This gig appears to be a testimony to the recuperative powers of John Wetton’s constitution. Having been out partying in the company of David Enthoven and Richard Palmer-James the night before in Munich, he still manages an impressive performance on Doctor Diamond and indeed throughout the rest of the gig. Though the good Doctor would forever elude them in the studio it seems that the band really beginning to find the soul of this song in concert. Fracture has a risky quality tonight; Bruford is in an adventurous mood whilst David’s tron is a touch out of tune.
A 16 disc limited edition box set featuring studio and live recordings - many previously unreleased - from King Crimson's mid-1990s double trio line-up…
Making order on my vinyl library, I found my old copy of "In the court of the Crimson King". It is an original US pressing in textured gatefold sleeve. With great shape and pretty good sound quality (I recommend listening "I Talk To The Wind").
"In the Court of the Crimson King" is the 1969 debut album by the British progressive rock group King Crimson. The album reached #5 on the British charts, and is certified gold in the United States.
The album is generally viewed as one of the strongest of the progressive rock genre, where King Crimson largely stripped away the blues-based foundations of rock music and mixed together jazz and Classical symphonic elements. In his 1997 book "Rocking the Classics", critic and musicologist Edward Macan notes that "In the Court of the Crimson King" "may be the most influential progressive rock album ever released".
The only progressive rock band from the '60s to be making new, vital, progressive music in the '90s, King Crimson returned from a ten-year exile in 1995 with THRAK, their first album since 1984's 3 of a Perfect Pair. As with the '80s band, guitarist/ringleader Robert Fripp recruited singer/guitarist Adrian Belew, bassist Tony Levin, and drummer Bill Bruford for this incarnation of his classic band. However, he added to this familiar quartet two new members: Chapman Stick player Trey Gunn and ex-Mr. Mister drummer Pat Mastelotto.
Talk about chalk and cheese or to put it another way: what a difference a day makes. After their uneven performance at in Pittsburgh, Boz and the boys spent a day travel up to Milwaukee and washed up at the Riverside theatre. 24 hours spent away from the stage has made them hungry again, giving this gig a distinctive edge to the set. Arguably the best live rendering of Formentera Lady is to be found here; Fripp’s chords and timing are tight and consequently Boz’s vocals are focussed and sharp. Collins moves from supportive flute to bracing salvos of alto sax fired over the rhythm section inquisitive wanderings which range from sparse funk, R&B shuffle, and Elvin Jones workout. As it migrates to become The Sailors Tale, Collins’ frenetic soloing demonstrates why there was no other band quite like Crim doing the rounds back then; it’s jazz rock but not as we know it, Jim.