Orchard Hall

There’s something very special about Tony Levin’s use of upright bass in Crimson generally but in The Letters, it shares a dark space with Collins’ baritone sax that's richly satisfying. The stark transition from the turbulence of the improvised section to the pin-drop silence of the final verse remains one of the most impressive points in the setlist.
TRACK
TIME
01
The Letters
06:38
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