The debut show for Mel, Boz, RF and Ian and what a fantastic atmosphere this soundboard recording has! The band are incredibly animated, clearly delighted to be away from their basement rehearsal room and obviously enjoying the liberation of being onstage. The shouts of encouragement and approval being exchanged – often in mid-song – give this recording an astonishing intimacy. Highlights include Fripp’s razor-sharp lines in the chorus section of Cirkus. There's an enchanting version of Lady of The Dancing Water with winsome backing vocals from Ian, trimmed with some rich baritone sax. And listen out for the running lines and slashing chords from LTIA pt1 as they make their debut during a radically different and experimental Sailor’s Tale.
From cautious beginnings Improv II quickly expands into lolloping beast of a track providing what is arguably the best set-up to Exiles to date. As Cross and Wetton hurl fuzzed lines across the stage over one of Bruford’s slow-burning jazz vamps, Fripp introduces one sustained note that lasts somewhere in the region of 37 seconds. An object lesson in making a little go a long way.
Though this particular line-up were edging closer to oblivion, listening to this full show 30 years after the event, the energy levels are astounding. In his journal from the time RF described the show as "Tired. Lifeless. Lacklustre” Maybe Fripp’s estimation of the gig was informed by his recovering from mild food poisoning, the cumulative effect of prunes and a boil in his ear! It seems nobody was happy this particular night. Sound engineer George Chkaintz had trouble with the sound in the recording truck, roadie Tex is frightened to turn down Wetton’s amp despite the discreet urgings of other members of the band and crew, Fripp is giving tour manager Dik Frasier grie, and the promoter isn’t best pleased because the band haven’t done an encore!
This is King Crimson’s first performance in front of a crowd since they had wowed the punters at Le Spectrum (documented on Absent Lovers) back in 1984. Essentially a dress rehearsal in front of invited guests and the South American press, the tickets that had been made available sold out in two hours flat.
Ever wanted to know what happens after the edit on the storming Asbury Park or the fade out on that contemplative solo on Easy Money? Well now you can find out! Presented uncut for the very first time using unreleased mixes from the multitracks without Eddie Jobson overdubs (as on USA), the power of this gig is tangible. Despite the internal politics and tensions of the period, the band taps into a ferocious energy that never stops burning.
Prior to this concert, it had been seven months since the Double Trio had last assembled before an audience in Argentina. The first gig of any tour is always a slightly fraught affair; anything that can go wrong probably will. Gear will futz, fingers and feet will lie to their owners and the sound could well be unsound as the entire crew get to grips with the task of presenting nearly two hours of challenging music. Understandably perhaps then, this version of Discipline is not an assertive statement but more a gentle easing in, marking out their territory. A slow burning version of Vrooom sounds more confident, especially on the remorseless spiraling coda, though like Frame By Frame which follows, is not without the occasional wobble.
They say good things come in small packages. By seamlessly joining an audience recording of In The Court to Michael Giles’ own cassette of the gig at the first night of the Fillmore East (which had been missing the bulk of that song), DGM have faithfully recreated a small slice of KC history - now audible for the first time since the gig some 37 years ago although the majority of this show will be familiar to anyone who has the KCCC25. A tired Ian McDonald records in his 1969 dairy that the band had spent the previous day rehearsing Pictures Of A City ('A Man A City') and ran through it on the afternoon of the 21st just to nail down the arrangements.
There are some nights when the energy flows within Crimso and this gig is certainly one of those. Vrooom though to Dinosaur seem to be possessed of a glowering intensity that one wonders how they will be able to sustain such power. The answer is to dial things down a little with the inclusion of an elegant rendition of One Time. B’Boom and Thrak reconnect Crim to some tumultuous forces including Adrian’s patented power-drill noise generator, Levin’s prowling bass and a brief but nonetheless laser-guided solo from Trey Gunn of the kind he would throw about during ProjeKct 2. Within the space of only a few minutes all kinds of musical landscapes are created and regenerated amidst the ever-changing turbulence.
Blimey! They don’t come much more frenetic or savage than this - a riotous reading of LTIA pt1 emerging from a down 'n’ dirty intro/improv. Pausing only to catch breath in David’s solo (here with additional guitar shadings) before taking off again. “That was a good ending” says an approving Bill Bruford before they duck and dive their way through an especially crunchy Dr Diamond. The fun continues during Easy Money with ornery and cussed clusters taking flight from the fretboard like a bunch of punch-drunk wasps, ready to sting wherever they land.
This gig appears to be a testimony to the recuperative powers of John Wetton’s constitution. Having been out partying in the company of David Enthoven and Richard Palmer-James the night before in Munich, he still manages an impressive performance on Doctor Diamond and indeed throughout the rest of the gig. Though the good Doctor would forever elude them in the studio it seems that the band really beginning to find the soul of this song in concert. Fracture has a risky quality tonight; Bruford is in an adventurous mood whilst David’s tron is a touch out of tune.