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MB's Customs: The King Crimson Collection Pt. 3/4 The "rest" of Red (side 1), and New Wave KC

Rush Tool Yes Prog Close to the Edge Jethro Tull The Mars Volta One Day as a Lion Slint King Crimson

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#181 MrBurpler

MrBurpler
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Posted March 24, 2020 - 04:56 AM

The King Crimson Collection Pt. 3/4 The "rest" of Red (side 1), and New Wave KC

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This song has its origins all the way back in 1972 when Jamie Muir was still in the band. The riffs originating from improv back at that time, it wasn't until 2 years later when they were actually used in a proper song. Other fun tidbits are the 13/8 section in "Starless" used to be in "Fracture". This makes the King Crimson boxsets from this era so fascinating because you get hear different parts of the song in different contexts. According to wikipedia this is also the last King Crimson recording to feature Robert Fripp on acoustic guitar, and wasn't played live until 2017.

 

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RED nightmare. The story of a bad dream essentially. With the lyrics describing a terrible flight with the thought of a possible plane crash, when the worst comes our character wakes up to find that he had just fallen asleep on the greyhound bus. What's also interesting about this song is that the lyrics were not written with aid from Richard Palmer-James - a founding member of Supertramp. In fact this is the only King Crimson song from the "Wetton-era" to not have a Palmer-James credit for the lyrics (including "Doctor Diamond, which King Crimson never did record in the studio).

 

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A killer tune of the record, "Frame by Frame" features one of the coolest used of two guitar i have ever heard. Ok so the guitar part is 7/8 leading into - and including - the verses. However instead of just playing straight 7/8 the whole time Robert Fripp decided, "hey, what if every other bar i drop a note so I'm essentially playing on bar of 7/8, then a bar of 6/8, or 13/8" So there would be on guitar part playing in 7/8, and the other playing in 13/8. And they did. And it's awesome. And it is such a simple thing to do however it creates such, synchronized dysfunction and it makes it that much more satisfying when the two guitar parts line up again. this technique is littered throughout the whole album, and I think it's amazing. This song (and record) is easily one of my favorite guitar tracks to listen to (not to mention Bill Bruford, and Tony Levin who kill it in the rhythm section).

 

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Arpeggios, Arpeggios for days. This song is crazy convoluted mess of time signatures, but because good ol' Billy kept a 4/4 pulse we never know. That isn't to suggest that he's actually playing in 4/4 no no, he's actually playing in 17/16, with a 4/4 bass drum pattern to "give it a dance feel" (and he's kinda right). What are the other guys doing? playing anything from 5/8 to 7/8 dropping a note every other bar so they go out of sync but keep playing until they sync up again, ya know- simple stuff. Not only does mess of signatures and arpeggios insanely hard to play, but it also gives the song a sort of hypnotic feel, like you're in a trance. Just watch out for that ending, because it truly will "snap you out of the trance".

 

Venues for the "Red" tracks are provided by AJFOne23.


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Also tagged with one or more of these keywords: Rush, Tool, Yes, Prog, Close to the Edge, Jethro Tull, The Mars Volta, One Day as a Lion, Slint, King Crimson

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