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  March 2, 2011
Written by DPLZKC
“The end of Talking Drum and the beginning of Larks II was missing, but for continuity purposes I took the missing section from their show at Fort Worth from the day before. Basically this amounts to about 32 seconds for TD and 1.46 for Larks.”
That is a "mortalsin" in the world of bootleg shows.
Sounds good but is not genuine.
ten years after???? September 4, 2010
Written by mikey072
how in the world, could someone get up from a ten years after show!!!!!!!!!
ALVIN LEEEEEEEEEEEEEEE!!!!!!!!
'mind-blowing, man' August 19, 2010
Written by moonchild
i never thought i would hear this. was present at this show. i was 14. robin trower played an amazing set, then kc was ’mindblowing, man’ the third band was ten years after...we exited after tya’s first ’number’
Basso Monstrouso August 18, 2010
Written by Andrewn
By the time Crimson had arrived in Oklahoma you feel that David Cross had raised the white flag and surrendered! The sound had become very metallic and heavy and there was clearly no room for the delicate bowing of wood and string.. This concert reminds me of Ian Gillan’s quote from the stage at a Deep Purple concert "Can we have everything louder than everything else"" and clearly John Wetton paid the highest bribe to the mixing desk!! His bass sound is simply monstrous and dominates every number. The Great Deceiver kicks off in usual fashion (possibly the last time it was performed) followed by a wistful Lament. Improv I is dominated by the bass and we quickly move into Exiles where even Robert’s usual solos seem diminished due to bass and mellotron backing. Fracture and Starless are impeccably performed however once again the bass dominates however it is interesting to hear (and feel!!!) the dexterity of Wetton’s playing within these numbers. Improv II is a delight particularly Cross’s wonderful use of the flute voice on the keyboard and it is a lovely lull in the electronic storm - not for long though as we are ushered into The Talking Drum approached at a frightening speed where Robert seems to abandon his usual sustained backing to try and perform combat with the violin and bass, LTII almost seems a relief and seems shorter than the usual version. Aye you won’t hear the like of a bass guitar played at this volume again I fear.
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