studio diary – 20150115

as always, there is a lot going on here at pureambient, I never quite know where to begin – so I will just start, and see what happens!

Dave Stafford – Concerto No. 4 in F Major for Harpsichord & Strings (approx. 27:30)

first of all, I am very happy indeed to report that the third movement of my fourth concerto is now complete, it required one last harpsichord theme to be reverse engineered as a piano theme with harpsichord support, from its original form of being a harpsichord theme with piano support. once I had transmogrified the section, I inserted it into its appointed spot somewhere near the end of the third movement – and voila, the movement, and therefore, the entire concerto – is done!

I don’t have my notes in front of me, but I can ascertain from looking at the score in Notion, that I began work on the concerto on November 6, 2014, completing it three days ago on January 12, 2015 – so two months and one week, approximately – and that is almost certainly a first – the longest time I’ve spent on any Notion project, the longest time I’ve spent on a single classical composition (not counting the first concerto, but as that was made painstakingly slowly anyway, note by note, using the guitar synth) – in the pre-Notion days – I can’t really count it – that was an absolutely insane process, and I am so glad that I now have Notion which allows me to score, and test my ideas instantly, without the whole “record a bar”, “record another bar”, etc. the very tricky manual playing of each part using all of the different instruments available on the guitar synth.

this long gestation time for the fourth concerto actually doesn’t bother me in the slightest, I was doing something a bit different, up until the fourth, I’d always used a lot of woodwinds and or horns in my classical pieces, and often, classical guitar, too – but this time, I kept both of those out of the score deliberately, and worked with strings, harpsichord and some piano, too – and, with these very different parameters, a very different kind of concerto has emerged, slowly, patiently – all twenty seven and a half minutes of it. I am astonished at how lengthy this piece has grown; it was really, as it always is, down to the creative processes when working on the final movement – somehow, the first two movements are always less fluid, they appear, they are set, that’s the way they are – but the third, the third is the place for soloing, it’s the place for wild new themes and ideas to appear and just as quickly, disappear, it’s the place where a lot of interesting instrumental passages occur, moods are set, and, a bit of a surprise to me: the string section with its mad harpsichord leader, proved to be a powerful musical tool.

I even wrote a section featuring unaccompanied solo harpsichord, something that, in the past, I would never have been so bold as to attempt, it just seemed right, and I felt that the soloist really wanted his moment in the sun, so there it is – almost impossibly quick, but still actually playable (by Johann Sebastian Bach or someone else at his capability level – a REALLY good soloist!!) – this “solo” harpsichord is one of my favourite parts of the piece. (For those of you following along in the score, the harpsichord solo, included in movement one, begins at bar 257).

so if all goes well, I will be able to mix and master the piece soon, although that process could take some time – it’s always very difficult to get your levels correct when you have so many instruments doing so many different things. I hope to have the piece out and published to both the Notion and the Classical eternal albums, hopefully no later than the end of January, if I am fortunate, significantly sooner.

Dave Stafford – sliver – live improv (2:14)

The next Kaoss Guitar video has been prepared and assembled, and was actually uploaded to the pureambientHD channel on YouTube on Tuesday night, January 13th, 2015. This is the third in the current Kaoss Guitar series, entitled ‘sliver‘, this one is all about power chords travelling backwards, with another go at the “slicer” patch, or rather, a variant of “slicer” called ‘mid slicer” I produced this little sliver of music using the “mid slicer” patch, which is a similar sound to the one used on the song ‘slicer‘, which was made with the “slicer” patch – if that makes sense. 🙂

I really am looking forward to both, producing the remaining videos in this series, but even more so, filming some new ones, where I push the boundaries of what can be done with the Kaoss Guitar – in one of my very first test sessions, which was, sadly, neither filmed nor audio recorded, I played some very, very chaotic and “damaged” pieces, where tools such as the decimator and the wonderful “grain shifter” literally destroy the sound of your guitar briefly, then, it comes back, only to be further tormented and tortured in the most wonderful way. 🙂

If you prefer your Dave Stafford music a bit on the quieter side, the first Kaoss Guitar video, ‘shiver‘, is in a much more ambient vein…which proves that Kaoss can be Ambient, too 🙂

Note: I have since begun work on Kaoss Guitar video number four, which is entitled ‘slider’. This should be forthcoming within the next few days, also on the pureambientHD channel. It is a decidedly completely more sonically radical affair, featuring the “grain shifter” patch which absolutely warps and wefts the sound of your guitar…to territories unexplored. I can’t wait for this video to be published, this is bleeding edge guitar sound…courtesy of the amazing Ibanez RGKP6 Kaoss Guitar.

Sonic devastation is more than possible with the Kaoss Guitar, it’s almost unavoidable – which I also hope will be featured in my next studio composition, which I started work on January 10, 2015.

Dave Stafford – Return Of The Native (working title only) (7:36) – Track 01 – of the as-yet-untitled studio rock / prog album – the follow up to 2012’s “gone native”.

Begun on January 10, 2015, I basically sat down and started recording a new studio album for 2015; beginning in the traditional way – with a drum track. I spent the entire day working on this rather tricky drum track, which has a lot of very interesting things going on in it, I wanted something that is quite heavy, I am going to introduce some elements of metal, I think, I’ve used a sort of “nu-metal” drum motif, but with many, many different permutations, to be used to create different sections of the song, for specific solos, one section for a keyboard solo, a few sections for various guitar solos or duets or trios or harmonising guitars, or..,Kaoss Guitars…maybe one section for a reverse guitar section, maybe one section for an ebow solo – a variety of guitar sounds and possibilities.

I always find this process to be very, very abstract – it’s very, very odd, constructing a drum part without any chords, melody, or idea what will go on top of the drum part. I’ve given up trying to imagine, although occasionally, something in the drums will suggest something. In this case, there is a pause, where a single cymbal builds up the beat again, back up to the full rock and roll feel – so in my head, I’ve designed an Allan Holdsworth- style clean-volume-pedal-chords-into-reverb part, like some of the amazing chordal work on Allan’s first solo record, I.O.U. – really atmospheric stuff, beautiful, strange chords floating over a huge reverb – delicately swelling up with a volume pedal, layering over each other – maybe I can do this, maybe not……..

Within this piece, which I arbitrarily gave the working title of “return of the native” to it on the first day, just so it had a name, there are various sections that can be assigned to various instrumental or solo passages. But when I am actually creating the parts, beyond trying to use logical numbers, so, an even number of bars of the same or similar beats, so 8 bars or 16 bars or whatever, but also, with interesting fills to break things up, and, a few specially-designed drum measures of my own, I feel that it’s OK to work with pre-made MIDI grooves, if they are of sufficient quality, but it gives you a much more “human” feel if you put in a few extra, non-groove non-approved bars of music here and there, just to get you to notice, or maybe, so you don’t notice – the drummer is then human, he plays something simple, so as to not make him or her to appear to be a faceless automaton, a machine (which, unfortunately, he or she IS) – anything to break up a drum part that could become too rigid.

I did then begin working on a bass part, I spent a lot of time playing with the almost endless tones available to me via the scarbee Rickenbacker bass instrument, once I found a basic tone that I am reasonably (but not totally) happy with, I did lay down a few unconvincing bass parts early on Monday morning – which came out OK, but not fantastically – it’s a start, and it gives me a launching point for the introduction of melody into the piece. Further work and I am approaching something usable. I will need to work on the tone more, and get some of the notes to sustain better, but it’s coming along OK now…

But before I put any bass down, and before I’d thought of the Allan Holdsworth clean guitar chords idea, or the other ideas for how to use all of the contrasting sections – it’s just odd, because I spent what, six or seven hours creating a seven minute and thirty-six second drum part – and if you sat there, and played that back – it is impossible to imagine what music might go on top of it – literally impossible. Yet – I am sure it will work out fine, because this is exactly the same procedure used by myself for a few of the songs on “gone native”; – and this “blind drum part” followed by “blind bass part” often evolved into some of the best pieces I have ever recorded – the title track of “gone native”, or “wettonizer”, or “sinuous thread” – in those cases, and others, there was this same moment, where I had just a drum track – and absolutely nothing else – and I literally could not imagine what would work “on top” of such a beast (aka “beat”) – especially this drum track, which is quite heavy compared even to “wettonizer” or “sinuous thread” – but, I am hopeful, I am sure it will turn into something good or awesome or unusual, if I just take my time and don’t try to rush any of the parts.

So I have a long, long way to go with this piece, but I have started the ball rolling, at some point, in the next couple of years, I will embark on the fourthteenth or seventeenth and final track of the album, and I will release the album at that point – when I know it is finished. It’s a nice process, a traditional process, that can operate happily at the same time that I am contributing to multiple eternal albums in real time as pieces of music, like the concerto mentioned above, get completed – and personally, I think that’s fantastic, because now (finally) I have the best of both worlds – I can create an album, which is a creative statement of the state of my music as of 2015, in the traditional way, track by track, until I am happy and I release it (on download only, I am afraid – no CD release this time unfortunately) and at the same time, I can continue to expand and build on the eternal albums that I’ve been working on – in two ways – by adding new eternal albums, to support new apps or pc-based music software packages – and, by continuing to produce music created with apps or pc software that already has an existing eternal album.

As of the end of 2014, I had created no less than 16 eternal albums; the first five, in 2013, the latter 11, during 2014 – so I would hope that I can at least, fall somewhere in between that this year, of course, I’d love to do one every month, but that just hasn’t worked out – I will try, but I would be very happy to create, say, nine more this year – 9 more for 2015 ! If I can get that closer to 12 – I will – but I’m happy with nine.

That would put me just past two dozen, although with the number of music apps out there, and the amount of pc music software, I could go a lot farther than 25 – with eternal albums, the sky is the limit. There are already several high quality apps that I’ve owned for several months, that I’ve done good quality recordings with – but these remain unreleased, simply because I’ve not had time to locate and master the tracks nor have I had time to create another eternal album on Bandcamp for that app. I do have this down to a process now, so if I can find myself a window in time, I will do my best to get app or pc app up – number 17 – soon. I look forward to it.

Once I have 30 or 40 eternal albums up there, I can literally sit back and just create – I can take my pick of the best of the best of the apps or pc softwares, I can spent time creating tracks in Diva, or Bazille – and knowing where to put them – up onto the u-he eternal album. A place for everything!

What Eternal Albums Can We Expect In 2015, Then?

MUSIC FOR APPS/COMBOS: THE AUDIOBUS SESSIONS (or similar name)

One of the proposed eternal albums for next year is “music for apps/combos: the audiobus sessions” – this would be for sessions like the ones I did with the ITablaPro app, where I enlisted the use of ITablaPro and then played one or even two different synth apps on top of the tabla beat and tanpura drone; the wonderful NLog Pro being one of those synths – huge fun, but what do you call it? You can’t say it’s “iTablaPro” music, because there is a lot more to it than that.

Three different apps were used – so it has no real name, except a name expressing something about the music – like my “synthraga” series for example – rather than the apps – nothing wrong with that, but, I felt that there will be more and more sessions where I am using audiobus to work with more than one app or effect – so it would make sense to have an eternal album where ANY combination of instruments and effects is allowable, which will be a wildly experimental album, but, it will also contain tracks of captivating beauty – like those beautiful iTablaPro tracks – in fact, those would be the first tracks to probably go up there, followed by a track made with Korg Electribe and another app whose name I can’t currently recall. Ah to be young again, and have a young memory that never, ever fails. What was I talking about? Oh yeah…

MUSIC FOR APPS: SECTOR

Next up, an amazing, amazing app created by one of my very, very favourite developers, the great Jonatan Liljedahl – creator of Audio Share, AUFX: Dub, AUFX: Space and many others – that I have actually done both audio and video recording with, but simply never had time to master any releases or put up the eternal album for it – and that will be “music for apps: sector” – “sector” is very difficult to explain, but when you hear it, you will get it – it’s out of this world.

It’s a beat slicer, it’s great for chopping up loops but that description doesn’t really do it justice, it’s absolutely one of the most amazing looking apps of all time, working with it is almost mesmerising, and it’s very intuitive, you just work the beat using the most unusual tools that are provided, and the results musically, are absolutely out of this world – so SECTOR is absolutely on my “to-do” list for eternal albums – no doubt about it.

MUSIC FOR APPS: SLIVER

Then there is SLIVER – another very interesting, very beautiful app, I’ve done a couple of audio recordings of this one, and I definitely want to create an eternal album for this app. The app store says that “Sliver is a powerful tool for soundscape and sonic texture creation” and I personally, would not disagree with that sentiment. It’s a bit tricky to get used to, but once you get started, you will find yourself getting lost in what this app can do – another definite choice for a high quality 2015 eternal album.

When I look at this list of possible musics, of eternal albums as yet unmade, I just get a bit annoyed – the video backlog ate up so much of my time last year, I could have released at least a few tracks on each of these apps’ albums – if only I’d had the time to create the albums!! Och well, ces’t la vie, etc…time. Time the avenger…

The possibilities…are simply endless.

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studio diary 20141230 – year’s end – the view to 2015 from here…

as the year end approaches, we are wrapping up a number of small projects, continuing work on others, and preparing for a very, very musical 2015 indeed,  the last few months have seen a lot of change, a lot of good change, and we are now more fully equipped to make music – a lot of music – on the fly, or with meticulous planning and execution, or maybe even, singing Todd Rundgren ballads at the piano, who knows?? – a little bit of everything, no doubt.

 

GLASSWORKS by Soniccouture

 

before we talk more about what is to come, we wanted to catch up with recent musical events, of which there are many.  on the mind at the moment, are the “Glassworks” instruments, there was a session recorded on December 6, 2014, using two different sampled glass instruments, one an emulation of an instrument invented by Harry Partch, the first track using the instrument called “cloud chamber bowls” the second one,  “armonica”, invented by none other than Ben Franklin (yes, the guy on those bills you never see any more) – we managed to upload the first track from the session, which was simply titled “cloud chamber” in honour of the “cloud chamber bowls” Harry Partch-based patch used to create the track – and it was at that point in time that events just caught up with me, and I did not, at that time, complete two other mixes from the session, both of which were made with the “armonica” tool.

 

I’ve now dealt with that issue, I’ve spent this entire morning – December 29th, 2014 – mastering these two remarkable and remarkably delicate recordings, I’ve been working very, very hard to retain the eerie beauty of the “armonica” instrument, it’s a very ghostly, ethereal sound to begin with, sort of like a floating pipe organ from heaven.  words are not really very useful when it comes to trying to describe Harry Partch‘s instruments, really the best way is to hear them – they are utterly unique, and in the case of the glass Partch instrument included in Soniccouture‘s “Glassworks” offering, they are also uncannily beautiful, fragile and other-worldy, ancient and somehow, because they are so ahead of their time, literally, they represent the future, too, Soniccouture have truly surpassed themselves with the “Glassworks” package, and I can easily see myself, and hear these instruments, making their way into future compositions – easily.

 

all three tracks from the December 6th “Glassworks” session are now up and loaded onto the “music for pcs: komplete samples” eternal album, the track listing for the three tracks is as follows:

 

21 glassworks – cloud chamber – recorded using the “cloud chamber bowls” instrument  2:07

22 glassworks – quiet grace – recorded using the “armonica” instrument  2:51

23 glassworks – quiet passion– recorded using the “armonica” instrument  3:00

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141206 by dave stafford for pureambient records

all rights reserved © & ℗ 2014 / 2015

 

 

 

REV by Output

 

and then there was REV.  I am very, very excited by the sonic possibilities that rev offers, I am still very much a new user, but I have indeed, set aside some time to work with rev, and I was not in any way disappointed.  on December 27, 2014 I sat down and recorded a few pieces using just multiple instances of rev, which is clearly one of the most innovative of all sample based instruments.  I actually agree with their marketing information, which states that this is not the sound of a few guitars going backwards, it has been designed from the ground up to be a playable instrument, with the option in every case, of using the reversed or the forward sample – it is left up to the user.

 

the reversed samples that have been utilised, are simply beautiful to listen to; and I can tell this because if you just sit and “trial” the voices, it sounds utterly amazing, almost like a beautiful song.  so they are right, this thing is way beyond a few reversed samples, it is a unique and beautiful instrument in it’s own right.

 

as with soniccouture’s “glassworks”, I can see myself using the rev library and instruments for many, many years in compositions and in on-the-fly improvs like these tracks.  I set up two instruments, one loop, and one “rise” and at first, I was so blown away by the sounds, I just sat there playing, drifting away on ambient clouds of reverse acoustic and electric guitars.

 

my first test of most new music software or sample instruments is usually ambient in nature, basically, I want to know if this sample set, or this synthesizer, or this generative device, is capable of producing beautiful, calming ambient music ?  happily, in the case of rev, the answer is a resounding “yes” – it did beautifully, and I feel that the two ambient tracks I produced using it were excellent – totally down to the instrument, not the player!!  rev is awesome for ambient music, but I can also already tell, it will rock in active music, too – it’s just a brilliant sounding instrument, and I cannot recommend it highly enough – it’s a fantastic and very musical instrument!!

 

on the day, I actually recorded at least three tracks, two ambient, and one active, which I have just now mixed and am in the process of uploading – it’s called “perpetual grunge” and it could not be more different to tracks 24 and 25 – hold onto your hats…

 

 

24 rev – time waits for no woman – recorded using the rev “instrument”, category: complex pad, patch: “beautiful”  2:50

 

25 rev – timeless – recorded using the rev “instrument” including  cctwo patches: both category: simple pads, first patch “electric guitar harmonics” and second patch: “acoustic guitar harmonics”  2:40

 

26 rev – perpetual grunge – recorded using two patches: first, a loop from the factory category called “pulses mid” run through effect “filter gate 1”; second, a rise from the factory category called “4 Bars + Tail” run through effect “rewind”  1:50

 

these have subsequently been uploaded to the appropriate “eternal album” on bandcamp, which in this case is SSDL1751 “music for pcs: komplete samples”

 

all tracks recorded 20141227 by dave stafford for pureambient records
all rights reserved © & ℗ 2014 / 2015

 

 

 THE IBANEZ RGKP6 KAOSSILATOR GUITAR

 

our other new star is this remarkable new instrument, that combines a normal electric guitar with the synth / effects processing power of a korg mini-kaoss pad, the mini-kaoss 2s – which, when used on the guitar, gives guitarists (in this case, me!) unparalleled ability to manipulate the sound of their guitar in realtime and in near-realtime, meaning, as you play, or, directly after you play when effecting notes or chords that are still “ringing”.

 

Either way, it’s an absolute joy, pure dead good fun to play, as I hope the videos demonstrate.  While I initially put it to the test with a fairly ambient guitar improv, as soon as I switched on the built-in distortion circuit…that’s when the real fun begins.  With a more sustained signal, the mini-kaoss 2s really comes into it’s own…it does WILD things to your guitar sound.

 

With 100 basic patches available, the pad allows you to slice and dice and squash and decimate and rip apart your normal guitar sound in more than 100 ways. Each patch can be tweaked by the user, and of course your technique also has a huge effect on “what come out”.  It’s such a simple but genius arrangement, only really made possible by the fact that korg decided to create “Effects” style kaossilators like the mini-kaoss 2s to complement their existing range of “synthesizer” kaoss pads…so the original idea was, you buy a normal kaoss pad, which is a mini-synthesizer with an xy input pad (instead of keys or strings) and then, you buy an “effects” kaoss pad and you plug the two together, running the synth thru the effects, to get the best of both worlds……

 

Ibanez simply replaced the mini synth in the above set up, with an electric guitar!! So instead of a synth, you get the guitar, which is your input / sound source, and it runs thru the “effects” kaoss pad which is of course, embedded physically on the guitars where your pick guard would normally be 🙂

 

AND NOW FOR SOMETHING COMPLETELY DIFFERENT

 

not forgetting the enormous amount of work done over in the arena of APPLICATIONS, we’ve worked on a huge range of projects from sample based PC apps like Komplete ultimate, to performing live duets using two instances of tc-11, a touch controlled app for the ipad.

 

THE FUTURE AND BEYOND…

 

So – what is to come in 2015?

 

refining and improving what i’ve learned in 2014 (and, a few of the years just before 2014!!) so I will be working in all of the arenas we’ve been looking at the recent history of:

 

1) More Kaoss Guitar videos, plus, the use of Kaoss Guitar in other compositions providing unusual textural guitar for solos or backings…long live the Kaoss Guitar !!

 

2) More work, both solo and combining sampled instruments, basically, diving deep behind the covers of komplete 9, native instruments effects, native instruments sample instruments, soniccouture instruments, waves audio effects, scar-bee sample instruments and anything we can get our happy sampling hands on, basically – a massive world of very, very real sounds – because – they ARE real – they are samples!

 

3) Much more visibility for the native instruments synthesizers, of which I have done so little with – there is a huge, beautiful, terrifying sound world there – that I plan on visiting soon…

 

4) Much more use of Guitar Rig 5, one of or possibly the best of the software guitar system emulators, I used Guitar Rig on the sessions for the Ibanez RGKP6 Kaoss Guitar; and it sounded great – more work with that, for sure.

 

5) Working with applications – a whole phalanx of them, existing, new and future – if it makes sound, I want to hear it, if it sounds good, I want to record it.  At the moment, I have planned a few sessions involving newer apps, probably starting with the mysterious and ambient “VOSIS” application, which I very much want to do more tracks with.  Also, I want to explore the relatively new world of the Korg Module iPad application, and how it is realised through their existing iPad music app “Gadget”Korg Module features world class samples, available through Module or in limited form, thru “Gadget” – so I have sessions planned for Module and “Gadget”, too.

 

6) Nearest and perhaps dearest to my heart – with all of the exciting new technologies I’ve been trying to absorb (with “trying” being the very most appropriate verb in this case) I feel that 2015 is the year to take all of those technologies, and use them to build an old-style, non-eternal dave stafford guitar album made mostly with real guitars, real basses, real keyboards, real kaoss pads, and so on…a normal album, in the style of “gone native” perhaps, or maybe one active album and one ambient album – I am not quite sure yet, and, it would be a case of starting such a venture 2015, but it might not be completed for quite a while…well, we shall see.  But – definitely – guitar based songs, and ambient dreaming music – will be here beginning in 2015.

 

7) Finally…both Bryan Helm and myself have made the commitment in time to begin work on the second “scorched by the sun” album – in our discussion so far, we are thinking we might do a “loud” or active album, instead of ambient, or maybe, as we sometimes used to do, one that starts out loud, and then gets gradually more ambient, with the final track being full on ambient.  The content is up in the air, and again, it will just be a beginning in 2015, it might take time to complete, but – we really want to work together more, we really enjoyed the process of making the first album, “dreamtime” – so it follows that it’s time for “scorched by the sun” to make their second record!  It is time.

 

 

 

 

So the new year looks to be our most active and intense to date, but we are gonna give it our best shot.  Meanwhile…have a safe and prosperous and happy, happy New Year – see you on the other side…

 

 

Peace And Love To All

 

D. 🙂

 

king crimson – larks’ tongues in aspic (40th anniversary super deluxe edition) – the album I almost didn’t get

more three months after the rest of the world, i’m finally enjoying my super deluxe 15 disc edition of king crimson’s seminal 1973 album, “larks’ tongues in aspic” – the 40th anniversary version.

despite the difficulties I had in acquiring the super deluxe 14-disc larks’ tongues in aspic cd box set, in sitting down to listen to it, well – it’s worth the wait – it’s worth any wait – and as the last of the 40th anniversary series from the “classic” crimson period (1969 – 1974) (save – “USA”, which has been through various re-issues, currently up to 30th, not sure what the future holds for “USA”). I can see why they took their time with it – it’s a massive undertaking, basically, it compiles every single note ever recorded by the quintet version of the band: robert fripp, john wetton, bill bruford, david cross, jamie muir.  every note ever recorded !

I won’t delve into a lot of specifics here (although the temptation to do so is overwhelming – there are a lot of remarkable performances in this box!) but instead, will attempt to speak in generalities – which, when faced with 84 pieces of music that revolve around one album, is really all one can do – well, to start, I will offer just two words “astonishing musicianship”.

at a time when most rock bands worked in a very, very predictable and formulaic way, king crimson worked in reverse.  so, where most rock bands would go into the studio, write music, record music, and then go on tour in support of that record – fripp’s idea of how a band should work was completely different, completely innovative, and very, very intelligent: – and, the proof is in the pudding – the concept is simple, but it works:  while on the road, develop songs, play them in, improvise on them – and then, once you know the repertoire inside and out – then, and only then, go into the studio and record the material.

brilliant !  so the six tracks on the album were all pieces that the band had been playing for a number of months…honed to perfection, battle-tested, altered, mutated, fully road-tested until the perfect incarnation could then be conceived and executed once in the studio.  this approach actually makes a lot of sense, because you work out all the issues in the songs on the tour, then you sit down in the studio and say, “OK, what have we learned about this song over the past x months  – how does “easy money” go?” – and, instead of talking about it – they can just play it until they get the version they want.

so it’s fitting that first, you get to live with the band for several months, in an astonishing series of live recordings, some only recently unearthed, as they “work through” these songs, and at the same time, have a blast playing long, complex and sometimes bizarre live jams of almost indescribable variety and consistency.  how much live material ?? – well, if you download the bonus two-disc live show that you get a coupon for in the box (including a disclaimer concerning it’s very poor sound quality – but, it’s a good show, so I am glad I downloaded it…), you end up with exactly 60 live tracks, which start with the band’s first live gig at the zoom club in germany in october, 1972, and ends just prior to the recording of the studio album itself in early 1973…

the remaining 24 “studio” tracks are divided up as follows: a copy of the 30th anniversary mix (the original mix remastered for the 30th anniversary), the 2012 new mix of the album, a full disc of alternative versions (either alternative takes or alternative mixes, including one incredibly revealing piece – the jamie muir track, solo, of his performance on “easy money” – an astonishing revelation, which clearly shows what an important part muir played in creating the extremely unique percussion sound that this band had) – and, finally a fascinating nearly 80 minute “session reel” that contains the first take of each piece on the record, as well as various run-throughs and bits – absolutely fabulous stuff.

so – a record with six songs, represented by a massive box set, 15 discs, 84 songs, (the box also contains various 5.1 mixes, a video shot in Germany, in both regular and blu-ray flavours – and hearing the album in 5.1 is yet another remarkable revelation, I can tell you that for free!).  those six songs had a lot that went into them, and if you sit down and listen to the 60 live tracks spanning some five months, you hear each one of those six songs go through transformation after transformation – and, you begin to understand how they came to slowly mutate into the final form that they eventually reached in the studio.

even if you follow the journey of just one of the songs, from the shortest “book of saturday” – also known as “daily games” – or a song like “easy money” – the amount of creative change that the pieces go through is astonishing.  you can just about imagine the band meetings after the gig – “OK, that went…OK tonight, but tomorrow, we are going to try doing it this way…” and, night by night, the songs…improve.

sometimes they take unusual courses to get to their final form, changing, and changing again, some early sections end up disappearing altogether (as in “easy money”) while others have more subtle refinements on their path to the making of the actual album.

but there is a lot to be said for fripp’s method of “playing in” a record in the live setting, and he went on to do this successfully with many, many different versions of king crimson over the years – playing the material live first, and then recording the album…it just works!

having said that, it might not work for other bands, it might only work for king crimson – that’s difficult to say.  I don’t know what other bands may have tried a similar technique, but certainly, some very famous albums are mostly “road” albums, written on the road, learned on the road, then recorded in the studio (led zeppelin II leaps to mind) – but I think in the main, most groups stuck to the “formula” – i.e. they did what the record company said, “make the record, then go tour it and make us a million dollars”.

it’s a credit to fripp’s integrity that he refused to tread that well-worn path, refused time and time again, and the albums produced by this “working in reverse” method are a testament to the method’s success – larks’ tongues in aspic, and it’s followup, “starless and bible black” – another largely live album – are two prime examples of this technique working very, very well indeed.

but getting back to the matter at hand – sixty live tracks of the quintet 1972 – 1973 version of king crimson.  60 tracks of any band live is a lot to wade through, but if you have the patience (and in some cases, it does require patience – the majority of these shows are restored audio bootlegs – from cassette – so sound quality is sometimes an issue) it’s a more than rewarding ride.  some of the live CDs have been available before, either as crimson club releases, or as downloads from dgm, some, are heard here for the first time anywhere – but as always with every version of the band, what you get is…amazing musicianship. truly amazing musicianship!

this band was put together very, very quickly indeed, before the ashes of the “islands” line-up had even cooled – that band stopped performing live in early/mid 1972, and by october 1972, fripp had re-formed (mostly via a chance meeting with wetton) this entirely new line up and had them out and playing by october 1972 – there is apparently, no rest for the wicked.

and while I personally have huge, huge respect for the “islands” band line up, I can’t deny that the “larks’ tongues” line up is a dramatic upgrade in terms of sheer musical prowess – fripp now attracting the best young players of the time, and the group he gathered around him this time is no less than magical.

the fierce, aggressive power of wetton’s bass playing, which spans an incredible range of emotion – from beauty to fear to raw power and back to beauty again – alone is remarkable and unique and unlike anything you will hear anywhere else in rock, but add to that, a man with a beautiful, smoky voice capable of expressing great emotion (some of the takes of “exiles” or “book of saturday” are just heartbreakingly beautiful – wetton’s voice is so, so beautiful – something not too many people notice) – and you have an incredibly talented bassist / singer, and a very experienced, capable player as well (coming most recently from 13 months with family, and a long string of other bands prior to that, wetton was a seasoned veteran by the time he and fripp decided to finally form a band together (something they had discussed numerous times previously, but never did until 1972).

bill bruford’s musical pedigree can hardly be argued – and his move, from leaving the very, very successful “yes” to join the totally unknown, “dark horse” that this brand new king crimson incarnation represented, has often been remarked on – but, bruford is primarily interested in music, so he went where the music was likely to be best, not where commercial success was in the offing.

speaking of “dark horses”, the two other new members of this new band, david cross on violin, flute, mellotron and electric piano, and jamie muir, drums, percussion, all sorts – well, while neither was as well known at the time, but when you hear the live tapes, you will immediately hear how crucial these two “dark horse” players’ contributions are – particularly muir, whose strange stage antics, and ever-increasingly large collection of kitchen implements and sheets of metal and so on threatened to make the band’s set up the longest on record – muir’s contribution to these performances is incalcuable.

a track like “larks’ tongues in aspic part I” would be nothing without muir, and in the video, you see why – he is a whirlwind of percussive motion, and yet, on cue, lands on the drum kit seat to bash out the power chord coda of the track along with a frankly admiring bruford – for bruford, muir represented a kind of free playing that he himself could not quite get to until later on, long after muir left the band.

the fact that muir left the band after only a very short time, meant that this line-up was very, very short-lived indeed, measuring in months, and leaving the band to the more familiar quartet line-up that went on to tour and record the next crimson record, “starless and bible black”.  when it all became too much for david cross, the band ended up life as a strange, progressive rock power trio, for their final (studio) release “red” (and, posthumous live document “usa”, too).

some might argue that the three of them – fripp, wetton, bruford – were the core, and – yes, they were, but in the case of larks’ tongues in aspic, it was really more about those five people coming together at the same moment, to make the music that was in the air – and I really feel that both david cross and jamie muir have tended to have their roles’ downplayed – but I am hopeful that with this extensive “proof” (which is exactly what this super deluxe box is) of just how good this band was live, that opinion will change and we will understand that this was indeed, a quintet, not a power trio with two extra players!

having only ever seen the original beat club broadcast verison of “larks tongues in aspic part 1” video prior to owning the LTIA box, it was a revelation to see the properly filmed version (along with two other full tracks that are on the included mono video) because I’d never really realised just how much real drums jamie muir played (and he plays trombone on stage t00 – amazing!!) – and he and bruford together, were for robert fripp, replacing the long-departed michael giles – whom fripp has said could not be replaced with one person, so he decided that the only way to get the drum sound he wanted, to replace what michael giles had brought to the 1969 king crimson – was to work with two drummers.  it’s a testament to both giles’ skill as a drummer and the level of fripp’s respect for giles as a musician, that it took two drummers of the calibre of bruford and muir, two excellent drummers, one, a brilliant percussionist, too – to replace him – that’s quite a compliment from fripp, really.

musically, it works.  two drum kits sometimes, at all other times, one drum kit and one most unusual collection of percussion “instruments”, many of which were found percussion items, sheets of metal, kitchen implements, and so on – non-traditional percussion implements – was just what the 1972 king crimson needed to set them apart both live and in the studio – and, set them apart, it did.

in some ways, it’s a shame that it only lasted for one tour and one album, but at least we have that – and now, it’s well, well documented (the box includes a long interview with robert fripp, as well as a most excellent essay from king crimson historian sid smith) – but really, to fully understand the contribution of jamie muir, you need to see the full film, and also, to hear his performances on the live shows and in the studio – the solo alternate version of easy money, which is just muir’s part isolated, is remarkable – I’ve never heard anything like it.  so personally, I would not have minded another tour and another album including jamie – but, it was not to be.

what about the guitarist then?  I would not know where to begin, fripp here has upped his personal game once more (the one about playing guitar from an intelligent standpoint), building on what he learned during the lizard / islands era, and, with a very different kind of band, sets out here to bring a new kind of fripp guitar to the proceedings.  for me, in some ways, this was the first time we really heard fripp let the cat out the bag – sure, we heard some of it in the live 1969 concerts, but here, he has four more years of playing experience to draw on – and draw on it he does.

I will never forget the day I first heard this album, at about 8 am in the morning, I bought the cassette and drove over to the drummer in my bands’ house – we put it on – and when that first set of power chords came in, we about jumped out of our chairs – this record was something else.

for me though, as a guitarist, to hear fripp’s solos, chords, comping, jamming, bending, scraping – he does it all – but this time, for the first time since greg lake, he has a musical equal in the band – john wetton.  wetton’s proficiency on bass is arguably better than lake’s (no flame wars please, I love the bass playing of greg lake, he is amazing – I just happen to slightly prefer wetton! – personal preference only), although they are both very, very good players, for my money, wetton is the more creative player (despite it being lake who came up with the nearly impossible bass part for “21st century schizoid man”) and I think that fripp and wetton had a much longer time together to really work out their style together – as evidenced by the blistering very late 1974 live recordings, such as “asbury park” from the USA album – by then, wetton and fripp are like a well-honed improvising machine – but even back in 1972, and all through 1973, the two soloed, harmonised, battled, clashed, flowed, dreamed and worked beautifully together – fripp on lead guitar, wetton on lead bass.

sometimes though, that would be wetton on melodic lead bass, and fripp on flute mellotron.  or other unusual combinations…but with fripp on lead guitar, and wetton on lead bass, with those amazing fuzz tones and monster bass cabinets – that’s the set up that I prefer :-).  I think fripp solos with such confidence and authority on these recordings, and indeed, throughout the life of this band in all of their incarnations – and that confidence immediately rubbed off on wetton, who felt challenged and then upped his own game considerably.  I think that they challenged each other, so the higher fripp flew, the higher wetton flew, and vice versa.  unavoidably, this results in some insanely amazing guitar/bass solos, some of which are just unbelievably fluid and well executed.

moments of peace though, are equally important, as evidenced by many, many lovely versions of “book of saturday” (aka “daily games”) where fripp plays quiet, complex chord based guitar, and wetton sings and plays melodic bass – a very quiet, very beautiful musical space (and personally, my favourite piece from the album – and somewhere, eventually to be put up on the blog companion page – there is a live performance of byran helm and I playing “book of saturday” together at a bindlestiff gig).

or on the beautiful “exiles”, again, a pastoral, beautiful, melodic song with great lyrics from the rarely mentioned lyricist, richard palmer-james (a school friend of wetton’s), who provided really lovely lyrics for this record.  wetton and palmer-james worked together on the songs, and both “book of saturday” and “exiles” are beautiful examples of their work together.  fripp’s guitar contributions to those two tracks are the icing on the cake, and I love those two songs in some ways, above the “loud” more obvious choices that a lot of other fans might choose.  “book of saturday” in particular has a very special place in my heart, since I worked for so many weeks on learning it (and while I could play it, I couldn’t really play it correctly or very well – ever!) it is deceptively difficult – as fripp guitar parts often are !!!

on the earliest live quintet recordings, wetton sounds like he’s just been released from prison (note, I am not suggesting that the bass player role in the band family is akin to prison!) – he is a bit wild, he sings along to his bass lines as if he is a jazz bassist, he is soloing in an almost uncontrollable way – singing really powerfully but almost in a very funky way at times – the very first shows are extremely strange! but as time goes on, wetton very quickly finds his place, and he begins to calm down, and fit in – and that’s when the magic happens.

by the end of the quintet, wetton had moved from world-class bassist to universe-class bassist…which is where he’s been ever since.  and really, in 73 and 74, he reached even more dizzying heights of bass playing.

I know I said I wouldn’t single anything out, but “a boolean melody medley” (taken from the november 25th performance at new theatre, oxford, uk) is one live track I do want to single out – coming out of a performance of “book of saturday”, the band move into this amazing piece of quasi-classical music, and suddenly, this band is transcending, I’ve never heard anything so beautiful…wetton is playing beautiful, melodic bass while fripp and cross soar over the top with the most gorgeous, astonishing solos I’ve ever heard either do – fluid, beautiful, astonishing – and the two drummers are quietly playing along, almost afraid to intrude – and for me, it’s moments like this, that it all becomes worthwhile – for every slightly dodgy improv, for every slightly imperfect moment that can and does occur in other king crimson live shows – when you get an improv THIS beautiful – this is what it’s all about.  sigh.

this piece was new to me, and it’s as if “book of saturday” suddenly-yet-gradually “turned into” this giant, beautiful improvisation – it just floors me, completely.  it moves from quasi-classical, to a bass solo, and then an almost jazzy kind of jam – but it’s just stupendous, and all five players are amazing on it – I cannot recommend this piece more highly.  it goes completely wild, and then somehow, near the end, the quiet part returns – or a quiet part returns after it had reached maximum sonic madness – and it then quietly wends it’s way along towards it’s conclusion – after an astonishing twenty minute improv – the conclusion is to seamlessly move into the beginning of “exiles”.

so – the band are basically playing the three songs that made up what was “side one” of the vinyl album, in the same order as they appear on the album – with the slight detail of an impossible, beautiful, classical, jazz, rock, improv – a 20 minute improv – appearing out of nowhere, being placed between “book of saturday” and “exiles” – that is just nothing short of remarkable.

and to me, the bit where they move out of the improv, and then moving onto to “exiles” as if nothing had happened – that is sheer genius.  not to mention, that the band had only played a handful of shows at this point in time, they had been on the road for perhaps, five or six weeks, when this miraculous piece of music appeared – that’s astonishing – some bands practice and perform for years and never play a blinder like this one. a totally awesome, totally amazing, totally beautiful piece of music!

moving back to the world of generalities, generally, this band played very, very well live – sure, there were problems, for one, the tuning between the electric instruments and the acoustic violin was often a problem, as of course was the problem of the tuning between two mellotrons, and between said mellotrons and the rest of the band – but, for the most part, this is not a problem – just occasionally, and the violin is notoriously difficult to keep in tune in the fast moving environment of progressive rock or jazz rock.

unfortunately, when they filmed the video, the first long improvised piece, “the rich tapestry of life” is quite out of tune at the start, and takes a while before it gets a bit more in tune – but that’s life, it’s just the way it goes – at least there is film of the band – the first time, really, that this group was ever properly filmed – otherwise, we have nothing except the french television performance that was included in the “red” 40th anniversary box set, but that’s a much later version (1974, near the end of their seventies career) of king crimson.

from the classic 1969 band, there is that tantalising clip from the hyde park gig – less than a minute of footage I think, a tiny excerpt from “schizoid man” that the TV crew happened to film – which has since been synced to it’s bootleg sound – from the next three records – nothing – except perhaps the odd tv clip here or there – this time though, you get three full tracks, including one very long improv – so this film does add significantly to the recorded visual history of king crimson.

I should also mention here, from the long, long line-up of live performances, an incredibly spirited performance from glasgow, from december 1, 1972 – where the audience are louder and more vocal than on any other performance (scottish audiences are not renowned for their reticence) but this, uh, verbal communication from the audience, spurs the band onto a brilliant performance – so sometimes a bit of heckling can have a very positive result.

at one point one audience member gets a huge round of applause for swearing, which I must admit, is a much loved pastime of “we scots”.  even as a transported/imported brit, I find myself swearing much more than I used to, since emigrating to scotland nearly ten years ago – I do swear more than I used to.

this glasgow gig contains a variant of “a boolean melody medley” with the even more unlikely title of “a vinyl hobby job”, which ends up more like a scottish reel, with a long, droning violin section which is quite lovely and quite hypnotic – a very different version from the original done at the oxford show; but starting out in a very similar way – moving from “book of saturday” into the boolean improv, but this time taking a very different path indeed, featuring an excellent performance by cross – playing in a way I’ve never heard him play before or since – most excellent.

the glasgow show has a completely different feel to the other shows, during “exiles”, fripp plays a normally distorted guitar solo with a much cleaner guitar tone; then we have the very violin-centric drone/raga improv, it’s just an odd gig – with a very vocal audience!

at this point in time, december 1, 1972, then, jamie muir had only a handful of december gigs, the making of the album, and one gig only afterwards before he left the band for good, to retire to a scottish monastery.  it’s odd to think that only a few months in…he was already on his way out – but his participation, particularly in the recording of the album, pivotal in live performances – is key, so while short-lived, it’s still amazing the contributions jamie muir made to the band – on stage, the “wild man” of king crimson, biting on blood capsules and spitting blood, smashing his pieces of metal plate…in the studio, innovative to the highest degree – and ultimately, not cut out for the rock and roll lifestyle (as so many of us are not).

I about fell out of my chair when I first heard his tour de force one-take live percussion run through for “easy money” (included as the “alternate mix” for that track on the “alternates” disc) – you don’t realise when you listen to the finished track just how much input muir had into that track – but when you hear his “solo” performance of “easy money” – which is absolutely impossible to describe with words – it all makes perfect sense.  “my my”…

it’s not really surprising though, that muir left after just a few months as part of the quintet version of king crimson – I am sure he fulfilled his desire to have a brief dalliance with the rock world (coming from a very sort of avant garde/experimental musical background) and I am sure he had a blast playing with bruford and the rest of the band, but the level of energy, the level of commitment – it was probably quite exhausting, so I think he had just had enough, and decided to go.  there was some kind of injury, too, a broken ankle on stage or something, which probably tipped the already-weighted scales.

muir did re-emerge briefly, once, in the 1980s, curiously, to record an album with ex-crimson alumni michael giles in about 1983, titled “ghost dance” but beyond that, after his short but very memorable time with king crimson – he left music behind, never to return.

and then there were four.

those four still had another 18 months of music ahead of them, including, for the quartet, the followup to “larks’ tongues in aspic”, 1973’s “starless and bible black”, and for the trio, two albums, 1974’s “red” and 1975’s posthumous “USA” (david cross appears on all of the tracks on USA, but tracks 2, 3 and 7 included “in the studio” overdubs from violinist eddie jobson – for reasons never stated).

but for many, it’s “larks’ tongues in aspic” that resonates the most, and until now, I never really totally understood why it stands apart from the rest of the 1972 – 1974 king crimson’s catalogue – and really, the reason it does boils down to two things: the presence of one very remarkable individual, jamie muir, who took the percussion and drums side of things to a new extreme, and, the combination of those five men in that place at that time – those two factors, made this album what it is – one of the best and most unique examples of forward-thinking, intelligent, truly progressive rock – a masterwork of the genre.

the 40th anniversary version of “larks’ tongues in aspic” is available in three different versions, although the super deluxe box set is a limited edition of I believe, 7000 – and I very nearly didn’t get one – dgm managed to lose my copy in the post, and then failed to replace it (for reasons I will never understand) which eventually forced me to cancel my order, and buy it from a more reliable, local vendor – who delivered it in one day, on a saturday.  the abject failure of dgm to honour my order (which was one of the very first placed, a pre-order in fact, which should really guarantee you a copy) very nearly caused me to not get a copy – which would have been disastrous indeed.

my “box of saturday”, if you will 🙂 – delivered by the best and most reliable vendor ever: amazon.  utterly dependable.

I feel really disheartened by what happened, it has really disappointed me pretty seriously – it was so, so important to me to make sure I had reserved a copy, so I was first off the mark – I rarely ever pre-order anything, but it was that important – and what did that pre-order get me?  absolutely nothing; sheer frustration; months of waiting, with no product ever delivered – and after having to wait all that time, I then had to cancel the order and re-order it from amazon – just to be SURE that I got it…that’s really pathetic.  and can you imagine how heartbroken I felt, each time one of my friends across the world would post a picture of their happy, smiling face, holding aloft the box set – the one I very, very nearly did not get?  it was, shall we say – most upsetting!

so I decline to celebrate, you will not see me holding up my copy in victory, because that moment came and went a long, long time ago – and listening now to it, the happiness I feel at hearing this music will actually be, ever so slightly, forever marred by the nerve-wracking, anxiety-inducing “experience” I had of trying to chase up my “pre-order”.

…but – luckily for me, there is that “little shoppe on the corner” (called “amazon.co.uk”) that is very dependable, very reliable, and they got me my copy in 24 hours – after waiting in vain for over three months and repeatedly receiving nothing whatsoever from dgm – so at long, long last I can join all my friends who have been listening to and enjoying the album for the past three months…I’ve finally caught up with you.  I am finally getting to see and hear this record.  for a while there, during december 2012, there was a time when I began to believe I might NEVER hear it – until I wised up and ordered it from a reliable vendor 🙂

meanwhile, since I began listening to it last Saturday, it’s hardly been off heavy rotation – and I am currently listening to all 60 live tracks in chronological order, which is a remarkable experience in itself, to say the least!

the 5.1 mixes, too, are an absolute revelation, and I could sit in that sound field forever listening to music that is utterly familiar, yet, configured in a new and very unfamiliar way – with fripp’s ominous power notes at the beginning of “larks’ tongues in aspic, part I” slowly revolving across all five speakers – a wetton bass part emerging behind me – just beautiful, and steven wilson deserves all the praise the world has been heaping on him – as does robert fripp, who also worked on these mixes along with wilson.

the video, while not of my personal favourite live performance, is essential, if not at least so that you can visually see just how important both cross and muir were to this line-up – in fact, muir is so visually interesting, that the camera spends most of it’s time on him – and wetton, you hardly see at all, by comparison.

the new 2012 stereo mix – well.  it’s beautiful.  I love it.  but for my money, you cannot go wrong with the steven wilson / robert fripp team, they have done a stupendous job on every one of these 40th anniversary re-issues, and this one is no exception – it’s very possibly the best, although personally, I would say that “in the court”, “islands” and “larks’ tongues in aspic” are all tied for first place…in the “most absolutely stunning, astonishing, amazing and thorough re-issue” category.

so as robert fripp wends his way up the scale for an amazing lead guitar solo in the live verison of “easy money” from december 1, 1972, from the glasgow green’s playhouse (a really unusual and remarkable live performance, with a lot of audience interaction), I go now to immerse myself in the never-ending live world of “larks’ tongues in aspic”…a beautiful experience from any and every angle – and, with up to 60 live tracks and 24 studio/live tracks on offer, you can’t really go wrong – it’s all good.  I mean – it’s king crimson, after all :-).

I waited a long, long time for this record, and then I was made to wait three months longer than that, but now that I finally have it, I would have to say it takes the prize, it’s all folk have said and much, much more, and I am happy to add my voice to those who support it – a most excellent effort indeed from team wilson / fripp – bravo!

highly recommended.