@@fossilmatic It's how most concerts are recorded, where the instruments are not only miced, but also use the direct out, to not pickup the audience, or some tech near a mike, but it's not possible with the drums. so they are not really taking the audience out, which they still can't do completely with modern AI filtering, but the never had much of the audience in to begin with. If You crank the album, you can hear a little bit of them, but Fripp did the best he could to always have announcements for the audience to "Shut up and listen" (my words), and it would be announced before the show a few times, and at any intermissions. I agree, you came to see/hear a band, not to be self indulgent, and I hate asshole audiences that cannot behave, especially at today's ticket prices!
As I understand it only three people in the world can play this entire song, Fripp being one of them. As to the other comment, there are a few pieces on Starless and Bible Black that are also live but with the audience applause edited out. I cannot begrudge a band that improvised rock a great deal then - something exceedingly difficult to do. They captured the moment then and for that you need an unheard audience.
It's criminal that there is no video of this concert, and this song especially, it's like passing up the opportunity to witness Michelangelo paint the Sistine Chapel.
Let's hope for a rare and unheard of video recording that has been kept hidden some where emerges in a near future, like a video of ''Cat Food'' that has come up not long ago.
That's because there was no video yet! That came around 78/79, and film needs more people to handle all the equipment, editing it was done with literally cutting and fastening the film back together, and it was very expensive, let alone having to make copies much harder in order to distribute it... Video changed all that, but at first at a huge loss of quality.
@@Bob-of-Zoid I believe Merkin referred to any audiovisual footage that could be uploaded and viewed here as a video, regardless of origin or technical format of the recording system. As for manageability of such recording systems wide available from the era, light handheld types like super8 or single8 that could’ve easily been operated by a 12 year old had been around since the mid 60’s, and since this concert was November ‘73 that would’ve even made it possible to record on the latest super8 version with mag stripe as for sync’ed audio and vision, though of course simply sync’ing 2 parallel recordings for better audio result would’ve been no obstacle whatsoever anyway. Thus increasing the personnel needed to max 2.
@@FenceThis Of course anything uploaded these days is digital video, no matter it's original media. I was around in the 60's and 70's, and film was the preferred media, and not at all 8mm or super8 which were still film, but much smaller and lower resolution than 35mm film, and therefor not used in industry because it looked bad in comparison. They were means to get everyday people to be able to film stuff, it was very expensive and not at all "Widely available" until like the early 80's. Around 1984 "Hi8" came out which was digital to magnetic tape, and that's where digital then evolved from. Early digital had a small color pallet (256 colors) because of being only 8 to 12 bit at first, and only the big broadcasters used digital in the field and what not because they could afford the better stuff, whereas most consumer grade cameras were nowhere near as good. Add they sometimes had huge Lenses with like 50 to 800mm zoom and similar, and those were also expensive too being mounted on huge rigs, on tracks, automated... and still had shitty color compared to film! I remember one of the Chicago stations in the early 90's bragging about their new digital camera and showing it off. They had it at Soldier field, and had a crisp image of the reporter right in front of it, turned and pointed it towards the moon, and pulled that sucker in to where you could count even the smaller craters! It was impressive for the time, and so was the price at ~$45,000 for the basic setup. Of course that was only one, they later replaced all of their older cameras.
It would have been very interesting to have seen him on the Red album. Obviously he played on Providence and we know what Starless would have looked like but side one would have been interesting as a four-piece.
@@rubintuesday As my WWII Father use to tell me growing up, speak up and be heard also rates with the old saying "Squeaky wheel gets the grease" !! Lol We know the story of this period... Fripp was also freak'n weird, Bruford & Wetton were overpowering and Cross was just to soft spoken, David should have turned it up get another Cabinet more mic and spoken up !!
@@Hastur876 Oh, I sure hope not. I'd like to think that no matter what some of those people HOPED they might see, no one present could be blind to the musical fireworks happening right in front of them. I mean, these guys were positively smokin'!
What I love most about these uploads is they take me back to the apartment of my teens - I get a sense memory of being there one humid summer, after walking home through the park from my nearby record shop, hardly able to contain my excitement over my new find, and popping _Starless and Bible Black_ on the platter… and that wonderful “What the @#$%&! is _this??”_ feeling, hearing this track for the first time. Boy, did I ever torture my band with demands after that!
I guess what I’m saying is a) there aren’t that many tracks so ingrained in my psyche that I could recognize them in under two notes, and this is one of them, b) I still find myself playing it all the way through in my head on walks or on long bus rides or just bopping around my pad, “Oh, what’s that tune in my head? It’s ‘Fracture’ again, yay! Thank you, brain!” even 40 years after first hearing it, and c) it says something that I can recall so clearly my first experience hearing it, like you’d expect bad birthdays and good first kisses and really great curtain calls to imprint themselves in memory, but tucked among those memories I remember the day I spotted _Starless and Bible Black_ in the bin, brought it home clutched to my chest, pulled it from the record shop’s paper bag… and my jaw just hitting the floor as the needle made its way across the LP. I remember what I was wearing - jeans and a long-sleeved shirt made from a Mexican flour sack - and I called my friend/drummer Andy to tell him about my find. I remember it was summer. It was quite an experience, not just some anodyne “recommended for you” algorithmic moment. I’ve been trying not to overwhelm Mr. Fripp with my eagerness and curiosity and love/fondness, but thinking about the day I bought this album, and really that entire year or three, I do go back to that place of wanting to build a little shed in Monsieur’s yard, to sleep on a cot in it, and mow Mr. and Ms. Wilcox’s lawn and feed the unicorns and draw protective pentagrams around all the guitars, and maybe try to glean whatever Fripp-y goodness I can between chores. Which, you know… there’s probably a reason those estates have high walls… as much for my protection as theirs! Who knows whether my mind can withstand being blown wide open by sustained Frippings? I must admit, lately I’m not just curious, I’m a little afraid… 😦
Quand le monde fléchit autour de soi, quand les structures d’une civilisation vacillent, il est bon de revenir à ce qui, dans l’histoire, ne fléchit pas, mais au contraire redresse le courage, rassemble les séparés, pacifie sans meurtrir. Il est bon de rappeler que le génie de la création est lui aussi à l’œuvre dans une histoire vouée à la destruction 💥🕌
When I heard Fracture the first time on the Starless and Bible Black Vinyl in 1974, I thought: "What a pity, now they became mad." Later I learned, that my opinion was mad and not KC.
It's difficult for many to comprehend the grandeur of it all, it took many re-listens before I began to understand what I had heard and my total impotency on guitar, comparatively speaking.
It is in fact live- the album (Starless and Bible Black) uses this recording. Same with Trio, intro to The Night Watch, and Starless and Bible Black, with minimal editing. The only true studio recordings on the album are The Great Deceiver and Lament
I still can't believe that the version on the album is a live recording. Fripp is a god, as was everyone else in that band
It’s awhile since I listened, but isn’t this the same version, but with the audience mixed out?
@@fossilmatic yes, thats what im talking about, it is a really clean performance
@@fossilmatic I think, it is clearly written: (Live At The Concertgebouw, Amsterdam, November 23rd 1973)
@@fossilmatic It's how most concerts are recorded, where the instruments are not only miced, but also use the direct out, to not pickup the audience, or some tech near a mike, but it's not possible with the drums. so they are not really taking the audience out, which they still can't do completely with modern AI filtering, but the never had much of the audience in to begin with. If You crank the album, you can hear a little bit of them, but Fripp did the best he could to always have announcements for the audience to "Shut up and listen" (my words), and it would be announced before the show a few times, and at any intermissions. I agree, you came to see/hear a band, not to be self indulgent, and I hate asshole audiences that cannot behave, especially at today's ticket prices!
As I understand it only three people in the world can play this entire song, Fripp being one of them. As to the other comment, there are a few pieces on Starless and Bible Black that are also live but with the audience applause edited out. I cannot begrudge a band that improvised rock a great deal then - something exceedingly difficult to do. They captured the moment then and for that you need an unheard audience.
It's criminal that there is no video of this concert, and this song especially, it's like passing up the opportunity to witness Michelangelo paint the Sistine Chapel.
Let's hope for a rare and unheard of video recording that has been kept hidden some where emerges in a near future, like a video of ''Cat Food'' that has come up not long ago.
yeah, i would kill for a complete video of this gig, Easy Money was amazing, great way to start a show
That's because there was no video yet! That came around 78/79, and film needs more people to handle all the equipment, editing it was done with literally cutting and fastening the film back together, and it was very expensive, let alone having to make copies much harder in order to distribute it... Video changed all that, but at first at a huge loss of quality.
@@Bob-of-Zoid I believe Merkin referred to any audiovisual footage that could be uploaded and viewed here as a video, regardless of origin or technical format of the recording system. As for manageability of such recording systems wide available from the era, light handheld types like super8 or single8 that could’ve easily been operated by a 12 year old had been around since the mid 60’s, and since this concert was November ‘73 that would’ve even made it possible to record on the latest super8 version with mag stripe as for sync’ed audio and vision, though of course simply sync’ing 2 parallel recordings for better audio result would’ve been no obstacle whatsoever anyway. Thus increasing the personnel needed to max 2.
@@FenceThis Of course anything uploaded these days is digital video, no matter it's original media.
I was around in the 60's and 70's, and film was the preferred media, and not at all 8mm or super8 which were still film, but much smaller and lower resolution than 35mm film, and therefor not used in industry because it looked bad in comparison. They were means to get everyday people to be able to film stuff, it was very expensive and not at all "Widely available" until like the early 80's.
Around 1984 "Hi8" came out which was digital to magnetic tape, and that's where digital then evolved from. Early digital had a small color pallet (256 colors) because of being only 8 to 12 bit at first, and only the big broadcasters used digital in the field and what not because they could afford the better stuff, whereas most consumer grade cameras were nowhere near as good. Add they sometimes had huge Lenses with like 50 to 800mm zoom and similar, and those were also expensive too being mounted on huge rigs, on tracks, automated... and still had shitty color compared to film!
I remember one of the Chicago stations in the early 90's bragging about their new digital camera and showing it off. They had it at Soldier field, and had a crisp image of the reporter right in front of it, turned and pointed it towards the moon, and pulled that sucker in to where you could count even the smaller craters! It was impressive for the time, and so was the price at ~$45,000 for the basic setup. Of course that was only one, they later replaced all of their older cameras.
This phenomenal song makes me feel proud of being a KC fan.
All of David Cross's Violin w/pedal and screeching sound 8:00 parts add so much to this song !!! He was "Sadly" so Underrated in the band !!!
It would have been very interesting to have seen him on the Red album. Obviously he played on Providence and we know what Starless would have looked like but side one would have been interesting as a four-piece.
@@rubintuesday As my WWII Father use to tell me growing up, speak up and be heard also rates with the old saying "Squeaky wheel gets the grease" !! Lol We know the story of this period... Fripp was also freak'n weird, Bruford & Wetton were overpowering and Cross was just to soft spoken, David should have turned it up get another Cabinet more mic and spoken up !!
I cannot believe this is 50 years old
Incredible instrumental track, live makes the plots even more intertwined.
I introduced my girlfriend to this song on mushrooms, she never heard it back in the day, absolutely loved it
R.I.P. John
The best version of Fracture and the second best ever KC song!!!
What is the best one in your opinion?
@@Maxu88 Epitaph.
@@SomeCuteDoragonsgood pick. I think that’s my fav too
I put this one first and 2nd Dangerous Curves
I try to imagine what it must have been like to have been in the audience witnessing this taking place. Holy moley.
Probably something like "I came to hear 'Court of the Crimson King', what the hell is *this*?"
@@Hastur876 Oh, I sure hope not. I'd like to think that no matter what some of those people HOPED they might see, no one present could be blind to the musical fireworks happening right in front of them. I mean, these guys were positively smokin'!
Taxation is theft47
Dg free wrrffgfeazchyolgc
@@TsunamiBeefPies Damn right
I love hearing David Cross’ Mellotron melt down around the 8 minute mark. It’s in such agony. Spectacular.
That screeching sound was done on purpose and it is his Violin !!!
Not a mellotron, that's violin.
You’re hearing Bruford’s police wistle
King Crimson's best song. Undoubtedly!!
What I love most about these uploads is they take me back to the apartment of my teens - I get a sense memory of being there one humid summer, after walking home through the park from my nearby record shop, hardly able to contain my excitement over my new find, and popping _Starless and Bible Black_ on the platter… and that wonderful “What the @#$%&! is _this??”_ feeling, hearing this track for the first time. Boy, did I ever torture my band with demands after that!
I guess what I’m saying is a) there aren’t that many tracks so ingrained in my psyche that I could recognize them in under two notes, and this is one of them, b) I still find myself playing it all the way through in my head on walks or on long bus rides or just bopping around my pad, “Oh, what’s that tune in my head? It’s ‘Fracture’ again, yay! Thank you, brain!” even 40 years after first hearing it, and c) it says something that I can recall so clearly my first experience hearing it, like you’d expect bad birthdays and good first kisses and really great curtain calls to imprint themselves in memory, but tucked among those memories I remember the day I spotted _Starless and Bible Black_ in the bin, brought it home clutched to my chest, pulled it from the record shop’s paper bag… and my jaw just hitting the floor as the needle made its way across the LP. I remember what I was wearing - jeans and a long-sleeved shirt made from a Mexican flour sack - and I called my friend/drummer Andy to tell him about my find. I remember it was summer. It was quite an experience, not just some anodyne “recommended for you” algorithmic moment. I’ve been trying not to overwhelm Mr. Fripp with my eagerness and curiosity and love/fondness, but thinking about the day I bought this album, and really that entire year or three, I do go back to that place of wanting to build a little shed in Monsieur’s yard, to sleep on a cot in it, and mow Mr. and Ms. Wilcox’s lawn and feed the unicorns and draw protective pentagrams around all the guitars, and maybe try to glean whatever Fripp-y goodness I can between chores. Which, you know… there’s probably a reason those estates have high walls… as much for my protection as theirs! Who knows whether my mind can withstand being blown wide open by sustained Frippings? I must admit, lately I’m not just curious, I’m a little afraid… 😦
Mr. Bruford!!
Heavy duty, what a classic! I was listening to this almost 50 years ago, and I dig it even more now.
When this song starts to play, I smile.
Soon enough the planet will be playing this in geology.
Damn, I would love to have been there!
Superlative.
This night wounds time.
Roses are red
Violets are blue
The Br00f played the drum fills and started to Wh00p
Crimson @ their finest hour !!
Good timing. My preorder of the "Failure To Fracture" book shipped today.
Impossible!
Amor a primeira vista desde 1984.
Absolutely fantastic!! KC at their best.
With the BEST LINE-UP!!
That concert in Amsterdam is one of the best reasons for me to wish I had a Tardis.
ayo a masterpiece just dropped
Brilliant
Todos unos profesionales.
bill bruford in kc, you dont get better
Love it 💫
Impresionante ;)
Br00f wh00ps at 8:25 (the timestamp is the pr00f).
I always whoop at 8:25 too, that proves nothing... ;-) Also still get really excited around 7:37, have done so for over 40 years.
I played this to my candle and now it’s a chandelier
Quand le monde fléchit autour de soi, quand les structures d’une civilisation vacillent, il est bon de revenir à ce qui, dans l’histoire, ne fléchit pas, mais au contraire redresse le courage, rassemble les séparés, pacifie sans meurtrir. Il est bon de rappeler que le génie de la création est lui aussi à l’œuvre dans une histoire vouée à la destruction 💥🕌
veri nice, some parts remember "goatsplash superdrunk" also
this so fucking heavy
Debussy/Bartok/Stravinsky meets hard rock.
It is physically impossible to have Fripp's picking technique.
Just one girlfriend liked it... :)))))))
When I heard Fracture the first time on the Starless and Bible Black Vinyl in 1974, I thought: "What a pity, now they became mad." Later I learned, that my opinion was mad and not KC.
It's difficult for many to comprehend the grandeur of it all, it took many re-listens before I began to understand what I had heard and my total impotency on guitar, comparatively speaking.
They became mad back at Lizard, bro.
@@Hastur876"I'M mad; YOU'RE mad; we're ALL mad!" 😁😁
It's not live. this is the actual album
It is in fact live- the album (Starless and Bible Black) uses this recording. Same with Trio, intro to The Night Watch, and Starless and Bible Black, with minimal editing. The only true studio recordings on the album are The Great Deceiver and Lament
And I thought Mozart was the voice of God!
I don’t remember the first 10 seconds of the song-