Customer Reviews

Vrooom Vrooom

5 star:		(7)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

King Crimson has been releasing live material through their Discipline Global Mobile label for quite some time now. The latest (and if you're a fan of the double-trio lineup, the best) release is VROOOM VROOOM, a compilation of shows recorded live in Mexico City, Los Angeles and New York. My only complaints are that the running order on the CDs doesn't coincide with the order of the songs in the actual concerts, and "B'Boom" and "THRAK" appear twice (once on each CD). Aside from that, this is one hell of an album.

Starting with a blistering version of the title track, the intensity continues through "Coda: Marine 475" and into "Dinosaur." Although the quiet midsection on the latter is missing, it's still a great performance. A lot of disc one is drum/percussion based. "B'Boom" and "Prism" are basically drum improvs. While they're far from boring, they would be more enjoyable in the actual context of the shows, instead of having so many drum-based songs on one disc.

"The Talking Drum" and "Larks Tongue in Aspic (Part II)" were always concert highlights, and they don't disappoint here. The thing that's sure to grab the attention of the fans on disc one is the killer version of "21st Century Schizoid Man" (which they normally don't play). Coming out of the quiet "Biker Babes of the Rio Grande" improv, the audience erupts with applause as soon as the song starts. Adrian Belew's vocals seem a bit odd on the song, but the awesome display of musicianship more than makes up for any vocal shortcomings.

Disc Two begins with the drum improv, "Conundrum," followed by the 1982 classic "Thela Hun Ginjeet." Recently covered by Les Claypool's Flying Frog Brigade, this classic from the Discipline album is well played and features the original conversations in the background. "People" shows the listener exactly what this band is all about. The interplay between the six musicians on this particular song is nothing short of breathtaking. "One Time" and "Sex Sleep Eat Drink Dream" are both great, and this particular version of "Indiscipline" might just be the best ever.

After a great "Elephant Talk" and "Three of a Perfect Pair," "B'Boom" and "THRAK" are back. Granted, they're not bad performances, but there were other songs played during these shows (like "Matte Kudesai") that don't appear here. Disc Two also includes the rarity "Free as a Bird"--previously only available on a Japanese import or via a membership in the KCCC (King Crimson Collectors Club)--although the intro is missing here. Instead, it just starts from the end of the improv at the end of "THRAK." Rounding out this collection is one of the band's most beautiful ballads, "Walking on Air." The stereo effects on the sound are particularly noteworthy.

Some people have expressed displeasure (Fripp included) about the double trio being little more than a `greatest hits' outfit. While this may be a true statement, it's also true that the live renditions of these `hits' are far superior to their studio predecessors. The band improvised freely onstage during these tours (something the 80's lineup seldom did), taking musical risks at every possible opportunity. VROOOM VROOOM is an excellent representation of what the double trio was capable of onstage (even if the songs aren't in the proper order). Recommended for Crimheads and newbies alike.

Do not listen to this if you are trying to quit smoking. Whenever I listen to _VROOOM VROOOM_, I need precious smoke to calm down afterwards. Some turkey would be good too. Actually, it's almost ceremonial in a way. Honestly, there's not too much that can be said about this release. It's true that you can get most of the package here from two separate King Crimson collector's club discs, although I think this has a few different tracks. But it's hard to argue that this _isn't_ the ultimate live document of the terrorizing Double Trio incarnation. Disc one, from Mexico City, is onslaught after brutal onslaught, disorienting and scary but actually pretty fun. Even by the time "Dinosaur" is over, you've been battered and bruised by the hyper-complex assailment...but it gets CRAZIER. "B'Boom" sounds like the war ritual of a beastman army before it marches to battle. Then "THRAK" enters like a nightmare from the depths of Hell where even devil princes fear to tread, but it is stripped down and with so much room to breathe it manages to be even more menacing. Hearing the Double Trio rip up "Neurotica" (the nastiest song from _Beat_) is just deranged. Then the weirdo-funky percussion jam "Prism", which kind of reminds me of Thinking Plague's "Organism", then "Red" with those familiar ascending Octatonic scales that have never sounded so bloodthirsty. The dual percussion really brings this one to a new level. Bringing it to a close is a juicy rendition of "21st Century Schizoid Man". Disc two, from NYC, has the Double Trio playing some more goodies from _THRAK_ and reinterpreting a lot of great MK IV songs, breathing new life into them (not that they were DEAD or anything, but you know). Instead of more wacky descriptions that I like coming up with, I'll just say it is excellent and fun to hear -- especially since the studio versions sound so TEPID compared to these ones. And of course hearing the surreal beauty of "One Time" and "Walking on Air" is always a treat.

Lock the doors and keep away the children. Warn any non-KC fans before they get too close. B'Boom was the only live release by this Crimson lineup previously available to the public, but listening to it now is like watching a tiger cub play before it's finished growing fangs and claws. Vrooom Vrooom, on the other hand, is more a snapshot of a barely caged monster ready to rip your head off if you get too close. What a difference a year (or two) makes.

Disc 1 alone has the most searing, primal sound mix I've heard from KC yet. "Red" and "Larks' Tongues II" will shred wallpaper at three miles. The resurrected "Schizoid Man" sounds almost (gasp) bouncy, but once it reaches the bridge everyone rips into a manic frenzy. We also get an ambient group improv (not on the original Mexico City recording) and a blazing "Neurotica" that puts the original to shame - which is quite a feat.

Disc 2 leans more heavily on Thrak and Discipline and isn't as much of an outright slap in the face (although "Indiscipline" is the most deranged version I've heard yet). The group was still finding ways to flesh out the songs as a six-piece, rather than letting loose and shredding like there was no tomorrow. Compared to disc 1 it's almost laid-back - if such a term can even be applied to Crimson. "Walking on Air" and "One Time," along with Adrian's (in my opinion) unnecessary "Free as a Bird," show just what beauty these guys could create when they wanted to. Elsewhere "Thrak" shakes the floorboards and "Thela" pounds along in hyper mode - be careful playing it on the highway. I get the feeling the song could have gone completely crazy, but everyone holds back a little to keep in sync with the taped spoken-word segment. Take a listen to the Absent Lovers version if possible; that one smokes even more.

Overall these two discs present a snapshot of KC's evolution when compared with the original recordings: Thrak was the sound of the group finding its direction. On Broadway it's growing into its massive role and beginning to show its potential, and on Mexico City it's practically bursting at the seams. A heady stew of distinctly Crimsonian raw power, music at the edge of chaos. For those who love this phase of KC, this will be a nightmarish treat for the ears; for those unfamiliar with it, the Vrooom EP is a relatively inexpensive (and relatively painless) introduction. Then pick up Red and Discipline if your interest goes further.

It's hard to write a review of something i love as much as this KC set and still be helpful. I saw them during this tour in Seattle in '95 and took my wife and she instantly became a fan. This must have been a pivotal moment in the evolution of Crimson. One might think two stick players and two drummers might be a bit dense...well yes, but each one of these musicians is so talented and unique and the mix is so good that each performer stands out. I was particularly impressed by the way Mastelotto and Bruford (the two drummers) worked together, not entirely unlike the master/apprentice relationship in Indian Raga Music. With the exception of Discipline (1981), i think this one is their best.

The King Crimson Double Trio was probably the most commercialy succesful of all of King Crimson's set ups over time. Also, on the musical side, on of the most interesting to heard and watch. This setting gave more room to each band member to try new musical ideas to the point of breaking the Double Trio into smaller live units whos work is covered in other live CDs.

The interacction of all musicians on records was already powerful but it was augmented on stage. This CD covers moments from two shows (Mexico and NY). The Mexico shows (first CD) focus more on the Improv. side of the band. The other CD leans more to the recent Thrak material. Overall, very interesting material. If for any chance you own the Live in Argentina Official Bootleg, Vrooom Vrooom is more elaborate and, as with recent albums and reisues, the inner booklet has plenty of information regarding the band at that moment.

This extraordinary collection from the double trio at two different points in its all too brief history is a wonderful gift from the DGM vaults. The double trio went where no Crim had ever dared go before (well, they all do, don't they, but somehow in a kingdom of very different differences this was exceptionally different), and for this enthusiast, each and every encounter was a cause for wonder, fascination, puzzlement. I danced, sang, pondered and celebrated Crim's musicking with such a total fascination and bewilderment at what they were really after, that when I heard that the double trio opetd not to reconvene, I was heartbroken. Sure, other double trios and double quartets and DNA like entanglements of musicians such as Ornette Coleman's Free Jazz ensembles, Trane's transitional team with Elvin & Rasheed, reached for whatever that is that Music whispers to them in confidence and came away forever changed, and so I should have expected noless would be the case with Crim, but all the same, having caught them at an early stage in the life of the double trio and near the end, I had the feeling that they were onto yet another breakthrough, or whatever the words are, which are totally inadequate anyway.

As to this disc, the integrity of the musicians and their pursuit is so clearly evident that it is hard to believe these are separate shows. And there is a sense of coming at the material in ways different from other documents. KC always seems to reconsider, rework, redirect, reexamine what it is that is both their foundation and their evolving directions, and that is in full display here, be it this incarnation of "21st Century Schizoid Man," or Belew's examination of John Lennon's Beatle-less version of his last song, or a Soundscape to accompany the Biker Babes of the Rio Grande. Perhaps the double trio will reconvene one day, perhaps not. For a moment in NYC and Mexico City, the tapes were rolling and caught them absolutely alive with the MusiKc. Long live the King. This is an extraordinary document of a remarkable experiment.

King Crimson has always cast away the safety net when performing live and this remarkable double CD documents 2 high wire explorations of the double trio. Although from different shows in different countries at two very different times in the course of this endeavour, what remains consistent is that dramatic leap for the bar in mid air. Fripp claims collisions occur, but like Miles Davis and John Coltrane and Ornette Coleman, all of whom explored the double and triple helixes of recombinant rhythm sections, the collisions are as thrilling as the successes.
As an enthusiast of the double trio, I often found myself perplexed by what they were after, but make no mistake, they were in hot pursuit of that which Music had revealed in confidence to them. Whether reinvestigating "21st Century Schizoid Man," revving up through "Vroom", repainting "Red" or essaying the achingly beautiful "One Life", Crim at this point sought a turning of the facets for another revelation. Both shows are fascinating, fun, inspiring. Humour is never far from the Court and Belew's take on Lennon's Beatleless version of "Free As A Bird" evokes a wry chuckle both for those who thought he missed a lyric and for those who realize that their counterparts missed a missed lyric. Soundscapes accompany the entrance of the "Biker Babes from the Rio Grande", and "B'Boom" shakes the foundations fundamentally of whatever you think KC might be about. "Two Sticks" swirl in mid air as though twirling through a Stanley Kubrick film, and the post gamelan interplay between Fripp and Belew is positively breathtaking.
DGM deserves a hearty and robust thank you for releasing this document. I hope that one day the double trio will reconvene. Having seen them twice and listened to the various documents of their time together, it seems there is musicking still in the garden, so perhaps in time.....
Looking back, for the moment, the likes of ye may never come again, buy jayziz, ye were brilliant........

Vroom Vroom is a tale of two performances, one done in Mexico City in 1996, and one done in New York City in 1995. The performance in Mexico City is flawless and very exciting. Not only is the band spot on with the music, but the audience is very involved as well. Just listen to the crowd reaction when they play Red and 21st Century Schizoid Man.

The second performance in New York City, while great has a flaw or two in it that, I think, pulls down the rating to 4.5 stars. For the most part, the performance is typically brilliant, but then we stumble into the rushed Indiscipline. I noticed in the liner notes that Trey Gunn felt that things kind of got away from the band in this performance, and I would have to agree. Thankfully, the band makes a nice recovery. One track that I think was unnecessarily added was 'Free As A Bird', a track from the Belew album 'BelewPrints'. The biggest complaint is that Belew spaces on the lyrics, but the crowd is gracious. I'd rather have done without this track. But the cd ends quite nicely with a brilliant performance (done in LA in 1995), of Walking On Air.

So, while the second performance seems slightly flawed to me, I'd still recommend this cd to King Crimson fans. If a double cd seems too much, there's an abbreviated EP titled Vroom that should satisfy the curious.

This is a two cd set with disc two being a "best of" of the Collector's club release On Broadway. I like the first disc better than the second although I might be in the minority on that. The first disc which is recorded in Mexico City was only available as a download. It begins with a classic version of Vroom, Vroom which is a great instrumental as is Coda:Marine 475. Dinosaur was one of the songs released as a cd single off the band's then current Thrak cd. Next up are B'boom and Thrak giving us 5 Thrak songs all in a row. Next we get a couple of songs from the Larks Tongues In Aspic album The Talking Drum into Larks Tongues In Aspic(Part Two) which are as good as the rest. This is followed by the Beat song Neurotica which really hasn't been released alot. Prism is such a cool tune. Red finds the Double Trio playing this classic in fine fashion. The Improv: Biker Babes Of The Rio Grande is fun and Schizoid Man is wonderful. Disc two also has some really good moments such as Thela Hun Ginjeet, People, One Time, Indiscipline, Elephant Talk and Three Of A Perfect Pair as well as a cover of Free As A Bird. The filler is Walking On Air from the Wiltern(also a Collector's Club release).

En definitiva he aqui un ambicioso y espectacular proyecto del señor Robert Fripp, el cerebro crimsoniano por años, con el doble trio mas famoso de la banda, tocando mayormente material de
THRAK y Discipline que estan entre mis favoritos, lastima que se fraktalizaron, como dice Fripp, pero la sola presencia de dos grandes como Toni Levin y Bill Bruford garantizan la calidad del album, sin menospreciar a Gunn y Mastelotto, el que compre este disco se lleva una joya