Notes

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If you download this show, I ask that you please go to www.dgmlive.com and download the SOUNDBOARD recording of the show at Park West from the previous night, March 14, 2003. It just went up on the site. You can get flac files for $12.95 and MP3 for $9.95. You can't beat this price!

Please SUPPORT the artists!

I'm not the taper, but I was in attendance for the shows on Friday and Saturday night. Here were some of my observations at the time.

Friday, 14th March 2003 Park West - Chicago, IL

It's been over two weeks since I had the great pleasure to attend the King Crimson performances at Chicago's Park West theatre. I'm finally at a point where my thoughts and observations have gelled a little bit more and I just wanted to share them with others that won't get the chance to see them this time out.

I was holding out hope that Crimson would once again do a warm-up show or two in Nashville to start this tour. The Nashville shows I have attended over the past couple years have been very special and I was really anticipating being present for another one. Since it didn't look like that was a possibility this time around, my next best option was driving an extra two hours in the opposite direction to Chicago.

The venue was excellent. From what I was reading most of the tour so far had been at seated auditoriums and I figured that I was in for the same at Park West. I was psyched when I entered and found the back half of the room was tables and geared for seating and and the half in front of the stage was open floor! I immediately made a bee line toward the left side of the stage. (Tip for those of you who are all about the delineated fetishing of Fripp's flying fingers) If you stand in front of Trey/Pat, you in essence have the best upclose view of all members of the band. Adrian is right up front, Robert is turned facing you and Trey is right in front of you. Pat was not on any risers so it was difficult to get a full view of his rig and setup behind Trey, but I was able to see him pretty well.

As Robert has described in his diary, his new quarter turn toward the band is not about turning away or off from the audience, but more about connecting with the band and being able to pickup the 'visual cues'. As someone mentioned in another review they noticed Pat verbally counting out sections of Construction of Light. This is not for Pat's own benifit, but to keep the frontline of Robert and Adrian clued in to the changes. Robert would not hear or see these if he were facing the front of the stage.

After my initial survey of the area I decided I had to get rid of my jacket and headed back up front to the coatcheck. As I was trying to make my way through the hall I was stopped as MJK with flourescent red hair flying was leading Fripp (with guitar) to the stage. I knew I was in for something special this night because as Fripp crossed my path there were no wild catcalls from anyone else standing there demanding his attention. It was very subdued with only a few well-wishers offering encouragement.

I checked my coat and made my way back to the front of the house as Robert was seated and Soundscapes were rising. After a few minutes the crowd seemed to grow a bit restless and more people were hollering. As the calls increased the rest of the band emerged from the shadows and took their places. The opening lines of ConstuKction of Light started and I was right there! Incredible!

After ProzaKc Blues Ade recalled that the last time he was in Chicago he didn't have a voice and then as an aside mentioned that he'd gone out and bought one since.

After this exchange with the crowd he looked over at Robert who was attentively waiting in his best posture for Ade to start the next song. Robert then understatedly announced, "I'm ready to rock." This comment tickled Adrian who shared Robert's revelation with the rest of the crowd who could not hear the unamplified statement from Fripp. It got a good laugh and cheering from all.

Elektrik - I was blessed to be at the first public performance (KCCC #19) of this one in Nashville a year and a half ago. The song has really grown since then, it felt like it has new power and life in it now. The middle section before Robert's solo feels much more powerful and tighter than on any of the recordings I've heard. This is the song that really struck me as advancing the most since last hearing them. Although the same can be said for Level Five, but I think Elektrik has really benefitted from more playing.

Facts of Life catapulted up my list of faves with these performances. This song is barely recognizable from the original "Response to Stimuli" that I heard pre-Tool tour in Nashville. The song gives Robert the opportunity to bring out his "buzz saw" riff a la Sailor's Tale or the solo before the last verse in Lament. Personally it was just an EXCELLENT moment when the beats per minute are cranked up and he is shredding that one... eighth notes, sixteenth notes, micro notes!

Level Five was great, but it was difficult to breathe at the beginning as Trey or a loop from one of Pat's 'buttons' felt like it was going to crush your chest, the sound was so overwhelming!

Oyster Soup was a stomper as Fripp's cat scampered on the piano keys during his solo. There were a couple of loose sections during this one and the end soured just a bit. This song ends best with a bang and tonight it just kind of drooped.

The same thing happened at the end of Dangerous Curves, Adrian and Robert kind of missed the big sustained chord finish tonight. It still seems to me that Curves has more power or impact when presented as an opening song or a set closer. Maybe as a prelude to Level Five or Happy would be better. It's just my feeling that the power is sapped from that sustaining chord at the end if you don't just stop there or smash your guitar or set your guitar afire or crank up the air raid siren or start a song that is heavy from the git go.

Lark's Tongues IV it was nice to hear this one, but I knew that it signalled the end of the set and I felt a bit of regret. Pat was a monster on this one as he is on ConstuKction of Light. He really comes close to overpowering the band at points and could if he wanted to.

Deception of the Thrush (TPTB III) - I was glad to hear that this piece has the same urgency and intentness as it has had. I was a bit disappointed by the shortened version on the new CD. But the time is taken and nothing has been shortened in the live performance. The only problem is that the silence seems to be a great opportunity for others to shout out at the band or even one another! This did seem to make the performance itself.

After DOTT Adrian came back on stage moved close to the mic and stated in a low steady intonation, "Trey is God". A great roar of approval and laughter from the crowd, as well as adding a bit of a smirk to Trey's countenance pulling him out of his very introspective and stoic poise that he assumed most of the night.



Saturday, 15th March 2003 Park West - Chicago, IL

One Time Warp
TPTB II (Virtuous Circle) was dropped into the "space" section of One Time, amazing moment, once they slipped into it and Ade was hitting the hand synth, I was hoping they would come back "out" of it with the end of One Time and they did! Excellent little medley! I don't remember the boisterous crowd interfering much at all during the quiet moments, but that may be because I was right there in it. The highlight of the night for me.

Digital video recorder setup on right side of stage behind Robert on Friday night, left side behind Trey on Saturday night.

Saturday night Crimson was on!

No inflatable horns.

Light blue t-shirt with white doves (TPTB art on the malodorous CD) caught my eye at the merchandise table. What a beautiful departure from most KC T's. I'm getting one if they eventually hit the DGM Shop.

Chicago, IL

from the taper:

It's been over two weeks since I had the great pleasure to attend the King Crimson performances at Chicago's Park West theatre. I'm finally at a point where my thoughts and observations have gelled a little bit more and I just wanted to share them with others that won't get the chance to see them this time out.

I was holding out hope that Crimson would once again do a warm-up show or two in Nashville to start this tour. The Nashville shows I have attended over the past couple years have been very special and I was really anticipating being present for another one. Since it didn't look like that was a possibility this time around, my next best option was driving an extra two hours in the opposite direction to Chicago.

The venue was excellent. From what I was reading most of the tour so far had been at seated auditoriums and I figured that I was in for the same at Park West. I was psyched when I entered and found the back half of the room was tables and geared for seating and and the half in front of the stage was open floor! I immediately made a bee line toward the left side of the stage. (Tip for those of you who are all about the delineated fetishing of Fripp's flying fingers) If you stand in front of Trey/Pat, you in essence have the best upclose view of all members of the band. Adrian is right up front, Robert is turned facing you and Trey is right in front of you. Pat was not on any risers so it was difficult to get a full view of his rig and setup behind Trey, but I was able to see him pretty well.

As Robert has described in his diary, his new quarter turn toward the band is not about turning away or off from the audience, but more about connecting with the band and being able to pickup the 'visual cues'. As someone mentioned in another review they noticed Pat verbally counting out sections of Construction of Light. This is not for Pat's own benifit, but to keep the frontline of Robert and Adrian clued in to the changes. Robert would not hear or see these if he were facing the front of the stage.

After my initial survey of the area I decided I had to get rid of my jacket and headed back up front to the coatcheck. As I was trying to make my way through the hall I was stopped as MJK with flourescent red hair flying was leading Fripp (with guitar) to the stage. I knew I was in for something special this night because as Fripp crossed my path there were no wild catcalls from anyone else standing there demanding his attention. It was very subdued with only a few well-wishers offering encouragement.

I checked my coat and made my way back to the front of the house as Robert was seated and Soundscapes were rising. After a few minutes the crowd seemed to grow a bit restless and more people were hollering. As the calls increased the rest of the band emerged from the shadows and took their places. The opening lines of ConstuKction of Light started and I was right there! Incredible!

After ProzaKc Blues Ade recalled that the last time he was in Chicago he didn't have a voice and then as an aside mentioned that he'd gone out and bought one since.

After this exchange with the crowd he looked over at Robert who was attentively waiting in his best posture for Ade to start the next song. Robert then understatedly announced, "I'm ready to rock." This comment tickled Adrian who shared Robert's revelation with the rest of the crowd who could not hear the unamplified statement from Fripp. It got a good laugh and cheering from all.

Elektrik - I was blessed to be at the first public performance (KCCC #19) of this one in Nashville a year and a half ago. The song has really grown since then, it felt like it has new power and life in it now. The middle section before Robert's solo feels much more powerful and tighter than on any of the recordings I've heard. This is the song that really struck me as advancing the most since last hearing them. Although the same can be said for Level Five, but I think Elektrik has really benefitted from more playing.

Facts of Life catapulted up my list of faves with these performances. This song is barely recognizable from the original "Response to Stimuli" that I heard pre-Tool tour in Nashville. The song gives Robert the opportunity to bring out his "buzz saw" riff a la Sailor's Tale or the solo before the last verse in Lament. Personally it was just an EXCELLENT moment when the beats per minute are cranked up and he is shredding that one... eighth notes, sixteenth notes, micro notes!

Level Five was great, but it was difficult to breathe at the beginning as Trey or a loop from one of Pat's 'buttons' felt like it was going to crush your chest, the sound was so overwhelming!

Oyster Soup was a stomper as Fripp's cat scampered on the piano keys during his solo. There were a couple of loose sections during this one and the end soured just a bit. This song ends best with a bang and tonight it just kind of drooped.

The same thing happened at the end of Dangerous Curves, Adrian and Robert kind of missed the big sustained chord finish tonight. It still seems to me that Curves has more power or impact when presented as an opening song or a set closer. Maybe as a prelude to Level Five or Happy would be better. It's just my feeling that the power is sapped from that sustaining chord at the end if you don't just stop there or smash your guitar or set your guitar afire or crank up the air raid siren or start a song that is heavy from the git go.

Lark's Tongues IV it was nice to hear this one, but I knew that it signalled the end of the set and I felt a bit of regret. Pat was a monster on this one as he is on ConstuKction of Light. He really comes close to overpowering the band at points and could if he wanted to.

Deception of the Thrush (TPTB III) - I was glad to hear that this piece has the same urgency and intentness as it has had. I was a bit disappointed by the shortened version on the new CD. But the time is taken and nothing has been shortened in the live performance. The only problem is that the silence seems to be a great opportunity for others to shout out at the band or even one another! This did seem to make the performance itself.

After DOTT Adrian came back on stage moved close to the mic and stated in a low steady intonation, "Trey is God". A great roar of approval and laughter from the crowd, as well as adding a bit of a smirk to Trey's countenance pulling him out of his very introspective and stoic poise that he assumed most of the night.



Saturday, 15th March 2003 Park West - Chicago, IL

One Time Warp
TPTB II (Virtuous Circle) was dropped into the "space" section of One Time, amazing moment, once they slipped into it and Ade was hitting the hand synth, I was hoping they would come back "out" of it with the end of One Time and they did! Excellent little medley! I don't remember the boisterous crowd interfering much at all during the quiet moments, but that may be because I was right there in it. The highlight of the night for me.

Digital video recorder setup on right side of stage behind Robert on Friday night, left side behind Trey on Saturday night.

Saturday night Crimson was on!

No inflatable horns.