Queen is a British rock band formed in London in 1971. The band has released a total of 18 number one albums, 18 number one singles and 10 number one DVDs, and have sold over 300 million albums worldwide, making them one of the world's best-selling music artists…
Metallica formed in 1981 by vocalist/guitarist James Hetfield and drummer Lars Ulrich. The duo first met through an ad in a Los Angeles-based music newspaper. At the time, Ulrich had little musical experience and no band but managed to secure a slot on an upcoming compilation record called “Metal Massacre”. Metallica’s contribution, “Hit The Lights”, featured Hetfield, Ulrich and lead guitarist Lloyd Grant. Afterwards, Ron McGovney became the band's bassist and Dave Mustaine joined the band as lead guitarist…
When singer Sade and her band of the same name were establishing themselves, their record company, Epic, made a point of printing "Pronounced Shar-day" on the record labels of their releases. Soon enough, the music had no problem with the correct pronunciation. With the breakthrough Billboard Hot 100 Top Ten single "Smooth Operator" propelling the debut Sade album, Diamond Life, to the same spot on the Billboard 200 chart in 1985, the band fast came to epitomize soulful, adult-oriented, sophisti-pop…
These show notes are written by long-standing Frippertronics expert and unofficial archivist, Allan Okada, whose help in the restoration of this concert has been invaluable. This historic recording documents an extremely rare and classic performance of a mysterious collaborative tour from two of the most creative and fascinating figures in rock. It is one of the most rewarding live recordings this writer has ever heard. For any fan of ‘No Pussyfooting’ or ‘Evening Star’, this live recording is of epic significance and thanks to the efforts of Alex Mundy, is now also comparable in audio quality, by synchronizing the most complete and best (by a mile) available live bootleg recording with Eno's stage tapes recently discovered.
What a dynamite gig this is - full of twists and surprises. There are times when both band and audience combine to make something special that goes beyond the night merely being a “good show.” This is one such occasion and thankfully for us recording engineer George Chkiantz was on hand with the mobile recording studio to capture it all for posterity.
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.
With over a dozen dates under their belts Crimson were really hitting their stride, playing a high-energy show and unveiling new material such as The Night Watch, Lament and Fracture. In the latter’s case, it’s so new that the paint is still wet with a couple of sticky moments evident around the intro. However, the real surprise comes around the 6.30 mark in Fracture - with an unreleased section they later discarded, propelled by a mighty Wetton bass line that reappears on Red’s Starless. An improvised section prior to those familiar rasping chords adds a pinch of wonder to this tale of the unexpected, making it a glimpse of an alternative Fracture.
Arguably the greatest find in Mister Stormy’s trawl through the Crimson archives: uncovering a previously unheard set on the second night at the band’s stint at The Marquee. Having only had the fairly grim-sounding bootleg to go on, it’s wonderful to hear the band in pristine sound. Fascinating also to at last be able hear some of the vocal harmony ideas that they had in mind for Formentera Lady.
Whichever way you look at this is a significant show: the last time King Crimson played anywhere in mainland Europe. As such there’s a certain end-of-term aspect here - a rushing Dinosaur, a final flush in the cheeks of Red as it hits the finishing line. Humour plays its part as well when Belew quips to quell the photographers before a dazzling ConstruKction of Light.
“It’s been a bit of a strange evening” says Adrian Belew near the end of the show. What can he mean? Well, there are moments when things get shaky (Ade has a rather squelchy brown moment during Dinosaur) and there’s a slightly distracted quality to Crimson’s overall performance here, particularly through EleKtric. Yet a minute later The Power To Believe II sees them embarking on a sublime voyage that goes to bliss and back in a little over seven minutes; Fripp launches a solo that takes him clean out of city and off into inner space.