Oil Well RSC 045 CD
1. Why Don't You Just Drop It 6:35
2. Epitaph 7:50
3. Get Thy Bearings 19:25
4. Talk To The Wind 5:09
5. The Court Of The Crimson King 7:03
6. War 32:01
Total time 1:18:50
Note:
All songs by King Crimson
Lineup:
Robert Fripp: Guitar
Ian McDonald: Keyboards, Reeds, Woodwind, Vibes, Vocals
Greg Lake: Bassguitar, L-Vocals
Michael Giles: Drums, Percussion, Vocals
Peter Sinfield: Live Mixing
This rare CD is a partial digital clone of: Get Thy Bearings - Scorpio – SC 102/1, 2
Please note that War is a 32 minutes track with: Matra, Travel Weary Capricorn , Improv and Mars. In the official releases all these tracks are released as single tracks.
This deserves to be on everyone's playlist. If you’re a fan of the original lineup and you don’t have this one, you’re missing a great show.The sound quality is very good for a bootleg; better than Club1 Live At The Marquee in my opinion. The drums especially are punchy, and along with the bass provides a good driving rhythm. Fripp’s guitar cuts through like a buzzsaw on the intro to "In The Court Of The Crimson King", and Greg Lake’s vocals are clear as a bell throughout. He sings with authority on every track.The setlist covers all the bases, and since this performance is roughly a month after the recording of the debut album, the songs sound confident yet loose. They knew this material inside and out and thus were free to play around within the confines of the compositions.
This performance even elevates "Drop In", which is the clunkiest song this lineup produced.If there’s a downside, it’s that "Mars" is one of the weaker versions I’ve heard; it feels like they were running out of steam and ideas by the end of the show; even the air raid siren kinda peters out lethargically. This isn’t much of a drawback perhaps, considering the fun yet powerful vibe on the rest of the tracks. The one exception to that might be "I Talk To The Wind", which is possibly more subdued than the studio version.
Read below for more informations!
Quality content:
© Official released material:
Tracks 1-6 have been released officially on:"September 7, 1969 - Jazz Club, Chesterfield, England"
Tracks 1-6 have been released officially on: "The Complete 1969 Recordings" Box Set on 06 November 2020
Tracks 1-4,6 have been released officially on "Epitaph" (Volumes Three & Four)
King Crimson in Europe and US
King Crimson made their breakthrough live debut on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park, London in July 1969 before an estimated 500,000 people. The debut album, In the Court of the Crimson King, was released in October 1969 on Island Records. Fripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs). The album received public compliments from Pete Townshend, the Who's guitarist, who called the album "an uncanny masterpiece." The album's sound, including its opening track "21st Century Schizoid Man", was described as setting the precedent for alternative rock and grunge, whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel. In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity. The band's music drew on a wide range of influences provided by all five group members. These elements included romantic- and modernist-era classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician), ambient improvisation, Victoriana and British pop.
After playing shows across England, the band toured the US with various pop and rock acts. Their first show was at Goddard College in Plainfield, Vermont. While their original sound astounded contemporary audiences and critics, creative tensions were already developing within the band. Giles and McDonald, still striving to cope with King Crimson's rapid success and the realities of touring life, became uneasy with the band's direction. Although he was neither the dominant composer in the band nor the frontman, Fripp was very much the band's driving force and spokesman, leading King Crimson into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more romantic style of music, became increasingly uncomfortable with their position and resigned from the band during the US tour. To salvage what he saw as the most important elements of King Crimson, Fripp offered to resign himself, but McDonald and Giles declared that the band was "more (him) than them" and that they should therefore be the ones to leave. The line-up played their last show at the Fillmore West in San Francisco on 16 December 1969. Live recordings of the tour were released in 1997 on Epitaph.
1970–1971: the "interregnum" – In the Wake of Poseidon and Lizard
After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" – a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.
Victoria Ballroom Jazz Club, Chesterfield, UK, September 7, 1969
When King Crimson appeared in Chesterfield, the recording of their album had been completed though some post-production work was still being undertaken. The album however was still a month away from being released. So outside of a couple of appearances on BBC Radio 1, and word of mouth, the audience would have had little idea of what to expect at Crimson concert.
Given the weight of history that presses down upon KC’s debut album, it’s often something of a surprise to discover that some gigs such as this (their 47th) have an almost carefree sense of abandon to them.
The improvisations are clearly amorphous zones where ideas were thrown up in the air to see where they might land. Sometimes the intention is playful and obviously designed to entertain both crowd and band members alike. On other occasions the music is deadly serious and there’s a sense of steely purpose to the proceedings.
Most of this concert first appeared on disc 4 of the Epitaph box set but due to a combination of CD time limitations in 1997, and the wayward tuning on some tracks (primarily caused by voltage fluctuations on the Mellotron), significant edits and excisions were made when preparing the gig for release.
Over twenty minutes of this concert has been restored - primarily the inclusion of The Court of the Crimson King and full versions of the improvisation and Mars. If you already have this concert as part of the Epitaph box set then you already have what Robert felt to be the essence of the concert and will almost certainly not need to proceed to download.
If however, the Epitaph box set is not part of your collection then this download offers a “warts and all” through-view of the kind of things that happened on a King Crimson stage in 1969.
In Concert (Tarantura TCDKC-15-1, 2)
Jazz Club, Chesterfield, England – September 7th, 1969
King Crimson’s triumphs in the summer were followed by recording of their debut album and more live dates around the UK. Two weeks after wrapping up In The Court Of The Crimson King and a month before its official release, they played a gig at the Jazz Club in Chesterfield, England. The audience recording is clear but somewhat murky. The venue was quite small and the audience very attentive and quiet thus ensuring a very enjoyable listening experience.
An incomplete recording first surfaced on vinyl on Dead Fucking Bollocks (KC 1710) in 1974 and would be copied onto compact disc in 1994 (twenty years later in the protection gap period). Other compact disc releases include also March For No Reason (Archivio ARC CD 024/2) along with songs from BBC Top Gear and the Plumpton Festival, Get Thy Bearings (Scorpion sc102/1-2), A Weird Person’s Guide to… King Crimson Vol. 2 (Invasion Unlimited IU 9426-1) which has “Why Don’t You Just Drop In” and “Travel Weary Capricorn / Devil’s Triangle” among other songs and Talk To The Wind (Oil Well RSC 045CD), mislabeled Cheltenham, February 9th, 1967.
Several years afterwards DGM released the incomplete tape as Volume 4 of the official Epitaph box set released in 1997. It was obtainable only through mail order along with the full Plumpton show, but has since been discontinued. The entire show was later posted on the DGM Live website as a download with. The liner notes state that “over twenty minutes of this concert has been restored – primarily the inclusion of ‘The Court of the Crimson King’ and full versions of the improvisation and ‘Mars.'”
Tarantura’s In Concert is a silver pressing from a loss-less copy of the same tape and thus fills a big void by producing a physical copy of the show for the collection. It’s a very nice audience recording for the era and a great way to obtain a definitive version of the classic show.
Crimson play a set derived from their just completed first studio album. All of the songs except “Moonchild” (which has never been played live) are performed and are augmented by covers, unreleased songs and several very long improvisations. The band’s sonic explorations, which would be a primary interest for the band, is evidence even this early in their live career.
DGM’s liner notes also emphasize the improvs in this show. “Given the weight of history that presses down upon KC’s debut album, it’s often something of a surprise to discover that some gigs such as this (their 47th) have an almost carefree sense of abandon to them. The improvisations are clearly amorphous zones where ideas were thrown up in the air to see where they might land. Sometimes the intention is playful and obviously designed to entertain both crowd and band members alike. On other occasions the music is deadly serious and there’s a sense of steely purpose to the proceedings.”
It’s apparent from the beginning that Ian McDonald is the focus of the instrumentals. The apocalyptic section of the first song “21st Century Schizoid Man” is dominated by the saxophone followed by Robert Fripp trying to keep up on guitar. They follow with the Giles, Giles and Fripp unreleased song “Why Don’t You Just Drop In.” (It would later be rewritten as “The Letters”).
After “Epitaph,” always an effective and dramatic live piece of rock theater, they continue with the Donovan cover “Get Thy Bearings.” Released the previous year on the LP Hurdy Gurdy Man, it joined Crimson’s set in August when they performed a five minute arrangement on the BBC. It would also survive this line up and be featured in some of the early Islands era shows.
But in Chesterfield they really push the boundaries by extending the song to eighteen minutes of meandering saxophone and guitar solos. At times the song breaks down and the musicians need to find their place again. It feels overlong by the fifteen minute mark. It’s interesting to hear the attempt, but they thankfully don’t play this overlong in future performances. The melodic “I Talk To The Wind” follows. More, and better played improvisations dominate the latter half of the show. After an unusually heavy “In The Court Of The Crimson King” they embark on the long and jazz infused concluding with their cover of Holst’s “Mars.” It’s not obvious how Peter Sinfield’s light show worked in such a small venue, but the band receive polite applause at the very end of the show.
King Crimson live recordings of the first line up are rare. All have been officially released in one form or another. The Chesterfield show is itself uneven but still a fascinating glimpse into the live development of the band when McDonald took much of the lead.
Download
https://mega.nz/folder/WhIR0ahY#KeJMGxOXStkkwGPPG4nZug
Scans source oilwellrscbootlegscd.blogspot.com/
________________________________________________________________
King Crimson in Europe and USKing Crimson made their breakthrough live debut on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park, London in July 1969 before an estimated 500,000 people. The debut album, In the Court of the Crimson King, was released in October 1969 on Island Records. Fripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs). The album received public compliments from Pete Townshend, the Who's guitarist, who called the album "an uncanny masterpiece." The album's sound, including its opening track "21st Century Schizoid Man", was described as setting the precedent for alternative rock and grunge, whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel. In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity. The band's music drew on a wide range of influences provided by all five group members. These elements included romantic- and modernist-era classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician), ambient improvisation, Victoriana and British pop.
After playing shows across England, the band toured the US with various pop and rock acts. Their first show was at Goddard College in Plainfield, Vermont. While their original sound astounded contemporary audiences and critics, creative tensions were already developing within the band. Giles and McDonald, still striving to cope with King Crimson's rapid success and the realities of touring life, became uneasy with the band's direction. Although he was neither the dominant composer in the band nor the frontman, Fripp was very much the band's driving force and spokesman, leading King Crimson into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more romantic style of music, became increasingly uncomfortable with their position and resigned from the band during the US tour. To salvage what he saw as the most important elements of King Crimson, Fripp offered to resign himself, but McDonald and Giles declared that the band was "more (him) than them" and that they should therefore be the ones to leave. The line-up played their last show at the Fillmore West in San Francisco on 16 December 1969. Live recordings of the tour were released in 1997 on Epitaph.
1970–1971: the "interregnum" – In the Wake of Poseidon and Lizard
After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" – a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.
Victoria Ballroom Jazz Club, Chesterfield, UK, September 7, 1969When King Crimson appeared in Chesterfield, the recording of their album had been completed though some post-production work was still being undertaken. The album however was still a month away from being released. So outside of a couple of appearances on BBC Radio 1, and word of mouth, the audience would have had little idea of what to expect at Crimson concert.
Given the weight of history that presses down upon KC’s debut album, it’s often something of a surprise to discover that some gigs such as this (their 47th) have an almost carefree sense of abandon to them.
The improvisations are clearly amorphous zones where ideas were thrown up in the air to see where they might land. Sometimes the intention is playful and obviously designed to entertain both crowd and band members alike. On other occasions the music is deadly serious and there’s a sense of steely purpose to the proceedings.
Most of this concert first appeared on disc 4 of the Epitaph box set but due to a combination of CD time limitations in 1997, and the wayward tuning on some tracks (primarily caused by voltage fluctuations on the Mellotron), significant edits and excisions were made when preparing the gig for release.
Over twenty minutes of this concert has been restored - primarily the inclusion of The Court of the Crimson King and full versions of the improvisation and Mars. If you already have this concert as part of the Epitaph box set then you already have what Robert felt to be the essence of the concert and will almost certainly not need to proceed to download.
If however, the Epitaph box set is not part of your collection then this download offers a “warts and all” through-view of the kind of things that happened on a King Crimson stage in 1969.
Jazz Club, Chesterfield, England – September 7th, 1969
King Crimson’s triumphs in the summer were followed by recording of their debut album and more live dates around the UK. Two weeks after wrapping up In The Court Of The Crimson King and a month before its official release, they played a gig at the Jazz Club in Chesterfield, England. The audience recording is clear but somewhat murky. The venue was quite small and the audience very attentive and quiet thus ensuring a very enjoyable listening experience.
An incomplete recording first surfaced on vinyl on Dead Fucking Bollocks (KC 1710) in 1974 and would be copied onto compact disc in 1994 (twenty years later in the protection gap period). Other compact disc releases include also March For No Reason (Archivio ARC CD 024/2) along with songs from BBC Top Gear and the Plumpton Festival, Get Thy Bearings (Scorpion sc102/1-2), A Weird Person’s Guide to… King Crimson Vol. 2 (Invasion Unlimited IU 9426-1) which has “Why Don’t You Just Drop In” and “Travel Weary Capricorn / Devil’s Triangle” among other songs and Talk To The Wind (Oil Well RSC 045CD), mislabeled Cheltenham, February 9th, 1967.
Several years afterwards DGM released the incomplete tape as Volume 4 of the official Epitaph box set released in 1997. It was obtainable only through mail order along with the full Plumpton show, but has since been discontinued. The entire show was later posted on the DGM Live website as a download with. The liner notes state that “over twenty minutes of this concert has been restored – primarily the inclusion of ‘The Court of the Crimson King’ and full versions of the improvisation and ‘Mars.'”
Tarantura’s In Concert is a silver pressing from a loss-less copy of the same tape and thus fills a big void by producing a physical copy of the show for the collection. It’s a very nice audience recording for the era and a great way to obtain a definitive version of the classic show.
Crimson play a set derived from their just completed first studio album. All of the songs except “Moonchild” (which has never been played live) are performed and are augmented by covers, unreleased songs and several very long improvisations. The band’s sonic explorations, which would be a primary interest for the band, is evidence even this early in their live career.
DGM’s liner notes also emphasize the improvs in this show. “Given the weight of history that presses down upon KC’s debut album, it’s often something of a surprise to discover that some gigs such as this (their 47th) have an almost carefree sense of abandon to them. The improvisations are clearly amorphous zones where ideas were thrown up in the air to see where they might land. Sometimes the intention is playful and obviously designed to entertain both crowd and band members alike. On other occasions the music is deadly serious and there’s a sense of steely purpose to the proceedings.”
It’s apparent from the beginning that Ian McDonald is the focus of the instrumentals. The apocalyptic section of the first song “21st Century Schizoid Man” is dominated by the saxophone followed by Robert Fripp trying to keep up on guitar. They follow with the Giles, Giles and Fripp unreleased song “Why Don’t You Just Drop In.” (It would later be rewritten as “The Letters”).
After “Epitaph,” always an effective and dramatic live piece of rock theater, they continue with the Donovan cover “Get Thy Bearings.” Released the previous year on the LP Hurdy Gurdy Man, it joined Crimson’s set in August when they performed a five minute arrangement on the BBC. It would also survive this line up and be featured in some of the early Islands era shows.
But in Chesterfield they really push the boundaries by extending the song to eighteen minutes of meandering saxophone and guitar solos. At times the song breaks down and the musicians need to find their place again. It feels overlong by the fifteen minute mark. It’s interesting to hear the attempt, but they thankfully don’t play this overlong in future performances. The melodic “I Talk To The Wind” follows. More, and better played improvisations dominate the latter half of the show. After an unusually heavy “In The Court Of The Crimson King” they embark on the long and jazz infused concluding with their cover of Holst’s “Mars.” It’s not obvious how Peter Sinfield’s light show worked in such a small venue, but the band receive polite applause at the very end of the show.
King Crimson live recordings of the first line up are rare. All have been officially released in one form or another. The Chesterfield show is itself uneven but still a fascinating glimpse into the live development of the band when McDonald took much of the lead.
Download
https://mega.nz/folder/WhIR0ahY#KeJMGxOXStkkwGPPG4nZug
Scans source oilwellrscbootlegscd.blogspot.com/
Nessun commento:
Posta un commento