Whenever someone asked me what was the best concert I've ever seen, my answer since 1984 was always "musically, King Crimson". Visually, emotionally that answer would go to several other bands but as far as pure musicianship King Crimson reigns supreme.
King Crimson, formed in 1969, was one of the early pioneers of what eventually would be dubbed "progressive rock", think early Pink Floyd and Genesis. The band featured an ever changing line-up based around anchor man Robert Fripp. Former alumni included future members of Emerson Lake & Palmer, Bad Company, UK, Foreigner, Asia, and past members of Yes, Talking Heads.
My first King Crimson concert was in 1984 at the Greek Theatre in Berkeley, CA. At the time the band only consisted of four musicians, including one of my top 5 drummers, Bill Bruford. The band's musical interaction left quite an impression on my young mind. While the concert, nor the songs, were not my favorite, these four musicians created a sound that was top notch and exceeded any group I had seen at the time.
Fast forward to 1994 and the four man line-up returned after a 10 year absence as the "double-trio". Two guitarists, two stick players, and two drummers. The newly formed Crimson tore my head off at all 5 of the shows I attended between 1994-95. This band eclipsed the band I saw 10 years earlier and retained the best concert "musically" that I had even seen.
In 2001, a new version of the 4 piece line-up opened for Tool (a band I first saw open for Henry Rollins in 1992 and took an instant liking to). Their first show was at Red Rocks Amphitheater in Morrison, CO. I was always fascinated with that venue since seeing U2 Live at Red Rocks on MTV as a kid. There was no doubt about it, I had to make the journey from California to Red Rocks to see two of my top ten bands.
The revised 4 piece line-up lacked the intensity of the "double-trio" and were overshadowed by Tool in their peak years. My interest in the mighty KC waned and I skipped out on several chances to see them after that.
Earlier this year Fripp (guitar, frippertronics), reconstructed King Crimson by recycling members from the past with a dose of new blood. The old blood consisted of Mel Collins (sax) from the early 70s line-up, joined by the legendary Tony Levin (bass, stick) from the 80's and 90's versions, and Pat Mastelotto drummer for the 90s and 2000s. Joining the past members are Gavin Harrison (Porcupine Tree) on drums, Bill Rieflin (R.E.M.) on drums/keyboards, and Jakko Jakszyk (Level 42) on guitar and vocals.
I was on the fence about making the trip to see the band but the lure of three drummers, the return of Mel Collins & Tony Levin, and the 30th anniversary of my first KC show tempted me. So with tickets in hand (well really on my phone) I made the journey down memory lane to see what might lie in the future of the Crimson King at the band's second night in San Francisco.
I arrived to find three drum kits gracing the front of the stage with places for the remaining four musicians lined in the back. My choice to go for balcony over floor seats was a wise choice. I could easily observe all seven members from my elevated position.
The band opened with "Level Five" (2000) and right off the bat the band tore off my head and added a grin to my face. It was immediately obvious that this lineup would top any of the previous incarnations of the band. With triple drummers and a menacing sax player adding multiple layers to an already complex sound.
"Larks Tongues in Aspic, pt. 1" (1973) and the rarely played "Pictures in a City" (1970) continued the onslaught of sound assaults before giving my a chance to put my head back together with the Collins, Jakszyk, Fripp cover "A Scarcity of Miracles" (2010).
The heaviness quickly resumed as the journey continued back to the seventies with "One More Red Nightmare" (1974), "The Talking Drum" (1973), and "Larks Tongues in Aspic, pt.2" (1973). It was evident at this point that the Belew version of Crimson was not going to make much of an appearance this night.
Being a wanna be drummer, my attention was captured by the drummers working in ways I had never heard before. It wasn't the typical call and response that most multiple drummers play. This was three drummers each with their own style combining to make one large drum sound. Occasionally, one drummer would start a roll, only to have it completed by the other two drummers. The best way to describe the sound these drummers were creating is that it was like watching one drummer with 6 arms and 6 legs, not three drummers.
The Belew Crim made a final appearance with an instrumental version of "The ConstruKction of Light" (2000) followed by "VROOOM/Coda: Marine 475" (1994). The revamped version of "Coda: Marine 475" turned out to be the highlight of the night for me. The drummers brought it to a new level while Mel Collins' took over the Belew guitar screams with what appeared to be a monstrous contrabass sax. It was haunting and was stuck in my head for the next week.
A more recent KC song "Hoodoo" (2014) preceded the next set of rarely played songs from their Islands record "Sailor's Tale" (1971) and "Letters" (1971). If my eyes were shut I would have never known that one of Tony Levin's bass rigs went out at this point but he played on like a champ on his upright bass while his roadie scrambled to fix the problem. This scene brought a cheshire cat smile to the face of the usually serious Fripp.
The band stayed in the seventies with "Red" (1974) and concluded with probably my favorite Crimson song "Starless" (1974). Fripp's tone on "Starless" was dead on from the sound he used on the recording. It was haunting and beautiful at the same time, aided by the stage washed in red light. The only light change I noticed the entire night.
As the band waited int the wings, I reflected on the previous KC shows I saw where, with the exception of a handful of songs, the 70's were most ignored and replaced by Adrian Belew's quirky lyrics and Fripp's circular guitar patterns. Instead this night, the band embraced their beginnings and reinvented their past.
The trio of drummers returned to the stage for the "Hell Hounds of Krim" (2014) and worked their percussive magic. Throughout the night Mastelotto channeled the spirit of the madman Jamie Muir from the early 70's line-up, while Rieflin provided the foundation, and Harrison fell somewhere in between the two with powerhouse, progressive rolls and rhythm. When I saw the band in 2001, Bruford's presence was sorely missed. But the power of the triple drummers this night more than made up for his absence in this line-up.
The rest of the band joined the drummers and concluded the show with the most intense version of "21st Century Schizoid Man" (1969) I have ever heard. Maybe it was hearing it live for the first time in the 21st century that swayed my opinion but I think the musicians that Fripp employed for this show were responsible for that intensity.
Unfortunately, the tour concluded in Seattle on October 6th, or else I would warn anyone on the fence about going to this show. Hopefully the band recorded one or more of the shows for future release. I'm really glad I didn't sit this one out, oh wait that's another band.