you believe it – he just put it in a box, and sent it to me, from San Jose, California, to San Diego, where I lived back then.  And it then traveled with me, all the way to Scotland – where it lives now.
How often in your life, do you get a Bass Guitar in the mail?  If you have a friend like Michael Dawson, then the answer is, surprisingly – once.
[Meanwhile, back in the present day for a moment:]  Imagine my total surprise then, when, just a few days ago, a parcel arrived for me at home – and I recognised the handwriting on it immediately, and said to my wife – “that’s from Michael Dawson” and wondered aloud, what on earth has he sent me?? (even while, my brain was telling me “effects pedal, effects pedal…”) and in fact, what it was, indeed, was and is, an effects pedal – a lovely, mint condition, Earthquaker Devices Organizer pedal.
A week previously, on a Sunday, I had published my recent blog about watching guitar effect pedal demonstration videos.  In California, Michael read that blog of mine on a Sunday, and on the following Monday, packed up and shipped this effect pedal to me, and on the following Saturday, five days later – it arrived with the mail here in Scotland.
Now, I was utterly blown away when he gave me the Washburn bass, and no one else has ever just given me a musical instrument before.  But to receive what is basically, a brand new effects pedal (which when queried, he said he wasn’t using it, and he wanted someone to own it who would make good use of it – me) which is just the nicest thing – but it absolutely blows me away, that he would read an article about me lusting after these effects, and just to make me happy, just so I could then own an Earthquaker Devices-manufactured pedal – he pulls one out of thin air and ships it half-way around the world to me!!  That is so thoughtful, so good – I wish I were that generous and that thoughtful!
Unbelievable generosity, and an unbelievable kindness in the thought that “Dave would like this pedal – he could do something good with this” – that just blows me away, and, it’s not like we have been close of recent years, we exchange emails only occasionally, and as happens, we have led pretty separate lives – although we have always remained friends, and we have never fallen out – we’ve always been friends.  I would say, it had probably been a year or more since we had emailed, when this EQD pedal appeared again, totally out of the blue – which absolutely shocked me to the core – what a nice thing to do, what an amazing friend – what a great and kind act – to indulge my desire for endless effects pedals – wow, that is truly amazing.
But I don’t have any other friends that are that astonishingly generous, Michael is the only one who has consistently blown me away with his kindness, thoughtfulness, and his good, good heart – he’s just a good man, a nice chap, and I am proud to know him, proud to call him my friend, proud of him as a fellow musician – he’s a brilliant player – and I would also say, you should absolutely check out some of his music – he’s been sharing his own albums with me from early on, and he makes the most incredible music you have ever heard – you really must try it – it’s amazingly cool.  It’s mostly beyond my comprehension, Michael is a serious composer when compared to me, I just mess about with songs, and improvs, but Michael writes real music, serious music, and I have a huge respect for that.
A few years back, I released a live improv on the internet, which I believe featured energy bow guitar and music created with Brian Eno’s “Scape” application for the ipad. A few days after I released it, Michael released a video of himself, overdubbing a live flute solo and flute part, onto, on top of, my improv !!!
I was then able to share this with people as a collaborative effort (our first, since that attempt at a band – way, way back when) and I was and am, incredibly proud of that little improvised number – and to be honest, I absolutely prefer Michael’s version – to my own. The flute parts and solos that he plays, are just perfect for the improv, and I was so surprised and really pleased that Michael had done this.
That was yet another very kind thing, that he has done – the ultimate compliment, he must have liked the piece quite well if it inspired him to play the flute along with it, so by adding his live flute overdub, he was taking a decent piece of mine, and elevating it to a much, much higher level – I think it succeeds far better with his parts added, than it ever did by itself.  That is the power of Michael Dawson – adaptable, and very adept with a multitude of instruments – I wish I could play half as many different instruments as he does.
I would say that like so many musicians, that Michael is a “musician’s musician” – and I would encourage any of you that are musicians (or not, artists, or anyone, really!), to have a listen to any of Michael’s existing published works – he is a brilliant and intelligent composer, and he creates albums celebrating creatures and features of the natural world that have to be heard to be believed – he excels when it comes to synthesizers, which he often employs in his compositions, but he plays all manner of instruments, bass, electric guitar, acoustic guitar, flute, saxophone (in at least two different flavours) and a multitude of others too numerous to mention.
He is a remarkable and talented musician – and I believe, you can also hear him play live on the sort of “jam night” scene near where he lives – I believe he now sits in on saxophone or flute at these live, impromptu musical events.  I envy him that – I am currently not performing – so he is really fortunate to have that musical outlet available to him.
He is also a very creative person, I remember he played one of his new songs (and by that, I mean, what was a “new song”, thirty years ago 🙂 ) for me, and it had a most unusual sounding lead instrument, it sounded slightly Indian or eastern in some way, but I just could not place it, so I said “Michael, what is that instrument that you are playing the main melody with?” and he then revealed what it was – it was his flute – but played through extreme distortion – he’d played it through a fuzz box and it sounded truly out of this world.  So there is really no limit to the creativity that he employs when he creates his solo works, they are full of surprises and I don’t think you can find a more original, progressive, modern composer around – and if that isn’t enough, his love of the music of the late, great Frank Zappa is more than apparent when you hear many of Michael’s pieces – Zappa being the only artist that I could really comfortably compare Michael’s work too – he sounds like he listens to a lot of Zappa.
And that is probably, because he does.  I have always loved the music of Frank Zappa, but I have only ever put my toe into the water, whereas Michael jumped headfirst into the Zappa pool many, many years ago.  And that has paid off, and rubbed off, on the styles of music that he has created over the years – and you couldn’t really ask for a better influence – I’d love to be compared to, or even audibly / heavily influenced by,  Frank Zappa !
Michael turned me on to a whole world of new music, and that changed my life in a good way, and we shared a lot of musical experiences together, everything from just chilling and listening to records, or later, compact discs, to going to the occasional concert together.  His influence on me musically, over the last 35 years or so, has been immense, and I am grateful to him for enriching my musical life by sharing so openly from his vast library of recorded music.  In so very many ways, Michael is a really, really good friend to have – and good friends, they say, are hard to find, and I would imagine – even harder to keep, which is why I feel so blessed and fortunate to have a friend like Michael Dawson – he is one of a kind, a true gentleman, and I am proud to be able to say once again, “my good friend Michael Dawson” as I so often seem to find myself saying whenever I sit down to write about music.
I felt it was high time that he got the recognition he deserves, and this blog is a very public “thank you” to a true gentleman and musical scholar, Mr. Michael P. Dawson. Long may he reign over the flute solo in “Girl From Ipanema”; and any other pieces that he attempts, live or studio, on any instrument – just keep on jamming, Michael !!!
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“islands” and other extraordinary albums…

I came to the music of King Crimson in a fairly random way, I simply started buying their albums, without any knowledge of their running order, the players on the discs, or anything.

I think the first one I bought was “Red”, which I liked very, very much.  Then, it was “Larks Tongues In Aspic” which had a huge, huge impact on me…and then, I bought “Islands” – which I thought was absolutely terrific, but clearly, cut from a different cloth than my first two acquisitions.  After that, I have no idea what I bought, perhaps “USA” – because it was live – and that was another amazing disc – my gut feeling was, I like everything this band does (but everything this band does, is SO different) – from the remarkable and incredibly jazzy “Lizard” to the heavy prog of “Larks’ Tongues” and on up till the end – the live “USA” disk – strangely, with re-dubbed violins – we never really understood why that was.

Getting these remarkable discs out of order, willy-nilly, was probably as good a way as any to get into the band.  Because it arrived very early in the rotation, “Islands” got played a lot, and I took a huge liking to it’s very honest song craft, with that AMAZING saxophonist (Mel Collins, of course!) as a guitarist, I was allegedly getting into King Crimson because of their remarkable guitarist (Robert Fripp, of course!) but I found myself really liking the bands that played behind Fripp, and not knowing what was going on at all, I could recognise the funky combo that performed on “Islands” as a remarkable working unit – a real band, which was clearly, very, very different to the african percussion and ambient percussion present on “Larks’ Tongues” – I could tell that “Larks’ Tongues” was indeed, by a very different King Crimson than “Islands”.

 

Of course, as time went by, I began to read the history of the band, and began to understand who it was I was listening to, was it the original “King Crimson”; the Crimson of the Big Red Face, that only existed for a mere 11 months, or one of the strange hybrids that followed on “In The Wake of Poseidon” and “Lizard”, finally settling down to a working combo for “Islands”.

And I think like many Crimson fans, I did, in the main, favour the triumvirate of “Larks’ Tongues in Aspic”, “Starless & Bible Black” and “Red”, all with the well-known four piece of Bruford-Cross-Fripp-Wetton, and for “Lark’s Tongues”, it was slightly unique in that it featured a remarkable percussionist who left the band in the middle of their first tour, Jamie Muir.

Once you understand the chronology, it all starts to make some kind of sense, although it’s quite difficult to assimilate the “first four” or the “first five” if you add in the live, and very rare and “Import Only” “Earthbound” which I had to special order from a specialist shop to get.  By then, I had everything else – so “Earthbound” with it’s absolutely searing sax from Mel Collins on “21st Century Schizoid Man”, was the missing link between “the first four” the “last three”, if you will.

It’s interesting, I think, I always call it “the first ten” because that’s the classic package, of the band that existed roughly ftom 1969 thru 1974 and then called it quits.  But if you think about it, Fripp did an unusual thing – he book-ended the two different eras with a live album.

So you get the “first four”:

In The Court of the Crimson King

In The Wake of Poseidon

Lizard

Islands

followed by, with some difficulty, the live album

Earthbound

 

Then you get the “last three”:

Larks’ Tongues In Aspic

Starless & Bible Black

Red

followed by, with some difficulty, the live album

USA

It’s an odd pattern, to say the least. Four studio albums, one very rare and hard to obtain live album, three more studio albums, followed by a brilliant live album.

 

That’s my classic “first 10” and for many years, that was all we had – the only other live material available was on expensive and shoddy bootlegs, and you were never quite sure about the information on such records, was it really at that venue?  Was it really on that day?

Then, Fripp introduced the beautifully-covered “A Young Person’s Guide To King Crimson” which gave us a lot of answers, it had an amazing booklet in it, where every gig the band ever did was listed by city and date – so that became our Bible, the only reliable, Fripp-produced list of gigs – and it was a really nice compilation, too, containing a rare demo version of one of their earliest tracks, “I Talk To The Wind” that featured Fairport Convention vocalist Judy Dyble on vocals – who was at that time, the girlfriend of one Ian McDonald.

It was a lovely compilation otherwise, a beautiful piece of artwork, but musically it didn’t present anything much that was new – it was definitely a look back.

So I guess that is the eleventh disk of my “original ten” if you will.

Once King Crimson reformed a few times, and Fripp started releasing better-quality bootlegs of the band, the full picture of King Crimson came sharply into focus.  I could revel in any number of remarkable “Islands” bands shows, including one where they actually play the title track, something they very, very rarely ever did.  I could hear this very funky quintet (the firth member being lyricist Peter Sinfield, who operated the VCS3 from the soundboard) and Ian Wallace’s mighty VCS3-altered drum solo became a huge highlight of the tours.

The “Islands” band was literally a group that could play from a whisper to a scream, Mel would put away his saxes, and play the flute, ever so beautifully and gently, and vocalist Boz would sing lovely Crimson ballads from the first four albums with real intent – I love his live performances of these classics such as “Lady of the Dancing Water” or “Cadence and Cascade” – Fripp disavows them, he felt that Boz was not a good singer for the quiet pieces; but that he excelled on the rocking ones – my own opinion was the exact opposite, I’m afraid.  Sure, I love to hear this band roar through “Schizoid Man” or “Pictures Of A City” as much as the next guy, but when they turned down, and Fripp consulted his personal dictionary of tasty jazz guitar chords – Boz could do no wrong, if you ask me.

So after only having “Earthbound” to represent the music of the “Islands” band, for many, many years, it was a huge deal to suddenly be able to either buy CDs of their live shows, and / or downloads – a huge deal, because the limited view of what they were capable of “live” given to us by “Earthbound” could finally be laid to rest, and we learned very quickly that this band was a stomping, kicking beast of a rocker, but it was also capable of incredible, gentle beauty, as found in the two quiet tracks I mention above, along with rarities like the live version of “Islands” itself, which is an incredibly brilliant rendition of a truly beautiful song, and features even better guitar than on the studio version.  Why they removed it from the running order so quickly, I will never understand, because it was so incredibly beautiful.

I would, at a guess, think that it might have been an issue with having just two mellotrons to try and recreate the orchestral mood of the studio track, but I think they do a splendid job, with an improved guitar part, and a great vocal from Boz, too.  Again – RF has said that Boz “did not convince” on the ballads – but I do disagree, I think he had a beautiful voice for both rock and ballads alike, and that his voice was a godsend – he was the perfect lead singer for that band.

In any case, they may have stopped playing “Islands” live after just a few attempts at it, but they did continue to play ballads at almost every show, and some of those recordings are incredibly beautiful – because Fripp carries the tracks with his incredible, concise guitar arrangements, while Mel just plays really beautiful flute solos and the rhythm section plays quietly and accurately – it’s really about Fripp’s guitar and Boz’s vocal (and bass playing too, I should add).

So if you do get a chance to pick up some of the live CDs by this band, I highly recommend that you find ones that include a ballad.

Back in 1978, or whenever it was – out of an entirely random series of purchases, I would buy a new Crimson record each week, I somehow fell in love with “Islands” because, perhaps, it was so, so strange, with the incredibly jet-lagged guitar solo from “Ladies of the Road” to Fripp’s vibrant harmonium playing on the title track.  This album also includes one song that the band never did perform live, because it was an orchestral piece written by Fripp to serve as an instrumental introduction to the final piece on the album, the title track – so what you hear is first, “The Song of the Gulls” which is orchestral/instrumental, followed by the vocal piece “Islands” which, I should add, contains one of Peter Sinfield’s most beautiful lyrics ever – I love all of his lyrics on “the first four” – but I have a special place in my heart for the lyrics to the “Islands” album in general, and the song “Islands” in particular – it’s truly beautiful imagery, and Boz’ gentle, quiet delivery makes the lyrics hit home so hard, just really gently and beautifully sung – there’s no other song quite like it in the Crimson canon.

It is, after all, the end of an era, because Earthbound, while it does have an outrageous version of “21st Century Schizoid Man” on it, is somewhat of a disappointment – it’s not in my top ten concerts by the “Islands” band.

I think it must have been an almost random selection, let’s just pick an “average” show, one of those ones where Mel is really kicking ass – and that’s what they did.

But – there is a lot more depth and beauty to be found, if you explore the world of live shows now available from this band – in particular, I recommend the earliest shows, where they have literally just come from the studio, and the songs much more, resemble the album versions, whilst over time, they began to stray wildly from the original forms, so if you want to experience the truest approximation of a perfect Islands band live show – stick with the earliest shows – the double CD at Brighton springs to mind as a good one, but you really can’t go wrong.

Even “Earthbound” has it’s positive moments.

For me, it was really, really nice to see King Crimson not once, but three times on their most recent tour of Britain and Europe, and to see that thanks no doubt to the ministrations of young Jakko Jakszyk, that Robert has indeed, made his peace with this record that at one point, he didn’t want to think about or look at every again.

So much so, that they now play two tracks from the record live, which is an astonishing and almost impossible feat – I couldn’t believe my own luck, I was not only going to see King Crimson play repertoire from across their career(s) but I was going to hear them play two songs from Islands as well – “Sailor’s Tale” and “The Letters” – and for me, that really felt like full closure – both Ian Wallace and Boz Burell have passed away, but Fripp in this way remembers them – and brings their amazing music to King Crimson fans via the 2015 incarnation of the band.  I think that is absolutely brilliant!  And the other player from the Islands band – is IN the new band, and it’s so, so lovely to hear Robert and Mel playing together again – Mel is an incredibly gifted player, and having him in the band has been absolutely brilliant.

I think that everyone knows and loves “In The Court Of The Crimson King” but then after that, doesn’t really know how to form an opinion of the band that made those next three records – “In The Wake”, “Lizard” and “Island” – each with different singers, different musicians, where only Fripp is the constant.

If we set aside the legendary first incarnation of King Crimson, and look at what happened afterwards – how the band changed in the studio – but that last incarnation, with Boz being taught how to play bass bv rote by Robert – he was originally just their singer – they couldn’t find a bass player – so he became the bass player! – they got it right, and the album they made, in 1971, still stands up today as an odd masterpiece of jazzy, blowing prog like no other.  if you are not familiar with “Islands” – I cannot recommend it more highly – in some ways, it’s my favourite King Crimson album.

It moves between so many moods, the lyrics are outstanding, there are great guitar parts and guitar solos, there are great sax and flute solos – the combination of Robert Fripp and Mel Collins, both of them mellotron-playing soloists – was a very dangerous one, and one that created a remarkable record with an incredible edge – “Islands”.  The record then travels through chaos until you reach the last two tracks on side two, when peace and beauty are restored in an incredible way – a truly gorgeous way.

 

 

 

“Islands hold hands, ‘neath heaven’s seas…..”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

King Crimson – Tivoli Vredenburg, Utrecht, Holland – 20150924

For the third and final of our “three of a perfect pair” (see how I did that – effortlessly!) we went slightly further afield, and for me, seeing King Crimson playing on European soil, in Holland, in 2015 – was not only very, very surreal, but it brings a nice sense of closure for me over time. Three gigs, in three countries, and for us, in many ways, the Tivoli show was the best.

I never saw the 1969, 1971 or 1972-1974 King Crimson line-ups, for me, I started out with another “three of a perfect pair”, all which took place in San Diego, California (where I lived at the time) during the first half of the 1980s:

November 22, 1981 – UCSD Gymnasium, University Of San Diego Campus

August 10, 1982 – Fox Theatre, San Diego

June 8, 1984 – SDSU Ampitheatre, San Diego State University

(eleven years pass)

then, as a sort of strange Crimson interlude, I saw a pair of live performance by the redoubtable “double trio” during the mid-90s:

June 28 1995 – Symphony Hall, San Diego, CA

July 30, 1996 – Summer Pops Bowl Park (where finally, I got to hear “Schizoid Man” live at last!!).

(a non-descript outdoor venue where I handed out flyers to the concert-goers for Mark – and in return, got a DGM T -shirt!).

(nineteen years pass)

which then brings us to the three current 2015 shows we’ve just completed, with the September 24th, 2015 performance in Utrecht still ringing in my ears…

this show was different in a number of very significant ways, from the two UK shows we’d seen on September 14th and 17th, and we found it very enjoyable because we were much farther back in the venue, this time, up pretty high in the stalls, but it’s a beautifully-built , steep-seated theatre – so no matter how high up you are, you aren’t really that far away from the stage.

but, that actually meant that we could hear the band better, and. hear the bass a bit better, and the overall sound mix was “best” for us, out of the three shows:

September 14, 2015 – Symphony Hall,  Birmingham, England

September 17, 2015 – Usher Hall, Edinburgh, Scotland

September 24, 2015 – Tivoli Vredenburg, Utrecht, Holland

but I am getting ahead of myself…

the Utrecht show began as all shows did, with the eiree, dissonant Robert Fripp Soundscape playing for perhaps fifteen minutes prior to show time; people were slowly finding their seats in the lovely, intimate theatre which was apparently bereft of any staff whatsoever, since there were no ushers of any kind in sight. we found our seats well ahead of time, but as we approached the later European start time of 20:00, a curious thing happened.

the Soundscape faded down briefly.  Then, a lone spotlight picked out RF’s “Lunar Module” rack mount rig and empty guitar stool, the theatre dark save for the strangely lit “Fripp” area.  Then the Soundscape returned, up to full volume again…and another wait of perhaps ten minutes this time (all the while, with that oddly lit Fripp guitar stool and guitar kit still bathed in that bright, bright spotlight), ending when the band finally emerged onto the stage.  This strange combination of Soundscape and the spotlight on the work area of the band’s leader, seemed to be saying something, but I wasn’t quite sure what.  Perhaps “this is where Soundscapes come from”, I don’t know.

so this was a bit of a different start to the show, the UK shows started earlier (at 19:30) and were a bit more on time, here in Utrecht, we started at a more Continental hour, and the band were a bit fashionably late. From our bird’s eye viewpoint this time, we could see well and hear the band really well indeed, and sonically, this show was the clear winner of the three shows we attended – they sounded fantastic.

the set opener remains unchanged, and as I never dreamed I would ever, ever, in a million years, see King Crimson playing “Larks’ Tongues In Aspic, Part I” live, hearing it for the third and final time for this year (this MONTH!!) was something that I really enjoyed, the new arrangement is fantastic and I particularly like the drum parts and the way the two guitars divided up the work, a fantastic song and it just keeps getting better each time.  to a lesser extent than previously, we still had some difficulty at some times, in hearing Tony’s bass or stick, but apparently this is a fairly common issue at all of the shows (or so I have heard, anyway).

it could simply be the placement of the two lines, front and back, and the front line is quite loud….so that may well make things difficult for poor Tony, located as he is with four fairly loud objects encircling him: Mel, Pat, Bill and Jakko.

that may be part of the problem, or it could just be that Pat’s drum kit simply overpowers the bass from time to time, I am not really certain why the level of the bass does seem to be an ongoing issue – we noted it at all three venues we saw shows at, but it had definitely improved by he time we reached Utrecht. From high up, and this time, we were on Fripp’s side of the stage – things sounded good.

at Birmingham (Sept 14th), we were on the left side, sort of in front of Mel and Pat but off to the left; in Edinburgh (Sept. 17th), we were in the fourth row directly in front of Pat, so being both on the far opposite side, and being both “back” and “up”, meant that the Utrecht (Sept. 24th) show sounded different.  There was noticeably more Gavin Harrison in our mix. And we could hear Robert more clearly, being on his side of the stage. And Jakko, too.  The “guitars” mix was better, too.

so it was actually a blessing, getting “bad seats” (actually, it was such a nice theatre, there really was no such thing) – we’d been too close to the band at the other two shows – well, not “too close”, it still sounded amazing, but, we did get a clarity at Utrecht that we didn’t experience during the other two shows.

when “LTIA Part I” came to an end, we got our first surprise: a changed-up set list, so here, in second position, came the very powerful “Level 5” – in the section of the concert where new material normally appeared. this change made me really happy as it meant that this set would not be the same as the two shows we’d previously seen.

then things really took a new turn, in the form of the title track of “a scarcity of miracles” – which I enjoyed immensely, it was totally unexpected; Jakko was in fine voice, and it was nice to see Robert playing quite a bit of keyboard, taking his keyboard duties as seriously as his most difficult lead guitar solo.  the last time I saw Robert Fripp playing a keyboard was in 1981, where he did a bit of keyboard for “Sartori In Tangiers” or some such 80s tune in a live setting.

I really didn’t expect to hear any tracks from the “Scarcity Of Miracles” album, and of course it’s also a great showcase for Mel, too, who sounded great on the track.

once that surprising song choice ended, the “new music” section could finally begin, so we got “Meltdown” and what I think was “Hellhounds Of Krim” – I still don’t have a handle on what the percussion-based pieces are called – but I do prefer “Meltdown” now, to the now-absent “Suitable Grounds For The Blues”, so of those two non-percussion based new songs, we got the one I prefer – so more good luck for me.

then the set returned to something that more resembled the sets we’d seen, with a lively “Pictures Of A City” (featuring more amazing work from Mel of course) which was then followed by the fantastic new arrangement of “The Construction Of Light” – which I love, especially the final flute solo from Mel – I don’t know why, but I really like that part.

I should note here the remarkable talent of Jakko, who learned the interlocking “Fripp and Belew” guitar parts flawlessly, and this is especially notable on “The Construction Of Light” (and on “Level 5”,  etc.) – it’s concise, precise, correct and beautiful, too…Jakko is a natural, and the incredible range of guitar parts he is required to play, from picked mock-acoustic guitar on the 1969 tracks, to the precision interlocking parts of something like “The Construction Of Light” from 2000, or to the uproarious and wonderful guitar parts on the two tracks from 1971’s “Islands”…Jakko nails them all. He makes it look easy!!

speaking of the 1969 tracks, next up comes the first of the three (from the first album) that they often do now in 2015, “Epitaph” and this is yet another piece where Jakko truly stands out; a good vocal, carefully picked mock acoustic guitar while singing lead vocal…he knows these songs so, so well, and sings them as if the spirit of Greg Lake was inhabiting him.

I think that the first ten King Crimson albums are some of Jakko’s favourite music, much of which he learned some years back for the 21st Century Schizoid Band (who performed much of the same early repertoire as the 2015 KC does), he takes the twin tasks of singing the vocal, and playing the guitar parts note-perfect and tone-perfect too (I couldn’t believe the lengths he went to, in the 21st Century Schizoid Band, to play every Fripp note, chord or even special effect, as accuraviewedtely as humanly possible) – an astonishing performance then, and even more amazing now he is in the “real” King Crimson.

I think that Jakko does really well on all of the material, but he really seems to live and breathe the songs from the first four albums (except Lizard, from which they don’t seem to perform any tracks currently) so when he sings something like “Pictures Of A City” or “21st Century Schizoid Man”, or, indeed, “Epitaph” or “The Court Of The Crimson King” – I think he really feels it from the heart. It’s clear to me that he truly, truly loves this music.

the very solemn “Epitaph” then gives way to Gavin Harrison’s lovely little ditty “Banshee Legs Bell Hassle” which makes for a wonderful, cheerful bridging piece to the next Musical Great Leap Forward – “Easy Money” , which is always a high point in these concerts. It’s a chance for the whole band to shine, Mel has invented some great sax parts for it, Jakko sings the original lyric rather than the “USA” or “naughty” version, and Pat turns up with some of the original sounds from the original recording, such as the laugh box that he “plays” at the end. they really do a great job of re-creating the unique sonic atmosphere of this classic 1973 track…I love hearing “Easy Money” live, I can’t get enough of it really, it’s always over far too quickly.

Fripp does take a remarkable solo during “Easy Money”, using a great vintage Fripp tone dialled in on his trusty Axe-FX II effects unit, and I was privileged to see and hear him approach that solo on three different occasions, and this one was fantastic as always, a wonderful, nostalgic 1973 style lead guitar solo with cracked Wah and distortion to the fore.

from here on out, the show just hits highlight after highlight, this is really my favourite part of the show, and the next two tracks are probably my favourites, the melodramatic “The Letters” which features Fripp playing an ungainly but wonderful guitar part, a solo atop Mel‘s rollicking saxes, followed by the absolutely sublime live performance of “Sailor’s Tale”, a great instrumental featuring Mel Collins on screaming impossible sax solo, with Jakko and Robert locked in on their long, sustained notes in perfect twinned guitar harmonies.

oddly, both Pat and Gavin fall completely silent during most of this track, leave Bill Rieflin (ex-Ministry) to handle the drum part on his own; only rejoining him when he has to switch to mellotron for the ending section. Somehow, having just Bill playing drums on this, made it sound right – it just worked best with one kit – and they realised that – and I really admire that decision.  I admired Pat and Gavin for being absolutely silent and motionless during most of this piece. Two fantastic vintage “Islands”-era Crimson songs played in incredibly accurate detail, with an absolutely swinging drum and cymbal part from Bill – he really nails (the late) Ian Wallace’s drum part.

did I mention Jakko’s impassioned reading of the lyrics for “The Letters”, he really sings “The Letters” so, so beautifully, it’s such a tragic tale, beautifully sung right up to the fantastic lyric “impaled on nails of ice…and wait for emerald fire”…which eventually leads him to the final, utterly a capella stanzas.  A roar of applause greets him when his lone voice finally falls silent with “…I take my leave of mortal flesh”.  Shivers.

I often think that Jakko gets a bit short-changed here; he is alternately viewed as, usurping Adrian Belew’s “rightful place” in King Crimson (is there such a thing, for anyone except Robert himself?? I don’t think so!) or not doing justice to a certain vocalist, or whatever – but, if you think about it, the expectation that rides on this young man’s shoulders is considerable:  he has to sing like Greg Lake, he has to sing like Boz, he has to sing like John Wetton, and he has to play guitar like Robert Fripp. All four things, of which he does, without issue, without fuss – he just does it – and I think he is a remarkable, under-appreciated part of the band.  Huge expectations – and Jakko delivers, night after night after night.  He is a brilliant guitarist, too – he’s the “other Fripp” in the band 🙂

with the two amazing songs from “Islands” now done, at this juncture in the concert, I had no idea what to expect.  Would they just do the typical “last three” and be away, or what?  I didn’t have long to wait to find out, as the crashing riff and insanely-clever triple drum threat arrangements of “One More Red Nightmare” began. What a treat, too, to finally “see” just exactly how Gavin worked out the drum parts, and to see the amazing co-ordination between the three drummers on this song from 1974’s “Red” album.

this song holds fond memories for me,as I used to play and sing it, in one of my bands (Pyramid) when I was about 21 or so. the slow sections that modulate between either an E Minor To D motif, or, move up to a G minor based section, were brilliantly executed, with Mel’s snarling saxes over the two guitars…and finally, the whole band hits that opening riff hard, the triple drummers out do themselves once again, and one of the most amazing tracks of the night is over.

I was personally ecstatic that they included this song in Utrecht, it really made the set so special for me…I got my cake and ate it too, I got a different set from Birmingham or Edinburgh; I got “One More Red Nightmare” without giving up my two precious “Islands” songs.  Perfection – an inspired variation of set list.

and thence, following immediately, the beautiful “Starless”, with Mel Collins and Robert Fripp sharing that thick, liquid melodic line so perfectly, Mel in particular has clearly studied the recording incredibly well, but together they just sound so excellent on this track.  Fripp bends those notes so, so precisely this time, a great vocal from Jakko, this song works so well, too, with the triple drummers.  Tony gets a real workout, as well, playing the lead bass part for the last two-thirds of the song, until the fast bit at the end, which resolves at last into that amazing Fripp / Collins melodic conclusion – so, so beautiful!!

the Dutch crowd were very responsive indeed, I’d say they even gave the Scottish crowd in Edinburgh a run for their money, but both Scottish and Dutch were much louder and more demonstrative than the audience at Birmingham was.

A long, long, loud round of applause erupted at the conclusion of “Starless”, followed by rhythmic clapping eventually brought the band back for the two final numbers, another finger-picking exercise for Jakko in the form of “The Court Of The Crimson King” which also features the Michael Giles-channelling Pat doing his very damnedest to break his drum heads with the ferocity and speed of his drum rolling – such a powerhouse of a performer, Pat absolutely propels the final section of this song into a kind of drummer’s stratosphere.

meanwhile, Robert’s subtle, reverbed lead guitar, was so so lovely, working perfectly with Jakko’s mock acoustic guitar, and the vocal, too: “the yellow jester does not play, but gently pulls the strings…” Cue RF, gently bending between one half step and another, as if in answer to the lyric’s meaning, his guitar on this was just perfectly done, sounding very, very much like the original.

finally, it’s the end, which means it’s time for “21st Century Schizoid Man” 2015-style. Jakko sings the lyric like a man possessed, even dragging a little bit of actual melody out at the end of each spat-out line…an almost-melodic “….century schizoid man….” For me, this is one of the most altered arrangements, and it took me awhile to realise that actually, there is no real lead guitar “solo” at any point. RF does play a wonderfully convoluted descending guitar lead that walks right down to Mel’s solo (which doesn’t last long enough to become a solo) – and Mel just owns the song from there on out.

the band of course, all join together for the “precision part” which goes without incident, and then, the final verse, the final chorus…the wild ending that suddenly stops in dead silence…and the show is over.

the Dutch crowd is on their feet cheering and once again, the applause is long and loud, as the band take their final bows and are away down the stairs…and out into the cool night of Holland.

my first ever concert in Holland, but, the last of three King Crimson shows for September, 2015 – this is a month that I will not forget any time soon!!! The quality of musicianship on display, from all seven gentlemen in the band, is simply extraordinary; the selection of songs, mind-boggling in their quality and diversity; the overall effect is simple one of wonder, you are left wondering where else music could possibly go, from what you just heard…

the melodies stay with you for days.  you find yourself singing “Easy Money” or “Starless”, all the time, or you hear the choppy chords and mellotrons from “The Court Of The Crimson King” in your head – this music stays with you, for days and days, you find yourself playing your “Red” and “Larks’ Tongues In Aspic” albums over and over again.

its now been five days since the concert, and I can still hear huge chunks of the show in my head when I think about it.

and…I’m still singing “starless and…bible black…” and then I close my eyes and wait for Robert and Mel to come in with that unforgettable melody.  sigh.

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

 

 

 

 

universe of sound (the komplete world)

after forty-odd years in the music business, we decided at the start of this new year, that we would acquire a software suite called komplete 9 ultimate for use at the pureambient studio. the software comes from a remarkable german company called “native instruments”, who are truly the masters of sampling technology – and a few other things, too –

 

KOMPLETE 9 ULTIMATE – OVERVIEW & PRE-APOLOGY

 

this acquisition was intended to fill a few glaring omissions in our capabilities, such as proper strings, horns, basses, percussion, and so on, as well as providing the main elements for extending the classical music that we began releasing last year on the eternal album “classical”. this tool will allow for a speedier construction of classical pieces, rather than relying on the more piecemeal approach used on my first piece of classical music, “concerto no. 1 in e minor for oboe and guitar” – which was constructed almost line by line, using nothing but a guitar synthesizer.

 

as well as supporting classical music over the coming years, komplete 9 ultimate is also a natural for, and is eminently suited for, the production of music for films, which is another area that we hope to expand into over the coming years. this acquisition also bolsters the worlds of ambient music, as well as pop, rock, funk, jazz, and countless others – it’s hugely supporting in all genres, especially ambient.

 

we’ve only been using it for a short while, but already, we can see the enormous potential that this software suite has for adding quality sounds to the pieces that we create here.   and, it’s infinitely expandable, too, native instruments have purchased third party sound libraries and bundled them into komplete 9 ultimate, but you can also purchase other third party programs which you can play using komplete 9 ultimate “kontakt” sample player. so we will also be looking to acquire some of the best ambient libraries, which will also greatly expand our capability.

 

before I speak more specifically about what komplete 9 ultimate can do musically, I’d like to apologise to all early adopters and those who own komplete 9 ultimate or “kontakt” or both, I freely admit I am an absolute novice, I’ve been studying the suite in detail, learning the processes, slowly, over the past few weeks, and I do have a basic understanding in principle for most of what can be done with komplete 9 ultimate.   forgive me in advance if I say anything that shows just what a rookie I am at this, or I otherwise put my foot in my mouth – learning something like this can be a somewhat slow and painful process, even more painful when you are no longer young as I am. and – komplete 9 ultimate users – feel free to jump in and correct me, or offer advice or expand on anything I mention here – we are all of us learning at all times…and it’s best to share such knowledge freely.

 

my friend and collaborator ken mistove, my partner in saffron matted voids (the band), is a long time “komplete” user (I am talking about really long time – ten years! – and he has been doing electronic / digital music for longer still), and he warned me that I would be overwhelmed by this program – and, he could not have been more correct. in fact, weeks after it’s arrival, I continue to find more and more incredibly well-thought-out functionality, as well as becoming familiar with the synthesizers and the sample content. and it is almost totally overwhelming – it seems, almost, as if there is nothing this device cannot do…everywhere I turn, everywhere I look, I find something else that makes my jaw drop…

 

 

 

KOMPLETE 9 ULTIMATE – THOSE AMAZING SYNTHESIZERS

 

[ULTIMATE INDEED!]

 

 

so – where do I begin?   well, when it came down to it, even though I was incredibly excited about the sample library, and the sample player (which allows multiple instances of many, many instruments in one session – I had fourteen instruments loaded into a session yesterday, and the software coped beautifully) – it was the synthesizers that I gravitated to initially – because, perhaps, I knew they would be easy to set up and use – familiar. before we purchased komplete 9 ultimate, I had read in detail about the synths, so I couldn’t wait to hear them in person – and I was right about the ease of set up and ease of use: within seconds, I was up and running with “absynth”, a personal favourite synth that seems to favour ambient and atmospheric sounds.

 

but “absynth” is a drop in the bucket, a handful of stars in this incredible universe of sound, and while it features hundreds and hundreds of truly beautiful preset sounds, it’s just one of nine synthesizer models built into komplete. the entire list of available synths looks like this:

 

  • absynth
  • fm8
  • massive
  • monark
  • razor
  • skanner xt
  • reaktor (modular synth system – containing many synths)
  • reaktor prism
  • reaktor spark
  • retro machines (which contains no less than 20 classic synthesizer instruments within)

 

so far, I’ve only truly managed to hear and use five of these synths, absynth, fm8, massive, reaktor prism, and retro machines, but even so, I’ve been utterly impressed with the build quality and the amazing attention to detail – this is precision german engineering like we used to have back in the 60s and 70s!

 

I have created a few test pieces in absynth (consequentially falling in love with it); I created an entire suite of 23 pieces using the fm8 synthesizer dave stafford – music for pcs: komplete synths”, I’ve created one very complex ambient piece (which is incredibly atmospheric) using massive “wanders down to the sea”, and for fun, I’ve played some of the classic organs, electric pianos, etc. in “retro machines” – “synths within a synth” which is a strange way of working, but I am getting used to it 🙂

 

in every case, the attention to detail, and the extremely fine level of control over sound in every one of these synths, has been overwhelming and most, most welcome. I have a lot of soft synths, but this collection of nine software synths kind of…blows away the competition, and as my friend ken mistove also said: “you will never need to buy another instrument” – and I can already see the truth in that.

 

while I might not “need” to, of course, there will still be some cases where I will “want” to – I am especially interested in some of the available third party ambient sample libraries, but that will have to wait – in the meantime, I have an awful lot to learn and trial just with the komplete 9 ultimate package itself.

 

after my initial very positive experience of playing and using “absynth”, I moved on to “massive”, and I decided to lay out and record a track using four instances of “massive”, each set to a different sound – and I then did a somewhat clever arrangement where I muted sections of each track, to allow other parts to shine through, creating a sort of ever-changing mood – a dark mood, with the sound of wind and seagulls crying and a vision of a bleak, grey storm-tossed day – again, I was amazed at how quickly and easily I could set up four instances in my host (my somewhat antiquated SONAR 8.5) and it coped beautifully – no problem.

 

I also created a short ambient piece within “reaktor”, using the “reaktor prism” synth; a portion of this track remains, entitled “fragment of a lonely molecule” – a truly beautiful sounding synth, which I plan to revisit often and use much, much more…

 

encouraged by the success of “wanders down to the sea” in “massive”, I then turned my attention to “fm8”, in which I created a whole series of tracks (“the rings of saturn”) from “dave stafford – music for pcs: komplete synths”, as well as some arranged “suites” where I took a set of smaller files and mixed them into long, linear sequences – providing a blended view of the basic tracks, as opposed to the individual view of each piece.

 

a few hours later, I realised I had created no less than 23 tracks using “fm8”, and I am so enamoured of this synth, it has a lot of great, visceral sounds, and a lot of charming, melodic, or dissonant, or strangely jazzy, arpeggiators, and the sheer range of voices available within fm8 is mind-boggling. It was a fun session, and as such, I made the decision to create two eternal albums for komplete: one for “komplete synths” (LINK) and one for komplete samples (LINK).   These have both been up and running for a couple of months now, and while the “komplete synths” album has a reasonable number of tracks, I’ve been very slow to create using the “samples” – but, I will get there, I will – I just need time! 🙂

 

the 23 tracks made with “fm8” and the one piece made with “massive” “wanders down to the sea”, are all uploaded to the “dave stafford – music for pcs: komplete synths” eternal album. I plan on working with each of the synths in turn, and uploading the results, so you can hear what each one of these remarkable sound creation tools can do. If I have my way, by the end of this year, the “komplete synths” eternal album, will have dozens of tracks made with a myriad number of available synths – and I hope I can just keep creating and creating – those are 9 amazing synths, each a master of the domain it covers, and I can’t wait to create more music with all of them – the synthesizers built-in to komplete 9 ultimate are absolutely brilliant!

 

THE HIDDEN GEM WITHIN KOMPLETE 9 ULTIMATE – GUITAR RIG 5

before I continue on to the samples section, I must not forget to mention one of the biggest selling points of komplete 9 ultimate, for me, which is the presence of “guitar rig 5 pro” – I had been underwhelmed by an earlier version of guitar rig, which I got bundled with SONAR, “guitar rig 3”, so I’ve now uninstalled that and I am using “guitar rig 5 pro” instead.

 

what a difference. the preset library is vastly improved, and the range of effects, and the flexibility provided in setting them up in the rack, are simply astonishing – to me, this is one of the most important pieces of guitar software to come along. so after working with the synths, purely for fun, I recorded a handful of pieces using “guitar rig 5 pro” – and I am more than impressed with the sound quality and the presets – it’s an awesome and powerful guitar amp and speaker cabinet emulator, and it has a huge range of high quality guitar effects as well. a couple of these pieces may see the light of day, but they were mostly for reference, and just a way of trialling certain patches and sounds.

 

this is now to the point, since “guitar rig 5 pro” is clearly superior to many guitar processing devices in both the hardware AND the software arena – I am at the point, where I can now happily retire my ailing “line 6 x3 live” hardware pedalboard guitar effects processor, which is now basically redundant (it has served me very well since 2008, but it’s now time to be retired at long last).

 

because I can pretty much re-create every sound in the line 6 using “guitar rig 5 pro” instead, and more – so that’s actually a blessing – no more effects on the floor (although I will always have my faithful “output chain” of hardware effects, harmonizer, delay, reverb at the end of my signal chain) I believe I will now use “guitar rig 5” for most of my guitar sounds, and anything it can’t handle, I can program into my gr-55 guitar synth – so guitars, and guitar signal processing – are covered! and I mean…covered.

 

it’s always very difficult, because over time, you have various tools that you use to record guitar or synths with, and eventually, better tools come along. and, you can run both old and new, that’s not an issue, if you want to – but my preference is to keep effects units down to a dull roar – so I am going to TRY to retire the line 6 x3 live – I mean, it is six years old, which in dog years, is, I don’t know, 70 years or something – and technology has moved along SO FAR since the X3 Live was designed…

 

so for the first week of my fledgling native instruments life, I learned about the synthesizers and I learned how to run “guitar rig 5 pro” – and that was a huge amount to learn, but, I have the basics down, and I can rely on both the set of nine included synthesizers (plus 20 more vintage instruments within “retro machines mk II”) and the extremely impressive “guitar rig 5 pro” interface. I could have gone on working with the synths and guitar rig for weeks and weeks, but I wanted then to shift gears and look at the sampling capabilities of “komplete”.

 

SAMPLING – THE HEART AND SOUL OF KOMPLETE ULTRA

[REAL INSTRUMENT SOUNDS – AT LAST!]

 

the list of sample-based instruments is even more impressive than the list of synthesizers:

 

  • kontakt – the main user interface / sample player for all sampled instruments:

 

kontakt is a very powerful environment, that allows you to load multiple instruments (built by native instruments, and many other vendors as well), which can then be routed either each to their own output (for maximum recording flexibility) or they can be routed to various stereo or mono sub-mixes – really, whatever your heart desires. you can save overall “presets” in kontakt itself, so if you hit upon a winning combination, say, “abbey road drums 1960s” and “scar-bee rickenbacker bass” and “guitar rig 5” you can save that configuration, including whatever output configurations you have, as well as the specific settings of each device – to a kontakt “preset” – for easy recall / re-use..

 

another positive aspect of the kontakt sample player is it’s ability to play not just native instrument plug-in instruments, but also, instruments made by third party vendors such as soniccouture, waves, scar-bee, g-force, and many, many others.

 

each instrument that is loaded into your kontakt session, also has a page for it’s settings, where you can choose instrument presets, adjusting the sound of the instrument until you are happy with it – then, you save your changes – then, you save your kontakt preset – and all of the instrument settings are saved as part of your “overall” kontakt saved preset – fantastic. so you can create very complex presets, that contain your favourite instruments, set just the way you want them, which can be recalled instantly in any combination – it’s absolutely outstanding.

 

here is the seemingly never-ending list of sampled instruments that come with komplete 9 ultimate.

 

  • action strings
  • session horns
  • damage (industrial and orchestral, cinematic drums and percussion)
  • evolve
  • session strings pro
  • evolve mutations
  • evolve mutations 2
  • battery 4
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa (a personal favourite)
  • balinese gamelan (another personal favourite)
  • maschine drum selection
  • scarbee rickenbacker bass
  • guitar rig 5 pro
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • rammfire
  • scarbee jay-bass
  • the giant
  • vintage organs
  • alicia’s keys
  • george duke soul treasures
  • scarbee a-200 electric piano
  • scarbee mark I electric piano
  • scarbee clavinet/pianet
  • berlin concert grand piano
  • new york concert grand piano
  • vienna concert grand piano
  • upright piano

 

bear in mind that each one of the above instruments, has a broad range of “presets” giving you as many different optional sounds for each instrument as is possible, “muted”, “picked”, “fingered”, and so on – so it’s not just a “rickenbacker bass” – it’s a rickenbacker bass that can be configured from anything such as a very timid, high pitched highly eq’d clean bass sound, to various much louder presets that emulate different sounds that this bass is capable of, and that includes both DI and “amped” sounds, so you get an enormous range of flexibility with every instrument listed above!

 

as explained elsewhere, those settings can be saved as part of a kontakt “preset”, so you could have one set up with a super clean, thin sounding Ricky bass, and another with a very distorted Ricky played through an emulated British amp – two EXTREMELY different “bass guitar” sounds from the same instrument.

 

In the classical world, the options are of course, much different to the options for a rock instrument, so for violins, you would have a huge range of various playing styles or articulations, legato, staccato, pizzicato, and so on – and just about any kind of articulation you can imagine, including some rather obscure ones, and also, it’s incredible to get these precision articulations, and of course, as with all quality samplers, there are also extreme velocity choices, so that you can emulate the velocity that you would apply to the real instrument, on the keys of your keyboard instead. all of these options are on every instrument where they exist, although some instruments may have just a handful of possible presets or articulations, others may have dozens – maximum real-life playability issues have been addressed as much as humanly possible.

 

 

…not to mention a massive range of high quality software effects and audio processing tools included in komplete 9 ultimate:

 

  • solid EQ
  • solid bus compressor
  • solid dynamincs stereo compressor
  • rc-48 reverb
  • rc-24 reverb
  • vari comp compressor
  • enhanced EQ Equaliser
  • passive EQ Equaliser
  • transient master Equaliser
  • driver distortion unit
  • VC76 FET compressor/limiter
  • VC2A electro-optical compressor/limiter
  • VC160 drum compressor
  • the finger – live performance and remix tool
  • the mouth – generates melodies and harmonies from any audio input
  • reflecktor high performance reverb effect

 

 

for full details, have a look at the product page on the native instruments site:

and here is the effects page on the native instruments site:

 

 

my first foray into the world of sampled instruments was a piece I created using various sampled elements, entitled “the giant’s causeway”, which contains three sections:

 

1)     “the giant prelude” features “the giant” cinematic instrument (a cinematic / orchestrator / ambient piano kind of sample set) – I played one take, which was best, and that became “the giant prelude” – perfection.

 

2)     “allegro in a minor” features “action strings” (which include moving passages of strings created with an “animator” function – which is truly awe inspiring)

 

3)     “giants on the causeway” following, the third and final section of the piece; features a manually played drum part;/ the scarbee “rickenbacker bass”; and a truly beautiful flute and strings mellotron sample, plus a short solo on a vintage organ.

 

“the giant” instrument just blew me away, I did a take one take of a sort of reverse piano strings/unknown kind of sample, and it came out totally usable – in one take!!! I will absolutely be revisiting this instrument, and I could see creating large, ambient compositions using JUST this instrument.

 

once “the giant” section was recorded, I added in the “action strings” instrument, and spent quite some time writing and laying out a short violin quartet piece in the key of a minor. note: this is where the “staff” view in SONAR becomes invaluable!) while short in duration, the SOUND is amazing, it sounds so incredibly real (because, let’s face it – it IS real!) because of the use of the strings animator – which gives you real “sections” or “passages” of bowed strings – in a significant number of styles, legato, staccato, pizzicato and more. this section took me a while to complete, but eventually, I did finish it to my satisfaction.

 

the third part of this unfinished piece was a rickenbacker bass line, set against some manually played drums, finished off with a live mellotron take, flutes and strings – plus a short solo on a vintage organ – and I have to say, the scarbee rickenbacker samples are out of this world – there’s even a “british” setting which gives you a roaring live distorted chris squire sound that just blows you away. even on the clean settings, this instrument screams “I am an authentic ricky bass” – and the distorted scarbee bass part just SOUNDS amazing…

 

this piece remains unfinished, but I always considered it as a test piece, a learning curve, a learning tool, a learning experience. I did rough mixes, and kept the three sections separately as demos, but I don’t believe that this piece will be published, but if it does, it would definitely be “the giant” piece, possibly the string quartet, and doubtful, probably NOT the rickenbacker section…which SOUNDS great (especially the distorted ricky bass line!), but wasn’t (necessarily) a great piece of music…

 

so “the giant’s causeway” went onto the shelf, however, since it was my very first piece (beyond playing a few synths) – proper piece – done with komplete – I was happy enough with it. I learned…

 

I will very, very probably attempt the piece again; I would retain the original part one, since it’s a live, take one, that is basically flawless, I would rebuild and expand the string section, and completely revamp the “prog trio” of drums, bass and mellotron/organ at the end. so – I am keeping the shelved demo as a reference…for now.

 

I then turned to an instrument that I was very, very curious about, “west africa” – I lived in east africa for four years, and learned to appreciate african music back then (especially congolese music) so having high quality samples of african instruments was a very exciting prospect to me.

 

I first constructed a “duet” of two koras; one, playing midi patterns emulating a rhythmic picking cycle, and another kora, where I played melodies “free hand” on top of the moving background. I did two takes, both of which I enjoy, but since I am not entirely happy with the melodic content on either (although the second take is actually quite good) I have also shelved those – and since then, much more recently, I sat down again with the kora duet template, and create a third piece, another kora duet, entitled “the heart of africa” – and this take, I think is quite decent – and I thoroughly enjoyed working with these amazing sounds.

 

I plan to practice on all of the west african instruments, and I hope to arrange more complex pieces of music involving west african drums, flutes and stringed instruments…a side project that will keep me busy for years! I would never have dreamed that I would have a sideline in african music one day – but I will, because I love african music, and the more I work on it, the better I will get at emulating it…

 

after the two shelved kora duets, which were followed very recently by the successful kora duet, I then turned to my first use of “multi” instruments, and, with the invaluable assistance of ken mistove, I eventually learned and understood how to create multiple instruments within a single instance of kontakt – and once I “got” that, I could sit down and attempt a full on piece of sampled music.

 

I randomly selected a preset “multi” instrument from the evolve mutations instrument, and it proceeded to load 12 instruments that created one of the most atmospheric, eerie “drum kits” I have ever heard.

 

it took a couple of tries, but eventually, I got a good quality drum track, and then I turned to the other instruments. a proper bass part was in order, so I loaded up the scarbee pre-bass (amped version) and got a nice, full bass sound – recorded a bass part to go with the drum part – and again, very impressed with the scarbee instruments, they seem to do a very good job of getting the authentic sound of classic instruments sampled to perfection – the “pre” bass (i.e. based on the classic fender precision bass guitar) is another one that is of the highest quality, as the scarbee rickenbacker bass samples are as well – Native Instruments has scooped up two fantastic bass instruments from scarbee, and it’s a great acquisition – I hope they adopt more scar-bee products, I really do.

 

finally, I worked at overlaying a section of grand piano, courtesy of the “george duke soul treasures” instrument, an absolutely stunning set of riffs recorded on grand piano, electric piano, organ and other keyboards – and all simply classic – great sounding samples!

 

in this case, I actually reached the maximum possible number of instrument that can be crammed into one “kontakt” session – so once again, familiar theme emerging…I abandoned the piece unfinished – again. in order to complete it, I will need to mix down the drums and bass together from the unfinished session, and move to a new session to overdub many george duke piano samples atop the pre-mixed (bounced) bass and drums – and at that moment, I didn’t feel like going through that process.

 

instead, I set it aside, and I moved on to my next test piece, my next “komplete” learning experience.   I wanted very much to try the “session horns”, so I built a short introductory piece, entitled “softly, softly we go”, which featured a group of horns, in a nice reverb room, with a “soft” instrument setting, playing a mock classical theme – a lovely sound, and as far as it goes – a good intro or lead-in piece to some larger production.

 

to follow the horn intro, I wanted a drum track, using the abbey road 60s drummer (because I wanted to learn how to compose drum tracks) so using this instrument, I built a nice long drum part, with various sections, and some fancy fills, and I have to say, although completely unadorned, it’s one of my best pieces yet.

 

finally, I sat down and re-made my kora duet, creating a much better backing track, and, hopefully, performing better melodic lead parts atop the pattern generator rhythms.   that, “the heart of africa”, and my unadorned abbey road 1960s drum part, is where I am right now with sampled instruments – and using kontakt to create drum parts, using the abbey road 60s drummer – could not have been easier – in short order, I had the process down, to where I could build an intelligent, varied and interesting drum part quite quickly – the whole thing took less than an hour.

 

but – the piece remains unfinished, again, I have kept two separate demos, one of “softly, softly we go” – my gentle, quiet horn intro – and another of the untitled-so- it’s-called “abbey road drums 1960s” aka “run into town – run 1” for reference, I hope to probably re-make the horn part, make it more concise, and create more space in it, and of course, I then need to decide what goes on top of my beautiful, recorded in abbey road studio no. 2 drums. sigh… (note: eventually, of course, a Rickenbacker bass part went on top of the drum part – and then, a host of live energy bow guitars…),

I also had an absolute blast doing a bass solo with the scarbee Rickenbacker bass instrument, “amber waves of grain” – over 10 minutes of sheer Rickenbacker tone.

another aspect of komplete 9 ultimate is the undeniable fact that it is making certain instruments and software, no longer useful, it is literally making them redundant – as komplete can do the job more easily, with better samples, with a mature GUI (kontakt) than earlier third party apps can, or, better than older hardware effects can L.

 

so in this case, for example, while I will probably install my old drum machine software, which is called “BFD2” (this was utilised heavily during the making of “gone native”), I will only do so, so I can see and use the drum kits / samples it contains – which I would use via kontakt within komplete – NOT through the much more difficult to learn, and use, BFD GUI.

 

in a way, I really don’t NEED BFD any more, because I have several sampled kits from abbey road studios, plus, I have “battery 4” and a few other percussion based instruments – there is functionality and samples far beyond what BFD offers. so as I say, I would still use their kits (which sound great) but not their interface J.

 

so, if I am honest, komplete has made the following software and hardware items redundant:

 

redundant software:

 

bfd2 drum machine software + sonar’s session drummer 3 drum machine software – replaced by:

 

  • damage (industrial and orchestral, cinematic drums and percussion)
  • battery 4 (massive drum machine / sample player, with many, many drum kits)
  • abbey road vintage drummer
  • abbey road 60s drummer
  • abbey road 70s drummer
  • abbey road 80s drummer
  • abbey road modern drummer
  • studio drummer
  • west africa
  • balinese gamelan
  • maschine drum selection

 

note: both bfd2 and session drummer 3 are still available to use, either by using their kits from komplete / kontact, or by using their own GUIs if desired – but, not sure I would ever use either again given the list above.

 

redundant hardware:

 

 

line 6 “x3 live” guitar effects pedalboard – replaced by: guitar rig 5 pro, plus, sampled guitars and basses:

 

  • guitar rig 5 pro
  • rammfire
  • scarbee rickenbacker bass
  • scarbee funk guitarist
  • scarbee mm-bass and mm-bass amped
  • scarbee pre-bass and pre-bass amped
  • scarbee jay-bass

 

 

 

“digitech” TSR24-S hardware 24 bit reverb unit – replaced by:

 

  • rc-48 reverb
  • rc-24 reverb
  • reflecktor high performance reverb effect
  • galbarnum breeze 2C reverb (reverb plug-in for SONAR) – additional reverb choice “outside” of komplete itself
  • all four of these reverbs can be “called” from within SONAR, so it’s very, very useful to have access to these high quality effects, even for improving content that was not created in komplete 🙂

 

plus

 

  • eventide “space” hardware reverb – this is part of a permanent installation of three hardware four hardware effects that sit at the “end” of my mixer output chain – so, the final stereo output of the mixer, goes directly to these four hardware plug ins, and THEN to the sound card.

 

I’ve learned over time, that certain effects sound best in “front” (so just after the guitar, as part of your mix, occupying two or three stereo pairs on the mixer) while other effects work best “after” the mixer (such as pitch units, delay units, and absolutely, reverb units).

 

so, reluctant as I am to do so, it’s probably time to retire the “digitech”, and rely on the three high quality reverb units within komplete 9 ultimate – as well as galbanum’s 2c “breeze” reverb software – which in itself, was and is probably a replacement for the ancient tired “digitech” rack mount 24 bit reverb, not to mention the eventide “space”, which again, in itself, is probably a replacement / improvement over the digitech.

 

In a perfect world, I’d love to just run everything, and in some respects, I have been doing so, I’ve certainly kept a number of hardware devices running that I have replaced several times over – so I have to bite the bullet now, and actually remove the older, noisier technology, and whether I will or not, it seems that software synths and software effects are gradually taking over my set up, which is actually not unwelcome, and I hope that this summer, when the studio is moving, I can re-arrange the studio to support a less-hardware dependent sonic environment.

 

Purchasing komplete 9 ultimate gives us a lot of that software, bleeding edge software synths and effects, awesome high quality samples, and other factors, such as the emergence of very sophisticated applications for the ipad tablet and also, for the PC. In future, I will probably end up using a very hybrid system, were some tracks are created on the ipad (and eventually, too, mastered and mixed – tools have emerged…), and then moved into komplete, and then mastered and mixed in SONAR and/or komplete and/or Adobe Audition (where I do a lot of my simpler mastering now). The fact that I can do these processes in multiple “places” gives us an enormous amount of choice, it’s absolutely fantastic what can be accomplished.

 

Other tracks would be created wholly on the PC, using PC software only to create, master, and mix them.   Still others would involve the use of “real” instruments, guitar, synthesizer, keyboard, kaoss pad, percussion, etc. which can be processed through software packages such as “guitar rig 5” and also, the studio quality effects within komplete 9 ultimate. The RC-24 and RC-48 reverb units are especially absolutely lovely, they sound great, and I am really enjoying them.

 

The appearance of a massive army of music applications on the apple ipad, has changed forever the way I make music. Over the past few months, I’ve been scoring classical, acoustic guitar, and alternative music using a notation application called “notion” – and I can see myself exporting tracks from notion, and then importing them into komplete, to add the highest quality sampled instruments to the basic instrumentation created by my original score on the ipad.

 

I will absolutely be using a combination of pieces:

 

  • music created wholly on the iPad (which WILL include guitar and loop work, not just synthesizers – thanks to some truly quality guitar applications such as BIAS, Ampkit+, and GuitarTone)

 

  • music created using the ipad and my guitar or guitar synth

 

 

  • music created entirely on the PC, not utilising any ipad applications, the kaoss pad, or any “physical instruments” such as guitar or bass

 

  • music created using the ipad, the korg kaossilator, my guitar or guitar synth, bass guitar, live keyboards courtesy of various software synths, and anything else I can throw into the mix

 

(I call this last one the “all instruments” set up – it allows me to use, in a completely live setting, guitar, keyboards, kaoss pad, ipad, and of course, a lot of effects units, including loopers). The looper captures the live performance, and the output of the looper is optionally run through the pitch pedal, the delay, and the reverb (my standard set of output live hardware effects pedals), and finally recorded in SONAR.

 

The arrival of application-based music meant that my record-keeping was really thrown askew, because you can create so much amazing music so quickly with applications, I realised early on, I would need a special forum to create them in, so before things got out of hand, I split my recorded music collection into two distinct areas:

 

Music Dave Stafford – the traditional home of most traditional recordings, anything involving real guitars, real basses, real keyboards, and looping thereof – which may also include the occasional ipad or kaoss pad in a guest starring role – they are not banned, it’s just this is the home of more traditional instrumentation.

 

App-Based Dave Stafford – there is a folder for each app, containing both sessions and finished product, I am so glad I did this now, because now whenever I complete any piece in an app, I have a specific place to store it, from which to upload to Bandcamp, or Soundcloud, or to my website – or for whatever purpose I need it for.

 

This means that any very hybrid music, that crosses over between these two broad categories, I’ve chosen to move that kind of music into the “Music Dave Stafford” folder, because it contains the real instruments, which is really the main characteristic of the music in this folder – the presence of real instruments, played in real time or looped.

 

The arrangement is working well so far, I am not surprised by how many app folders I already have, and as time goes on, there will just be more and more, but I think that’s brilliant – and the emergence of more and more sophisticated application music creation tools, is almost irreversibly moving me more towards app-based music – my next eternal album is focussed on one of my more recent app acquisitions – the iVCS3 , a perfect replica of the 1969 beast of a synth that powered the sound of early roxy music and early king crimson – one of the first truly sophisticated modular synths, and the application version is uncanny for it’s realism – it’s a fantastic, primitive, visceral, wonderful device that spits and fires, drones and warbles, and has a fantastic set of pre-sets, too – including the famous never-ending synth pattern of the Who’s “Baba O’Riley” – and it’s very, very odd to hear that playing on your ipad, from an emulation of the device it was originally created on!   The makers have included the Who session as a preset – amazing!

 

I’ve been playing the iVCS3 recently, and I have recorded a number of tracks, which while not quite ambient, I am happy enough to give them the name “drones” – so, some elements of ambient, then, but, some other, harsher elements too.

 

I believe I recorded about a dozen tracks, a few of which turned out to be somewhat substandard (clearly a beginner with the device, you can’t win them all!) but I believe that about eight tracks have survived and are some cracking representations of what this amazing synthesizer is capable of. I’ve mastered three of the tracks, and I hope to work on the rest this weekend, with a view to get the album posted before Monday – that’s my hope, difficult to say if I really will make that date – I shall try.

 

The pieces recorded are simply remarkable, no thanks to me, my involvement is minimal, but, I did need to be involved, it’s strange, in that when you “play” the iVCS3, you don’t often really use the keys, you more often use the knobs to create variation of a running theme. I was very intent on getting some excellent tracks out of the device, so I very, very carefully and very gingerly turned knobs, until I understood what each one did…and then I felt free enough to really experiment, so I really branched out on the last few numbers, which were all longer-running pieces, one of them extending to over ten minutes.

 

So I have momentarily, turned away from working with komplete, but that’ not to say I have stopped, in any way – it’s my intent to work with komplete as much as my schedule with allow me – and my first goal, is to take a complete bass and drum track, that I did a lot of work on, and see if I can create a proggy version of it, complete with precision prog guitaring – that is my goal for this piece. So komplete is waiting for me, and as soon as I get back to it, you can expect a slow but constant stream of music, of many, many kinds and styles, to be built with the remarkable toolset available within komplete 9 ultimate – an awe-inspiring piece of music software that if you had told me about it 20 years ago, I would not have believed you, I would have said it was impossible for such a thing to exist, on a computer…

 

But – exist it does – and we really wanted to step up a bit, and have the capacity and ability to create a much, much broader range of sounds than we previously had available – and the nine synths and the many, many sampled instruments within Komplete, gives us just that! And – the future – there are many amazing instruments available that will run in Kontakt, so we do plan to pick up some of them over time – the first acquisition will be a very special tool, meant to bolster the ambient sampling capability of the studio – soniccouture’s remarkable “geosonics” instrument.

 

This remarkable third-party instrument, which runs in kontakt without issue, manufactured by soniccouture, is comprised of four different musical “sections”, each one representing a season, and many of the sounds have been sampled from nature, all over the world, and compiled into this unique instrument – and some of the “combinations” of sounds they have created are truly remarkable. So I have “geosonics” on my wish list…and I also have a large number of other third party instruments that I would love to add to my sample player set up 🙂

 

In any case, I cannot recommend native instruments highly enough; who have patiently worked on kontakt, reaktor, and all the instruments that plug into them; and Guitar Rig, one of the most amazing software guitar processing packages I have ever seen –and their choice of subcontractors, i.e. companies that have created unique and very special instruments, which native instruments have added to their product offering to make it more attractive. That includes but is not necessarily limited to Soniccouture (whose “gamelan” instrument is included in komplete 9 ultimate – one of my favourite instruments so far – have a listen to my gamelan-created track “bird of paradise”), Scarbee, who make the amazing “rickenbacker bass” instrument (and several other bass and guitar emulations, too!) – which you can hear on “run into town – run 1” or “run into town – run 2”– that thing is just so amazing sounding, completely authentic, and when you couple it with a high quality sampled drum track, it sounds completely real – because of course, it IS completely real.

 

That…is the beauty of sampled instruments. They are real ! Therefore…they SOUND real.   Which is a good thing 🙂

 

on the road to red…

Impressions, feelings, memories. a journey made by my favourite band of all time – King Crimson – across the USA and Canada – ending in some professionally recorded gigs and ultimately, to that final gig, on July 1, 1974, in New York’s Central Park – the end of an era – the end of the original King Crimson which had existed in one form or another since 1969.

Ten very diverse albums, embracing prog, jazz, rock and musics in between; countless tours, one of the most road-tested bands of all time – and in many cases, Fripp, the band leader, would work in reverse: instead of recording an album and then going out and playing it, he would “rehearse” the band by going on the road, and then once the songs were worked in, then it’s time to record them – a wonderful way of working, a method which gave us “Starless and Bible Black” – a studio album that is mostly live.

The Road To Red” if you haven’t heard, is Fripp’s latest “attack on culture”: simply, it’s as many of the 1974 live shows, from the US/Canadian tour, that could be eked out of whatever tapes existed, brought together on 21 CDs for your listening pleasure (yes, I said 21) – if you have a few days free to listen!  It’s an impressive feat, and actually, given that some of the source tapes are dodgy bootleg cassettes, the set as a whole is extremely listenable, because, the occasional lapse in sound quality aside, this band was on fire – they went out each night to try and change the world, just a little bit – and every night, they were rewarded with something memorable.

now, we are reaping that same reward, but with the added time, these performances seem even more extraordinary – this was a band with a particular musical vision, and they stuck to that vision – night after night.

It’s not all perfect – things happen, as Robert once said “a foot slips on a volume pedal…” but it’s pretty damn consistent, and given that they were using not one but two of that most temperamental of instruments, the mellotron, it’s amazing that things didn’t break down more than they do.

There are no surprises here in terms of musicianship, except perhaps how very effective David Cross could be with his extremely distorted electric piano, or in occasional quiet moments, on the violin, there is almost no need to describe just how incredibly well the rhythm section play on this set, it’s an object lesson in power and precision, the Bill Bruford / John Wetton team, topped with the amazing guitar histrionics of Mr. Robert Fripp himself – soloing with passion, power and even humour – there is one moment during “Easy Money” where Fripp tries to get Wetton to laugh, and it’s there in almost every take of the track, Wetton trying to sing but instead, listening to and laughing out loud at whatever silly riff Robert has inserted into “Easy Money” on this particular night.

I said there were no surprises here, but what I mean by that is that there are no surprises that these four players play so, so well, individually, and as a unit, but, there ARE surprises, sometimes, something will happen one night that doesn’t happen on any other night.  Perhaps it’s the guitar solo in “Lament”, which may sound much the same from night to night until one night, when Fripp decides it’s time to try something completely different, and holds one note for ages as the start of his “solo” – and then plays a blinder that is nothing like previous “Lament” solos. The next night – back to the “normal” solo.

Or, Robert might decide that tonight, the guitar solo for “Easy Money” is going to be done double time, and when he comes in with said solo, the ferocity, the determination, is truly awe-inspiring – the band are very comfortable with these tracks, and they don’t mind deviating from the script – in fact, it’s positively encouraged – and from night to night, each of the four will change up their parts, just for the sheer joy of seeing what might happen…

And sometimes, what happens is remarkable.  There are some truly beautiful renditions of King Crimson classics here, and it’s especially gratifying to have so many versions of “Fracture” and “Starless” to luxuriate in – personally, I can’t get enough of either track.

For me, too, often, it’s the “Improvs” that make these shows truly interesting, where the band goes completely off-script, and sometimes, the results are truly inspirational – stunning, loud, fast, amazing, slow, beautiful, peaceful – these improvs can be almost anything, and it’s fantastic that the band includes them in every show – they break up the sets beautifully, often providing a springboard in or out of one of the pieces in the set list.

Maybe the best anecdote that sums up the professionalism, the camaraderie, the teamwork, of King Crimson Mark 3, as Fripp calls this band – is the story of the “John Wetton Save”.  This occurs early on in the set, near the end of one of the versions of “The Night Watch”.  The piece is nearly done, Fripp is on his own, playing the short, repeating mellotron chordal section that leads up to the final violin melody, which then leads to the song’s end.

Fripp is playing away, the revolving mellotron part, when the band all seem to realise that there is no violin coming in (apparently, it had broken down completely) so what happens next is astonishing: Fripp decides to play the part a second time, so another few bars of music go by, when once again, the moment has come for when the violin solo should come in.

But what happens instead is, we hear John Wetton playing the violin melody as a bass solo, with feeling, playing it note perfect, slowly, deliberately, as if it were MEANT to be a bass solo (even though it’s NOT a part he is required to know – somehow, he knows it!) which then brought the band to the end of the piece perfectly – without missing a beat – and a successful conclusion, sans violin, to a beautiful piece of music. 

And – it’s a bonus, it’s the ONLY time you will hear Wetton playing that particular melody anywhere on record – it was a demand of the moment, an equipment failure causing an unscheduled bass solo emulating a missing violin solo…brilliant !!  It could only happen in King Crimson, and it’s to Wetton’s credit that he picked up that melody so quickly and perfectly – saving the day and rescuing our distressed violinist.

I could sit here and write about each disc of this set, exhaustively, pointing out certain gems and certain gaffes (not too many of those, actually) but I think it’s best if I just keep this concise and say, if you like King Crimson live, you could do a lot worse than to pick up this beautiful box set, which comes with all kinds of goodies, a huge booklet featuring the good Sid Smith; excerpts from Fripp’s diary, photographs, and various facsimile lyric sheets and so on – a really, really nice package, which also includes a treasure-trove of DVD and blu-ray material.

Another nice feature of this set is the fact that five of the shows were recorded professionally, multi-track, so that means those five shows can be presented in extra pristine sound quality versions.  You even get two different mixes of one of those shows – the Asbury Park show – one mix from Robert Fripp, Tony Arnold and David Singleton, the other, from Ronan Chris Murphy.

The presence of the high quality recordings near the end of the set nicely balances out some of the less high fidelity moments earlier on, so you actually end up with increasingly better sound quality as the set goes along (with the exception of the final Central Park concert, where we sadly, must return to a cassette source).

That’s a bonus you don’t get in most live series, professionally recorded shows – but this was intentional, and all of the material for the official live King Crimson record of the day, “USA”, is culled from those shows.  So really, this record might have been called “The Road To Red And USA” but I guess that doesn’t really have the same ring to it!

Disc 21 is the culmination of the “road” – a new 2013 mix of the studio album “Red” which followed this tour – mixed by the unstoppable Steven Wilson. So you get to hear the live shows that lead up to the recording of “Red”, so you can feel the energy that was in the band when they went to make that record.  It’s no wonder that the studio version of “Starless” is so incredible, being built on the back of these live performances – that is proof that the rehearse-on-the-road method really works when it needs to.

For a fan like me, ordering this was an absolute no-brainer, yes, I did have a few of these shows already, but this brings them all together in perfect chronological order, so it’s nice to have them all in one set.  Some of this material was released on the most excellent “Great Deceiver” set (but, only in part) and others were variously, DGM CDs or DGM downloads – but, to be fair, there is also a fair amount of previously unreleased material, which makes it an absolute “must have” for the voracious King Crimson fans – of which, I am admittedly one.

This set rocks, I’ve sat for the last two days, playing disc after disc, hearing the band get better and better at the tunes, and hearing the improvs develop – and I can tell you, the conclusion of “Starless” night after night, does not get ANY less beautiful or inspiring, it’s just incredibly beautiful, and Fripp’s final lead solo at the very end of the song, is soaring, searing and intensely, intensely beautiful – that one note just rings and rings…and then fades away as the mellotrons also fade.  it’s starless…and bible black.

I am surprised, I would have thought that after about ten discs, I would be getting tired of hearing “Lament” or “The Talking Drum” over and over and over again, but I absolutely do not, because interesting things happen – different things happen from night to night, show to show, venue to venue, and it’s fabulous hearing the band experimenting, trying out new ideas, as they tour across North America.

Then, finally, July 1, 1974, live in Central Park – the great Crimson beast of 1969-1974 was finally laid to rest – the last live show ever by this line-up, and the continuous series of various “King Crimson’s” finally brought to an end – and at that time, of course, we didn’t know that Crimson would indeed re-emerge, re-built from the ground up, in 1981 – but for us, suddenly in 1974 to find that Crimson was no more! – this final line-up was probably the best line-up, it’s arguable either way, many cite the 1969 line-up that only existed for 11 months as the “best”, or, this final quartet that worked for about 18 months (from 1973 through half of 1974) – I am not counting the 1972 – 1973 period when they were a quintet with Jamie Muir.

I think that this band had a better chance to really work out their repertoire, and they actually had material that stretched from Larks’ Tongues through “Starless and Bible Black” – two full albums (and, two of their most adventurous, complex, mature works from which to draw on) – plus, they played old worlde Crimson pieces such as “Cat Food”, “Peace – A Theme” or “21st Century Schizoid Man” – and, also, odd unreleased tracks such as the illustrious “Doctor Diamond” which was never recorded in the studio (I think).

It was great fun, for example, hearing Wetton tackle the vocal to “Cat Food” – that is really something (not found on “The Road To Red”, but available on earlier live recordings) – and this band’s take on “Schizoid Man” is not to be taken lightly.  “Schizoid Man” isn’t played at every gig on “The Road To Red” but when it is – you notice 🙂

I am staggered, though, just listening to a randomly selected version of Fracture, first, at the complexity and maturity of Fripp’s biggest challenge to himself (of the time) – and second, at the world class, incredible fuzz bass and loud distorted bass and beautiful soft bass that John Wetton plays during “Fracture”.  Yes, what Bruford and Cross do in “Fracture” is very important, I am not downplaying that – but what Wetton does with this piece, you can hear him, hanging on for dear life, trying to follow Fripp on his cosmic guitar journey – and then that bass solo at the end – it’s fracking impossible – he rips it off like it’s nothing – and then right back into that climbing coda.

All four players have their moments, and all of them can solo like four houses on fire, but for me, this set gives you John Wetton, one of the most powerful bassists in rock music, in all his glory – loud, belligerent, confident, capable, subtle, and always, always present, always in the moment.

I don’t feel like I can really critique the guitar playing of Robert Fripp, occasionally, equipment gets the better of him, there’s one awkward silence where something goes wrong and he actually stops playing for a few seconds – but then, consummate professional, comes back in as if nothing had happened.  Some guitarists have criticised his tone, his endless distortion through wah pedals and so on – but I really put any such problems down to the equipment of the time – and really, with Fripp, you aren’t there to hear a bitchin’ tone, you are there to hear him play.  And play – he does.  With blinding speed, with innovative ideas, with surprising and strange note selections – always questing, always pushing the limits, and it’s a joy to hear him work his way through this amazing catalogue of music on the live stage – absolute genius at work.

Not meaning to ignore the good drummer – to me, this tour just shows what an incredibly good decision it was to quit Yes and join King Crimson – to me, Bruford was BORN to play drums with John Wetton – and there has never, ever to my mind, been a better pairing.  They just work perfectly together, and no need for more than that.  The perfect rhythm section, which made things much easier for Cross and Fripp, the two soloists – because they know they can depend on the Wetton-Bruford powerhouse – which can also transform into the most delicate, beautiful sounding accompanying bass and percussionist imaginable, and on some of the very pastoral, violin-led improvs, where Wetton and Bruford are both playing so carefully and gently – you can’t really believe it’s the same band that had just been belting out “21st Century Schizoid Man” at full volume four minutes beforehand !

But there it is – a band capable of great dynamic range, from a whisper to a scream – and I love both of those bands – the quiet, gentle melodic King Crimson, and the hard rocking, jamming, improvising King Crimson.

You will find both aplenty on The Road To Red.

Available in fine music shops everywhere.

leave it to robert fripp

leave it to robert fripp.  only fripp could do this.

since 1968, robert fripp has produced some of the most consistently challenging, musically advanced work of the modern age of rock music.  musicians have marvelled at his guitar playing in a huge range of very different settings: as de facto leader and muse of the great king crimson; as tape-recorder experimenter buddy of the remarkable brian eno; as the guitar-sparring partner of andy summers; as the leader of an amazing 1980 “dance band” called “the league of gentlemen”; as the secret weapon of david bowie on various tracks from the “berlin years”…the list goes on and on, fripp’s own solo records, many of which feature him on “soundscapes”, meaning, fripp, a guitar, and whatever guitar / looping system he has on at that moment, to the remarkable “exposure” (in it’s many, many guises) with it’s many, many singers and crop of amazing songs…the list just goes on and on…even in the strange late 60’s trio “giles, giles, and fripp” – robert fripp played a lot of really very remarkable guitar on the band’s odd records – their one official release, and the more recent and very interesting “the brondesbury tapes”…

…fripp was also the onboard lead guitarist (remarkably, sharing that role with michael brook) in the absolutely underrated “sylvian / fripp” (as the name hints, a collaboration between fripp and japan leader david sylvian) – and the even more obscure yet fascinating “sunday all over the world” – fripp’s first of two bands that feature his wife, toyah wilcox, on vocals…and all the while, many, many versions of “king crimson” would form and dissolve, form and dissolve…

some of these releases, are “division one” releases, large scale, well marketed, well received – others, more low key, or “division two” releases, but no less significant for that.  it didn’t matter how much or how little media fanfare accompanied any particular fripp or fripp-related release; you knew, if a new album came out from robert fripp, say, entitled “a blessing of tears” – that it was going to be good – really good.  over time, based on your very real experience – you recognise that works by this artist, are generally, works of great quality.

and somewhere amidst all of this work, amidst all of these remarkable and interesting collaborations, amidst the ongoing work with king crimson – the most incredible, most astonishing release of all appeared, with no fanfare whatsoever – and I am not really sure just how many people know about it.

this is what fripp has done – he’s released a masterwork, a really, really important work – one of the earliest examples of the use of looping on stage – with almost no fanfare whatsoever.  to my mind, that’s similar to miles davis releasing “sketches of spain” but not mentioning it to anyone; just letting a few fans discover it, but not really bothering to acknowledge that it’s a key work in his canon – one of the best albums he ever produced.

THAT is what fripp has done – basically, he has released the best (guitar) album he has ever done, bar none, without really mentioning it to anyone !

I was late to it – I found out about it by accident, months after it was released.  I immediately downloaded it, all of it, and set out to listen to it.  thirteen hours later – I was still reeling from the shock of just how perfect, just how beautiful, just how intense, this amazing release truly is.

I am speaking, of course, about the frippertronics tour of europe, which kicked off on may 7, 1979 in amsterdam and completed in madrid on june 1, 1979 (although no recording exists for that show – the last recorded show being the may 29th show from zurich, switzerland – we think) and these 15 long, live frippertronics looping performances – are simply staggering in their scope, diversity and incredible beauty. overpowering beauty, musical intensity of a kind you rarely, rarely ever get to hear or witness – loop music as it was in the beginning. (and shall be, looping without end, amen, forever).

leave it to robert fripp to release 15 mind-bogglingly good shows of live frippertronics, after allowing them to sit, unreleased for decades – all that time – I had assumed that the tapes did not exist, were not viable, or had just been lost or forgotten – but, they were handed to alex mundy, dgm’s resident necromancer, and alex has lovingly restored the solos to the loops, the lectures to the looping…  there are a few remaining bits of robert’s spoken portions, in one or two of these shows, but this is mostly just guitar, guitar and more guitar – heaven for someone like myself – as it was seeing fripp play at tower records that made me want to become a looper – which I did, about a decade later – and I’ve never stopped since.

I was lucky enough to witness a live frippertronics show myself, on the US leg of the tour later that year (and I am hoping that this will eventually be released, assuming at least part of it does… 🙂 at a tower records store in san diego, california where I lived at the time, so I had a very personal interest in hearing the first live performances, in europe, of frippertronics – a tape-based looping system developed with the help of fripp’s friend and musical partner, brian eno.  I was also fortunate enough to see a “lecture” at mandeville auditorium at UCSD in 1983, which turned out to be…a frippertronics show – this time, as we entered the hall, robert was already looping…amazing.  I’ve just noticed that DGM have that show in their download archives, so that’s one I will definitely download…sigh.  but anyway, returning to the earlier, european version of frippertronics…

the set up was straightforward: two full-sized revox tape decks, with a large space between them, and a long piece of tape (the “tape loop”) running between the two machines; a black gibson les paul guitar, and a very small, minimal guitar pedal board – amplifier and speaker cabinets – that was the entire thing, but the one ingredient that really brought this “small, intelligent unit” to life, was it’s creator and operator: robert fripp himself.

with only an astonishingly short “four to six seconds” of loop time available to him via the revoxes; fripp was able to use his knowledge of music, counterpoint, and harmony to introduce notes, phrases or even “pickup selector switch switching sounds”, into the loop in the appropriate way as to build up pieces that were alternately serene, terrifying, beautiful, or very, very dissonant.  most of the frippertronics loops are on the serene, beautiful side; with the occasional leap over to the dark side, and some of those “dark” loops are some of the best performances here.

but, whether you prefer the heavenly, melodic, beautiful waves of sound that robert often performed, or if you prefer the dark, dissonant, disturbing pieces he sometimes favoured – there is something for everyone in this 15-show set.  I love all of these loops, dark, light, and every musical shade in between, and the beauty of the loops themselves, is set off wonderfully by the confident, high-speed, accurate solos that fripp almost casually layers over the top of the loops.

he is so confident, so accurate, that it’s almost miraculous to behold – and there are a lot of surprises – notes you don’t expect; sudden endings you don’t expect, and so on…it’s quite surprising sometimes.  a sudden, very loud low note will, out of nowhere, underpin what was moments before, a lovely, high-pitched floating cloud of beautiful looped guitar…

that dark, powerful note overwhelms and overtakes the lovely floating cloud; turning light to dark momentarily, but perhaps, allowing for a different kind of overlaid solo to then occur. fripp steers the compositions where he wants to; altering the running loop on the fly to change it’s character; and then launching into another impossibly fast crimson-esque guitar solo – you could just about hear the wheels turning in fripp’s head, it all comes out – every idea, every doubling of a note, every harmony, every intentionally dissonant harmony – it’s all to plan, and that plan is executed with frightening precision and overwhelming confidence – the power of robert fripp, lead guitarist, is absolutely laid bare on this series of live, loop and solo recordings.

as a looper myself, albeit with about 10 years’ less experience than fripp, I can speak first hand to just how difficult it is to loop with only a four second loop!  four seconds is a very, very short space of time in music. one of my first digital loopers, the digitech rds-8000, sported just eight seconds of loop, and working with that was possible, but never easy 🙂

as the technology improved, the digital loopers became more capable – I moved from 1 second to 8 seconds and eventually on up to 196 seconds (with the remarkable echoplex digital pro) – quite a leap, from eight seconds to over three minutes! – and once you have a looper with that kind of capability, the problems mostly disappear (although, very long loops have their own challenged).  fripp used his four to six seconds, with the revoxes, off and on for about four years.

while fripp did embrace digital loopers, it wasn’t until the early / mid 1980s, so for these performances – it was done strictly with the tapes, and four seconds was all robert had to work with.  and what he does in those four seconds, is simply remarkable guitar playing.

oh my god – what fripp can do with a four second loop; it’s absolutely astonishing, and I am quite certain that many weeks or months of meticulous rehearsal preceeded this short tour – when he starts out on his first loop of that first amsterdam show – it’s with complete and utter confidence, and he sounds relaxed, well practiced and so, so accurate – he builds up a loop, it ends up smooth, beautiful and lovely – and then, begins to solo, but not just any solo, truly beautiful, melodic, thick sustained-notes soloing, as only fripp can – and to have these performances restored – loops and solos – is a sonic miracle, but to my mind – these performances demonstrate the true quality of robert fripp, the guitarist, that even his best work with king crimson could not quite demonstrate.

because here – there is no john wetton or tony levin (king crimson bassists at different times) thundering away in the low frequencies; there is no cymbal splash or electronic percussion madness from bill bruford (king crimson drummer since 1973, on and off), and there is no david cross (violin) or adrian belew (lead guitar, vocals) to “spar” or harmonise with – all of that is gone, and in it’s place – a four second span of time; to be filled with beautiful, harmonising notes, or to build up loop counterpoint, or to layer long, sustained notes or trills – and then, this loop becomes the band, it becomes the music that robert then solos over – but we can now really hear what he is playing, far more clearly than one can in some king crimson recordings – and while these recordings are of varying quality, the beauty and simplicity of what fripp accomplishes here is not diminished in any way, shape or form – it’s guitar heaven, it’s undoubtedly one of the première examples of man v machine where both win; fripp has taken what eno (and others) developed, and made a few modifications to the system to make it as suitable for guitar as possible – and has created a brand new kind of music: frippertronics.

fast forward twenty years, and a similar, yet wildly different, kind of solo fripp music emerged: the soundscape.  this is the modern-day equivalent to frippertronics.  and while I love and admire both forms, frippertronics and soundscapes; for me, my money is on frippertronics – because it involves the pure sound of a gibson les paul (whereas, soundscapes are more guitar synthesizer-oriented, therefore, less guitar-like) and the fripp pedal board, captured, looped, and soloed over with an intensity and capability that few musicians ever reach – fripp worked very, very hard at this – and he got it right, and if you listen to these 15 shows back to back – you will not be disappointed – and in fact, that is exactly what I did, I downloaded them all on a friday night; then on the saturday, I put them on – and let them play in sequence, all day long. 

at ten pm that night, it finally came to an end – and I was left speechless, breathless, and utterly, utterly impressed – OK, I knew it would be good – but I never dreamed – my 34 year old memory of the 1979 frippertronics show I had seen, and the 30 year old memory of a second show at mandeville auditorium, told me “this will be incredible” but even those memories could not have prepared me for the reality of the speed, dexterity, power, and beauty of these live guitar loop and solo performances – they are out of this world, and for guitarists, are an absolute lesson in what can be accomplished with a very, very finite set of equipment, set up for one purpose – and then there is the way that robert plays.

it’s so, so powerful, because really, it was not that long before, barely five years, that he was onstage with wetton, bruford and cross, playing lead guitar night after night after night, and the power of his time with king crimson (ten remarkable albums in the short space of 1969 – 1974) – and the power of his playing in those various “king crimsons” (plural) is now matured; amplified; calmed; organised; and it’s so precise now, there is very little bending (something he would give up almost completely, eventually) and the melodies he plays are just exquisitely beautiful – especially when played over loops of incredible precision and beauty.

so to my mind, even just speaking as an average guitarist – this is the best guitar album I have EVER HEARD.  I have no other words, no other way of describing what it’s like to sit and listen to robert fripp solo for 13 hours over tape loops that he made on the fly; in a record store, restaurant or other non-traditional venue on this first-ever frippertronics tour.  there is simply no other music on earth like this, and it truly shows the talent, power and sheer chops that fripp has developed over time.

by eschewing traditional venues, and bringing the music directly to the people – and even more remarkable, by TALKING to, and with, the people – fripp bucked the whole system, which I am sure pissed off his record company and everyone else who would now not be able to make a buck off of these performances – this was a real dialogue now, between robert fripp and those who love the music he creates – and at every show, there was a question and answer session (and that just blew my mind, I could not believe that we were sitting on the floor of tower records, and fripp, a few feet away with his les paul still slung around his neck – was taking questions from the audience!).

an audience that was stunned, or I would say more accurately, completely fucking blown away, by what they had just seen and heard.  the power of robert fripp’s lead guitar playing alone is enough to frost your socks; passages of great speed and precision, wonderful melodies that fly from the fretboard – but also, a new component, those enticing, amazing loops – that support and blend with the solos so perfectly; hypnotic, repetitive – and the perfect musical “bed” over which to solo.

but – the loops weren’t static, they were often “changed” by fripp, who would solo for a minute or two, and then, add more notes to the loop, and then, go back to soloing over this “new” altered loop – and he might do this several times within one looped performance – change the loop, solo, change the loop, solo more, etc. – to beautiful effect.

I learned a lot from watching this process, a lot which I later put to use in my own work, but what I also learned was, just how difficult this process is – the concentration required, the precision required – it’s intense, and few people could pull it off.

leave it to robert fripp.

 

this is a link to the first show from the frippertronics european tour, may 7, 1979, follow the right arrows to find the rest of the shows (and much more).  there is also a link where you can purchase all 15 shows as a bundle (recommended – this is what I did).

I know that fans of king crimson and robert fripp have their favourite albums, tracks, and live performances by robert, working in king crimson, or, guesting on other albums by other well known artists such as david bowie, or, in collaboration with people like david sylvian.  I am one of those fans, and I can remember arguing about very important topics such as “which is the best version of ‘schizoid man’ ” or whether red or usa was the best late period king crimson album (at the time) and so on.

I am not ashamed or embarrassed in any way to say I love the music of king crimson, robert fripp, as well as “sylvian / fripp”, “the league of gentlemen”, the league of crafty guitarists, and the current working group, the orchestra of crafty guitarists (which I was, briefly, a member of) – I love all of that, and I would defend it’s high quality and musicality – these are works of quality.  their common denominator, is, of course, robert fripp.

however – as much as I love say…“exposure”, as much as I love king crimson, and would defend their amazing catalogue against any naysayers, with songs as beautiful as “starless” or “the night watch” – well, it puts a lot of other “prog bands” to shame, if I am honest – this music is so intense, and so, so beautiful…

…but in some ways – this 15-show frippertronics european tour, is the best album that fripp never made, and never made a big deal of. it’s release was incredibly low-key, it just appeared on the dgm website one day, but there was no marketing push, no attempt to big this up at all – it just appeared – and those of us who realised what it WAS – well, we snatched it up immediately.  but then – we KNEW – we knew what this contained.

because they (these live performances) are so real; because they are the first ever recordings of robert fripp creating live loops to solo over; because the soloing is so absolutely incredible, I would say that now, this is my favourite robert fripp recording – of all time.

I know – that seems like sacrilege.  how could anything be “better” than, say, “in the court of the crimson king” ?  the answer is, of course, it can’t, really, but, when I hear this music, I realise – this is really the kind of music that fripp was playing all along, but you couldn’t always hear it, because the band was playing so loud! 

this is the “real” fripp – hypnotic layers of intense, dark sound, guitars screaming like seagulls over the top, ominous low notes bending via the services of a tuning key, notes “played” by switching the pickup selector switch from “off” to full on (with the bass pickup turned all the way down, and the treble pickup, turned all the way up) – the selector switch becoming a rhythmic device that adds to the loop – fripp using his fuzz tone, the wah-wah pedal, and his other devices to add texture and form to the loops – and once happy, he would then let that loop play – and solo his heart out with an intensity at least as powerful as “1969 to 1974 king crimson”. 

you think that the guitar solos on “USA” are pretty darn powerful and quick (you are right – they are) ?  you should listen to these 15 live frippertronics shows. you think that nothing can top what fripp plays on “red” in songs like “red”, “fallen angel” and “starless”  – you should listen to these 15 live frippertronics shows.  you think what you hear on “the great deceiver”, a four CD live fripp-wetton-bruford-cross king crimson albujm, is a lot of amazing robert fripp lead guitar (you are right, it is)?  You should listen to these 15 live frippertronics shows.

about 13 hours in total, I believe, something like that – and a large portion of that, is robert soloing his heart out, at length, over those amazing four second loops.  I have since played these shows on a saturday, just letting them run all day long, and it really, really makes for a great “mood” – you would love the way it takes an ordinary saturday, and turns it into an amazing day and night of pure, pure music – the frippertronics way.

so, so beautiful – the best album that robert fripp never made.  15 live shows – this is the one album that is pure testament to the intense, quick, and breathlessly beautiful way that robert fripp plays lead guitar – truly, this is where you can really hear genius at work, on the fretboard of a black les paul guitar – at the hands of the master, robert fripp.

now – for the non-guitarist, it’s likely that you may continue to regard the “band” works of robert fripp more highly than this “guitar” based fripp work.  but for me, as a musician and as a guitarist – this is simply the ultimate fripp documentary, which might have been lost to us, but blessedly, dgm have taken the time to resurrect these shows (and others, as well) and release them via the dgm website (these are download only) – and I for one, thank alex mundy at dgm for doing this work, and I thank the big guy in the sky (whoever that may be this week) for preserving those fragile tapes for all those years until alex could do his magic with them.

I can only imagine how it felt to alex, and to robert, to hear these for the first time in 34 years – and it’s criminal that these were never really released in any form (except for the occasional loop based record such as “let the power fall” – which gives you an inkling of what these tour performances were like – but one short album of loops is no substitute for the real thing – the real 13 hours of music!) – please forgive me if I am repeating myself now – you should listen to these 15 live frippertronics shows. 

seriously.

you should listen to these 15 live frippertronics shows.