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Archive for the ‘King Crimson’ Category

[POSTPONED: April 1, 2020] Stick Men [rescheduled from August 5, 2020; moved to]

indexSellersville Theater has been experimenting with limited seating at some shows.  But they decided to postpone this one.  I’m assuming if it’s a “real” band as opposed to a cover band, they’d want as much capacity as possible.  Regardless of when this gets scheduled, I can’t wait to see these guys up close.

Back in June, as larger shows were getting postponed into August and September, I held out hope that August might allow for some smaller shows like this one.

I had never heard of Stick Men until after a King Crimson show when I heard some fans talking about how amazing Stick Men are.

The band is a trio of Tony Levin, Pat Mastelotto and Markus Reuter.  Levin and Mastelotto play in Crimson (stick and drums respectively) and Markus Reuter plays his eight string touch guitar covering much more ground than a guitar or a bass.  Mastelotto’s drumming encompasses not just the acoustic kit, but a unique electronic setup too, allowing him to add loops, samples, percussion, and more.

To be able to see these musicians up close (without all the distractions of the amazement of a King Crimson concert) would be so cool.  Stick Men play once in awhile, although the last few times they’ve been around I couldn’t make it.

Rescheduled to April is a good thing, although I wish they were somewhere closer than Sellersville.

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[POSTPONED: December 22, 2020] KT Tunstall / Dina Hall [rescheduled from May 5th and June 28th]

index

It seemed like the third time would be the charm for this show at Sellersville.  Especially pushing it all the way back to December.

Well, KT Tunstall is going to play this venue some day.  And maybe by then I’ll be ready to see her.

Interestingly, she is playing two other venues locally and each one has a different opening act, so perhaps your choice of venue wil depend on who is opening.

I had forgotten about KT Tunstall. I had her first record and then didn’t realize that she had had a couple of other (big) hits since “Suddenly I See.”

I wasn’t going to go to this, but her name has been popping up all over the place.  And the more I see her listed, the more I’ve thought about going.  This was definitely a maybe since so many other shows are cancelled anyhow.  She’s also touring with Hall and Oates this summer and she seems to be doing a lot of local shows as a headliner. All of this repetition has me thinking I might go see her. But mostly I’m intrigued by how much her name is going to show up in these posts soon.

Dina Hall is a folksinger from Bethlehem–originally from Sayreville NJ. When she’s with her full band she rocks out a bit more. I’m not sure if this was a solo or a band show.

seller

 

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[POSTPONED: August 5, 2020] Stick Men [moved to April 1, 2021]

indexBack in June, as larger shows were getting postponed into August and September, I held out hope that August might allow for some smaller shows like this one.

I had never heard of Stick Men until after a King Crimson show when I heard some fans talking about how amazing Stick Men are.

The band is a trio of Tony Levin, Pat Mastelotto and Markus Reuter.  Levin and Mastelotto play in Crimson (stick and drums respectively) and Markus Reuter plays his eight string touch guitar covering much more ground than a guitar or a bass.  Mastelotto’s drumming encompasses not just the acoustic kit, but a unique electronic setup too, allowing him to add loops, samples, percussion, and more.

To be able to see these musicians up close (without all the distractions of the amazement of a King Crimson concert) would be so cool.  Stick Men play once in awhile, although the last few times they’ve been around I couldn’t make it.

Rescheduled to April is a good thing, although I wish they were somewhere closer than Sellersville.

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[POSTPONED: June 22, 2020] King Crimson / The Zappa Band [moved to  2021]

indexI have seen King Crimson four times and have been blown away by each show.  Even hearing many of the same songs doesn’t dampen my enjoyment since the songs are so amazing to see live.

Given the fickleness of Robert Fripp, it’s always possible that the band will break up at any moment.  Given that, I will see them every time they come close, and the fact that they were coming to new Brunswick (super close!) was like a personal invitation.

Normally there is no opening act.   I don’t know if the addition of an opening act meant less King Crimson time.  But the opening act was The Zappa Band.

I’ve been a big fan of Zappa’s work for years, although I never saw him live.  I’ve considered going to the various posthumous shows, but they all seem kind of cheesy.  The Dweezil show is supposed to be okay, but I feel like I;d have to have a real lull in shows to go out to see him.

However, having them open for a show that I was already going to was the best of all worlds.  Especially given the current lineup:

The Zappa Band’s lineup features Zappa alumni Ray White (lead vocals, guitar), Mike Keneally (guitar, keys, vocals), Scott Thunes (bassist) and Robert Martin (keyboards, sax, vocals).  I mean, that’s practically the Zappa band without Zappa right there.  It seems like Dweezil is not even part of this show, which is interesting.

I didn’t know if the end of June would be a safe time to see a show, and clearly neither did KC or State Theatre, as this show was postponed in early April.

King Crimson, originally scheduled for June 22, has been postponed. We have been closely following the developing news on COVID-19 and the current response recommendations from our Federal, State, and Local officials. The health and well-being of our guests, artists, and staff are our top priority. Ticket holders will be contacted as soon as we have a new date. Current tickets will be valid for the rescheduled date, once announced, and if you are unable to make the new date, we will discuss alternate arrangements. Due to the high volume of changed or cancelled performances, we ask that you please wait for State Theatre to contact you in regard to your tickets.

I hope when the show is rescheduled, that The Zappa Band opens.  That sounds like a blast.

 

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[ATTENDED: February 7, 2020] Garcia Peoples

I saw Garcia Peoples on New Year’s Eve eve at a Phish after party.  The show was great with them playing their new 30 minute song “One Step Behind” as well as a few others.  For that show, their original bassist Derek Spaldo was in town (after this Philly show I talked to Tom Malach and he told me that Spaldo lives in Chicago and tours with them when he can–sometimes they are a six-piece band).  That show was great.  It was the second time I’d seen them playing a short set and I really wanted to catch them as a headliner. So I was pretty excited to see that they’d be playing Boot & Saddle (even if I’d only seen them a month ago I wanted to check them out again).

When I arrived the place was pretty empty, but by the time Garcia Peoples went on, it had filled in nicely.  I was intrigued by the diversity of ages in the crowd–a lot of old Dead-heads and a few younger frat boy types as well as a lot of (drunk?) women.  I am also pretty certain that Chris Forsyth was in the audience.

The crowd was responsive and really appreciative whenever the guys played some impressive soloing (which was often).

I was intrigued to see that Spaldo was not with them this time but bassist Andy Cush was.  Cush played with them when I first saw them.  This means that there are two guys who know the bass parts to their songs. Pretty cool. (more…)

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[ATTENDED: September 21, 2019] King Crimson

It is hard to believe that it has been almost two years since I last saw King Crimson, because I feels like it was just a few months ago.

This was my fourth time seeing them in five years.  As I said last time, who knows when Robert Fripp is going to decide to end this iteration, so if they come to town, I’m going to see them.  In fact, I had a ticket for Monday night’s show in Philly as well but I decided not to go because I had been to a show Friday and now Saturday and I had four more shows lined up later in the week (seven shows in nine days is a lot, even for me).

This time I went with my friend Bill.  He drove us into the city for which I was thankful.  He told me he usually just looks for street parking but because he didn’t want to be late he booked a garage.  That proved to be a huge mistake because everyone who didn’t live in NYC also booked that garage and there were only two attendants.  We waited for 45 minutes for our car (which meant I got home at 2AM!).  This was Bill’s first time seeing King Crimson.

He was very impressed.  Of course.

This time the band was back down to a seven piece.  I’m not sure what happened to the eighth member.  It was going to be Bill Rieflin again and then he took a sabbatical and was replaced by Theo Travis.  But apparently he was not included on this tour “when the band opted not to have musicians deputising for Rieflin again.”

Even though these shows have a base of similar songs and players, each tour (and each tour date) has mixed it up somewhat.  So out of the eighteen songs they played that night, I hadn’t seen 5 of them.  That’s a pretty great evolution.   And honestly, the songs I’ve heard more than once (some every time) I’m more than happy to hear again and again.

The last time I saw them I wrote

after they tour Europe, if they came back I would see them again no question.  This time maybe from the front of the balcony for a whole new perspective.

Following my own advice, I scored front row balcony seats to this show, and they were really spectacular.  The band sounded great and it was easy to see what everyone was doing (where to look is a perennial problem).  [My seats in Philly were also exciting–stage left in a balcony box, staring right at Fripp–I’ll definitely try to get them again if they come around in 2020). (more…)

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oct30SOUNDTRACK: NEIL YOUNG-Arc (1991).

arcArc came with Neil Young’s outstanding live album Weld (and then later on its own).  It contains one 35 minute track called “Arc (A Compilation Composition).”

This album was recorded during Neil Young’s tour with Sonic Youth opening (MAN, I wish I had seen that tour).

Because it was 1991 and you couldn’t really look up this kind of information, I just assumed that Neil and Crazy Horse had created some kind of 35 minute jam (even though it doesn’t really sound like all one song, but how closely does one listen to Arc?).

Of course, listening to it now, it is pretty obvious that it’s pieces of shows strung together.  (the subtitle also gives it away, although I don’t think that the subtitle was on the actual disc).

Wikipedia talks about an interview that Neil Young gave in which he says he recorded a film in 1987 called Muddy Track

 which consisted of the beginnings and endings of various songs from his 1987 European tour. Young placed a video camera on his amplifier during the 1987 tour and recorded the beginnings and endings of various songs, and later edited them down into the film’s soundtrack. “It was the sound of the entire band being sucked into this little limiter, being compressed and fuckin’ distorted to hell,”

And in what makes 100% sense, on this 1991 tour,

Young then showed the video to Sonic Youth’s Thurston Moore, who suggested that he record an entire album in a similar manner. However, Arc was not recorded through video camera microphones, as was the case with Muddy Track, but instead was compiled from various professional multi-track recordings made throughout the tour.

So what you get is 35 minutes of noise (not so much feedback, as guitar rumblings that a band might do as a song slowly grinds to a rumbling halt).

You can hear snippets of vocals.  In particular, you can hear him singing “Like a Hurricane” and “Love and Only Love” in what definitely sounds like the end of a take–as the band’s instruments ring out.

There’s occasional moments where the rumble is interrupted by a burst of drums from Ralph Molina or you can clearly hear some of Frank “Poncho” Sampedro’s guitar and univox stringman.

There’s a little bit of audience response.  At the opening of the disc but especially at the 25 minute mark as a song feedbacks out and the crowd cheers before the band puts out  rocking drum-filled cacophonous ending.

At 28 minutes the “song” actually sort of turns into an actual song with Billy Talbot playing a simple four note bass line.  But that doesn’t last too long before another ending is tacked on.

The last few minutes has someone singing “No more pain” and then shouting a story that is somewhat inaudible although I think I hear “mom” and “post office.”

This is certainly not something to listen to much.  But I found it an interesting sonic experience today.  if nothing else, it made me really wish I had seen that 1991 show.

[READ: August 30, 2019] “Beyond the Pale”

I really like Nick Hornby’s music (and book) reviews.  He and I don’t share the same taste, but we have a lot of moments that overlap (he’s more traditional while I’m more experimental).

In many ways it is no surprise that he hated Radiohead’s Kid A, but the amount of savagery he does to it is quite astonishing.

He essentially compares it to Lou Reed’s Metal Machine Music and Neil Young’s Arc.  Not in content, but in the giant middle finger he feels it is to fans of the band.  Although he does admit that Kid A is “nowhere near as teeth-grindingly tedious” as Metal Machine Music.

He feels that the album stems from the idea that fans are interested in “every twist and turn of the band’s career no matter how trivial or pretentious.”  Although a valid question is what has earned Radiohead its huge audience.  I have not figured that one out myself. (more…)

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SOUNDTRACK: WIRE-Kidney Bingos (1988).

Wire’s first three albums are punk and post-pink classics.  So classic that a Britpop band ripped off one of their songs to make an even bigger hit.  (I rather like Elastica too).

After their hiatus in the early 1980s, they returned with a new sound.  Like King Crimson only with fewer notes.

Their second post-hiatus album A Bell is a Cup even had a single, “Kidney Bingos.”

This song is remarkably far from their early punk sound. It’s almost as if on their first albums, their guitars only had the low strings,  And on this one, they only have the high strings.

The guitars on this song are gentle and jangly.  The bass is pretty similar–nice and deep with a great resonance, although the tempo is much slower and more chill.

The chorus is a really catchy bit if pop fun, even if for 30 years I had no idea that he was saying

Money spines paper lung kidney bingos organ fun

which makes as much sense as what I thought he was saying.

The end of the song throws in some synths and a wordless singalong that shows a real depth to Newman’s voice.

[READ: June 29, 2019] “Pastoralia”

I was sure I had read this story before.  But it turns out I’ve had his collection Pastoralia on my “too read” list but had never actually read it.  In the collection, this story is almost 70 pages.  It’s pretty long in the New Yorker, but i do have to wonder if it is an excerpt as there’s so much that is unexplained.

This story is set in what I think of as the Saunders future.  There’s no ProperName objects as there usually are.  But this future has a lot of the mildly dystopian qualities that Saunders tends to put in his stories

This one includes an exhibit where humans act out historical scenarios in a museum of sorts (the details are never given).

The narrator’s name is never given.  Over the course of a few pages we determine that he is a caveman in an exhibit.  Every day he is supposed to “eat grubs,” “see” a herd of animals and not speak English.  He has a “wife,” Janet.  She is not his real wife, he has a real wife and children.  In fact he doesn’t especially like Janet. She tends to speak English a lot and disregards most other work protocols.

In many respects it doesn’t matter because hardly anyone comes into the museum.  But they are doing a job and they do have supervisors.

When the light dims as if it were night time they each go to their separate personal quarters where they have such modern amenities as a fax machine (this was written in 2000 so that’s not a goof, I don’t think).  (more…)

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SOUNDTRACK: TREY ANASTASIO-One Man’s Trash (1998).

This is Trey Anastasio’s first solo album. It is a 30 minute collection of odds and ends (hence the title) and experimental pieces.  There are some kernels of real songs and some simple noise experiments (most of which are shorter).

The first three songs are kernels of songs.  “Happy Coffee Song” is a simple blues riff with a guitar solo and scatting lyrics.  “Quantegy” is three minutes long.  It’s got a bass line like Led Zeppelin’s The Lemon Song but with Trey just narrating about quantegy and materials with synths behind him.  “Mister Completely” sounds like a Phish song with intertwining lines and a catchy riff.

“A Good Stalk” is the first of the experimental noise tracks.  Feedback and backwards drum sounds make a 50 second soundscape that does indeed sound like a “A Good Stalk.”

“That Dream Machine” is a fast looping guitar pattern that sounds like it could be a King Crimson melody from the 80s.  “The Way I Feel” introduces a funky bass line (with cowbell).   “Rofa Beton” is almost three minutes of soft but fast echoing drum patterns.

“For Lew (My Bodyguard)” brings lyrics into the songs again.  This song is about two minutes long, primarily keyboard washes and synths that follow the vocal line for

‘Cause Satan is real on the fainting couch,
I can feel my curved back sink into the hot orange light;
Feels good against my arms.

Mustard walls surround me like soldiers face to face
At the Battle of Trenton.
I can feel my curved back sink into the chapel pew.
While Maurice stands guard outside, no one can defy me.
No one can get by me with Maurice standing guard outside.

‘Cause Satan is real on the fainting couch.
Satan is real inside me,
From my head down to my kidney bean.

Yup.

It’s followed by three way experimental pieces.  “At The Barbecue” is a kind of free jazz saxophone/trumpet experimental piece.  “Tree Spine” is similar to “Stalk” with pulsing deep sounds and what could be the sound of insects eating a tree.  “Here’s Mud In Your Eye” is a minute of splashing sounds–made by mouth?

“The Real Taste of Licorice” returns to proper songs with a lively three minute acoustic guitar piece.

“And Your Little Dog Too” is the longest piece at 4 minutes.  It’s echoing drums and sound effects with Trey yelling in the background.  It sounds like it is meant to be almost a savage dance.

“Jump Rope (fast version)” is thirty five seconds of meandering keyboards and what sounds like fast whipping loops (yes, like a jump rope).  “Jump Rope (slow version)” is not a slowed down version of the above.  In this one the looping sound is like a slow moving UFO.

“Kidney Bean” closes the album.  The phrase kidney bean appeared earlier (in “For Lew”).  The return is an elliptical 30 second song with the loud monotone recitation of “Now we’re talking kidney bean.”

There’s not a lot here for the casual listener.  Or even for big fans.  It’s the kind of thing that would be released for free if that was something that could have happened in 1998. I suspect people were kind of pissed to have paid money for this.

But it is kind of fun, if you like weird Phish nonsense.

[READ: May 1, 2019] “Child’s Play”

Alice Munro is a master of the short story.  This story is utterly fantastic.  They way it is written and the stunning ending are mind-blowing.

The story more or less begins with an introduction to Marlene and Charlene.  They were not twins as people might have guessed (from their names).  They were not even related.  But they were at camp together and they bonded over their similar names.  They bonded over their physical similarities and differences.  They bonded over the camp counselor they didn’t like (Arva, “she even had an unpleasant name”).

Camp was religious, but it was United Church of Canada, so there wasn’t much talk of religion, exactly.  Mostly it was talk of being nice.  But Marlene had a story of being not nice.

There was a girl in Marlene’s neighborhood named Verna.  She was described as her neighbor’s granddaughter, but there was no evidence of Verna’s mother.  Marlene had an aversion to her right from the start.  She told her mother that she hated Verna.

Her mother’s standard reaction was “The poor thing.”  Marlene’s didn’t think her mother liked Verna either rather it was  “a decision she had made to spite me, she pretended to be sorry for her”  She said “How can you blame a person for the was she was born?” (more…)

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[ATTENDED: April 12, 2019] The Claypool Lennon Delirium

Nearly two years and a half years ago I saw The Claypool Lennon Delirium at the Fillmore.  Once again, this year they were playing the Fillmore.  But it was on a night that T. was doing a school play.  There is no way I would choose Les Claypool over my daughter, so I didn’t get tickets.  Then they moved her play to Thursday instead.  I could go!

But then WXPN announced that The Claypool Lennon Delirium would be doing a Free at Noon.  And that seemed like the best of both worlds–I’d get to see the band and it wouldn’t be a) at night or b) at the Fillmore (which was too big and crowded for me when I saw them).  I said I’d never do another Free at Noon because I basically had to take off four hours of work to do it, but for these guys it was a no-brainer and totally worth it.

And really, who doesn’t like to take off four hours of work. (more…)

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