Guest Book

According to the book "Close to the Edge, the story of Yes" before getting Steve Howe, Yes tried to get Fripp. Has Fripp ever commented about this? Who would have thought that Fripp would be the one to steal a member from Yes latter on.

"Dear TC, I think this has already been released via the 50th anniversary series." The single wasn't extended - far from it, in fact. It features a slightly earlier fade-in than the original edit, and fades out on the bare Frippertronics loop where Tony and Bill would usually come in. I think it's around 2 1/2 minutes in length.

Alex, when you say “open spool,” was Bloodline on the same soundboard tape as the rest of the gig, or was this a separate tape (or spool) that was added at the cutoff point of “Exiles?” Alex Mundy replied: Dear Adam, The only thing that I can recall, is that the open spool had Guildford written on it, and the 13th November 1972 was the only time they played there with the Quintet, so that had to be the gig. As we now have a bootleg version too, this pretty much confirms that date. Sorry I can't help any further in your investigation, but I do like your scenario.

This was issued as a B-side to Heartbeat. Rather than an early fade, it's a unique mix - does this exist within DGM's archives? It's never been re-issued and would be a worthy candidate for a Stormy Selection, I feel.

Is there any chance this will be made available again? I often buy copies for friends and would rather DGM get the money.

Tony, beautiful images, very beautiful, very good images, hugs.

A pity that Waiting Man and Neal, Jack and Me is in complete 'cause the missing part of them is quite charming. Nevertheless, I enjoy the style demonstrated in Indiscipline, especially Bruford's improv percussions.

KC opened that show with VROOOM VROOOM – Coda, and not Coda: Marine 475. I should know: I attended it whilst mourning the recent passing of a dear, dear friend of mine. That night, I felt he and I were walking on air. Thinking about it brings joyful tears in my eyes. Thank you.

I was in the audience for this one. It's odd, but I recall there being a glaring error by Belew early in The ConstruKction Of Light and I recall Belew shooting a sheepish grin at Fripp, whose serious expression did not change at all. Listening to this recording, I can't locate the error I heard that night. Maybe it's the mix, maybe it's the difference between getting all the other cues when you're watching a band perform as opposed to listening to a recording. Either way, I'm very happy to have this recording.

This may be one of the very best compiled alternate versions of any early Crimson piece. I can see how some of the bass parts were changed and simplified to allow for live performance potential, but I think this version may have been closer to the intended final recorded musical result. Harry Miller and Keith Tippett are just simply magnificent here as are the others. I'd be curious to hear this version with Boz's vocals as well, but as these are compiled from different takes, it might sound unnatural. Stunning and incredible work by Mr. Stormy! More More More of this!

One of the things I really appreciate about DGM is the way they tend to be very transparent about the shortcomings of any recordings they make available and... unfortunately with this particular recording that is not the case. For instance, there's no mention in the description of the apparent gaps in the recording that have been crudely patched, most noticeably in the second verse of 21st Century Schizoid Man (where the three-note ascending pattern of the riff has been duplicated from its first iteration in this recording and the first few lines have been dubbed in from the much later Fillmore West recording with the addition of a cassette click sound effect) and the opening verse of Get Thy Bearings (which has been copied and pasted in from near the end of the song, again cutting in and out with the same cassette click sound effect). While editing like this isn't necessarily a bad thing, and does help restore some semblance of the musical experience (I'm reasonably certain there are some other patches in here well-hidden enough that I haven't spotted them), it does feel uncharacteristically dishonest to present this as a completely true and accurate representation of what the crowd heard at Hyde Park that day. The 21st Century Schizoid Man edit is particularly jarring given how different to the rest of the recoding Lake's growling end-of-tour vocal tone is in that clip, to say nothing of the way the pitch and timing jolt and make it feel as though the band collectively stumbled for a moment.

This was the second time I saw the Crimsters. The lighting was astonishing at the end of the show (bright white lights strobing during Larks' II). It scared the crap out of me. I attended with a drummer friend who was completely shattered after the show - he was ready to quit!