Lighted up.

The Night Watch is a live album (2-CD set)
by the English band King Crimson, recorded
in Amsterdam in 1973, and released in 1997.

On the onstage, Robert Fripp has always been the picture of an introvert: seated, taciturn, entirely concentrating on his guitar.

"I’ve learned to trust the music, trust the process. And it’s important that the audience should know they are as important as the musician. If the audience is present and engaged and listening, the relationship is qualitatively different."

According to New York Times Robert Fripp became a rock star without acting like a showman. 

As the guitarist and leader of King Crimson — the band he founded in 1969 — Fripp, 77, has written music that’s visceral, but also complex and ambitious, seizing the vanguard of progressive rock yet reaching a broad audience.

In a rare interview, the guitarist explains “an entirely different trajectory.” - read it all that.

The “awful man” designation teases at Fripp’s many disgruntled former bandmates and business associates.

"I don’t think I can look back. I think the future has now shot off on an entirely different trajectory. A personal interest for me is kicking received opinion. Because if you were only seen in a certain way, there is a richness in life which is somehow closed to you."

By the way.

There was a click (September 1983, in the sauna)  "and I realized the tuning was for the guitar class".

"That’s how musicians grow up: they absorb like a sponge"

Greg Lake asked the reporter
 for help with the King Crimson's reunion.

Greg Lake: 

"Robert and I get on OK, to be honest, but there were a lot of strange feelings that happened through the career of King Crimson. "

"The sheer lineup of the band, too, was unusual. Ian on flute, and just having a Mellotron. The other interesting thing about the band is that it was more orchestral. It wasn’t like the Moody Blues, sort of mild and gentle and symphonic. It was intense. Things like “21st Century Schizoid Man” would literally scare people."

To be continued.

"Then suddenly there’s Yes and Genesis and all these other prog bands. You guys really kicked off so much music in the Seventies.

I drew influences from people as well. That’s how musicians grow up. They absorb like a sponge. You absorb the influences and process them through yourself, and hopefully come out with something original."

And so on. Read more - about Rolling Stones.

And the atmosphere

"... There was something about the atmosphere of the streets, certainly in London at the time. You could feel the sort of excitement about the youth of the day taking control from the establishment."

End.

King Crimson Unveil Trailer for New Documentary In the Court of the Crimson King, 

directed by Toby Amies and was commissioned by the band itself.

Read more, RS.

Jounalism?  not well done with this way.

Dated .11.2.2020

Ian McDonald, King Crimson's co-founder, dead at 75.

Multi-instrumentalist helped craft the progressive-rock cornerstone In the Court of the Crimson King; played on this massively successful early LPs by Rolling Stone.

Somebody's moving under the surface - Линия жизни

It seems to me that one of the greatest values of music is its spiritual power, 

said Edison Vasiljevitš Denisov (1929 - 1996), and added:
its ability to carry a great `spiritual charge´ (typesetter's note: I do not know exactly what it mean?).
Music carried according to Denisov this charge during pre-Bach and Bach epochs, as well as for some time afterwards Mozart, Brahms and so on. In the 20th century, this charge was, to a considerable degree, lost, saw by him.

During our lifetime, for a long while, the loss of spiritual values has progressed, or their leveling, or even a negative attitude to them revealed by the growth of so-called atheism - a phenomenon very dangerous to mankind.

I do not think so. It is nothing but a necessary step in mankind, but
I agree with the Denies, new classical music composers have a certain kind of a bluffer.
A lot of artists perceived the leveling of spiritual values and their replacement by false values. In music - both in academic and in new - there is a lot of what we may call bluff. Currently, even some prominent names, experiencing intense professional scrutiny closely follow all the slightest changes of fashion - and, since they possess a certain technique and skills in the application of cliché, they often deceive the audience. Take the great artists of the past - Mozart, Bach, or Brahms; from Russian music, take Mussorgsky, Glinka, Tchaikovsky. Those never cheated the audience, never fooled anyone - they were always honest and sincere.
At present, unfortunately, the idea of honesty often disappears from art. Even significant composers, and to a much greater extent, artists, often indulge in bluffing, whereas the audience, having lost the criteria, takes this bluff at face value.

One may compose a lot of good pieces, but they will be, so to say, beautiful musical architecture with very little spiritual content.

It's too bad that he (1929 - 1996) just had time to hear band named King Crimson.
Это слишком плохо, что он (1929 - 1996) только успел услышать группу под названием King Crimson, 1969 ->

the unusual time signature

Robert Fripp.

Beginning at the time as Pawn Hearts by VdGG appeared I was digging prog-rock as it would be of part of myself.
It was a link between rock and classic music. I will mention also one band named Moody Blues, this band's first seven albums,  especially the first, sixth and seventh (sojourn).
We will not forget King Crimson and many others.
Music time signature variation entered at some point, quite soon, it in-itself, into which the collapse many, such as Beggars Opera.
I do not know what were on it first dates, when were we heard it the musical time signature changes. Was is a psychedelic rock song White Room by British music group Cream, in 1998?  fine, (while the lyric was in nonsense).

100 percent the best

Wes Montgomery.

Greatest Guitarists of All Time, 28. Eric Clapton, according to readers of Guitar World magazine.
Did I ever tell you, I never did like his guitar playing, really.
I see also..
And then,
position 49. Alexi Laiho, man from the Bodom´s area.
54. Jerry Garcia, too low.
82. Robert Fripp, is better.
90. Robin Trower, is better too.
96. Mark Knopfler, what a shame for his position.
100. Wes Montgomery, if only they could hear and understand what they have listened to.

Belsazar’s Feast versus The Devil's Triangle

One has been observed and documented: I was listening to King Crimson’s Thrak yesterday, and I followed it immediately with Sibelius’ Finlandia/Tone Poems. I was taken aback by the numerous touchpoints;

According to Syzygus Fripp and/or Belew had to have listened to Sibelius around the time they were working on this at Peter Gabriel’s Real World studio in Bath.
And:

I wouldn’t be at all surprised if they put Sgt. Pepper’s Lonely Heart’s Club Band, Finlandia, and Peter Gabriel’s Melting Face album on random play in the disc changer.

I must say, without this composition Belsazar’s Feast (Op. 51), by Jean Sibelius (1865-1957) may we would´t never ever heard Fipp´s early magnum opus `Mars´ and opus called `The Devil's Triangle´. The first version of King Crimson played The Mars in every section end.
Mars played by the original King Crimson, based on a complex pulse in 5/4 time over which a skirling melody is played with an ancient Mellotron. he use of a gradually building rhythmic motif by Belsazar’s Feast and include also in `The Devil's Triangle´. Someone said, that it was an adaptation and variation on the Gustav Holst, english composer (1874 – 1934), piece Mars.
Btw. Hols is most famous for his orchestral suite The Planets.
But word of warning mainly rythm riff´s gestation of `Mars/The Devil's Triangle´ becomes clously Sibelius.
Word of warning II: planets are planets, and who has ears listen, there is such one (or two) kind of rythm and sound (The young Jimmy Page´s cuitar, in the tide of Zeb´ was near of real from cosmical spheres).

The Devil's Triangle (inc. I Merday Morn, II Hand of Sceiron, III Garden of Worm) is one kind of cult song.
I do´not why, my brother said it was an instrumeltal, wich filled tracks in the end of The album In the wake of Poseidon, 1970.

and then with brown tongue Belew, having been a consistent member of KC since 1981, what about him?
Did I ever tell you, I never like his face.

Above: Jimmy Page rockin’ with a violin bow solo. Photography: Yoshi

Fripp tunsi nämä taajuudet

Tajusin kuin tajusinkin lopulta, että levy tehdään vasta, kun on avausbiisi siihen albumille. Muiden raitojen järjestyksellä, tai ehkei niiden määrälläkään tai pituudella ole niin suurta väliä. Vaikkakin kokonaisuuden lopettava sävellys on usein myös mietittävä tarkkaan.
Se styge, joka potkaisee homman liikkeelle, sen tietää säveltäessään: "tää se on".
A-osa oli valmis, erikoinen ja kulkeva, sitten b, mistäs siihen koukku?
Tuo kumma syväys 12-kielisen soundiin tuli niin sanotusta `Fripp's chord´ -soinnusta. Se on F#m+(add B), jota Robert Fripp käytti monissa alkuaikojen mestariteoksissaan, esimerkkinä Epitaph - ja kun sävellaji oli oikea, ja näin kai aiemmin Epitaph´n notaation, ajattelin, kokeillaanpa, ja se meni pajatson keskilävestä sisään (paska-kitarat muuten eivät toista kunnolla edes koko sointua).
Biisiin vielä pari verseä, ja se on siinä. "Hiominen" kannattaa lopettaa ajoissa.

Yhtä sun toista ja alttoviulistin jostain tarttee; tämä taas johtuu kai tartunnasta jonka sain Nick Cave ja Warren Ellisin sountrackistä The Assassination Of Jesse James.
Hieno. Sanaton laulu on vielä vaikeampi kuin sanallinen. CaveEllisistä tulee mieleen Chopin, Satie, Field - yöllistä tunnelmaa, rauhaa ja iloa sisäisyydessä.
* * *----- Original Message -----
From: "-rh"
To: "Petja" Sent: Monday, December 31, 2007 3:34 PM
Subject: Re: Fw: Uusi yksityisviesti: terve
> Tietysti ...jos minä olisin lahjaton, enkä osaisi kirjoittaa musiikkia, ja > soittaa sitä, olisi jotain perustelua jättää levy tekemättä ...mutta nyt.

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