We know from the full sets that have survived from around this period how hot the band was at this time.[endtease] Fracture is especially good with a thundering performance from Mr. B, whilst Easy Money has a piquant rip with a sting in the tail from the guitarist. The channels on the soundboard has John's vocals a touch higher than he might like and so there’s a tendency when getting excited for his voice to drown out his colleagues.
David Cross plays a blinder in the improv that follows Easy Money but then experiences some equipment trouble in the very next number. What follows is a great example of a band thinking on its feet. When David’s violin mic fails at the end of The Nightwatch, Fripp keeps the Mellotron part going and John steps in to play Cross’s part on the bass. Better yet, Robert buys the frantically busy road crew a few more precious minutes of repair time when he announces that the band are conducting a survey to see how popular they are: Cue the audience to go bonkers for a much needed minute. Fripp (who clearly has missed his vocation as a stand-up comedian) then goes on to set up one of his best on-stage jokes yet.
Whilst the good folks of Columbus may well have been treated to yet more chuckles or indeed barnstorming versions of Starless and Schizoid, these are not heard by audiences 33 years later as the tape ran out. Nevertheless, a great show.
We know from the full sets that have survived from around this period how hot the band was at this time.[endtease] Fracture is especially good with a thundering performance from Mr. B, whilst Easy Money has a piquant rip with a sting in the tail from the guitarist. The channels on the soundboard has John's vocals a touch higher than he might like a...
Reviewers have already commented on the odd mix and Wetton's assist on "The Nightwatch", so I'll be the first to point out that Fripp says "Curb your enthusiasm" to the audience in his announcement. First time I've heard that phrase said in the wild, decades prior to the TV show!
Solid show with the caveats already mentioned.
Written by Alex G Durr
A Baseline Solid Concert, Held Back by its Avenue of Recording
This is your standard King Crimson concert, which of course means excellent, but it doesn't have anything that makes it a must-buy compared to others. Every song here is played well, with special mention to Fracture and Night Watch (which, Cross's violin fails during, if that adds value for you). The improvs are quite nice. It's your baseline Wetton Era performance, which means great. The only real thing holding it back is the shotty production due to the PA recording primarily focusing on drums...
This is your standard King Crimson concert, which of course means excellent, but it doesn't have anything that makes it a must-buy compared to others. Every song here is played well, with special mention to Fracture and Night Watch (which, Cross's violin fails during, if that adds value for you). The improvs are quite nice. It's your baseline Wetton Era performance, which means great. The only real thing holding it back is the shotty production due to the PA recording primarily focusing on drums and vocals, drowning the other instruments out. Still. a good listen nevertheless.
Written by Jure Humar
A great show with flaws
Initialy I was tempted to give this show only 3 stars, but the inner Crimso in me could not do it. Despite it being a flawed performance, with Wetton's voice getting almost cringy sometimes and with some weird passages of otherwise sublime executions, the show is raw, punchy and just plain awesome. I can't help it, I devour anything KC offers me, from top notch recordings to muffled, lo-fi, weirdly played gigs. While this show isn't exactly the Concertgebouw gig (1973), it has it's place as an i...
Initialy I was tempted to give this show only 3 stars, but the inner Crimso in me could not do it. Despite it being a flawed performance, with Wetton's voice getting almost cringy sometimes and with some weird passages of otherwise sublime executions, the show is raw, punchy and just plain awesome. I can't help it, I devour anything KC offers me, from top notch recordings to muffled, lo-fi, weirdly played gigs. While this show isn't exactly the Concertgebouw gig (1973), it has it's place as an incredibly interesting concert. This era was truly something special, with this line-up probably being one of the most powerful of KC in terms of delivering just about everything they got. But as a King Crimson connoisseur, I would recommend this to completist only.
Written by Dylan Nelson
Good performance, but the mix makes it difficult to enjoy
As the title indicates, the band plays as well as ever. Unfortunately, only getting to hear a portion of what was offered that night coupled with a somewhat wonky mix makes this show non-essential in my eyes. However, if you can't get enough of the '74 USA shows, this should satisfy.
1. The Great Deceiver: Peppy tempo, good energy throughout. Fripp's guitar is much too quiet though, and Wetton's vocals too loud at times.
2. Lament: Again, good energy, but it is marred by how much louder We...
As the title indicates, the band plays as well as ever. Unfortunately, only getting to hear a portion of what was offered that night coupled with a somewhat wonky mix makes this show non-essential in my eyes. However, if you can't get enough of the '74 USA shows, this should satisfy.
1. The Great Deceiver: Peppy tempo, good energy throughout. Fripp's guitar is much too quiet though, and Wetton's vocals too loud at times.
2. Lament: Again, good energy, but it is marred by how much louder Wetton's vocals are than the rest of the band. Fripp's guitar is still too quiet.
3. Improv: Short, but sweet. No vocals obviously, so no problem there.
4. Exiles: Really tight -- very enjoyable despite Wetton being so loud.
5. Fracture: For some reason Cross' violin is too quiet at times. Nevertheless, this is a really enthusiastic rendition of this song, and we're lucky that it got placed unusually early in the show.
6. Easy Money: Rejoice! Wetton is no longer way too loud! ...Until the last verse. The band feels really connected and on point here, with some more-intense-than-usual soloing from Fripp.
7. Improv: I really like this, though it is short. Cross has treats us to some beautiful playing, accompanied by Fripp's arpeggios.
8. The Night Watch: Somewhat amusing, and fun to hear Wetton's surprise bass part near the end. His voice is definitely too loud though, and what violin there is there is too quiet.
Fun to listen to if you've already gone through the more well-known shows of this tour, but it's hard to recommend this to new listeners when shows like Toronto and Stanley Theatre are so excellent, and sound better.
