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Zoom is the word!
From Dale Haskell of Ballston Spa, New York on .
The most astonishing gig I've ever heard! Beyond description. Ignore the bootleg sound and marvel at the King!
Early performance
From Bill Eckert of Phila., Pennsylvania on .
This is the only live album that has percussionist Jamie Muir playing live on it.( as far as I know).For that reason, it is worth it to Crimson fans. The quality is not very good however. It is one of the first and few with Muir.
light years higher than the norm
From Jaime G of Arica, Chile on .
This is a great performance , although the audience recording takes about a good 7 - 8 minutes to even out and make history , documenting this great show in 1972
I obtained this particularly for Book of saturday , almost inexistent in live media . There are nice jams and very inspired renditions of songs of the time .
I recommend accompanying this 2 cd set with Club 24 Guldford 1972 . Club 24 will probably become a favourite in your listening moments at home very quickly
It seems as though - and i dont have a list of the dates played in 1972 with this lineup . That they made quite an impression on the crowds , as the performances were , sometimes light years higher than the norm
Thank you dgm for these live recordings
Music for a Dark Room
From rjm of Pleasanton, California on .
The sound quality is terrible, the "songs" are tentative and underdeveloped and the playing is, well, sloppy at times. But the Zoom improvs! Astonishing is the only word I can think of.
Pour a drink, turn off the lights and don't listen to the sound, but hear the music. Scary stuff for sure, but brilliant.
Amazing! KC should have made a Zoom album!
From Zach Charland of Montreal, Quebec on .
Musically, this is the best KC performance I've ever heard. Sonically, there's much to be desired.
Both Zoom and Zoom Zoom are single most awesome, grooviest, and musically rich pieces Crimson has ever composed and performed. There's just so much. From Muir's crazy antics to John's crushing bass line, to Fripp's never ending funky riff, it just feels so complete. That's not all though. These pieces have coherence, AKA: beginning, middle, and end, and underlying that there's structure and repetion.
Zoom alone would have been a Crimson classic if released on a studio album. Zoom Zoom would have been the icing on the cake. This piece takes all that's awesome about Zoom and amplifies it tenfold.
I left the first disc sweating, confused, and exhausted - my brain feeling like it had just emerged from a pool of narcotics. Wicked stuff. As you can guess, I can only listen to this CD like once a month. It's just that awesome.
Buy it for Zoom and Zoom Zoom alone, which is roughly 66 minutes of music already. That's good enough for anyone.
Man, someone should get Fripp to make an album out of this; it hurts that there isn't one.
Lucky me --- I was there
From Rainer R of Oshawa, , Canada, Ontario on .
I drum a bit myself,so to see an "industrial" drummer like Jamie and a "math" drummer like Bill co-exist on stage without any egos playing into it was more than I could possibly expect.
The intimacy of the Zoom,a 300 head capacity,converted theater,made this an event for me that will be forever burnt into my memory.
The best of the (all too brief) Muir-era releases
From Joe Prisco of Snohomish, Washington on .
Considering how new a band they were, *this* is the show I'd call "nothing short of astonishing". Sound quality isn't bad at all, and the band is already in full flight -- too inspired to wait until they had enough songs for a set, they simply improvise for long stretches. This show is exactly what you'd hope to hear from the band that was about to record LARKS TONGUES, and there's so much of it!
Roots of Larks'
From Jason Hilliker of Costa Mesa, California on .
This is my latest purchase of the live KC Club releases and it is quite fascinating. What self respecting Crimso fan doesn't love Larks'. This show gives you the very seeds of the aforementioned song in a highly raw and improvisational manner. Good sound and a glimpse of genius to come. Muir is still in the band at this point which makes it a classic representation of what would follow in Crimso's classic line up.
Very poor sound quality but astonishing performance
From Jorge Gimbernat of barcelona, Spain on .
A pity, just because of its sound quality. the impros are incredibly great with different moods and dinamics. the paradox is that the importance of this gig is jaime Muir but you can't almost listen to it. Anyway when you used to the awful sound you can enjoy.
land mark live recording
From bill smith of dublin, Virginia on .
live at the zoom club is a very historical show in my opinion. first this era of kc is where they developed the sound they have today also robert fripp developed his guitar style in this line up. i also like the development of the songs from this preformence to larks tongues in aspic album.i also like cross's flute playing on easy money and book of saderday. the sound of the recording is bad wetton dosn't know the words but if you are a die hard kc fan this cd is very interesting. a must have cd
Some Awesome Playing
From JS of San Diego, California on .
I had posted a review earlier, griping about the sound quality. While it is true that the sound in spots is bad, particularly the vocals which are nearly inaudible, the music more than makes up for it. Some of the improvisation in particular is really outstanding. A worthy purchase for any fan of the Larks' Tongues era.
Unhighly Recommended
From JS of San Diego, California on .
The playing is good, and the instumentals sound OK during the louder passages, but the sound quality is damnned poor for any quiet passages or vocals. If you really are dying to hear the Muir lineup, then this is a good release in terms of the music. But the vocal songs are, for me anyway, totally unlistenable due to the muffled and buried vocals.
A Night With This Abrasive But Talented Prog-Rock Outfit
From Joseph McFarland of Manassas, Virginia on .
Had you been there to see the "new" King Crimson's live debut, and inebriated enough that the sound was vaguely distant in the manner of a cassette recording ... you might have said this :
All in all, this was an interesting show. They came out and this guy Jamie Muir was making all kinds of really strange noises ... they opened with this piece "Larks' Tongue In Aspic Part 1" which I also saw them play a few days later on "Beat Club". Very complicated, seemed to integrate aspects of classical music along with some freeer elements, very serious stuff ... sometimes very powerful. These guys are definitely ambitious. In a way they're getting back to what the original Crimson did back in 1969 from what I've heard - wilder, more wide open sound wise than the Crimson of 1970 and 1971.
Then they played a ballad that didn't seem quite together yet, but which showed the bassist (used to be in Family) to have a solid voice not unlike Greg Lake's. Then they played an instrumenmtal piece that was clearly influenced in theme by Mahavishnu and their guitar/violin unison lines. The piece was a little flat and didn't go anywhere much during lengthy soloing. I wouldn't be surprised if it doesn't make it to LP. Next they did a lengthy blues jam that was very much in the style we saw the previous edition play in, though the new bassist and drummer were a little further out and wilder in their approach.
They came back and played a tune called "Easy Money" that was structured and seemed to have some interesting instrumental parts in it, very precise but still full of energy. This one might be quite a tune when they really get it tight. Next they improvised a bit, with Fripp playing some interesting figures on guitar. Then they did a piece that slowly built tension over a straight groove, just stayed fairly static and eventually everything went kind of wild with Fripp playing some great stuff a bit in the "Sailor's Tale" mode and Jamie Muir making completely mental crazy noises that were really fascinating ... then they closed with this very precise, guitar-centered piece that was called "Larks' Tongue In Aspic Part 2" when they did it on "Beat Club". Very intricately and cleverly composed, like a more regal "Schizoid Man" with longer lines in it ... yes, that good but in a completely different way ... and it built to a fantastic finish.
On the whole these guys seem to be very devoted to making serious music with some thought behind it as well as lots of power and vision. Not everything they did tonight worked, but I expect that if these guys keep it together, they'll make a lot of great music. Great to see Robert Fripp moving forward, this band seems to be on track for greatness.
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