First released on CD as KCCC 29, the opening improv is akin to a gathering storm that suddenly finds its focus in Dr. Diamond. Almost overwhelmed in the beginning by Bill’s use of the gong, it quickly powers up into a great opening number. Prior to a gorgeous version of Exiles, Fripp deploys his classic stage announcement borrowed from Elmer Gantry, “Right, hands up those who like it those who don't fuck off my eyes feel like pissholes in the snow this is the last one for the evening seeds of space fly by my face”.
The second improv of the evening begins with an agile funky groove that enjoys some explosively percussive outbursts from Fripp’s guitar and harmonic lines from Cross on the Hohner pianet. Thereafter, Fripp offers up another flowing and often frenetic solo as the band lock down in the manner of the improv they would perform a few months later at Asbury Park. After the storm comes the calm: the ‘tron flutes and sustained guitar lines at the end of the piece offer a wonderful haven for reflection.
It’s interesting to note that Fripp then starts playing the intro to The Night Watch which is then quickly abandoned for Starless. Had Fripp misread the set list or was this the mood changing mid-stream and the band responding to it? During an especially strong reading of Starless, Bruford and Wetton are on devastating form. Dense, acerbic, stirring and moving, the concert is a wonderful example of the kind of magic Crimson conjured on a nightly basis.
First released on CD as KCCC 29, the opening improv is akin to a gathering storm that suddenly finds its focus in Dr. Diamond. Almost overwhelmed in the beginning by Bill’s use of the gong, it quickly powers up into a great opening number. Prior to a gorgeous version of Exiles, Fripp deploys his classic stage announcement borrowed from Elmer Gantry...
Good show, but there are many others that blow it away
Heidelberg is a good show, not a great one. To begin with the sound is only OK, most likely coming from a cassette master of the soundboard tapes. Compared to shows later in the year or Glasgow or Zurich back in ’73 it sounds somewhat muffled and the soundstage leaves a lot to be desired. Everything is jammed into the middle with little stereo separation. All that re the sound could be forgiven if the performance was outstanding, containing that white magic Crimson were capable of on a gr...
Heidelberg is a good show, not a great one. To begin with the sound is only OK, most likely coming from a cassette master of the soundboard tapes. Compared to shows later in the year or Glasgow or Zurich back in ’73 it sounds somewhat muffled and the soundstage leaves a lot to be desired. Everything is jammed into the middle with little stereo separation. All that re the sound could be forgiven if the performance was outstanding, containing that white magic Crimson were capable of on a great night. This is only a good one. The show starts with an ominous improv based off of No Pussyfooting. Its menacing, quietly evil and leads into Dr. Diamond, ugh, not a fan. This clumsy mess of a song tho is somewhat interesting for the peculiar tightrope balancing act the rhythm section and melodic players perform during the slow instrumental break. It’s disorganized organization makes the song bearable. Next up is a goofy Robert Fripp announcement concerning Elmer Gantry. You’ve heard the quote before if you’ve got the Great Deciever Box set but this version is more awkward than funny. Then a good version of Exiles ensues. Fripp’s guitar is a little low in the mix for me, but his solos are excellent. Improv - Heidelberg 2 is also excellent, being a rather frenetic improv along the lines of Asbury Park, and the first song that makes this concert unique. After the improv Robert tries to start the Night Watch, but the next song up is Starless. Most likely a misreading of the setlist, hey it’s happened to me on more than one ocassion. To his credit Fripp recovers nicely and the band segues into Starless. But at the beginning of the slow instrumental crescendo Frip looses his place and Starless devolves into a clusterfuck of the second order, i.e. they don’t have to start over or stop. Fripp shines tho in the solo section making up for earlier indiscretions. The Night Watch is good if not remarkable, as is Lament. Easy Money has some great guitar work, but is otherwise fairly ordinary and Fracture is incomplete. There you have it. A good show with plenty of warts, sadly truncated at the end. Heidelberg is nowhere near a five star recording, more like three and a half, but worth buying if you’re a completist. Other shows to get before this one of the ’73-’74 iteration of the band: Glasgow 10/23/73, Zurich 11/15/73, The Nightwatch 11/23/73, Mainz 3/30/74, Pforzheim 03/31/74, Kassel, Stanley Theatre, Massey Hall Toronto, Asbury Park, Providence, Penn State, and despite its crappy sound Central Park.
Written by Jeff Oaster
Love this German tour...
The concerts from the German leg of Crimso’s ’74 tour are all top notch, and all bring something special to the table. There are some interesting nuances to this show. There is nothing particularly special about the opening improv and Doctor Diamond - it’s a good version, it’s just pretty much par for the course. Things start to get interesting soon after. The improv leading into Exiles (not separated into a different track) sounds like it is going to lead into Larks Toungues Part I. Is ...
The concerts from the German leg of Crimso’s ’74 tour are all top notch, and all bring something special to the table. There are some interesting nuances to this show. There is nothing particularly special about the opening improv and Doctor Diamond - it’s a good version, it’s just pretty much par for the course. Things start to get interesting soon after. The improv leading into Exiles (not separated into a different track) sounds like it is going to lead into Larks Toungues Part I. Is that just the way it started, did the band intend to play it one last time? Whatever the case, part of the way through, Cross starts steering the band into a rather strong version of Exiles. The following improv starts out like an already-in-progress Providence or Asbury Park - quite odd given that the band tended to noodle around until locking in and then leaving us all wondering if they were really improvising. The playing is really tight on this one. Starless starts out with Fripp playing The Night Watch, before he corrects. The song gets off to a bit of a ropey start - it sounds like Wetton misses the vocal cue so they play an extra measure and then he comes in. He’s still not comfortable with the incomplete lyrics and the song seems like it is going to get derailed.... until the instrumental section. Bruford decides it’s time to dominate and they don’t turn back from them. Cross tears it up once the tension releases, then Fripp finishes it off (and throws in a few brown notes just for good measure). Great finish. Then Night Watch comes in. Is it just my imagination or does Fripp take an added pauses after running through the intro, as if to say, "am I getting it right this time?" His solo seems strangely muted, or too low in the mix. Rock solid versions of Lament and Easy Money follow, before we’re given a preview of Fracture, then the obligatory tape-run-out (c’mon guys, was there a shortage of recorders or something?) during Fracture. Highly recommended, and I wouldn’t mind seeing some more concerts emerge from this Spring tour, especially a complete show.
