The Brondesbury Tapes

I really love this one! The cd is superb, and very interesting for people who like the music of the late sixties. The cd arrived on time and was sealed and new. The quality of the sound is sometimes a little disappointing but 5 stars are in the pocket!

Great seller. Great album (as long as you're aware of how it was produced).

Some tracks are a bit dodgy sound quality but a very interesting look back to the early days

great!

muito satisfeito

This should perhaps be credited as GGF & Friends, as it also features Judy Dybe and Ian McDonald, as we'll as some early lyrics from Peter Sinfield. For Crimson fans out there who have yet to hear this, this collection of home recorded demos is the missing link between GGF & King Crimson, capturing them on the steep learning curve from the lightweight, sometimes humorous pop of GGF to the epic dramas of Crimson that materialised once Greg Lake had completed the line-up. The best tracks to me are the embryonic versions of 'I Talk To The Wind' and the Fripp written 'Why Don't You Just Drop In', the music of which would become 'The Letters' on Islands three years later.

Good intro to what would become King Crimson. I brought this for the Julie Diable version of 'I talk to the wind' which I first heard on 'A young persons guide to King Crimson'. enjoyable

If you're a Crimso nut since In the Court of the Crimson King, this CD is an essential for your library.Ian MacDonald and Mike Giles feature strongly as does the crystal voice of Judy Dyble (the original Fairports singer). There'a an altogether more folky/jazzy feel than most later KC work and you get a sense of where they might have gone if they'd kept Ian MacDonald. Would a female singer have worked on "The rusted chains of prison moons"? Perhaps not.As the booklet with the CD explains at incomprehensible length, the recording was a triumph of skill over very limited taping technology.What's best about it all? The tightness and technical skill of the players; the wide range of experimentation which gives you hints of everything that followed; the occasionally camp humour ("Why don't you just drop dead?"); and the drumming of Mike Giles which was then and remains a lesson in technique for mindless rock kit bashers. Listen to how much space he leaves. Listen.Nary a sign of a mellotron though. Useless knowledge dept:- Did you know that a mellotron weighs about 140kg and KC had three of them on the road at one stage?Gripes: one really fuzzy track. 2 versions of "I talk to the Wind" is a bit of overkill. But they do show what Greg Lake added.

Difficile recensire un disco così di nicchia. Per me è molto bello . Prodotto conforme alla descrizione. Consegna perfetta effettuata nei tempi promessi. Tutto ok.

Album indispensable ...génése d'un chef d'oeuvre ..qui l'année suivante 1969 sera l'album d'anthologiein the court of the crimson kingdans the brondesbury tapes , le son est génial , et les 21 miniatures qui compose cet album ce qui saute aux oreilles c'est l'excellente formation musicale des giles et frippla technique de Robert autant en classique qu'en jazz est tres avancée ...tous les musiciens ont deja un niveau extrémement élevé pour l'époque ...certaines pieces me font penser et la voix entre autre à Syd barret et son piper at the gates of dawn ..cet album sonne vraiment bien , et tous fans du King Crimson se doit de l'avoir ...

Auf diese CD ist die Version von "I Talk To The Wind" gepresst, die meines Wissens sonst nur auf der doppel LP "A Young Person's Guide to King Crimson" zu finden ist! Schon allein deshalb ist sie ihr Geld wert.

So far, this is my 2nd favorite CD of 2006 and I am kicking myself for waiting so long to get it. EVERY fan of the early incarnations of King Crimson simply must partake of this remarkable, endearing and oh so anti-commercial little collection of ditties which have ruled my iPod now for 2 weeks straight: It is absolutely mesmerizing stuff.Like any good Crimson/Fripp worshipper worth their salt I too sought out "The Cheerful Insanity of Giles, Giles and Fripp" in 1990 or so when the original Decca import CDs of the trio's first & only album finally reached our specialty stores here, and it quickly became a sort of guilty pleasure favorite; one of the great overlooked comedy albums ever to come out of Britain. But if anything "The Brondesbury Tapes" is an upgrade improvement upon the original rather than the other way around -- Instead of a tightly produced studio based jazz/rock hybrid pop album broken up by odd commentaries on the nature of man, this release is just the bare bones recordings made by the trio in their apartment along with future Crimson renaissance man Ian MacDonald, Fairport Convention vocalist Judy Dyble, and a remarkable Revox tape machine that deservedly gets a special set of notes all on it's own. That thing should be in a museum somewhere, and the technician who maintained it for them deserves a monument built in his name.To cut right to the chase, yes this is where the Robert Fripp legacy began, represents a sort of working sketch of the idea that became King Crimson in 1969 after nearly a decade of communal futility in trying to have a "go" at making a commercially successful band, and is a demonstration of a cup literally overflowing with talent that simply had nowhere to go. Peter Giles' liner notes are at times hilarious, heartbreaking, insightful and utterly inspiring -- anybody who dreams of making their own "album" right in their bedroom or loft should take note of how this collection of music was created even more than evaluating the music on it's own. I won't spoil the fun for anybody, but even after being familiar with the bulk of material presented I am awe struck at the tenacity of the trio/quartet/quintet to simply make the recordings at all, usually in the face of universal adversity and complete public disinterest. They never got one (1) single live gig as a band, though as these recordings reveal that may not have been the worst thing that ever happened as far as potential audiences were concerned, because the music was totally at odds with what was "hip" or cool in 1968. They couldn't have cared less, and that is maybe what signified them as "artists" rather than mere pop musicians.The collection starts out with a suprisingly creepy little track called "Hypocrite" which is the oldest surviving commercial recording to feature Mr. Fripp on guitar. And while it may not be sonically rich the track still packs a bit of a whallop once you realize how the recording was made, and the acidic bitterness of the song's lyric is hard to not snicker at with sadistic glee. The reason I sought out the collection was deciding that I had to hear the long lost Judy Dyble voiced version of "I Talk To The Wind", previously only available on a now deleted 2 record Crimson compilation from 1977, and lovingly re-mastered to make it sound like an actual song. You also get two very different mixes of "Cheerful Insanity" era favorites "Newly-Weds", "Digging My Lawn", a very different version of Fripp's "Erudite Eyes", a 2nd MacDonald/Giles vocalized "I Talk To The Wind" (which is nowhere near as nice as Judy's), as well as the bonus tracks released on the remastered "Cheerful Insanity" album, "Under The Sky" (2 versions), "She Is Loaded" and 2 versions of the puzzling "(Why Don't You Just) Drop In", a staple of the early live Crimson shows which Fripp stubbornly continued to re-work until the 1971 "Islands" album, when it became one of my least favorite King Crimson tracks, "The Letters". The two versions presented here (and the live takes on the "Epitaph" collections) make one wonder why Fripp didn't just leave well enough alone. It was a superior pop take on Fripp's bemusement with the counterculture era, something which he worked to shape but had little or no contact with, other than observers. They were too busy rehearsing to be cool.But for me at least the standout tracks on this collection are easily "Wonderland", an amazing Fripp scribed jazz/rock composition featuring a rare early pre-Belew instance of Fripp allowing someone else to play lead guitar (and a mind-boggling doo-wop vocalized section that is absurdly perfect -- I never knew Robert Fripp had it in him to make a song that is actually "fun" to listen to), a bizarre bit of lounge-jazz pop called "Make It Today" (2 versions) which would have made a perfect pop single if anyone had been smart enough to release it, the priceless Judy Dyble version of "I Talk To The Wind" with it's bummer clarinet notes and tinny lead guitar riffs, and of course the aforementioned "Drop In" cuts. Some of the filler material is a bit puzzling (especially "Passages of Time" with Ms. Dyble warbling like a police siren and is as close to memorably awful as anything Fripp ever did this side of "Lady of the Dancing Water") but it will all stick with you after the CD player is switched off , something you can't really even say about all of the Crimson albums, and you can hear his Guitar Craft sound in it's embryonic pre-infancy twenty years before he came up with a name for it. In other words you will want to listen to this again rather than hide it in the closet with "Vroom". I sort of lost patience with Fripp after "Thrak" and will always prefer the woodwind era "Fripp with an Afro" versions when he was perhaps not yet seen as the infallible art rock demigod history has painted him to be.Maybe that's my tagline: If you have ever wondered what it would be like to hear Bob Fripp play an at times sub-standard guitar without his traditional array of pedal effects and whirlygigs back when he aspired to be a pop musician, this is your golden opportunity. The music may not appeal to every die hard Crimson fanatic but to paraphrase the late Dr. Carl Sagan, "The universe is not always required to be in perfect harmony with mere human ambitions." Sometimes what you get is what you get: This band never broke into the scene they pursued and the bitterness of their frustration fueled the first King Crimson era with a sort of resigned desparation to either succeed or take the universe down the toilet with them trying.Fortunately for the rest of us they made it big, but yeah, this is where it all began, and you won't miss "The Saga of Rodney Toady" at all.

GILES,GILES&FRIPPの未発表音源集。「チアフル・インサニティ」から、あのキング・クリムゾンの名作「クリムゾン・キングの宮殿」へと移行する過渡期の貴重な音がここにあります。クリムゾン・ファンは是非！！