Few bands of the era offered as much variety in material from night to night. King Crimson’s propensity for improvisation & fondness for playing its newest material – often unreleased on record at the time of the concerts - is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows…
The Massey Hall King Crimson show is one of the most well known and well documented. Live In Toronto is the latest Club silver pressed release which has the complete soundboard recording from that night for the first time. Live In Toronto is truly an important archive release by King Crimson. They’ve mostly been going down the download route, posting their tapes online and not bothering with silver releases. But this one, despite the sub par show, certainly is interesting enough for a Collector’s Club release. This is available from the DGM website for a reasonable price, definitely worth having.
BPM&M, an experimental exploration that involves remixing an assortment of aural documents created throughout the years by legendary group King Crimson, it's associates, and other sources from beyond. With an assortment of computers, this literal dynamic duo have somehow managed to modify their laptops into musical electrocardiogram machines and have output a display of techno heartbeats previously unknown to mankind. The grand result is one aluminum and plastic-based compact disc containing sounds of nuclear beats and jungles of drone, compiled in measures of time that will have patrons of raves dancing on walls and exchanging the left sides of their brains with the right.
The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew (guitar/vocals). The disc begins with "Bude," the first in a series of short spoken verses incorporating an electronically manipulated and harmonized Belew. The result is similar to the voice box effect used by Peter Frampton on "Do You Feel Like We Do?."
"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".
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.