NEM#148: David Cross (ex-King Crimson): Electric Violin Dinosaur Battles

David played in perhaps the most revered line-up of King Crimson at the end of its original run from ’72-’74. He released his first “solo” album (as Low Flying Aircraft) in ’87, then eight more under his own name plus several collaborations.

We discuss “Predator” by Cross and Jackson from Another Day (2018), “The Pool” by The David Cross Band from Sign of the Crow (2016), and “Awful Love” from Closer than Skin (2005). We conclude with the title track from Crossover by David Cross and Peter Banks (2020). Intro: “Exiles” by King Crimson from Larks’ Tongues in Aspic (1973). For more, see davidcrossband.com.

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NEM#138: Markus Reuter: Composer or Tap Guitar Hero?

Markus began composing as a teen, “found his tribe” in getting connected to King Crimson’s Robert Fripp in the early 90s, and has put out 40+ solo and collaborative albums of experimental music since 2000, including work in Stick Men with Crimson’s Tony Levin and Pat Mastelotto.

We discuss “Swoonage” from Truce (2020), “Boon” by Marcus Reuter and the Matangi Quartet from String Quartet No. 1 ‘Heartland’ (2019), and “11-11” by Tuner (Pat Mastelotto and Markus Reuter) from POLE (2007), and end by listening to “The Cult of Bibbiboo” by centrozoon from The Divine Beast (2001). Intro: “Condition IV” from Falling for Ascension (2017). More at .

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NEM#115: Julie Slick: Pedal Art Visualizer

Julie joined the Adrian Belew Power Trio in 2006 and released two solo albums starting in 2010. She then joined another bassist, Marco Machera for four albums, the last three as Echotest. Why two basses? Because Julie uses tech to change the sound of her bass to allow her to cover an orchestra’s worth of parts.

We discuss “Ladies’ Legs at the Temperature Hotel” and “No, You Are Dead/The Gate of Light” by Echotest from Daughter of Ocean (2019), plus “Pi” from her solo album Terroir (2012), and listen to “Supercell” by Echotest from From Two Balconies (2017). Intro/Outro: “Mela” from Julie Slick (2010). For more, see julieslick.com.

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PEL Special: Bill Bruford on Nakedly Examined Music #25

NEM now features jazz, hip-hop, classical, folk, and more. Check out all the episodes at nakedlyexaminedmusic.com, where you can subscribe and follow on Facebook.

Bill was the original drummer for Yes, a default member of King Crimson, and briefly played with Genesis and the late ’70s supergroup U.K., but most of his output has been with his own jazz-inflected Earthworks and Bruford, as rock proved too confining for his rhythmic and tonal creativity.

NEM #25: Bill Bruford: Drumming Matters

Bill was the original drummer for Yes, a default member of King Crimson, and briefly played with Genesis and the late ’70s supergroup U.K., but most of his output has been with his own jazz-inflected Earthworks and Bruford, as rock proved too confining for his rhythmic and tonal creativity.

We discuss King Crimson’s “One more Red Nightmare” from Red (1974), “Thistledown” from If Summer Had Its Ghosts by Bill Bruford, Eddie Gomez and Ralph Towner (1992), and “The 16 Kingdoms of the 5 Barbarians” from Every Step a Dance, Every Word a Song by Bill Bruford/Michiel Borstlap (2004). We also hear “Hell’s Bells” and the title track of One of a Kind by Bruford (1979), plus “Five Per Cent for Nothing” from Fragile (1972) by Yes.

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NEM #21: Trey Gunn and the Discipline of Tap Guitar

Trey is master of a many-stringed type of guitar that you play by tapping with both hands at the same time. His mentor was Robert Fripp, with whom he played in the seminal progressive rock band King Crimson. He has also released over a dozen exploratory solo albums. Learn more at treygunn.com.

We talked about “Kuma” from his solo album The Third Star (1996), “Level Five” from King Crimson’s The Power to Believe, and “God’s Monkey” from the David Sylvian/Robert Fripp album The First Day (1993).

We conclude by listening to Trey’s current touring group The Security Project, as they play the Peter Gabriel classic “No Self Control” from Live 1 (2016). Beginning and end music is from Trey’s Live and Hugo House EP (2015).

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