August 07, 2008
	Park West    Chicago, Illinois

Where R We?   December 26, 2011
Written by harmonicscarf

    i waited quite a while to get this one........and i have such immense and unwieldy feelings about it. on one hand, the ’sickness’ of the percussion is devastatingly grandiose and stellar. on the other hand that same mastery puts everything into a weird light, almost like a drum clinic.  Nearly all of the the guitar ’solos’ or even moments when things ’gell’ are missing.I do truly ’dig’ the frame by frame, with it’s permutations. and there the percussion is most well established. 
     I should here point out that "I" fully understand that King Crimson does not owe me anything whatsoever.  I am not paying taxes to the band in any way. I choose to injest what selections I may, but I will continue to indulge in this ’review’.
      a perfect example of the dynamics of this concert is illustrated in "Level Five", one of my personal favorites.  Everything is grand even through the awesome permutation on the "busy section". This is glorious by the way, I absolutely lose myself in it.  I even slightly attempt to not identify with it’s majesty,......but....i won’t spend much time on the something missing from the usually sweeping grandeur on Fripp’s lead subsequent to that aformentioned flourish....it’s the following section that is so curious. when the normal 7 time beat during Belew’s solo is kinda slaughtered by the drum section.  To me, this is a time to play with simplicity and brutality while the guitar solo screams.  But what happens is so chaotic, and perhaps even improper, .....I am compelled to raise the point.......but should I write a personal letter to Gavin?  no, that’s not even close to being an option of any reasonable consideration....ahhh, well, I do hate to have any negativity in this, but continuing shall proceed as it will........the ’swingin’ talking drum? there are two hands for most people. for me, one of my mind hands is totally groovin’ to it, but then there’s something obligatory and forced about it. Is it the thing to play? would the "sailor’s tale" have been a worst choice?  I have to wonder what are the criteria for set lists.  This was one of the only times that i’ve ever felt that the Crim was playing greatest hits.  Is that due to the ’retirement’ of Trey Gunn?  Was Mr. Harrison’s inclusion a slight remedy to that situation? to provide an overwhelming display of mastery in exchange for hot burning new material?  In comparison, the Japan DVD from 2003 is a better view of the "sphinx’s tits", there is more mystery maybe (alliteration boom!) and I guess I’ll just say :so what.........it is not my intention to be a horrible stick in the mud. quite frankly, I’ve enjoyed this release immensely, i just have feelings about it that i have now found urgent enough to share on this computer interface dashboard.  the drum duos are "sick" indeed. clinical bitchin’-ness for the rhythmically acute. or something.  This I will make one more point.......about LTIA II........we’ve heard it a lot.....and frankly, one of my favorite versions of this is the album version.  Who can’t be moved by the violin solo section? with the freakish drum clatter, maybe the ultimate demonstration of dual percussion action. .... so, I guess i’m not experienced enough to know how a band can keep that magic alive after so many playings.  The ideas are phenomenal in this track but it just seems to be less "fundamental" to today’s world.....fuck, what am i saying, I just listened to and relished the sensation of Haydn’s symph 92 fourth movement., is that not relevant today?........there are many contradictions. .... but just get this recording for whatever reason. buy it today, it’s stellar, yeah!  I regret that i’ve never had a hot date with the Crim beast, so maybe i’m just jealous that i wasn’t "there"........but it’d be presumptuous to claim that i’m even here............merry christmas. may you find the higher realms.

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