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[prog-rock] (2019) King Crimson - Live in Newcastle, December 8, 1972 [FLAC,Tracks] [DarkAngie]

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(2019) King Crimson - Live in Newcastle, December 8, 1972


Review:
“Never say never,” or so the old adage goes. When it comes to music,
there are two more that should be added: “farewell tour” and, most certainly as it relates to King Crimson‘s Live
in Newcastle, December 8, 1972, “the complete recordings.” This, the 48th in the veteran group’s King Crimson
Collector’s Club series of archival releases, turns out not just to be an unexpected addition to the group’s
Larks’ Tongues in Aspic (Panegyric), but belies that fifteen-disc, 2012 40th Anniversary Series box set, which was
subtitled “The Complete Recordings” on the opening page of its enclosed 36-page booklet. But it’s a minor quibble.
The truth is, this five-piece version of a brand new lineup, making its first public appearance just two monthsprior on
October 13, 1972 and its last a mere five months later, was King Crimson’s second shortest-lived incarnation next to
the 2008 twin-drummer lineup (which performed a mere eleven dates in four cities, leaving no studio recordings and,
effectively, no new music). The remaining members of the Larks’ Tongues band continued as a quartet for another
fifteen months before being summarily shut down in September, 1974 by the group’s only remaining co-founder, guitarist
Robert Fripp, following the recording of King Crimson’s final studio album of the ’70s, Red (Island, 1974, reissued
Panegyric, 2009). But with only seven live recordings from the quintet’s 46 concerts included in the 40th Anniversary
Series box (plus a very poor quality bonus eighth as a download), and a full five of those seven shows sourced from
audience bootlegs, it’s terrific news, indeed, that the band, still road-testing its new material in the final months
of 1972, was in the habit of making cassette recordings off of the soundboard. Far from the high fidelity possible
today, these soundboard recordings were, nevertheless, of sufficient quality to allow the band to continue honing its
new repertoire prior to going into the studio. Live in Newcastle, December 8, 1972 is, indeed, a major find: a
soundboard recording that’s a major addition to the documented legacy of this short-lived five-piece lineup that,
alongside Fripp, ex-Yes drummer Bill Bruford, ex-Family bassist/vocalist John Wetton and violinist David Cross, featured
the fur vest-clothed, blood capsule-spewing and inimitably creative percussionist, Jamie Muir. Exceptionally
well-restored, it reveals a great deal more about just how extraordinary this band was, even if only for such a short
time. Muir left King Crimson after its March 31, 1973 show, a mere eight days after the release of Larks’ Tongues in
Aspic (Island Records, 1973). While the four-piece formation that remained would prove to be amongst the band’s
most-loved (until, that is, its current, slightly shifting format, which has been touring since 2014), recordings from
the full quintet remain amongst the holiest of Crimson holy grails. And for good reason. As superb as the Larks’
Tongues quartet would ultimately prove to be in performance (and as well-documented, generally from much better sources,
on two mega-box sets from Panegyric in 2013 and 2014 respectively, The Road to Red and Starless), Muir brought not just
a visual “X factor” to the group but a musical one as well, his not-to-be understated contributions during his brief
tenure with Crimson still felt well after his departure, with the percussionist exerting a lasting influence on Bruford,
who added the role of percussionist to his extant position as the group’s drummer after Muir’s departure. Live in
Newcastle, December 8, 1972 stands out amongst the relatively few recordings from the Larks’ Tongues quintet. First,
while still a relatively low-fi recording (call it “mid-fi,” perhaps), it’s still the best-sounding live recording
from this group to date, with surprising clarity and delineation, given its source and age. Second, it’s the only
known recording—barring the Hull Technical College date from November 10, 1972, included in the 40th Anniversary
Series box—that features the entire Larks’ Tongues in Aspic album in its running order, albeit with an incomplete
version of the set-closing “Larks’ Tongues in Aspic Part Two,” which cuts off about halfway through. Along with
every track from Larks’ Tongues in Aspic, two lengthy improvisations demonstrate the group’s ability to draw music
from the ether while, at the same time, connecting one song to the next. The first is embedded between a particularly
lovely version of the miniature vocal piece, “Book of Saturday,” and the powerfully symphonic “Exiles.” The
second is bookended by a lengthier, nine minute-plus look at the album’s most eminently rocking “Easy Money” and
the whisper-to-a-roar, improv-heavy “The Talking Drum,” which segues into an incomplete “Larks’ Tongues in Aspic
Part Two,” rendering the set almost completely continuous, barring a brief break for Fripp’s announcement after the
set-opening “Larks’ Tongues in Aspic Part One” and another (with no announcement) following “Exiles.”
Together, these two improvisations occupy 32 minutes of the CD’s 72-minute run time, and demonstrate this quintet’s
far freer approach to extemporization, again largely thanks to Muir, who’d already established himself in the British
free jazz scene, collaborating with guitarist Derek Bailey, electronics specialist Hugh Davies, saxophonist Evan Parker
and vocalist Christine Jeffrey in the Music Improvisation Company, whose sole, eponymous album was released by a nascent
ECM Records in 1970. Road-testing the emerging album’s worth of material over a full 32 live performances before
committing it to tape for Larks’ Tongues in Aspic, the group was still working on nailing down formats and
arrangements even at the relatively late date of Live in Newcastle, December 8, 1972, its sixth-to-last show before
heading into the studio for two months in early ’72. But it was inching closer and closer. The out-of-the-gate
game-changing “Larks’ Tongues in Aspic Part One”—its introduction bringing Muir’s bells and other percussion
together with guitar and violin harmonics, and Bruford’s textural cymbal work—has largely been whipped into shape by
this time, but Fripp is still looking for just the right mix of compositional construction and improvisational forays.
The technically challenging, rapid-picked and angularly conceived guitar part first introduced during the third section
of this eleven-minute, episodic blend of crunching, metallic power chords, pastoral violin passages and many other ideas
in-between, is repeated, here, during the following passage before heading off into more spontaneous territory. This
contrasts with the studio version, where the guitarist overlays an intensifying build of increasingly rapid-strummed
chords, a logical extension and expansion of the similar technique used during Fripp’s now-iconic, skewed
banjo-inflected guitar solo during “Sailor’s Tale,” from Islands (Island, 1971, reissued Panegyric, 2010). It’s
an incendiary reading of the composition that seems to effortlessly shift from subtle delicacies to ear-bursting
grooves, the latter driven hard by Wetton’s heavily distorted, positively massive bass lines, Bruford’s instantly
recognizable snare and Muir’s reckless percussive contributions. The album’s start-stop introduction to Cross’
delicately oblique, largely a cappella solo has yet to emerge at this point, though the violinist’s feature, which
turns into a duet with Muir, is closer to but, in the spirit of improvisation that underscores virtually the entire
performance, still not a precise mirror of what would ultimately appear on the studio recording. Here, Muir’s
cascading, harp-like dulcimer strums gradually join with Cross for the simple, Oriental-sounding melody that signals the
composition’s final section, as it gradually builds towards the familiar, climactic conclusion.
It may be a brief
announcement at just over a minute, but before launching…





Tracklist:
1. Larks’ Tongues in Aspic Part One
2. RF
Announcement
3. Book of Saturday (Daily Games)
4. Improv I
5. Exiles
6. Easy Money
7. Improv
II
8. The Talking Drum
9. Larks’ Tongues in Apsic Part Two (incomplete)

Summary:
Country: UK 
Genre: prog-rock


Media Report:
Source                           : CD
Format                    
      : FLAC
Format/Info                      : Free Lossless Audio Codec, 16-bit PCM
Bit rate mode           
        : Variable
Bit rate                         : ~ 502-737 Kbps
Channel(s)                       : 2
channels
Sampling rate                    : 44.1 KHz
Bit depth                        : 16 bits

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