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King Crimson: Starless and Bible Black | Extended Play Lounge Episode 57 (Patreon)

Published:
2023-12-05 00:19:50
Imported:
2024-01
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For our next King Crimson album review, we're listening to Starless and Bible Black. This album won our poll by a healthy margin, and I'm pleased to get back to another King Crimson album before the end of the year. I hadn't heard any of these tracks previously...it's quite a fun ride!

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King Crimson: Starless and Bible Black | Extended Play Lounge Episode 57

This is "King Crimson: Starless and Bible Black | Extended Play Lounge Episode 57" by Doug Helvering on Vimeo, the home for high quality videos and the...

Comments

Anonymous

The 72-74 lineup was savage, nimble, and unmatched. My favorite "band" ever. Fearless improvisers, virtuosic instrumentalists, and purveyors of a singular form of evil writ music that has never been matched. Their intensity makes Slayer sound like Britney Spears. KC had an embarrassment of riches in terms of musicians in their camp over the years, but these 4 gentlemen made KC into its most potent form of beast. This album is an excellent snapshot of them doing what they do, at their peak. The improvisations are fascinating but aren't pieces I revisit often. Fun in the moment, but not memorable. But Fracture, (alongside Starless), is the absolute pinnacle of this band throughout its 50 year span. Fripp is a madman but in this lineup he found compatriots able to not only match his insane ferocity, but to force the man to up his own game. John Wetton's bass playing is inspirational, and it's difficult for me to wrap my head around the fact that this guy, in this lineup, also fronted the milquetoast Asia, singing Heat of the Moment. Wow.

Martin Broten

This was my first KC album. Bought when I was 14 or so. Loved it (especially side 2). About 10 years ago KC put out a boxed set called "Starless" that included 20 CDs of live shows, including those that made up the "Starless..." album. I believe they included one or two improvs each night. Bruford's percussion work on the album is remarkable.

George Davis-Stewart

I started with KC when they were touring LTinA just prior to the album's release, with not too much knowledge of the band's previous recordings. With pre-show music being the Heavenly Music Corporation by Fripp and Eno, that album seemed pretty astounding, revelatory. Following on with Starless And Bible Black struck me as a more than agreeable experience. [It is, incidentally, quite an achievement to be allowed to quote even that phrase from a Dylan Thomas work, knowing how fiercely the poet's estate guards his works.] That's not to say that I did not have reservations about the substance and structure of some of the tracks, but the whole aural and emotional texture of light and shade, delicacy and ferocity, was still enough to make it an album that I prize even now.