This three-disc box contains a trio of entries from King Crimson's archival series. Housed within the Collectors' King Crimson, Vol. 3 (2000) are Live in San Francisco: The Roar of P4, The VROOOM Sessions, 1994, and Live at Summit Studios: Denver, 03/12/1972, respectively. After the fraKctilization of King Crimson's mid-'90s double-trio lineup, Robert Fripp (guitar) formed various "projeKcts" involving all six members; however, not necessarily at the same time. Live in San Francisco: The Roar of P4 features the fourth mini-Crim (aka ProjeKct Four) at the 7th Note Club in the city by the Bay…
This three-disc set gathers two King Crimson D.G.M. Collectors' Club releases: Live at Cap D'Agde, 1982 and On Broadway: Live in NYC, 1995, respectively. Oddly, the contents within this boxed set are reversed, with the latter title featured on disc one and two and the former on disc three. On Broadway: Live in NYC, 1995 contains a composite of five shows from the double-trio version of King Crimson at the off-Broadway Longacre Theater in New York City. Enthusiasts will find a whole lot to like about this two-hour-plus performance compilation, thanks in part to the flawless sound quality, which devours the endless stream of bootlegs that quickly flooded the underground market shortly after these shows were played…
The ConstruKction Of Light is the twelfth studio album by English band King Crimson, released in May 2000 by record label Virgin. It has the distinction of being the first studio album to be released by King Crimson without two longtime members (the first without drummer Bill Bruford who debuted with the band for 1973's Larks' Tongues in Aspic and without bassist Tony Levin who joined in 1981). The departure of these stalwarts brought an end to the "double trio" era of the band and their return to a quartet: Robert Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto. Fripp was now not only the last remaining member from any lineup prior to 1981 but the only Englishman left as well.
From cautious beginnings Improv II quickly expands into lolloping beast of a track providing what is arguably the best set-up to Exiles to date. As Cross and Wetton hurl fuzzed lines across the stage over one of Bruford’s slow-burning jazz vamps, Fripp introduces one sustained note that lasts somewhere in the region of 37 seconds. An object lesson in making a little go a long way.
Though this particular line-up were edging closer to oblivion, listening to this full show 30 years after the event, the energy levels are astounding. In his journal from the time RF described the show as "Tired. Lifeless. Lacklustre” Maybe Fripp’s estimation of the gig was informed by his recovering from mild food poisoning, the cumulative effect of prunes and a boil in his ear! It seems nobody was happy this particular night. Sound engineer George Chkaintz had trouble with the sound in the recording truck, roadie Tex is frightened to turn down Wetton’s amp despite the discreet urgings of other members of the band and crew, Fripp is giving tour manager Dik Frasier grie, and the promoter isn’t best pleased because the band haven’t done an encore!
This is King Crimson’s first performance in front of a crowd since they had wowed the punters at Le Spectrum (documented on Absent Lovers) back in 1984. Essentially a dress rehearsal in front of invited guests and the South American press, the tickets that had been made available sold out in two hours flat.
Ever wanted to know what happens after the edit on the storming Asbury Park or the fade out on that contemplative solo on Easy Money? Well now you can find out! Presented uncut for the very first time using unreleased mixes from the multitracks without Eddie Jobson overdubs (as on USA), the power of this gig is tangible. Despite the internal politics and tensions of the period, the band taps into a ferocious energy that never stops burning.
Prior to this concert, it had been seven months since the Double Trio had last assembled before an audience in Argentina. The first gig of any tour is always a slightly fraught affair; anything that can go wrong probably will. Gear will futz, fingers and feet will lie to their owners and the sound could well be unsound as the entire crew get to grips with the task of presenting nearly two hours of challenging music. Understandably perhaps then, this version of Discipline is not an assertive statement but more a gentle easing in, marking out their territory. A slow burning version of Vrooom sounds more confident, especially on the remorseless spiraling coda, though like Frame By Frame which follows, is not without the occasional wobble.
They say good things come in small packages. By seamlessly joining an audience recording of In The Court to Michael Giles’ own cassette of the gig at the first night of the Fillmore East (which had been missing the bulk of that song), DGM have faithfully recreated a small slice of KC history - now audible for the first time since the gig some 37 years ago although the majority of this show will be familiar to anyone who has the KCCC25. A tired Ian McDonald records in his 1969 dairy that the band had spent the previous day rehearsing Pictures Of A City ('A Man A City') and ran through it on the afternoon of the 21st just to nail down the arrangements.
There are some nights when the energy flows within Crimso and this gig is certainly one of those. Vrooom though to Dinosaur seem to be possessed of a glowering intensity that one wonders how they will be able to sustain such power. The answer is to dial things down a little with the inclusion of an elegant rendition of One Time. B’Boom and Thrak reconnect Crim to some tumultuous forces including Adrian’s patented power-drill noise generator, Levin’s prowling bass and a brief but nonetheless laser-guided solo from Trey Gunn of the kind he would throw about during ProjeKct 2. Within the space of only a few minutes all kinds of musical landscapes are created and regenerated amidst the ever-changing turbulence.