Bredonborough Rising at The Minx
12.57
Bredonborough.
Rising at 07.10. The Minx was already in her office, dealing with stuff, leaving c, 08.50 for rehearsals on an upcoming film.
Here, morning reading I…
II...
… and into the Cellar c. 09.20 for practising, writing. No wonder DGM Diary posting is behind: practising guitar and writing is (could be) a fulltime occupation. No wonder piles of stuff continue to await settling and ordering after years on the road.
Software whirring.
13.29 On the DGM Guestbook…
Great Deceiver parties:: Posted by Royston on January 26, 2014
A lot has changed in twenty-odd years.
In his sleeve notes to 1991’s Great Deceiver, Mr. Fripp states, with a combination of modesty and realism, "I have anticipated not many Crimheads having Great Deceiver parties and listening to the box set in its entirety." Who of us back then, including Mr. Fripp, would have anticipated that the number of actively audient Crimheads would grow sufficiently over the next twenty years to justify the release of a monster such as The Road To Red?...
I take a long view.
The Minx was recently in conversation with a male star of the 1980s/1990s who commented to her that (at the beginning of the 1990s) no-one talked about KC, but now a growing number of players/bands cite KC as an influence. This T linked to my recent comment to her: what I have been doing (in my professional life) since The GD (Frame By Frame was 1991, The GD 1992) has been establishing the KC Catalogue.
May I note that without David Singleton’s remarkable contribution since 1992, Declan Colgan in the same period, Mr. Stormy in the DGM Archive, Hugh the Fierce in the DGM Art Department, and the Sidney Smith’s ongoing interest, this would not have happened? And these are not the only persons.
Prior to 1992 very little listenable live-KC was formally available. Much critical commentary, predominantly negative at the time, was based on little or no experience of the live Beast and rather more on received opinion: ignorance squared. An article in The Wire (1992) on The GD was a turning point IMO. It doesn’t matter much to me if someone doesn’t like KC, of any period; it matters more if someone who dislikes KC has heard what they don’t like.
In 1991 EG sold the KC catalogue to Virgin. Whatever the increasing failure of Mr. SG Alder’s EG to support its catalogue or artists in a meaningful way, EG provided a safer house for KC artist-choice than that of an external record company (yeah, really). Seeing a not-good future coming, I acted to be directly involved in the KC catalogue’s wellbeing at Virgin. And then Virgin was sold to EMI and then EMI was sold to UMG. Twenty three years later, here we are. Have I mentioned: I take a long view?
19.14 DGM HQ.
The Minx set off to rehearsals I…
II...
III...
A little shopping…
… and to DGM HQ c. 14.35.
Car-listening of choice: Miles Davis Live in Europe 1967. As a young player, recently moved to London, Tony Williams and Michael Giles were my two Beastly Drummer Dudes Of Terror.
Arriving c. 16.55 and a catching-up DGM Kitchen conversation with David over cakes. We are both optimistic about the creative current underway: this is not a time for caution. Sometimes it is, but acting boldly is qualitatively different from precipitate action.
A call from the Minx, back from a very good day’s work. And David has just left, walking home down a dark, village street…
An evening computing ahead.
It waits…
