Tír Na HiFi

I trust you will remedy that omission as soon as possible, Dermot. Larks' Tongues in Aspic is a cracker and, just like Starless, benefits immensely from the wider tonal palette that percussionist Jamie Muir and violinist David Cross bring to the party. I think it's worth mentioning the punishingly high standards that Fripp set for his band. I remember Bill Bruford talking about this in one documentary. When it came to improvising with King Crimson, there was no learning curve - Fripp just expected you to know immediately what to play, and when to play, even in the midst of the densest improvisation. (Fripp set the same high standards for himself - just listen to his playing on Fracture, the performance of which caused even the great man no small amount of technical discomfort.) The level of telepathic communication was exceptional and they go out a lot further on the live concerts from this period (which were significantly edited down for the studio albums). I think the only band that came close to those band's achievement was Henry Cow and, in particular, their masterpieces Unrest and In Praise Of Learning.

mcq wrote:I trust you will remedy that omission as soon as possible, Dermot. Larks' Tongues in Aspic is a cracker and, just like Starless, benefits immensely from the wider tonal palette that percussionist Jamie Muir and violinist David Cross bring to the party. I think it's worth mentioning the punishingly high standards that Fripp set for his band. I remember Bill Bruford talking about this in one documentary. When it came to improvising with King Crimson, there was no learning curve - Fripp just expected you to know immediately what to play, and when to play, even in the midst of the densest improvisation. (Fripp set the same high standards for himself - just listen to his playing on Fracture, the performance of which caused even the great man no small amount of technical discomfort.) The level of telepathic communication was exceptional and they go out a lot further on the live concerts from this period (which were significantly edited down for the studio albums). I think the only band that came close to those band's achievement was Henry Cow and, in particular, their masterpieces Unrest and In Praise Of Learning.

Great stuff Paul :-) Suddenly I've gone Frippin' mad! I just cannot get enough of the man and his merry band...I've always said that KC were a band that lay in wait for you until you were ready, no matter how many times they didn't make sense. So my frequent forays into the avant garde and basically, any left field music has helped, if you like, prepare the way... That may sound pretentious but it's the honest truth. Henry Cow is another band that passed me by even though I was mesmerised by their sleeves. Although I do have some studio and live stuff from Fred Frith (Material, Solo and with Henry Kaiser)

was eagerly waiting to put this on the TT all day. Place to myself, lights out, fire in the room lit. Bliss.

DaveF wrote:was eagerly waiting to put this on the TT all day. Place to myself, lights out, fire in the room lit. Bliss.

It was the first album I played on the first night in the new house back in '96, no furniture, no curtains and only a bedside lamp on the floor behind me - bliss! Enjoy :-)))

Lisa Germano - Lullaby for Liquid Pig




Lambchop - OH (OHIO)

Forgot I had this! - a sumptious 6 vinyl box set produced by Bill Levenson and mastered by Greg Calibi
at Sterling Sound...




This review is from: Dreams (Audio CD):
Boxed sets such as this typically are a mixture of "Greatest Hits" material with enough unreleased material to hook die-hard fans into going ahead and spending money. "Dreams" is no exception to this, but it is better organized than most boxed sets. Die hards who already own the albums will get a lot of duplicate material, but roughly a third of it is unreleased and/or difficult to find. Those interested in discovering the group are in for a real treat! This boxed set is the perfect introduction.
Disc one is mostly cuts from the Pre-ABB groups The Allman Joys, Hour Glass, The 31st of February, and The Second Coming. When I saw the track listings after buying the set, I was initially disappointed by this, as I have little interest in being an Allman's "completist." However, I was relieved that all of the early cuts are at least pretty good, and at times, sublime! You hear a clear progression from psychedelic cover band to blues virtuosos to jazz/rock/country fusion. The second half of the disc is downright excellent.

Discs two and three are, by and large, greatest hits from the ABB golden era. If you don't already have a copy of the amazing Live at Fillmore East, there are three remastered cuts of probably the best tracks from Fillmore. Most ABB fans will already have Fillmore, but if you don't it's great to have these.

Over half of Disc four is solo and side project material by ABB members. As with disk one, all of these cuts are at least pretty good, with some really excellent numbers thrown in as well.

I'd rate this as one of the best boxed sets available because it doesn't contain any unnecessary filler tracks. You won't find yourself hitting the skip button very much at all. The breadth of ABB's musical heritage is laid out clearly and will continue to amaze after many listens.

If you're new to the band, this is a can't-go-wrong purchase.Their progression from '60s Invasion-style rockers to blues cover band with a taste for B.B. King to dynamic rock & roll juggernaut is astonishing, and the inclusion of sundry oddities will make collectors happy. The booklet is thorough and lovingly produced too.

I'm in red heaven :-)

not quite what I expected but interesting all the same.