Customer Reviews

Absent Lovers: Live in Montreal 1984

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Though released in 1998, the King Crimson live offering, "Absent Lovers", was actually recorded on July 11, 1984 at Le Spectrum in Montreal. Prior, Crimson had been through three previous lineups and the one in question, with guitar hero Adrian Belew, was their fourth. They had released three albums from 1981-1984, each more accessible than the next with Belew's wonderful songwriting leading the way from prog-rock icons to pop acceptance. Unfortunately, following the advice of head Crim Robert Fripp, "when the aim has been served, or the commitment discharged, any group worthy of the name disbands", the Belew-influenced King Crimson was on the outs; thusly, the significance of this two-disc live CD. Disc 1 seems influenced primarily by Fripp and his preference for long extemporaneous jam sessions; "Lark's Tongue in Aspic III" and "Thela Hun Ginjeet" are the best examples of the band's ability to turn a beat and run with it for extended periods of time. Disc 2 is filled with the Belew touch; "Man With An Open Heart", "Sleepless" and "Heartbeat" are all included here and each seem to have improved live over the studio versions. "Sleepless" in particular, an awesome song to begin with, benefits from a stronger rhythm section and longer running time. All four band members are at their best, the sound quality is fantastic and crowd noise is kept to a minimum for maximum effect. However, only true believers will want to plow through the pseudo-intellectual babble Fripp passes over as liner notes; with such sentences as "Negative by-products of industrialisation and the rational scientific world-view are the institutionalized traits of rapacity and greed", as well as his insistence on spending six pages rebuffing critics of progressive rock, make for slow, dry reading, in direct contrast to the music he is describing. Personal Favorites: the wonderfully executed jam session on "Thela Hun Ginjeet", a fuller version of "Man With An Open Heart" and a version of "Sleepless" that beats the studio recording hands down.

People did not expect the 80s lineup of King Crimson, which features about as many exquisite musicians in one band as you could ever hope for, to compose stuff that sounded so much like pop music. Appearances can be deceiving, though, and the music is anything but pop. What it is, compared to old Crimson, is much more conventionally song-like in terms of structure, while going millions of light years in every direction with sound, texture and atmospherics.

As such, this document of King Crimson live is equally unlike what one had come to expect from King Crimson. Specifically, except for the opening "Entry of the Crims", there is not a single monster improvisation to be found through the whole of both disks. Put more simply, this is simply a concert of already recorded music. Newbies might say, "So what?" to this; established fans might already be turning away in disappointment.

As with most live albums, their main interest consists in song selection and performance. Given that there are two disks here, the three albums this lineup originally recorded are almost fully represented--16 out of 25 songs to be specific. All of the versions here are variously more energetic than their originals, and well worth hearing for that reason alone.

Aside from this, there are five reasons to buy this album.

First, the chance to listen to Bill Bruford, Tony Levin, Adrian Belew and Robert Fripp play their instruments is always worth a listen, even when the band is risking far less than earlier Crimson ever did.

Second, as heavier versions of their studio counterparts, the songs also will reward one who listens for subtle variations, both in sound and texture, and naturally Belew's wigged out soundfests. This is a somewhat refined pleasure and the variations are, indeed, perhaps not really appreciable enough to make it a must-buy.

Third, two tracks from older Crimson are included, namely "Red" and "Larks' Tongues in Aspic Part 2", the latter of which is the true concert signature piece for King Crimson it seems. Needless to say, the distance of the orchestration of these songs relative to their originals is immense, and the main interest in them both lies in getting to hear the present band play the older band's material. (Fripp and Bruford, actually, are common to both versions.)

Fourth, the opening "Entry of the Crims", which in some ways does a disservice to the album, since it demonstrates what the band on that evening might have been capable of had it launched into improvisation anyway. The piece, actually, is an almost scary marriage of the sonic crushing sensibility of older Crimson wedded to the modern instrumentation of the 80s lineup.

Fifth, special mention really has to go to the versions of "Thela Hun Ginjeet", "Three of a Perfect Pair" (which features a totally different, and yet still totally right solo from Belew), and "Industry" (which you wouldn't expect a live version of in the first place, and which is ever so much more menacing than the original...it's just marvelous how this creepy song creeps along and builds).

A terrific set of terrific music terrifically played, there's still a sense of the desire on the part of the band to start totally thrakking (which can most easily be heard in "Industry"), but that would have to wait another half-decade to happen.

I've heard it said that this live album makes the 80s King Crimson studio albums superfluous. Well, don't throw away your copies of Discipline, Beat and Three of a Perfect Pair quite yet -- there are several great tunes that the band didn't perform at this concert. Nevertheless, this is one of the best King Crimson archival releases thus far; the band really burns through the bulk of their 80s tunes, as well as two 70s warhorses ("Red" and "Larks' Tongues pt. 2"). "Entry of the Crims" is pretty intense, with a dissonant guitar duet. "Industry", "Waiting Man", "Dig Me", and "Larks Tongues pt. 3" are all given outstanding performances that completely outstrip the originals. "Discipline" is performed without a hitch, while "Indiscipline" opens with an entertaining drum duet (Belew & Bruford). It's unfortunate that "Neal & Jack & Me", "Neurotica" and "The Sheltering Sky" aren't here in place of inconsequential filler like "Man with Open Heart" and "Heartbeat", but those are minor details. If you like the 1980s King Crimson, you need this; and if you don't, Absent Lovers might change your mind.

The legendary mid-70s King Crimson line-up of Robert Fripp, John Wetton, Bill Bruford, and David Cross earned its praise through elaborate, slowly developed ideas which were always brilliant when they finally burst in full glory. Almost to the contrary, the early 80s 'Crimcarnation' of Fripp, Bruford, Tony Levin, and Adrian Belew made its mark with spontaneous, fast and complex music, which when heard in the studio one might suspect that the talent was actually owed to engineering and production tricks. But with "Absent Lovers," here it is live on stage, and it's as real as the talent in the hands of each member.
The 80s line-up's last performance, and last gathering for nearly a decade, this was recorded live in Montreal in 1984, "for posterity, whoever posterity is," as singer Belew puts it in his oddball conversations to the wildly fanatic audience. While "The Nightwatch" was the perfect live document of the mid-70s King Crimson, "Absent Lovers" is the ultimate document of the work done by this version, culled mostly from the three albums they recorded together ("Discipline," "Beat," and "Three Of a Perfect Pair"). The flawless recording and sound quality prove without any doubt that these complex, challenging structures and often speed-of-sound performances were not just studio voodoo, and these four men together created one of the most jaw-dropping Crim sounds yet. The group breezes through the essential material from their three albums together, as well as some favorites from the 70s, 'Larks' Tongues In Aspic Part 2' and the well-structured 'Red,' a wise choice rather than acknowledging the 70s with something standard like 'Easy Money.' The performances of the then-newer material are interesting as well; Belew's spoken word part through 'Indiscipline' is now turned into the screaming of a maniac, and 'Thela Hun Ginjeet' is given a more instrumental approach (which might be disappointing for those who enjoyed the taped voice-over in the original studio version). Other songs like the melancholy 'Waiting Man' and 'Matte Kudasai,' or the more erratic 'Man With An Open Heart' and 'Three of a Perfect Pair' carve in stone the talent it took for a challenging band like King Crimson to muster up some slightly pop senbilities. The instrumentals are, as always, done with brilliancy (notably 'Entrance of the Crims').
"Absent Lovers" does the 80s line-up of King Crimson more justice than any compilation/best-of album could ever do. But most fans who buy this 2-disc set will enjoy only the music, as Robert Fripp's long-winded liner notes yet again describe the business scams of the band's former label E.G., something Fripp has difficulty letting go of, and are full of his boasting about the ethics and practices of the new Discipline label, which the guitarist seems to think are the saints of the music industry.

Fripp and company have released the last performance of the 1984 version of Crimson with a brilliant live double CD. What's great about this disc is, despite its age, Crimson's '84 sound still sounds contemporary. The material from Absent Lovers fits perfectly alongside the amazing Thrak (1995). Even with today's incarnation of Crimson, with Trey Gunn adding another bass element with his stick, and Pat Mastelotto adding another drum set, the line-up for this 1984 show sounds equally strong. Absent Lovers culls material from their three '80s CDs and one 1973 classic, "Larks Tongues In Aspic Part II." The only weak song is "Man With An Open Heart" from Three, but the studio version is inadequate as well. That small criticism aside, the rest of Absent Lovers is a feast of musical prowess and catchy, complex songs. The recording and performance are virtually flawless and the liner notes are fascinating, especially Fripp's diatribes on music as an art and the evils of the record industry. Since the double disc seems priced for less than $20 retail, you get a hell of a bargain, and the best live CD on the market today. And, if that's not enough, there's a multimedia catalog for DGM on disc one that's really keen as well. If you haven't found your way to the mighty Crim, this would be a terrific intro to their latter-day incarnation and brilliance. If I speak to the previously converted, then get the hell out there and buy it. Long live the King!

This version of King Crimson made tremendous music, particularly on 1981's "Discipline". Nearly all of that material is played here in versions that equal the studio versions for power, precision, and fidelity. Their next two albums, "Beat" and "Three of a Perfect Pair", contained some repetition of ideas and some abstract filler, but also some brilliant music. The brilliant stuff is played here, in versions generally superior to the studio versions.

The fidelity is pristine and the music powerful, astonishing in places. It's an astonishing cross of world music style, hard rock aggression, funkiness, diverse rhythms, and flat-out guitar and drum virtuosity ... This band has been criminally underappreciated. This release is a potential antidote, as it presents them at their best, and it sounds undeniably great.

Pop Kulcher Review: Crimson continue to reissue concert discs from various points in their career -- and I simply cannot understand why it is that only the Dead and Crimson are doing this, when it seems like a cheap way of appeasing fans' desire for live music. Oh, well. This time around it's a show from 1984, at the end of the band's highly successful Fripp/Belew/Levin/Bruford combo from the early 80's. All the hits from that incarnation are here ("Elephant Talk," "Thela Hun Ginjeet," "Sleepless"), and are far more exciting live than on the original studio albums. Needless to say, the sound is perfect (maybe too good; the ambiance of a concert hall is sacrificed for clean sound). Great stuff for fans and novices alike.

Intelligence, grace, power and excitement. Fripp, Belew, Levin and Bruford are phenomenal. The forces of their prospective musical natures compliment each other exquisitely. Sartori In Tangier is to be savored like a fine brandy. Heartbeat is forever haunting, among the most beautiful ballads ever written. Frame By Frame is awesome without being overwhelming. The enthusiasm and appreciation of the audience is surpassed only by these musician's respect for their own music. The love they invest definately shows. I attended a concert of this particular tour when it came to Chicago. I also was there for the previous year when sadly the show was not allowed to proceed due to a power blackout. Adrian Belew was considerate enough to offer his condolences in a local publication. The fans were rewarded the following year with a mighty show that made the wait that much more sweet. The excitement of seeing and hearing it happen live adds a dimension to the studio versio! ns that is not to be missed. I've wished for a recording of this tour for 14 years, making this package that much more valuable. "Tears of a Waiting Man", indeed.

There are those who may be driven to detract from the joyous sound herein with terms like 'self-indulgent' and 'pretentious'. Not a bit of it! These men are music - and every bit of it! There are few bands that can both challenge the intellect while enveloping those seeking to be carried away by tunefulness with the grace, elegance and taste of music at its best. There are no weak moments on this record. Sleepless, Three Of A Perfect Pair and Matte Kudasai are wonderful. Larks' Tongues in Aspic (Part II) has rarely sounded better - a pure flight with the control of a ballet. King Crimson excels not only at the mixing of intricacies of polyphony but manages to do it without merely hypnotizing with the Byzantine complication of lesser bands who have attempted to tread these paths. Form is respecte! d, but so too is infection. Love and discipline are indeed! dependent upon each other. The proof is here to hear - at last.

I don't think that this CD quite captures the best of the 1984 tour. This was the last show of the tour. It probably would have been better to take highlights from the tour instead of doing a complete show.

This is the early eighties version of King Crimson. It is really a superstar band with Robert Fripp (of course) and Bill Bruford, along with the great Tony Levin and Adrian Belew.

Each disc is around 52 minutes long. The sound quality is very good, with very little audience noise. There is some talking between some of the tracks by Adrian Belew (Belew became the spokesman for the group; in previous versions of the band, it used to be Fripp). At the end of the second disc, there is a couple of minutes of silence, followed by more Belew talking.

The second disc is also "enhanced". It includes some files you can play on your PC. It is basically advertisements for other CD's. It doesn't work very well.

Overall, this is a very nice concert, with energetic performances. Most of it is like the 3 albums King Crimson put out at the time, Beat, Discipline and Three of a Perfect Pair. There is a lot of Belew's personality put into the songs.

Much of the music contains driving rhythms. Levin on bass and Bruford on drums are more like lead players than a background rhythm section. They pull and drive the band.

My memory of seeing them during this tour (in Berekley) was that they were even more energetic, and more of the concert centered around those driving rhythms. The whole audience was up and dancing and weaving back and forth. It was an unusual sight as the audience bopped up and down perfectly to the rhythms. Also, Belew was a wildman and all over the place. You don't quite get that feeling with this CD set. Maybe this particular concert isn't as good, or maybe you just have to be there.

It is interesting to see Bruford continuing his collaboration with Fripp, being burned a couple of times. He left Yes, at the height of Yes's popularity to join King Crimson in the seventies. But, a few years later, Fripp thought the world was going to end and he disbanded the band.

Adrian Belew has an interesting solo career and has played with many different bands. He had a really interesting stint with Frank Zappa.

Tony Levin is currently puttin out some of the best music around. Check out his Upper Extremeties, or his collaboration with Bruford.

There's the wierd stuff, the pop stuff, and the great stuff on this album, it is indeed true Crimson. This is the first time I've heard them live, and I was a bit suspicious for if they can keep the discipline and play those songs in perfect timing and non-errable, and it seems they did it. It just sounds a little rougher, and way morepowerful than the originals. Belew's solos in some of the songs could have been better, especialy in 'heartbeat' and 'matte kudasai' for example, but it's live and there are really parts that are far better than the original studio versions.Belew is one of the best. There's one more thing, on a couple of tracks one of the guitars is far louder than the other, so if you have listened to the studio versions, it could seem like there's something missing. Truly the best Crim-songs are on this album, but there are some other that could have been replaced by other ones, like 'industry', and 'waiting man'. A little bit for everyone on this, except for totally sane people, but who is truly sane after all?