Dude! Another super-fantastic interview! Thanks for not interrupting Trey's great stories. With Robert, up close, too! Just wonderful. Thank you, so much.
“This night wounds time’ - the first time I read this, 45 years ago, it gave me goosebumps, as did the music. It’s so personal, sacred. Fracture has always been my yardstick for all metal.
Red ending with Starless always throws me through a loop. You have to pause for a moment and go there's the song "Starless" from Red and then there's the album Starless and Bible Black. Easy to get tripped up on that one.
I've been hooked on Trey's music since One Thousand Years!! Wow,....that's a long time. I have no doubt that Beat will NOT be King Crimson. High hope that they will own the tunes in their best way. Nice interview, btw. Thank you for queuing-this-up
Another great interview! By the middle of the 20th century classical music and music academia gave birth to a slew of recordings that focused on "authentic" or "informed" performances. It was mostly what we now just call "early music." Scholars eventually settled on "period performance practice," as the banner. Music researchers and artists collaborated to produce scores and performances that the composers would recognize or approve. Issues like fingerings, bow lengths and even reconstructing the scores of Renaissance polyphony that were mostly rotted away were things that these scholars and performers grappled. The industry of classical music recordings from the CD-era enjoyed a big boom because these re-invented or re-imagined masterworks. All this excitement about BEAT reminds me of the Gramophone reviews of the 1990's of John Elliot Gardner and his Bach recordings or the Tallis Scholars churning out Brumel's Earth Quake Mass. Thank you for feeding us KC fans with quite intelligent interviews.
Lovely video. Brought a few thought to the fore. For a while I have wondered at the legacy that Robert and KC in general will leave. Many years ago RF was somewhat disparaging of live recordings - being that actually being there was the point of live performance. Now we have a pretty solid catalogue of live recordings. Until the modern era, a musician's legacy for the future was the written score. There were no recordings, and performances were ephemeral. Now we have musicians whose only legacy is recordings. In a sense these transcriptions bring the circle around, as a complete KC legacy of music. Which is a very good thing. A small plea. One of my all time favourite musical pieces is Asbury Park from the USA Album. Clearly it is a long term improvisational piece, and earlier versions exit on other live recordings. But in the set of Wetton era transcriptions, don't forget this one. Just because it was never on a studio album shouldn't cause it to be overlooked. (And there is the second part to possibly consider. But I'll settle for the USA version.)
Wowsers 😮 The Great Deceiver is a HUGE deal to have transcripts for. I run 2 guitars simultaneously on that- one handling the David Cross violin lead, the other doing Robert's chords which Im 100 % certain are totally incorrect 😅 close enough. But the SOLOS in that song I can scarcely imagine how tricky thats gonna be to decipher just shoot me now 🙈 Red, is another album I can play a lot of just by ear training, but how much silly FUN can I have with the actual music in front of me ? Wheeeeee 😂 Now if we can just get Steven Wilson to REMIX and REMASTER that bloody awful Sun album (Larks) cant stand the delivery on that one its like an overly spiced curry that gives me indigestion 😂
Sign me in for the Wetton era transcriptions too (already have 80's one and Failure to Fracture)... Everytime I took a look, the Thrak book was out of print😭I may not still practise enough to really dig in, at my best, it was only partly feasible unless spending insane time at it, I mean about 30 seconds of Great Deceiver took me 2 months at about 6-8 hours a day, progressively raising the metronome from 40bpm to 195bpm... At the time, I had something like 3-4 years practise, it was, and still is, what gave me the hardest time at practising The Night Watch solo was harder to pass than Eruption... Thus, there are also easy material, we even could cover Red (obviously the bad way!) with my early-mid 90's RATM-like band, but things can really go freaking challenging or... unplayable for... Near everyone??? Even tho, just following the scores/Tabs is a delight, there are always things I never noticed (and not just guitar stuff, I own a fretless bass since 1990, G-synth since 1994), as Robert pointed, there are things that are always not heard or very difficult to perceive unless you switch to the sound engineer's active listening, and it'd be truly better to have a copy of the multitrack masters... And even tho, have fun to transcribe chords with a BigMuff on...
I'm not sure how a Wetton Era book would work. Over half of SABB is improv, and there are improv tracks of LTiA and Red. And I'm assuming USA is not included. If I had to score out my own improvs, I'd have only very rough guesses as to what I did. Esp. from that long ago. But if it was just the composed stuff, that would be great. Esp. while we still have most of that band still around. 😀 And I would LOVE to see the Muir staves. 😅
I have seen and read a few interviews with Gunn, and I don't think I've ever heard/read a sentence from him which weren't interesting one way or another.
Such a great interview, ty for this content I have 2 questions Trey said that they werent going to necessarily use the studio versions of the songs for the transcripts (which i think it's fantastic) so i was wondering how will they go about easy money and larks 1 since there are many great versions of those songs during the 73 and 74 tours? And the second one is, are they transcribing Dr. Diamond and Guts on my Side too?
Hi Pino - my general process is to start with the studio versions and then make additions and alterations based on the live versions, and my approach here will be no different. A lot of what makes those live versions extra special is the energy with which they're played - there are some arrangement differences, but they aren't always huge. And yes, there will be some extra stuff in this book - but probably not Guts, as the sole recording of that is not very clear.
Now, we just need the Hadron Collider of interviews, and have Anthony Garone interview Rick Beato. Beato could learn an awful lot from Anthony on "The other side" of composition and music in general
I spoke to Rick once at NAMM. I'll just say he seemed distracted haha. But he had André Cholmondeley over to his studio recently and they had a great time! Maybe we'll have Rick on the channel.
I can’t wait to get the Wetton era books! Especially Larks’ Tongue! Regarding the Elephant Talk solo; when I saw KC on that tour, when Robert played that solo he was cracking himself up! Probably the first time I saw him smile.
Hi Anthony. Great interview; I love what Trey said about intention. I rarely play covers exactly like the record. I must’ve missed that Robert at Home video about Red (yeah I’ve been playing it wrong all these years). Do you have a link to his post? Thx. Also just hinted to the family the Discipline book for Father’s Day. Looking forward to the Wetton era one too!
What a great interview, for reasons which are beyond Crimson music - so many thoughtful considerations and ideas which transcend the subject - inspiring
Wonderful! King Crimson is of the caliber of music that lends itself for personal interpretation much like classical and jazz. Got my tickets and can't wait to hear what Danny and Steve add to the repertoire.
I had one of those laughing bags! Got it at Disneyland sometime around 1968. Long before I ever heard King Crimson. Yes. It was exactly the same laugh as the one on the album!
I really really really really REALLY would love if they video recorded the live event for the less fortunate people who won’t be able to be at any of the concerts. Please 🙏🙏🙏
THE DEFINITIVE VERSION (pardon my shouting) of "Elephant Talk" is not on _Discipline_ or any live/bootleg recording I've ever heard, but the tv performance on "Fridays." If a second edition of the 80's albums ever comes out, let's hope for an appendix!
We are already on the third edition of the book, and all of the editions drew quite a bit from the live performances, including the Fridays performance!
everytime I see one of your videos I have to pinch myself and go "so there is a professionally made channel on WEIRD MUSIC, and it´t great and educational and nerdy and ...beautiful. Love it, thanks. And oh, I hang out a lot with Mats/Morgan and love Crimson, so - tailor made for me!
Wow, thanks! I can't say we are "professionally made" since I'm just a random guy who does this for fun, but I'm grateful for people like you. Have you heard my music with Morgan? Or seen our content with Mats?
@@MakeWeirdMusic Yes! We´re close friends and I try to catch most of the stuff they do, here in Stockholm and elsewhere. And - I wouldn't call you a random guy... You have followed your heart and made a wonderful thing! Thanks again! And, more Magma ;-)
This reminded me that I transcribed and put up the first transcription of Red in tab on the internet 32 years ago and its still floating around in lots of places. Done from a cassette on a crappy tape deck with my poor teenage skills, I have always known it has heaps of issues with its accuracy, but as Trey 23:50 says "Badly played Red with amazing attitude is better than ..." I know I have played it with hopefully the right attitude and know other bands using it to do the same.... I guess I feel less guilty now for never correcting or updating that transcription!
I love Trey's insight into the purposes of notation at 11:00- composition, posterity, and communication (and I suppose, transcription/analysis)! In the age of DAWs, powerful samplers, and home recording technology, we have lots of tools to help us compose and record our music, but notating music still seems to be the predominant way we communicate performance instructions. When I was in music school, I played John Cage's Composed Improvisation for Snare Drum Alone, a piece "notated" as a set of written instructions rather than notes on a staff. That experience really opened my eyes to the different ways we communicate the instructions for realizing a piece of music- and as an arranger, it empowered me to just write text notes to my performers in the parts when it made the most sense!
@@MakeWeirdMusic No sir, this is professional nerdery. Don't be fooled by how awesome it is to lift the hood on weird music, you are doing great work getting at the kind of info and details that are relevant to these subjects.
The Wetton era book is going to be wicked!
It will! And it already is
Anxiously awaiting here.
" Robert's got quite a sense of humour, he's hiding in there" ... and thanks to Toyah for bringing us fans a glimpse of it.
When I ordered my books it was very cool to receive an email saying “you have a package arriving from Trey Gunn” 💙
Well, somebody's gotta ship 'em!
@@MakeWeirdMusic yes indeed :-)
Thanks to both of you for all your hard work! I’m a classical pianist and have been going through many of the parts on the piano.
Ordered... Thank you for all your transcription efforts. Maybe one day Robert will allow the release of some isolated tracks!
Dude! Another super-fantastic interview! Thanks for not interrupting Trey's great stories. With Robert, up close, too! Just wonderful. Thank you, so much.
You're welcome. I'm just a regular guy who wants to hear from these amazing people. No one wants to hear me interrupt smart/cool people.
“This night wounds time’ - the first time I read this, 45 years ago, it gave me goosebumps, as did the music. It’s so personal, sacred. Fracture has always been my yardstick for all metal.
I must say.. Marcus Reuter is one of the kindest, most friendly people I've ever had the pleasure of chatting with
He's awesome! Such a great guy
14:25 They always forget about Starless and Bible Black :(
That's too bad because it is truly powerful. I like it better than Red.
Red ending with Starless always throws me through a loop. You have to pause for a moment and go there's the song "Starless" from Red and then there's the album Starless and Bible Black. Easy to get tripped up on that one.
CRUSHING IT is the act in which Mr. Garone has engaged during the creation of these audiovisual documentations.
Hahah, thanks Andre
I've been hooked on Trey's music since One Thousand Years!! Wow,....that's a long time. I have no doubt that Beat will NOT be King Crimson. High hope that they will own the tunes in their best way. Nice interview, btw. Thank you for queuing-this-up
Wow, I only thought you were 800 years old.
Thanks for watching!
WETTON ERA? Take all my money.
How about $75 to 7D Media? haha
@@MakeWeirdMusicdeal
A transcription of SABB? Most of it is improvised. The title track would be difficult to do. So would Providence on Red.
Challenge accepted, Eric! :) A lot of it has already been done haha
Yes, Eric, we are not transcribing most of the improvisations - just the composed parts.
Trey's probably my favorite musician of all time. It's great to see how nice a guy is as well.
Smart, kind, talented
What's the "bassline of terror" from _Thrak_ that Gunn mentions? Anyone know?
"VROOM VROOM"
Excited about the new books, but even more excited for the Sleepytime Gorilla Museum LP in the background...
It's so good! Have you seen our SGM interviews?
Another great interview! By the middle of the 20th century classical music and music academia gave birth to a slew of recordings that focused on "authentic" or "informed" performances. It was mostly what we now just call "early music." Scholars eventually settled on "period performance practice," as the banner. Music researchers and artists collaborated to produce scores and performances that the composers would recognize or approve. Issues like fingerings, bow lengths and even reconstructing the scores of Renaissance polyphony that were mostly rotted away were things that these scholars and performers grappled. The industry of classical music recordings from the CD-era enjoyed a big boom because these re-invented or re-imagined masterworks. All this excitement about BEAT reminds me of the Gramophone reviews of the 1990's of John Elliot Gardner and his Bach recordings or the Tallis Scholars churning out Brumel's Earth Quake Mass. Thank you for feeding us KC fans with quite intelligent interviews.
Fascinating - I want to see Easy Money drums
Lovely video. Brought a few thought to the fore.
For a while I have wondered at the legacy that Robert and KC in general will leave.
Many years ago RF was somewhat disparaging of live recordings - being that actually being there was the point of live performance.
Now we have a pretty solid catalogue of live recordings.
Until the modern era, a musician's legacy for the future was the written score. There were no recordings, and performances were ephemeral.
Now we have musicians whose only legacy is recordings.
In a sense these transcriptions bring the circle around, as a complete KC legacy of music. Which is a very good thing.
A small plea. One of my all time favourite musical pieces is Asbury Park from the USA Album. Clearly it is a long term improvisational piece, and earlier versions exit on other live recordings.
But in the set of Wetton era transcriptions, don't forget this one. Just because it was never on a studio album shouldn't cause it to be overlooked. (And there is the second part to possibly consider. But I'll settle for the USA version.)
Let's see what Trey and Gabriel think!
A Wetton era book would be amazing!
Correction: WILL be amazing! :)
Yes! Can't wait for the Wetton Era book!!
Gonna be awesome!
I really enjoyed the talk. Saw Trey with Tu-ner a few days ago in Seattle. Loved it.
For me when Trey and Fripp did The Deception Of The Thrush, heaven opened.
I still haven't listened to that. I'll queue it up now
Hopefully they will re-stock european shop with Discipline Era so I can finally buy it :O
Bruford thought that bit from "Red" that Fripp is demonstrating sounded like "Tea for Two."
Hah! That's funny!
I hope in the future all these books become an intensive college course. Like Med school for weirdo musicians.
He’s got the new Sleepytime Gorilla Museum record🤘😎 One of the greatest bands of all time.
Did you see our interviews with Carla and Nils?
@@MakeWeirdMusic I haven’t but I will definitely check them out. I’ve seen them live 9 times. Astounding stuff.
Wowsers 😮
The Great Deceiver is a HUGE deal to have transcripts for. I run 2 guitars simultaneously on that- one handling the David Cross violin lead, the other doing Robert's chords which Im 100 % certain are totally incorrect 😅 close enough. But the SOLOS in that song I can scarcely imagine how tricky thats gonna be to decipher just shoot me now 🙈
Red, is another album I can play a lot of just by ear training, but how much silly FUN can I have with the actual music in front of me
? Wheeeeee 😂
Now if we can just get Steven Wilson to REMIX and REMASTER that bloody awful Sun album (Larks) cant stand the delivery on that one its like an overly spiced curry that gives me indigestion 😂
I agree. The sheet music makes it even more fun!
Sign me in for the Wetton era transcriptions too (already have 80's one and Failure to Fracture)... Everytime I took a look, the Thrak book was out of print😭I may not still practise enough to really dig in, at my best, it was only partly feasible unless spending insane time at it, I mean about 30 seconds of Great Deceiver took me 2 months at about 6-8 hours a day, progressively raising the metronome from 40bpm to 195bpm... At the time, I had something like 3-4 years practise, it was, and still is, what gave me the hardest time at practising
The Night Watch solo was harder to pass than Eruption... Thus, there are also easy material, we even could cover Red (obviously the bad way!) with my early-mid 90's RATM-like band, but things can really go freaking challenging or... unplayable for... Near everyone???
Even tho, just following the scores/Tabs is a delight, there are always things I never noticed (and not just guitar stuff, I own a fretless bass since 1990, G-synth since 1994), as Robert pointed, there are things that are always not heard or very difficult to perceive unless you switch to the sound engineer's active listening, and it'd be truly better to have a copy of the multitrack masters... And even tho, have fun to transcribe chords with a BigMuff on...
Wow! Thank you for the support and the great comment!
I'm not sure how a Wetton Era book would work. Over half of SABB is improv, and there are improv tracks of LTiA and Red. And I'm assuming USA is not included. If I had to score out my own improvs, I'd have only very rough guesses as to what I did. Esp. from that long ago.
But if it was just the composed stuff, that would be great. Esp. while we still have most of that band still around. 😀
And I would LOVE to see the Muir staves. 😅
Well, you’ll have to wait and see. It’s wild. Easy money is like 50 pages
Such a well-developed interview, being both organic and knowledgeable between the two of you. Thoughtful and engaging. Thanks, Anthony and Trey!
Thank you Thompson! (Or is your first name Terry?) I appreciate your support
I have seen and read a few interviews with Gunn, and I don't think I've ever heard/read a sentence from him which weren't interesting one way or another.
24:50 Kind of a jazz musician's attitude.
Agreed!
Such a great interview, ty for this content
I have 2 questions
Trey said that they werent going to necessarily use the studio versions of the songs for the transcripts (which i think it's fantastic) so i was wondering
how will they go about easy money and larks 1 since there are many great versions of those songs during the 73 and 74 tours?
And the second one is, are they transcribing Dr. Diamond and Guts on my Side too?
Hi Pino - my general process is to start with the studio versions and then make additions and alterations based on the live versions, and my approach here will be no different. A lot of what makes those live versions extra special is the energy with which they're played - there are some arrangement differences, but they aren't always huge. And yes, there will be some extra stuff in this book - but probably not Guts, as the sole recording of that is not very clear.
Now, we just need the Hadron Collider of interviews, and have Anthony Garone interview Rick Beato. Beato could learn an awful lot from Anthony on "The other side" of composition and music in general
I spoke to Rick once at NAMM. I'll just say he seemed distracted haha.
But he had André Cholmondeley over to his studio recently and they had a great time! Maybe we'll have Rick on the channel.
I can’t wait to get the Wetton era books! Especially Larks’ Tongue!
Regarding the Elephant Talk solo; when I saw KC on that tour, when Robert played that solo he was cracking himself up! Probably the first time I saw him smile.
I can't wait til I get the proofreader copy to start my work!
Also, I love that you saw Robert cracking himself up
Hi Anthony. Great interview; I love what Trey said about intention. I rarely play covers exactly like the record. I must’ve missed that Robert at Home video about Red (yeah I’ve been playing it wrong all these years). Do you have a link to his post? Thx.
Also just hinted to the family the Discipline book for Father’s Day. Looking forward to the Wetton era one too!
I hope you get the book on time. All I remember about the video is “Robert at home episode 13”
@@MakeWeirdMusic That works, I can search for it. Thanks! (I hope I get the book, on time or not 😀)
Great news about the transcriptions of the LTIA era albums! I will look forward to them.
Yep! Work is underway
What a great interview, for reasons which are beyond Crimson music - so many thoughtful considerations and ideas which transcend the subject - inspiring
Seriously glad you enjoyed it! Sometimes I wonder if I'm getting too technical in these conversations.
I don't understand how you went from trying to learn Fracture to all this!!!
Hahaha yes it’s a huge leap
Even Fripp has trouble playing Fripp.
#truth
Great news! Does anybody know a link to buy the Discipline Era transcriptions book for shipping in Europe? Thanks in advance
7dmedia.com
@@MakeWeirdMusic Thanks for the answer and the always cool content
Are all the guitar parts in the book in Tab? I can't read notation for shit
Yes
Wonderful! King Crimson is of the caliber of music that lends itself for personal interpretation much like classical and jazz. Got my tickets and can't wait to hear what Danny and Steve add to the repertoire.
I had one of those laughing bags!
Got it at Disneyland sometime around 1968. Long before I ever heard King Crimson.
Yes. It was exactly the same laugh as the one on the album!
trey gunn's voice is always so soothing to hear, it's almost like that of an angel....
He does have a smooth voice, now that you mention it
Do the first LP! Heck, do the first 3!
Let's see how sales keep up!
@@MakeWeirdMusic I bought the discipline book.👍
Thank you for mentioning the Seven Guitar Craft Themes book! Great interview also!
In the middle of watching I noticed latest Sleepytime Gorilla Museum album on the turntable there :)
I really really really really REALLY would love if they video recorded the live event for the less fortunate people who won’t be able to be at any of the concerts. Please 🙏🙏🙏
This was really interesting, congrats!
Glad you enjoyed it!
THE DEFINITIVE VERSION (pardon my shouting) of "Elephant Talk" is not on _Discipline_ or any live/bootleg recording I've ever heard, but the tv performance on "Fridays." If a second edition of the 80's albums ever comes out, let's hope for an appendix!
Hah! Spicy take!
We are already on the third edition of the book, and all of the editions drew quite a bit from the live performances, including the Fridays performance!
@@froghawk That's wonderful to hear! I don't own a copy, but I soon will now.
@@froghawk Thanks for stepping in!!
everytime I see one of your videos I have to pinch myself and go "so there is a professionally made channel on WEIRD MUSIC, and it´t great and educational and nerdy and ...beautiful. Love it, thanks. And oh, I hang out a lot with Mats/Morgan and love Crimson, so - tailor made for me!
Wow, thanks! I can't say we are "professionally made" since I'm just a random guy who does this for fun, but I'm grateful for people like you. Have you heard my music with Morgan? Or seen our content with Mats?
@@MakeWeirdMusic Yes! We´re close friends and I try to catch most of the stuff they do, here in Stockholm and elsewhere. And - I wouldn't call you a random guy... You have followed your heart and made a wonderful thing! Thanks again! And, more Magma ;-)
I don't think I've done a Magma video... Hmm...
@@MakeWeirdMusic Hmm... Time to let the world know about Zeuhl! 🤩
This reminded me that I transcribed and put up the first transcription of Red in tab on the internet 32 years ago and its still floating around in lots of places. Done from a cassette on a crappy tape deck with my poor teenage skills, I have always known it has heaps of issues with its accuracy, but as Trey 23:50 says "Badly played Red with amazing attitude is better than ..." I know I have played it with hopefully the right attitude and know other bands using it to do the same.... I guess I feel less guilty now for never correcting or updating that transcription!
Hah! That's awesome! I bet I used your transcription at some point in my life. Thanks for the contribution
A Wetton-era book now?! You guys are really making a LOT of people very happy with these. Thank you so so much!
It only exists because fans like you love it!
Epic interview - I love these transcription books and will DEFinAtelY be being the 70's books as well.
Sweeeeeet!
Excellent interview. Thanks!
Great to see you both in the same room together.
I like Trey's 'long' answers.
Thank you, Beth! Nice to see you here.
I try to let the artists do the talking. People aren't here to see me. :)
I love Trey's insight into the purposes of notation at 11:00- composition, posterity, and communication (and I suppose, transcription/analysis)! In the age of DAWs, powerful samplers, and home recording technology, we have lots of tools to help us compose and record our music, but notating music still seems to be the predominant way we communicate performance instructions. When I was in music school, I played John Cage's Composed Improvisation for Snare Drum Alone, a piece "notated" as a set of written instructions rather than notes on a staff. That experience really opened my eyes to the different ways we communicate the instructions for realizing a piece of music- and as an arranger, it empowered me to just write text notes to my performers in the parts when it made the most sense!
Sheet music is both data storage and instructions. Pretty cool!
Stellar content on this channel. Perhaps only second to Beato.
Thank you! I'm just a nerd who likes this stuff. Rick is a professional!
@@MakeWeirdMusic No sir, this is professional nerdery. Don't be fooled by how awesome it is to lift the hood on weird music, you are doing great work getting at the kind of info and details that are relevant to these subjects.
Do you know when Wetton era will be released?
Trey addresses this at the end of the video. I think he said 2025?
@@MakeWeirdMusic thanks.. that`s gonna be a long year... or two :(
Is there any transcription of UK´s Caesar Palace Blues? ( Wetton in the bass )
Dunno!
I love my copy of the Discipline era book, and am SO glad to hear about the Wetton era transcriptions! Such an exciting time to be into this music!
I totally agree. it's the 2nd best time to be alive as a KC fan.
I got both transcript books on last year reprint and I’m really excited for the Wetton era books!
Heck yeah!!
I didn't know there was a THRAK book. Ordered!
Excellent! Thanks for ordering! (I don't get anything out of it, I just am happy to see people sending their money to worthy projects.)
How in the world can one forget about "Starless and Bible Black" ? Can't wait for that "Starless and Bible Black" transcription book!
He has a lot of notes to remember, which are more important than titles. :)
haha!! that being said... i am eager to see that SaBB transcript in deed... !!!
Merci beaucoup...fascinating and engaging conversation.
Glad you enjoyed it
what is the world happened to our hair?
It turned gray and/or disappeared.
Delicious, Thank you
Ya welcome!
I need it in my life..... like, now.....
We're working on it!
Oh wow