johnny9fingers (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
johnny9fingers) wrote2019-06-21 07:48 am
johnny9fingers) wrote2019-06-21 07:48 am
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King Crimson at the RAH.
So I saw the new iteration of King Crimson at the Royal Albert Hall last night.
I was, as the saying is, beside myself with expectation; Crimson having been one of my formative influences in rock and pop music. To put it into context; I first saw Crimson in 1980 or '81, when Fripp rechristened his "Discipline" project King Crimson; which it was, or became. The albums which resonated with me most, though, were Larks Tongues in Aspic, Starless and Bible Black, and Red - but the then reformed group of Fripp, Belew, Levin, and Bruford; which recorded the gamelan/serialism influenced albums "Discipline", "Beat", and the lesser "Three of a Perfect Pair" are still impressive accomplishments, if a little abstracted for most folk's taste.
On to the gig. The stage set-up was much as on the recent video I posted; three drummers at the front. The central drummer, Jeremy Stacey, doubled on keys, and in many ways was the backbone of the ensemble. The reason I'm starting with the drummers is the gig was very drum-heavy. The first set opened with a drum-trio piece of a musical and rhythmic kind, but I am still reminded of an old joke. Gavin Harrison was drummer stage right, and Pat Mastelotto was drummer stage left. Jeremy Stacey, channelling Bonzo - complete with John Bonham-style beard and bowler hat (very Alex and his droogs, oh my brothers) moved from perfectly synchronised battery to Hammond, Mellotron, synths and pianos with ease and facility.
The present line-up is, as you would imagine, tremendously adept. Mastery abounds. Fripp looked chipper, Tony Levin prowled on the spot, moving from bass to Chapman Stick effortlessly. Mel Collins played brilliant sax and flute. Jakko is a great guitarist and singer. King Crimson always needed a full-time keyboard player, or two players doubling the instruments, and now they have horsepower to spare.
Of course there is a but...
There appears to be a focus on the very early albums that almost makes the gig feel like a greatest hits tour. If so, I think the choice of material is slightly off. To be candid I'd have preferred to hear more from LTIA, SABB, and Red rather than anything from COTCK, In the Wake of Poseidon, Lizard or even Islands; but, along with a couple of good numbers from the Discipline era, this is mainly what we got.
Mind you, Jakko did look suitably embarrassed singing some of Pete Sinfield's choicer lyrics.
Anyway, as you can probably guess, I am disappoint, as the new grammar has it. A rewritten "Easy Money" from LTIA, a restructuring of the title track/Part 2 from LTIA, and the second set's closer, "Starless" from Red were the highpoints for me. Also good was the reworked stuff from Discipline and Beat. The first album (In the Court of the Crimson King) has merit, as the Ur-text of prog, but after that, IMO, KC's output is patchy and candidly not that compelling to me until LTIA. I may be alone in thinking this as I guess the early stuff must be popular with someone. For my taste some attention to the emphasis of the set-list would not go amiss. The playing and performing were stellar. The choice of material from the back catalogue needs to do justice to the ensemble.
I was, as the saying is, beside myself with expectation; Crimson having been one of my formative influences in rock and pop music. To put it into context; I first saw Crimson in 1980 or '81, when Fripp rechristened his "Discipline" project King Crimson; which it was, or became. The albums which resonated with me most, though, were Larks Tongues in Aspic, Starless and Bible Black, and Red - but the then reformed group of Fripp, Belew, Levin, and Bruford; which recorded the gamelan/serialism influenced albums "Discipline", "Beat", and the lesser "Three of a Perfect Pair" are still impressive accomplishments, if a little abstracted for most folk's taste.
On to the gig. The stage set-up was much as on the recent video I posted; three drummers at the front. The central drummer, Jeremy Stacey, doubled on keys, and in many ways was the backbone of the ensemble. The reason I'm starting with the drummers is the gig was very drum-heavy. The first set opened with a drum-trio piece of a musical and rhythmic kind, but I am still reminded of an old joke. Gavin Harrison was drummer stage right, and Pat Mastelotto was drummer stage left. Jeremy Stacey, channelling Bonzo - complete with John Bonham-style beard and bowler hat (very Alex and his droogs, oh my brothers) moved from perfectly synchronised battery to Hammond, Mellotron, synths and pianos with ease and facility.
The present line-up is, as you would imagine, tremendously adept. Mastery abounds. Fripp looked chipper, Tony Levin prowled on the spot, moving from bass to Chapman Stick effortlessly. Mel Collins played brilliant sax and flute. Jakko is a great guitarist and singer. King Crimson always needed a full-time keyboard player, or two players doubling the instruments, and now they have horsepower to spare.
Of course there is a but...
There appears to be a focus on the very early albums that almost makes the gig feel like a greatest hits tour. If so, I think the choice of material is slightly off. To be candid I'd have preferred to hear more from LTIA, SABB, and Red rather than anything from COTCK, In the Wake of Poseidon, Lizard or even Islands; but, along with a couple of good numbers from the Discipline era, this is mainly what we got.
Mind you, Jakko did look suitably embarrassed singing some of Pete Sinfield's choicer lyrics.
Anyway, as you can probably guess, I am disappoint, as the new grammar has it. A rewritten "Easy Money" from LTIA, a restructuring of the title track/Part 2 from LTIA, and the second set's closer, "Starless" from Red were the highpoints for me. Also good was the reworked stuff from Discipline and Beat. The first album (In the Court of the Crimson King) has merit, as the Ur-text of prog, but after that, IMO, KC's output is patchy and candidly not that compelling to me until LTIA. I may be alone in thinking this as I guess the early stuff must be popular with someone. For my taste some attention to the emphasis of the set-list would not go amiss. The playing and performing were stellar. The choice of material from the back catalogue needs to do justice to the ensemble.
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