“Curves lured, Level 5 slammed, Thela danced, EleKtriK shined and Virtuous Circle went somewhere wonderfully beautiful” says Trey of the second night in Nashville. [endtease] Undoubtedly a hot gig for the band they certainly sound more confident; this version of Dangerous Curves delivers especially if you like your electronica unleashed and unbound, running off and away into some unexpected quarters. Some missed cues and slippery notes all add to the drama during Level 5 whilst Larks’ Tongues IV maintains the malevolent, crushing edge that it had acquired after being taken out on the road. Belew’s solo is jaw-droppingly expansive whilst those running lines written in ’69 for Schizoid Man were clearly just getting the Great Roberto’s fingers warmed up for this moment. Splendid!
Curves, Level 5, Circle, Elephant Talk and LTIA IV first appeared on KCCC19 though this is the first time the entire gig has been made available on DGMLive.
AUDIO SOURCE: Dat Tape Direct From Soundboard
DGM AUDIO QUALITY
AVERAGE CUSTOMER RATING
TRACK
TIME
01
Dangerous Curves
04:56
02
Level 5
07:55
03
The ConstruKction Of Light
08:40
04
Into The Frying Pan
06:43
05
ELEKTRIK
08:04
06
The Power To Believe II
07:03
07
Dinosaur
05:12
08
Elephant Talk
04:38
09
VROOOM
04:08
10
Coda Marine 475
01:54
11
ProzaKc Blues
05:42
01
Larks Tongues In Aspic Pt IV
12:48
02
The Deception Of The Thrush
07:20
03
Thela Hun Ginjeet
07:35
04
The Worlds My Oyster Soup Kitchen Floor Wax Museum
“Curves lured, Level 5 slammed, Thela danced, EleKtriK shined and Virtuous Circle went somewhere wonderfully beautiful” says Trey of the second night in Nashville. [endtease] Undoubtedly a hot gig for the band they certainly sound more confident; this version of Dangerous Curves delivers especially if you like your electronica unleashed and unbound...
Both Friday night and Saturday recordings really capture as best as possible what I experienced those evenings nearly 6 years ago. I was very happy to hear the KC Club #19 realease with a best of from both nights. I am just as happy to be able to download the full shows here. Thanks for this great opportunity and service. The following is what I wrote shortly after a fantastic weekend in Nashville: I enjoyed watching Fripp, Belew, Gunn and Mastelotto perform Friday night, b...
Both Friday night and Saturday recordings really capture as best as possible what I experienced those evenings nearly 6 years ago. I was very happy to hear the KC Club #19 realease with a best of from both nights. I am just as happy to be able to download the full shows here. Thanks for this great opportunity and service. The following is what I wrote shortly after a fantastic weekend in Nashville: I enjoyed watching Fripp, Belew, Gunn and Mastelotto perform Friday night, but I really enjoyed Hearing King Crimson on Saturday. I think I’ve been spoiled by the intimacy I experienced at the June shows at 12th & Porter. For me, standing and moving beats out sitting and grooving. There was something just a little bit off during Friday nights’ show. I’d guess it was a case (or curse) of the first nighter. My four-hour drive to N’ville may have played a part in that too. A Crimson concert can be a very elevating experience; it can also be very exhausting. John Paul Jones brought along and played an arsenal of instruments created by Hugh Manson(?). Jones is a true virtuoso when it comes to things with strings. He played some searing steel guitar and several songs with those patented thick bass lines. In particular one song had a very heavy "Houses of the Holy" bottom end going on it. He added voice to many of the songs and I loved the little "folk" ditty. Personal set highlight "That’s The Way." Was Led Z-III a crafty album? After JPJones set the soundscapes came up softly as breakdown/setup commenced on stage and I remarked how relaxed I felt. The mood was very pleasant. ConstruKction of Light was a great start to the show. I never really cared for ProzaKc Blues very much, but live it’s much more enjoyable to me. Elektric was a very nice surprise, a real treat for the first time in public. It included some nice bits of circulation between the three string benders. The next few songs of the set seemed to falter somewhat (tapers? firstnight? ...don’t know). One Time was played at a faster pace than I’ve heard it before. The feeling it gave me was of the song being rushed through, however. It seemed to me though that Robert slowed the pace back down somehow during his last solo of the peice. From then on things seemed to begin clicking between the band again, they had synched back up(?). I don’t remember if they went straight into Virtuous Circle or not at this point. Robert didn’t solo over this one when I heard it played at 12th & Porter during the Summer Tool tour warmup. At that time, I figured that the moment would eventually present itself. I was grateful to be present for those moments this weekend. As the piece wound down Pat flipped on the whirling noises that end Talking Drum and precede Larks pt. II. Then they slammed into Level Five. Make no mistake, this is Lark’s - Mach V. Frying Pan is one of my all-time faves, but the team got derailed again somewhere on this one. Adrian then told us that we only had to sit through one more song, but that it was a long one. They then proceeded through a blistering version of Lark’s 4. The encores were great. Thrush is such a moving piece live. Thela was slightly derailed but overall enthusiasm moved the song forward and past any obstacles. They chose Red for a closer and all the fans were bopping along on this one. Saturday night Crimson was relentless. They came out strong with the new material and never let up. In fact there was nearly no pause or break between songs. No chance to even applaud Virtuous Circle as they wound down and then moved right into Dinosaur. The biggest difference I noticed between Friday and Saturday was the intensity. It may have had more to do with my perspective Saturday (relaxed, well rested and right in front of Pat). Pat was just merciless on his kit. He was hammering all his pieces and just brought a big sound which added tension to the whole show. I’m not sure if that helped everyone else or what, but they all seemed much more connected. I watched Trey and Pat duel it out with each other on several pieces. Trey would turn to Pat and fake making a two-handed run on his Warr. Pat would snarl back at him and just pound it even louder! Adrian seemed much more relaxed on his solo’s on Saturday night, he was tearing up the ol’ whammy bar all night. I love the sections in ConstruKction of Light when the lyrics start and Pat will lay back on the drums then pound in, speed the tempo up then lay back off again. He revs it up then slows it down all through and was just hammering everything. I never really picked up on this from any of the CD versions, but noticed it at 12th&P and here again. I really enjoyed it. Adrian’s solo on the Coda felt like it was crying and wailing straight from his heart, achingly beautiful. Thrush was amazing, again. Whenever I hear this one I think of the "Gates of Hell Without Despair" aphorism. Fripp’s solo and the sounds Pat conjures up are just cold and downright dark. The Light or Redemption that comes from the middle of, or perhaps in spite of all that is very moving to me. Thela and Oyster Soup outright rocked and Belew proved to me that he is still the Twang Bar King. Since I’ve heard many requests for a female perspective on KC, I’ll tell you that the one I attended with really enjoyed it. She said during Friday nights break before the encore that King Crimson are artists who paint with textures of sound. That was what she said she kept envisioning throughout the night. Later I told her that I remembered reading somewhere on the guestbook or diary that described Crimson as sculpting/painting(?) with slabs of sound. She also picked up on and said she really appreciated the way the musicians all communicate together on stage and interact with each other. She then asked me what I saw in the music. Popping into my head right away was the vision of dozens of bicycle tires spinning around at varied speeds. She does not care for much of Crimson on CD and is sick of me playing the ProjeKcts, but she absolutely enjoyed both nights and asked me never to go without her again. Thanks to King Crimson and the City of Nashville for a much needed and wonderful weekend getaway! Other Surprises:Rickety folding chairs setup on the Gen Adm floor.Bumping into P@ and Munyon walking around out front during JPJ Saturday show.Inner tray liner of the BPM&M CD.No sign of Response To Stimuli or Crimson Blue.The number of Zeppelin songs performed by JPJ.Nick Beggs theatricality during the JPJ show. (Warning to KRAM, the Virgin, ...Beggs wears a kilt and plays Stick, balls-out and a-rockin’!)Saturday night two-fer-one ticket sale with Fri. stub. Very small crowd on Saturday night.Hauntingly winsome intro to Elektric.Finding two empty seats six rows in front of P@ on Sat. after JPJ set.Bright white light flashed intermittently in the audients eyes during JPJ set. (Fripp’s suggestion? :-) Non-Surprises:328 PH, great venue. My honey reporting no line at the women’s restroom.The mix in ages/sex of the crowd.The great number of audience members (me too) whose next days activities will probably include taking a nap.KC’s teamwork and communication onstage.Respectful audients with nary a flashbulb in sight.The presence of a very dapper Ian Wallace Saturday night. (Near the bar, but no corks in hand.)the Beast Mastelotto
