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Adrian Belew

What's an alumni? Is that what silver foil is made of? No, you buffoon - this is where you post about ex-members of the band.

Adrian Belew

Postby evktalo on Wed Aug 15, 2007 7:29 am

That guy writes a great blog.
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Postby vrooom on Wed Aug 15, 2007 11:37 am

It would have been funnier if you wrote:

"That guy gives good blog"

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Postby Dog_none on Thu Aug 16, 2007 2:45 am

THe amazing this is I read he somehow does it all with his guitar...
I was just now thinking about the Jaws Of Life
how they chew you up and spit you right
back into the frying pan
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Postby jtmack on Sat Oct 04, 2008 11:04 pm


Adrian, Julie, and Eric begin the next leg of their tour on October 15, 2008.

15 Oct 08
Trafo Budapest, Hungary

18 Oct 08
Auditorium Radio Svizzera Lugano, Switzerland
20 Oct 08
Teatro Victoria Eugenia
San Sebastien, Spain
21 Oct 08
Forum Bikini Barcelona, Spain
23 Oct 08
Blue Note Milano, Italy
24 Oct 08
Komma Woergl, Austria
25 Oct 08 Rocking-Chair Vevey, Switzerland
27 Oct 08
Colos-Saal Aschaffenburg, Germany
28 Oct 08
De Oosterpoort Groningen, Netherlands
29 Oct 08
Paard van Troje The Hague, Netherlands
30 Oct 08
Eindhoven, Netherlands
31 Oct 08
Moods Im Schiffbau Zurich, Switzerland
01 Nov 08
Der Speicher Schwerin, Germany
02 Nov 08
HotJazzClub Muenster, Germany
03 Nov 08
Forum Leverkusen Jazztage Leverkusen, Germany
05 Nov 08
Forum Palace
Vilnius Lithunia
03 Dec 08
The Corner Hotel Melbourne, Australia
04 Dec 08
The Basement Sydney, Australia
05 Dec 08
Adelaide Intl. Guitar Fest Adelaide, South Australia
06 Dec 08
Adelaide Intl. Guitar Fest Adelaide, South Australia
07 Dec 08
Adelaide Intl. Guitar Fest Adelaide, South Australia
08 Dec 08
Vanguard Newtown, New South Wales
09 Dec 08
Vanguard Newtown, New South Wales
10 Dec 08
Brass Monkey Cronulla, New South Wales
11 Dec 08
Heritage Hotel Bulli, New South Wales
18 Apr 09 Prairie Center for the Arts Schaumburg, IL US
19 Apr 09 Old Town School of Folk Music Chicago, IL US

Visit for the latest announcements concerning the tour.
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Re: Adrian Belew

Postby Owen on Sun Oct 05, 2008 1:09 pm

The Point Moot one minute bass solos project is at
The perfect holiday destination:
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Re: Adrian Belew

Postby jtmack on Tue Nov 11, 2008 3:15 am

I'm sure most of you have seen this interview done during the 2008 rehearsals... I seen this interview's link at DMG's web site and PC was quoting it...

King Crimson

AAJ: Let's discuss the Discipline Global Mobile record label. There have been some excellent releases from them lately. There has been Collector's Club Volume 37 (DGM Live, 2008), which is a show from The Pier in New York City in 1982, The Collectable King Crimson Volumes Two (DGM Live, 2007) and Three (DGM Live, 2008), which focus on the 1982 and 1996 lineups, and a smashing 2003 show from Japan recently made available for download. (Two more shows from the August, 1995 tour of Texas have been made available for download, plus a show from this year's run in Chicago.) What do you think about hearing performances 20 years later—how do you feel about that?

Adrian Belew / King CrimsonAB: I have mixed feelings about it. I would never criticize it because I know it is the backbone of what Robert Fripp feels he has to do to survive in the music business. He is taking care of the legacy of King Crimson. He takes it out of the hands of the bootleggers. He has broadened the spectrum of what is out there and is available to the fans.

But, being one of the player for 27 years, sometimes I'm embarrassed by them. The recordings are not always as precise and beautiful as I would like them to be. And as you mentioned, I didn't know for example that we were going to use the rehearsals from Woodstock in 1994 as a recording. If I would have known that, I would have been playing on a different level. I was trying to work out things. I don't always like people hearing what I play when I'm not sure of myself.

AAJ: It was a work in progress.

AB: Yeah, that's how I am about my releases. I wait until they are perfected. King Crimson doesn't do that now. We release just about anything. [Laughs] But as I said, I don't want to criticize it. It's not my record label. I have nothing to do with it. Every now and then, I might receive a little money from it. Probably not much. [laughs] But it's Robert Fripp's thing. I don't' want to criticize his thing. I'm glad there is somebody out there watching out for King Crimson's legacy because it's a big part of what I've done with my life. But I mostly watch out for my own private performances.

AAJ: But some of those performances...

AB: King Crimson can have some amazing evenings and some incredibly bad train wrecks too.

AAJ: Well, I don't think he has released very many train wrecks to my ears. I've been listening to some of the releases from the catalog—for example, some shows from 1996, which included six-piece performances of tunes like "Waiting Man" and "Discipline." I know this lineup didn't perform these songs very often, and I found these particular performances very moving and escaping their bounds.

AB: I think it's wonderful, that aspect of it. That the listener can get a bigger dose of what we did than just what was done in the studio. And King Crimson has always considered itself more a live vehicle than a studio vehicle. So on any given night... you never know what could happen.

AAJ: While we are on King Crimson, in 2003, after the departure of bass and stick player Trey Gunn, did you have fears that the band might never play again?

AB: I always consider that it might be the last time. About two years ago, around 2006, Robert Fripp had his engineer, John Sinks, come and get all his stuff out of my studio here in Nashville. He usually keeps a lot of his stuff here. I figured, "Well that's it. Robert's moved all his stuff out of my house so he must be done with me." [laughs] In fact, he told me recently that he thought at that point, that was it, he was done with King Crimson, maybe forever. But he doesn't come right out with it. He never tells you. So you have to kind of guess for yourself. It really kind of left me high and dry. I had planned on a whole year's worth of work. And suddenly, whew, I realized there was no King Crimson.

Adrian Belew / King CrimsonAAJ: Good time to put a power trio together.

AB: Yeah, fortunately I was able to make that leap there. If it hadn't worked, though, I'd probably be upset about it. But I'm not. I know Robert pretty well. I've been working with him for 27 years, and he's got his own mind set about things. And once he decides something, he goes that way. Then, he might undecide it. [Laughs] He is consistently inconsistent.

AAJ: If you know this, what was Fripp's revelation that he could get King Crimson back together for 2008?

AB: He told me that he realized that bringing [Porcupine Tree member] Gavin Harrison as a second drummer would bring new life to the material, and that excited him. Now, whether it has anything to do with beyond that—if he's wanting to make new music, or it's a making money thing, I really have no idea. At this point, I'm taking it for face value that it's time for King Crimson to do a few shows this year and maybe next year does the same.

AAJ: I know you've already had some rehearsals. Robert Fripp keeps the camera going and posts the shots in his web diary on How have the rehearsals been going so far?

AB: I guess they've gone okay. We've learned things faster than Robert thought we would. I thought they we would learn them quicker, but he thought it would take a long time. I think Tony and Gavin maybe surprised him a bit because they did their homework and really knew the material. I don't want to say too much, but I'm a little curious about how it's going to come off live because at this point we're only doing material that everyone has heard different versions of the band do. There's nothing new for the most part, maybe some drum duet type things that are new, but nothing else new.

And, it concerns me only that if we go out and really ace it, then that will be great. But if we go out and sound like every other version of the band, then what's the point? So I'm concerned at this point. And if you ask me this in September, I'll be able to tell you. And I think what I will tell you in September is , "Wow, of course we were hot and I loved every minute of it."

AAJ: What has it been like with Gavin Harrison on the drums, so far?

AB: Gavin is sensational. He's a wonderful guy. Fabulous player. Like we said earlier, he really did his homework. Never floundered for one minute. Can do amazing thing with his feet and hands. [Laughs] And, I think importantly for Robert, Gavin's English. Robert felt like he had lost the English side of King Crimson, which I can totally understand because in my experience, long before I was ever in the band, it was a totally English band.

AAJ: A very British band.

AB: Very British. Very English in its thinking and terminology and its lyricism, its background, its culture. I know it's been somewhat changed over the years by the infusion of Americanism—people like myself and Tony Levin. But I'm happy to see it go back to the English shores as much as possible, I think that's where it belongs.

Adrian Belew / King Crimson AAJ: I thought a recent post by Robert on his web diary was just hilarious. He says "Here's Adrian's basement, and here's Adrian coming downstairs to show me my part on, "Level Five."" I thought that was just great—you showing him his part. So, am I ever going to hear "Larks' Tongues In Aspic Parts I-IV" and "Level Five" in the same show?

AB: Wow. I think not, probably just because it would be too much of the same.

AAJ: 45 minutes of...

AB: Yeah, I mean truly—it's the same piece of material being redone different ways. Same tempo area, same scale usage. So if you backed them all up together, would probably be too much of a good thing.

AAJ: I understand. Where did he get "Larks' Tongues In Aspic"? I always wondered... why did he call it that?

AB: Ah.... I don't know. Many of those titles came from Peter Sinfield, the lyricist who was in the band at that point. [Editorial note: Sinfield had left the band by the time of Larks' Tongues in Aspic (DGM Live, 1973), and the title came from a Monty Python's Flying Circus skit].

Sinfield is the one who came up with "In The Court of the Crimson King." I believe he is the man who named the band King Crimson. I could be wrong about this history, I don't know. Those are things that he claims.

AAJ: And I wonder about "Red." Why was it named "Red"?

AB: Well by then, Pete Sinfield was long gone from the band, so it couldn't have been his idea to call it "Red." [Laughs] Good title. Great album title and a great record.

AAJ: How does King Crimson come up with the set lists you play on the various tours?

AB: I make the set lists, actually. It's down to me. It's one of the things that Robert doesn't really care about doing, and he'd rather say, "Tell what you'd like to play tonight, Ade," and I think up something. I shuffle it around. I've got my own way of designing it to have a certain kind of contour. One night we'll play "One Time" and the next night we will play "Walking On Air," you see what I mean? You substitute one thing for another, but you want to be building a dynamic kind of flow to it. Basically, I like the idea that Robert has mentioned before. You offer a piece of candy to the audience, and when they start to take it, you punch them in the face.

AAJ: Yes, "assaulting culture," he called it. So you start with a heavy instrumental or a rocking vocal piece like "Prozac Blues," then a longer stretchy instrumental like "ConstruKction of Light," then a softer number like "One Time."

AB: Yeah, it's a contour if you look at it. You know when you've reached a peak and you settle back, give the audience a bit of air here. And then you build it back up, and obviously you want to build it to the end to a certain point you'd never reach otherwise.

AAJ: Have you never had the desire to go back and perform some of the John Wetton vocal pieces from the 1970s like "Easy Money" or "One More Red Nightmare"?

AB: Actually, "Easy Money" is a piece that has been mentioned many times. I don't know why we've never done it. I mean, it's come up. For many years, everyone was on our tails to do "21st Century Schizoid Man." We finally did that, and it was good to get that monkey off our back. [Laughs]. I don't know, I kind of feel like it's not really what the band was about. It's about pursuing new things, not redoing old things. I mean, I'm with you, though. I love all those old records. They were very important in my growth process as a young musician. Then again, so were The Beatles, and I don't want to play Beatle music.

AAJ: On the 2000 tour, King Crimson started playing David Bowie's "Heroes." How did that come about?

AB: That was Robert's idea. It was because he felt like between the two of us, we had a history with that song. Robert played on the original thing, and I played on tour with Bowie several times. We just thought that shows a bit of the undercurrent of things that Crimson touches that aren't King Crimson.

AAJ: In a recent interview elsewhere, you stated that there were no plans for King Crimson in 2009. Is that still the case?

AB: I think in 2009, there are no concrete plans. I've heard nothing as in we going to this date or something like that. Other than in my dinner conversations with Robert, where he says "We'll do some of these things next year like we are doing this year." Basically, we feel we are now at a point where we don't want to do very much touring. Just enough to where we will be out there playing, and we want to do more of what we call "hub touring," where you stay in one place—the audience comes to you. So we're playing three nights at Park West in Chicago rather than say Chicago one night, Cleveland one night, Cincinnati another night. We figure the true fans will come to Chicago on one of those three nights.

Adrian Belew AAJ: Well, you've sold out the Belcourt Theater here in Nashville for two nights.

AB: Yeah, I think we'll do well in the three places we've chosen—Chicago, Philadelphia and New York. What I wonder, is where else can you do that? You can't do that everywhere. Where do you do that on the West Coast? Where do you that in the South? Where do you do that in Canada? I know also that Robert has said definitively that has does not want to work outside of the United States.

AAJ: Was the 2003 tour so bad that he swore he would never tour Europe again? What happened there?

AB: I don't know what happened. Nothing happened as far as I am concerned. I thought it was a great tour. But, it definitely turned Robert off to ever touring in Europe again. I'm touring Europe in the fall with the power trio, actually.

AAJ: Was it the customs hassles or something like that?

AB: No, it was nothing like that. No, nothing to do with that. He didn't feel that the music was being served properly in the venues. I don't know. You're asking me, and I don't know Robert's mind.

AAJ: In 2009, will we see more power trio live dates as well?

AB: Yeah, my focus really is on the power trio now, as much as I can do that makes sense financially and otherwise. We have this next leg in touring that takes in Florida and the Carolinas. Then in June we go up and do some festivals in Canada. Should be really nice. Also since we're up there, we're be going to Burlington, Vermont and Troy, NewYork—some East coast things.

Then August is all King Crimson. Just in the fact that includes rehearsals, then playing shows. Following that, on the heels of that really, I am looking at the trio going to Russia. This will be the end of August.

“One thing I learned from working with Frank Zappa is motif. Frank told me that is the way you tie your whole body of work together - by having some kind of motif.”

Then in October, we do our real Fall tour of Europe which takes in a lot of places. Everything from Budapest to Amsterdam. It will be great for the trio to get all that experience under its belt before we even do our next record. By the time we do our next record, we will have played several weeks in Japan, in South America, in all of Europe, festivals, clubs, concerts, theaters, as openers, big stages with other headliners. We will be opening for Primus and for Zappa Plays Zappa at festival dates in Canada. So I am really excited to see where this is all leading. I know something is going to come of this, and it's going to be wonderful. If King Crimson wants to go a little deeper, that's fine but I don't think we're going to do a whole lot more than what is already planned.

AAJ: Do you feel like in 2009 there be any kind of new King Crimson record with new material?

AB: I don't. I don't. Robert has given me no indication that he wants new material or wants me to start writing. And it's a long process. A new King Crimson record is at least a two-year process, so if we even started in 2009, you wouldn't see anything until 2011. I really don't think that's where his focus is. I think what we want to do now is a little bit of live playing and just keep the music going.

The rest of the Ade interview is here->
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Re: Adrian Belew

Postby Fred on Wed Nov 12, 2008 1:32 pm

Interesting read also because Fripp tells in his diary that there will be no King Crimson West Coast dates in 2009 :D

From Fripp's Wednesday, 29th October 2008 diary
E-flurrying on major arisings, including the on>off Crimson West Coast Celebration for March 2009.

When Ade’s e-mail notified us that he had dates in the KC target period of mid-April > mid-May, clearly this meant he wasn’t available. So I let go of the Celebration. I dropped it. Attention elsewhere, the Crimson Celebration wheel stopped turning for me. That the time period is now available again is irrelevant: this is not a question of dates in a calendar, this is a question of the availability of attention, intentionality, focus, commitment, a willing-ness. Rather than this being fun, it’s back to the Crimson life I know too well: life, attention & concerns being buffeted by circumstance, of not knowing whether a planned-undertaking will take place. From my e-mail to the Crims…

i don't know what happened to ade's proposed dates, but when I received the e-mail info i accepted it at face value, let go of the Crimsonising plans & moved on. my attention is elsewhere, my plans are elsewhere, and regrettably, now i'm not available. the moment of opportunity has passed.

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becomes his favorite student.
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Re: Adrian Belew

Postby jtmack on Wed Nov 12, 2008 3:19 pm

Interesting read also because Fripp tells in his diary that there will be no King Crimson West Coast dates in 2009 :D

Happy face Fred? Here's what I think :cry: cause I was hoping to see them even if they aren't the force they were with the last line up. Now that was a Crimson that could do it all.. I think the next Crimson will be SW and other Brits with no American Crims...
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Re: Adrian Belew

Postby Fred on Wed Nov 12, 2008 3:54 pm

jtmack wrote:
Interesting read also because Fripp tells in his diary that there will be no King Crimson West Coast dates in 2009 :D

Happy face Fred? Here's what I think :cry: cause I was hoping to see them even if they aren't the force they were with the last line up. Now that was a Crimson that could do it all.. I think the next Crimson will be SW and other Brits with no American Crims...

Well the happy face is because Adrian draws his own plan and won't wait for Fripp to act. What i read in his diary is that Fripp was surprised by the conflict of the proposed march tour and the Power Trio tour around the same time.

I agree with you that it is sad that the won't tour but also it won't surprise me if this was the last time Crimson would play live. If a next Crimson incarnation will stand up it surly won't be with SW. If that will happen it probably will be like a Sylvian/Fripp thing.....but that are just my thoughts :wink:

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Re: Adrian Belew

Postby Gilesfan on Thu Nov 13, 2008 5:31 am

This brings up the question "can King Crimson exist without Adrian Belew (if he cannot commit to the band)"?
Should they?
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