Anyways, here it goes: Hull.
HOLY SHIT that's untampered energy in a concert. And the amount of bootleggy dirt'n'grime that has been removed is a wonder to behold (that's hyperbole, but damn, you can HEAR EVERYTHING. Perhaps Fripp is a bit low. Bill and Jamie fight for the loudest spot. Hm.) The band is in fine form and just COOKIN' - listen to 'LTIA I' during the wah wah bass part (the third part before the violin solo or whatever - call some bullshit 'expert' and he can name this sorta stuff - not me) and compare it to past performances. I mean - pfft. Fripp does his talky bit, introducing what has been played before the improv, saying that 'LTIA II' will conclude the show and bammo - into a blow, and it's one fuckin' intense affair. The interplay is funky - heck Cross on a VIOLIN sounds funky, which is to me what sets KC '72-'74 apart from other progressive bands - the capability of adding that black musical influence in instead of just mixing jazz and classical until it's just a launchpad for some really WHITE music. Fripp's sound isn't quite fleshed out yet (considering this lineup's endeavors without Jamie) but when he solos, it's almost a 'Baby's On Fire' intensity meshed with really nice rhythmic lines that remind you of 80's KC meshed with that fast chordal thingie he does that makes it seem like an industrial machine. Other parts remind me of even Zappa's 60's Mothers, what with the spontaineity and general chaotic feeling. It's as if they're REALLY going for that gut feeling rather than being just, once again that 'academic' kinda prog rock. and God bless John Wetton. I didn't say 'funky' for naught. Sounds like it's gonna fall apart every second yet morphs into something new. Amazing. I think I've just ever been as excited with a KC improv before with 'Journey To The Centre Of The Cosmos' and this is nothing like it. The end is a beautiful understated sorta 'Prince Rupert's Lament' thing, but Jamie's in the background making the bizarrest noises ever. They start clunkily - probably on purpose - again and build up to your usual noisy KC ending, and yet, when the transition is made to Exiles, it's all smooth and GREAT. And 'Exiles' is just as great, despite a little technical problem (read on...).
Look. I HAD to describe this improv cos it's so impressive that THIS SURE WASN'T WHAT I'VE HEARD ON WIDE RECEIVER. I SWEAR.
'Exiles' goes okay for me. I couldn't give a crap about out of tune mellotrons and violins. I'd appreciate it a lot better, but - c'mon, look at twhat the dudes did for half an hour straight before that! The crowd seems to be lovin it after it all ends, but the show must go on.
And they do one mf'in AWESOME 'Easy Money'. JUst hear me out. This was a band in its beginning, and it sounds like they've been at it for YEARS! Just to be annoying - The 'Fallen Angel' improv is great, (it sounds like Music Improvisation Company in spots! HOLY SHIT!!!) Talking drum is great, 'LTIA II' still has a bit of fat tissue to be removed but it's great and then....
I never expected Schizoid Man to rule that much given that the only renditions I've heard (WR has just half this concert and half of Oxford's) were the Cosmic Muir boot and the Rainbow boot (forgot its name, or is it the other way around with Portsmouth?) and ther sound was nowhere near like this.
It's a drum battle! BEST VERSION EVER. I love this band. Have a good nite!
(EDIT: I NAMED THE BOOTS THE WRONG WAY AROUND. CM IS PORTSMOUTH AND WR IS HULL/OXFORD)
Last edited by TomVos
on Sun Nov 18, 2012 7:44 am, edited 1 time in total.