Written by J Hessel
17 June, 2021
Levin Brothers
Just got back from the Levin Brothers show at Daryl's Place in Pawling New York. First live music show in almost 2 years. Incredible performance of original music, some covers, and even a King Crimson song sung by Tony. It was a joy to hear living music. It was a pleasure to revel in the enthusiasm of the players. What a great quartet! Even connected with a few old friends!
Written by Michael
16 June, 2021
Hello, Is something glitchy or quirky going on with the Ravinia ticket sales? The DGM LIVE site says "not on sale yet" but today is the day 16JUN21 and Ticketmaster does not list the gig at all, but the ones before and after. Just wondering if I am being overly concerned in an ever-changing cautious world. Many thanks.

Alex Mundy replied:

Dear Michael, That may be a typo, and it should read 16th July. We are looking into it. It looks like tickets to the general public go on sale 21st July.
Written by Tadeo Martinez
15 June, 2021
"I Fear Tommorow" , Empty Seats
I'm the guy with the nevada license plate : CRIMSON (often with a black Dog). Many shows, both coasts, several decades. Current line-up, best band in history . PROBLEM: New Decade. We need either new music or a new gimmick. We have already brought our children and all of our friends to see this amazing phenomena. Early in Crimstory we may have lost some fans because the constant change, I think at this point we have come to expect it. 60's Lake, 70's Wetton, 80's Belew, 90's Double Trio, last decade Jakko & 3 Drumsons. I'm not sure 5 new songs in 18 years are going to get enough butts in the seats for the size of the venues on this tour. Hoping i'm wrong, see you in Concord.
Written by Jeffrey Wirtz
14 June, 2021
A cracked and broken path indeed
I managed to obtain reasonably priced ticket to the Greek. I checked back a little later for a friend and also viewed the venue being completely sold out. Other venues showed an expected pace of selling. LA, on the other hand, was a different story. If in fact there was a 'glitch' with ticketmaster, that same 'glitch' plagued other shows going on sale at the Hollywood Bowl in the past couple of weeks. Sales on 'on-sale' and 'pre-sale' dates cater to those with a fear of missing out (FOMO). Often times the higher cost tickets dominate the inventory at the beginning to tap into that fear. The reasonably priced seats are usually available later - as they are right now. Bottom line - I don't but the 'gitch' theory as I've witnessed a pattern that started creeping in pre-COVID. The sales algorithms used are very complicated and not touched by humans. Concert tickets are now priced like the airlines and prices may change at any moment. Anyway - happy to be in at the Greek. First show 1974 at the Shrine. Wouldn't miss it if I had to hide in the coyote infested woods below the Observatory.
Written by Robert Tucker
14 June, 2021
A Cracked and Broken Path, hear you David
This is in reply to David below. I had posted a few days ago about the pricing in Scottsdale, but I had also run into the issue at the Greek, as I have attended the last two tours there (drove from Phoenix). Prohibitive, so I also passed on LA. In the same boat as I mentioned in the post. I also looked at other markets and a similar story. Like you David I feel almost disenfranchised. I looked at my wife and said..."I'm not going to see Crimson"...and she's like whaaat. Apologies for not able to post this as a reply under David's post.
Written by Andrew Mather
14 June, 2021
Getting there...
DL & JT bring up serious perspectives from fans. It’s always been a substantial commitment for me to go to a gig or concert. I remember fondly seeing Gentle Giant who in terms of today’s technology did a wonderful job. However I recall no sell-outs in the North-West of England, often cold & well used concert halls and hostile crowd comments. Some gig goers are spoilt. KC in Liverpool Empire October’73 was very civilised and having 3 friends with me made it special. Not easy to get a handle on all the tunes but fantastic to be in the presence of ‘heroes’. Once the music is lost as the first priority of the band we may as well forget it. More time listening pays dividends and as a fan although it’s brilliant to see KC live DGM provide such a fantastic number of windows into KC that we really have nothing to complain about...yep I know ‘no use to complain’.
Written by Matthew George
The unedited improvisation
When I first heard the Starless and Bible Black album in 1992, well, I was one of the many persons who was deceived by the sound of the recording, thinking that.....ummm....... Actually I wasn't even thinking at all. I just UNTHINKINGLY assumed that it was like any other album in the catalog by the group that would have been recorded in a sound studio. How little did I know? How naive of me. It wasn't until a couple of years later that I read Eric Tamm's groundbreaking little "guidebook" (published in 1990 but read by me in 1993-1994), which revealed the truth about the way the tracks were recorded and assembled. Even those early diehard Crimheads in 1974 couldn't have known that the radio broadcast of the November 1973 Amsterdam concert which they were excitedly taping for later bootleg production/exploitation was in actuality the SAME SOURCE CONCERT from which the (at the time) latest KC album SABB took many of its most interesting tracks. Those tracks were never included in the broadcast. However, it wasn't until 1997, a few years later still, that I found out that one specific track, my favorite off that album, the eponymous title track,was actually "edited in 1974 due to the constraints of vinyl". When I read that little statement at the very bottom of the very last page of the booklet accompanying the CD for The Night Watch {1997} release, I said to myself, "Now self, I do believe that you have found your 'special purpose' in this life. And that is, FIND A RECORDING, SOMEWHERE, OF THAT ORIGINAL UNEDITED/EXTENDED IMPROV." It was like a message from the ancient gods being transmitted or beamed down to me, just to me and no one else. So, if that razorburned piece of missing magnetic tape just happens to fall into your lap one day in the near or not so near future, you know who to get ahold of.
Written by Terry Rawlins
First chance to see Bruford
Growing up in southern Delaware it's amazing the music I was able to be exposed to. In August '72, I went to see Yes at the Spectrum in Philly only to see a straight haired blonde on drums... Back in the day of no internet, how was I to know Bill Bruford had left Yes 2 weeks earlier! I was devastated. Heart of the Sunrise with Jon playing a tambourine instead of Bruford's outrageous high hat. Of course, Chris Squire did not disappoint! Less than 2 years later, driving my '64 Buick with 3 friends in tow, we headed to the Kennedy Centre to see the mighty King Crimson with one of the greatest line ups ever. There we were in the lobby with several folks in Tuxedos waiting for the Classical Concert in the other hall. Quite genteel and very nice actually. Steeleye Span opened and were great. Between bands my mates ran off to the restroom while I sat and watched the roadies roll out the riser that had Bill's set on it. I was already blown away. Needless to say the show was absolutely fantastic. The band was in their muscular glory and the hall was outstanding for sound. Bruford was spot on and the performance was followed by several live shows over the years.
Written by Matthew George
One of the more "lilting" blows (read: improvs) apparently NOT recorded by the group for the group
Since sometime during the Spring of 1999, upon first hearing an echoey, somewhat muddied C+ audience cassette tape recording of this performance at the old Shrine Auditorium in South L. A. on 19/6/74 (when I was actually 3 days away from turning exactly half-a-year old!), I thought to myself, what a gorgeous, almost swaying, relaxed 6-minute improv called 'The Silver Walnut' spilling out of a high-pitched eardrum-splitting guitar shriek ending to 'Easy Money', now that DGM is releasing (gradually) an archive of 'blast from the past' recordings of performances, given that this particular location holds a position so near and dear to my heart, having lived out 30 years of a troubled young adulthood in a nearby suburb (and w/KC as a go-to stress reliever for all of those years), I thought to myself, it sure would be just heavenly, and nifty, and grand, and boss, radical, cool, da bomb, awesome, real swell, groooovy man, phat, sweet..... To officially release this with any sort of improvement to the sound. And do you know what? To this day, over 20 years later, I STILL continue to think to myself, it sure would be just heavenly, and nifty, and grand...... P. S. Esp. since an improved early-generation copy of the show 100% complete has emerged since then from the deep. I lost my digital-only copy in what can only be described as a totally self-produced completely destructive tragedy about 7 years ago, and have been hoping since then that DGM might.... just possibly..... Pretty please?
Written by Martin Ingram
My word, the version of Starless here is astonishing! This on its own makes this a must-have.
Written by Andrew Bradley
This has the wistful feeling (and similar soundscape program) to the under-appreciated November Suite album. That one is so restful, I've probably never heard the last couple of tracks. The the thing that I can only describe as the "musical train going over points very gently" sound, that you also hear in this one, is utterly hypnotic.
Written by Robert Girardi
Five Stars!
The band is tight and on point the entire show. Even the songs that I usually skip from this era (Facts, Power, Happy), are played with fire! I am a fan of this four piece lineup. It gives Fripp and Belew plenty of shredding room. The guitars are high in this mix btw. Sweet........