Read an interview with Toyah recently, apparently RF was super pissed about the first Sunday Lunches making him appear very un Fripp like.

I guess he got over it. She talked him into the green mohawk.

enframed wrote: Mon Aug 09, 2021 9:03 pm

Mickey242 wrote: Mon Aug 09, 2021 7:28 pm I would highly recommend the Absent Lovers live album because the version of Waiting Man on it is amazing.

Better than this one?

This is just as good. It's when that pulsing kick drum that comes in at the end that gets me every time. There is a concert of them live in Germany too which is really good.

Bernardo wrote: Mon Aug 09, 2021 9:18 pm I don't really remember much of the rest of the album, but "Cirkus", off of Lizard, is a jam:

Yeah thats a great track. It's that Indoor Games song I don't like. Listening to the album at work right now. It's better than I remember. Maybe I was confusing Lizard with of Outside the Gate by Killing Joke (Ouch, sick Jaz Colman burn!)

Can't say I'm an actual fan at all, I find Fripp's approach tiresome. The first era is an exercise in forced, obtuse awkwardness, way more arrogant than Genesis, who I also dislike. The po-faced, joyless vibe is a real drag - I rarely am in a prog mood, but I'll reach for ELP or Yes (who I think rode that line way more successfully on Close the Edge) every time.

That said, it's very difficult to argue with Larks, Starless and Red. Especially Red.

I also think the Belew era is underrated - granted, it's a bit less idiosyncratic sonically, but the playing is phonominal. I also dig the 90s stuff quite a bit, though the Fripp / Sylvian records (originally Fripp wanted these released under the King Crimson banner until Sylvian refused) are where it's at.

N.C.

I enjoy everything with Bruford and much of what came before, even the more pompous moments. You get the feeling that these are actually compositions, that the technical aspect only exists because it’s required in order to express the idea, rather than the music being made in order to show off some technique.

I don’t get that from the 90s and later stuff though. That’s just standard prog, at least up to the last of it I heard, which was The ConstruKCtion of Light.

I've listened to a lot more Van Der Graaf Generator in recent years.

I don't think there is anything forced, obtuse or awkward in 'I Talk To The Wind' or 'Cadence And Cascade'.

Found it.


Let's get back to the mentality of the old forum for a moment.
I have had to seen Yes live 4 times.
I would rather have my whole family killed then see them again.
When Richard Christopher Wakeman dies I will be almost as happy as I will be when Bob Dylan dies.
Hash? I'm bored it's late.
What ever happened to Kerbal? I would think he would chime in on a topic like this.

Mickey242 wrote: Found it.


Let's get back to the mentality of the old forum for a moment.
I have had to seen Yes live 4 times.
I would rather have my whole family killed then see them again.
When Richard Christopher Wakeman dies I will be almost as happy as I will be when Bob Dylan dies.
Hash? I'm bored it's late.
What ever happened to Kerbal? I would think he would chime in on a topic like this.

That must be some hash.

Tom Wanderer wrote: Wed Aug 11, 2021 3:38 pm I don't think there is anything forced, obtuse or awkward in 'I Talk To The Wind' or 'Cadence And Cascade'.

I dislike the limpwristed pastoral stuff way more than the skronkier material - that upper-class hippy jazz pretentious vibe is really forced and obtuse. "Let's go to the countryside and get our heads together, man". Gross. Can't stand any of the Canterbury scene either.

I just listened to Red again this afternoon and am still blown away by how good it is. Ripping bass tone. I need to check out more of their stuff.