King Crimson Albums (55)
'Live in Alexandria, VA 2003'
Release Date 3/6/2007
Tracks 10
Label King Crimson Collectors' Club
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What The Critics Say
The cosmos were certainly aligned on this trio-centric evening. What was originally scheduled as a night with King Crimson at the Birchmere Music Hall in Alexandria, VA -- on the third day of the third month of the third year of the new millennium -- turned into the trifecta of ProjeKct Three. The (literally) eleventh hour change in format, as well as the conspicuous absence of Adrian Belew (guitar/vocals), were due to the artist's (obviously) unexpected illness. Rather than call the whole show off, the decision was made that Robert Fripp (guitar), Trey Gunn (touch guitar/talker), and Pat Mastelotto (electronic percussion) would re-form the King Crimson offshoot fraKctal ProjeKct Three for one very special occasion. These ProjeKcts were implemented after the 1997 dissolution of King Crimson's double-trio reincarnation. ProjeKct Three's initial lifespan was limited to a brief run (21st -- 25th) in March of 1998. Fripp's opening solo "Introductory Soundscape" continues his tradition of tone probing and otherwise aurally thoughtful and penetrating ambient sounds. His sonic searching then meanders into the slow -- but never labored, plodding, or otherwise inhibited -- "Improv: I." Mastelotto steadily keeps the beat beneath Fripp and Gunn's sinuous insights that are marked by organically evolving melodies and textural counterpoints. The rendering of "Level Five" commences with nearly a minute of Mastelotto's funky beats and samples before igniting a dynamic adrenaline-charged interpretation. "Improv: II" again leads the charge through a faster, yet no less intricately weaved, intertwining of talents -- particularly as Gunn and Fripp liberally experiment around a variety of inspired approaches. The "Power to Believe II" is a direct descendant of the Level Five (2001) selection "Virtuous Circle." Two years later, it was reworked as the second movement of the title composition of King Crimson's concurrent long-player Power to Believe (2003). While typically accompanied by Belew's tongue in cheek lyrics and commanding vocals, the version of "Facts of Life" -- another cut off the new album -- bristles beneath the intensity of Fripp's gritty and soulful fretwork, hearkening to the unforgettable sounds heard during the final moments of the Islands (1971) cut "A Sailor's Tale." "Sus-tayn-Z" is interesting as it crossed over from the Fripp/Belew/Gunn confab of ProjeKct Two -- chronologically the first fraKctal to have convened in mid-November 1997. A studio version can be found on the highly underrated Space Groove two-CD set. That digression aside, it drives directly into the powerhouse ProjeKct(s)-turned-King Crimson staple "Deception of the Thrush." They then reach even farther into their aforementioned mid-'90s six-man lineup for the revival of "VROOOM." The "Q&A" is introduced by Fripp as an "...opportunity where one can meet on a more human person-to-person basis than at high-powered rock concerts." After a few additional words of encouragement, Gunn answers an inquiry about the rehearsal time invested for the tour by hypothetically postulating "...you realize this was mostly improvised?" Fripp then interjects a fascinating aside concerning the differentiation between extemporization and improvisation. As Fripp hardly ever grants interviews and even more infrequently allows an audience to engage him in conversation, as he says, it is a "rare opportunity." Curious enthusiasts are encouraged to check out ProjeKct Three's respective Live in Austin, TX 1999 (2004) and Masque (1999) releases. The latter can likewise be found as part of the larger four-disc ProjeKcts (1999) box set. ~ Lindsay Planer, All Music Guide
'Live in Denver, CO 1972'
Release Date 1/1/2007
Tracks 8
Label King Crimson Collectors' Club
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The 35th installment in the King Crimson Collectors' Club finds the 1972 quartet of Robert Fripp (guitar/Mellotron), Mel Collins (saxes/flute/Mellotron), Boz Burrell (bass/vocals), and Ian Wallace (drums) in the Mile High City at the Sound Track on March 13, 1972. Parties who follow the series' chronology could easily consider Live in Denver, CO 1972 (2007) a companion to the ninth volume Live at Summit Studios, 1972 (2000) -- which was documented the previous day and subsequently broadcast on KFML in Denver, CO. And what a difference 24 hours has made. Despite purported internal difficulties among the players, they deposit all dissension at the stage door and put on what must surely rank as one of the loosest shows in the band's history. The combo hit the road touring in support of their recent long-player Islands (1971) -- which was the fourth to be issued under the King Crimson moniker. Understandably, half of the contents are dedicated to presenting all but two of the album's six sides. The coupling of the lovely and evocative "Formentera Lady" and the intense instrumental "Sailor's Tale" open the set, mirroring their placement on Islands. Collins' sharp and penetrating blows are an essential element to the success of the latter selection as both he and Fripp sonically taunt each other into some interesting areas. The demented big top Lizard-era (1970) track "Cirkus" comes alive under the guidance of these performers -- particularly Burrell's ethereal lead vocals, which are matched by the equally off-kilter Mellotron and VCS 3 electronic effects. Fripp takes the microphone for a rare introduction -- with a wink and a nod -- to an hilarious attempt by the boys to keep a straight face during "Ladies of the Road." Obviously an inside joke pertaining to the number's carnal nature hits all-too-close to home and Wallace is barely able to contain himself throughout. Likewise, Fripp can be heard riffing and adding parts with atypical whimsy. The camaraderie continues through the sublime "Letters" -- which Fripp tags with an off-the-cuff coda. All hellfire then breaks loose for the quarter-hour plus bluesy-fuelled "Groon" that again is unlike the usual readings that are fast and furious improvisations. Wallace goes native as the VCS 3 makes his percussion take on an out-of-control Caribbean steel drum vibe. What could possibly put a cap on such an inspired endeavor? Nothing short of a two-fisted conclusion underscoring the doubled-edged nature of King Crimson. Returning to where it all began, they unleash a beastly "21st Century Schizoid Man" before sending everyone home with the sublime In the Wake of Poseidon (1970) ballad "Cadence and Cascade." Unquestionably, Live in Denver, CO 1972 is one of the most unexpected treats to have come from the mighty Crim's vaults as even jaded enthusiasts will find many moments worth discovering over and over. ~ Lindsay Planer, All Music Guide
'Live in Kassel, 1974'
Release Date 1/1/2007
Tracks 11
Label King Crimson Collectors' Club
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The 36th installment in the King Crimson Collectors' Club find the quartet of David Cross (violin/Mellotron/electric piano), Robert Fripp (guitar/Mellotron/electric piano), John Wetton (bass guitar/vocals), and Bill Bruford (drums/percussion) on April Fool's Day, 1974 at the Stadthalle in Kassel, Germany. Even as there are additional high fidelity audio documents of this incarnation and tour, enthusiasts are strongly encouraged to sample as many as possible to discover the seemingly infinite combinations of tone probing these gentlemen consistently excelled at. April 1, 1974 was the mighty Krim's penultimate stop during the European leg of a tour supporting their very recently (read: a few days earlier) unleashed masterpiece Starless and Bible Black (1974). True, King Crimson gigs around this time abided to a fairly stable set list highlighting selections from both their previous studio outing Larks' Tongues in Aspic (1973) and the aforementioned recent one. But upon hearing these expanded and exploratory indulgences, one gets a better sense of their deliciously unpredictable and inspired moments of instrumental improvisation. The immediate intensity of the opening "Great Deceiver" fires on all cylinders, foreshadowing the near hour of solid sonic pyrotechnics to come. Thanks to the excellent recording, listeners are treated to a rich and detailed stereoscape filled with Fripp's shredding fretwork, Wetton's strong vocals and thick, undulating basslines, as well as Bruford's unfathomably tricky timekeeping. "Improv. I" emerges from applause with Fripp and Wetton facing off, followed by Cross -- whose contributions, while uniformly thoughtful are never heavy-handed. Bruford joins in at his bashing best as they ramp up to a blistering reading of "Dr. Diamond" -- a tune which failed to made it onto a King Crimson studio album. The full force and wrath of the mid-'70s incarnation can be felt as they propel themselves through the ebbs and flows, once again subsiding into a passionate, Bruford instigated "Improv. II." They turn more than a few dark and scary corners before briefly sidetracking into some funky, then subdued interplay, landing directly into a cathartic, laden with passion "Exiles" -- arguably besting the similarly flawless rendering from the 16th Collectors' Club volume Live in Mainz 1974 (2001). Their aptitude for comparatively more intimate interaction continues on "The Night Watch" and "Lament." The latter is particularly interesting as the moody Mellotron lines are fully audible -- which isn't always the case on live tapes from the era. Likewise, the number pulls the sheet off of the entire unit's ability to stop on a proverbial dime and manipulate with the maximum aural authority. "Starless" -- which would not surface until the Red (1974) long player was released six months later and the band had split up -- is breathtaking and somewhat humbling in its solicitousness. It is followed by the haunting and introspective "Improv. III" with Fripp at his most beguiling as he and Cross exchange ideas before the whole ensemble hurdle through an edgy and energetic reading of "Easy Money." Sadly, "Fracture" is incomplete as the master tape cuts out about four minutes into the performance. However, a gracious plenty has been served up to that point and there are numerous other versions -- like the one from Augsburg, Germany on March 27 -- accessible via the King Crimson Collectors' Club or DGMLive's massive lossless download library. ~ Lindsay Planer, All Music Guide
'Live In Munich, 1982'
Release Date 1/1/2006
Tracks 10
Label King Crimson Collectors' Club
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What The Critics Say
King Crimson are heard wrapping up their summer of 1982 tour on this 70-minute set from September 29 at the Alabamahalle in Munich, Germany. The '80s incarnation of the band boasted the formidable skills of Adrian Belew (guitar/vocal), Robert Fripp (guitar), Tony Levin (bass guitar/Stick/vocals), and Bill Bruford (drums/percussion). The set list consists primarily of material off of Discipline (1981) and their most recent release Beat (1982) -- the sole exception being the "Larks' Tongues in Aspic, Pt. 2" closer. A potent "Waiting Man" commences the festivities with Belew switching off instrumentally between guitar and percussion. Crimso enthusiasts will note Levin's support vocals are presented with slightly more prominence. Here, his often underrated contributions alongside Belew are for once brought to the fore. "Frame by Frame" serves up another prime example of Levin's capacity in this role and is likewise notable for the improvised soundscape-esque introduction. The lolloping ballad "Matte Kudasai" is glazed over with a presumably intentional harmonizing and distortion on Belew's swooning and sliding electric guitar. A similar effect creates a disorienting razor-like edge with Fripp's penetrating fretwork during the ten-minute sojourn "The Sheltering Sky." Belew, preludes "Neal and Jack and Me" with the stage announcement "... from our latest LP called Beat ... " before the quartet dive into a tight, compact, and inspired reading that is suitable for framing. Another very short tone probe (note: listen for the unmistakable quotes from the "Twilight Zone" theme) instigates a fire and brimstone version of "Elephant Talk," which stands as one of the absolute highlights of Live in Munich, 1982. Belew and Fripp trade off as they snicker, sneer and spur their bandmates into an unsettling, yet cathartic rendering that conjures correlations to Lewis Carroll's "A Mad Tea Party." Even Belew's vocals have a challenging, knife-like quality that lets all within earshot know that he means business. Attendees definitely pick up on the vibe as evidenced by the eruption of applause and encouragement. Bruford takes over for several minutes prior to locking into the familiar rhythm patterns of "Indiscipline." The raw unapologetic face scraping intro is nothing short of a duel between Fripp and Belew. It is all that Levin and Bruford can do to batten down the proverbial hatches, playing as if their very lives depended on it. The double-barrel encore offers up the easily accessible pop of "Heartbeat" followed by a sole journey through the past on a loose and limber "Larks' Tongues in Aspic, Pt. 2." The concert was filmed professionally and comprises about 40 minutes of condensation featuring "Waiting Man," "Matte Kudasai," "Neal and Jack and Me," as well as fragments of "Indiscipline" and "Heartbeat" aired on German television and excellent copies of the broadcast circulate among the faithful. ~ Lindsay Planer, All Music Guide
'Live in Warsaw, 2000'
Release Date 1/18/2005
Tracks 14
Label Discipline Global Mobile
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What The Critics Say
This edition of the King Crimson Collectors' Club is from June 11, 2000, the second of two shows in Warsaw, Poland during the band's late spring/early summer Eastern and Western European excursion. The 21st century double-duo incarnation of Krim consisted of Adrian Belew (guitar/vocals), Robert Fripp (guitar/soundscapes), Trey Gunn (touch guitar/ashbory bass/talker) and Pat Mastelotto (electronic drumming) who were embarking upon the first round of shows that King Crimson had performed since the mid-'90s double-trio lineup -- which also featured Bill Bruford (percussion) and Tony Levin (Chapman stick/bass/vocals). After the extended aggregate disbanded in the spring of 1997, the greater unit split into a variety of sub-groups [read: ProjeKcts] and when the smoke cleared, it was Belew, Fripp, Gunn and Mastelotto who were left to pick up the pieces. The resulting album ConstruKction of Light (2001) was a step toward what would eventually coalesce more definitively on their follow-up Power to Believe (2003). Their set ranged little from stop to stop and Live in Warsaw, 2000 (2005) is an apt reflection of the quartet as they unleashed selections from the recently released ConstruKCtion of Light as well as a smattering of tracks dating as far back as 1982's "Three of a Perfect Pair" -- which is given an authoritative acoustic-rendering from Belew after inquiring whether the audience has "any requests." Of the newer material, the dry humor-laden grunge rocker "Into the Frying Pan" and the instrumentals "Larks' Tongues in Aspic: Part Four" and ProjeKct Four's "Deception of the Thrush" are flawlessly rendered, with the free form "Improv: Warsaw" being the most inspired outing of the evening in question. There are other moments that come close, including a haunting and mesmerizing "One Time." They close with a cover of David Bowie's "Heroes," which is actually not as surprising as it might initially seem since Fripp had contributed the searing lead guitar to the original 1977 studio recording. The audio quality gets an A+ thanks to the soundboard/mixing desk source tape and the accompanying liner insert has excerpts from Gunn's road diaries and photos of the foursome in action. ~ Lindsay Planer, All Music Guide
'Live in Philadelphia, PA 1982'
Release Date 4/25/2004
Tracks 13
Label Discipline Global Mobile
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What The Critics Say
The 26th installment in the King Crimson Collectors' Club contains a set from the 1980s re-formation featuring Adrian Belew (guitar/vocals), Bill Bruford (drums/percussion), Robert Fripp (guitar), and Tony Levin (bass). The show in question hails from the Mann Music Center in Philadelphia, PA, on July 30, 1982, shortly after the release of Beat, the second of three LPs from this incarnation. Not surprisingly, a majority of their repertoire consists of material from that album and its predecessor, 1981's Discipline. Even though Fripp and Bruford had returned to the fold from the 1974 aggregate, the reinvention brought a modern approach, which naturally yielded King Crimson a thoroughly fresh musical visage. "Thela Hun Ginjeet" kicks off the festivities as a high-energy prologue of things to come. Couched between Belew's frenzied narrative and blazing guitar squeals and Fripp's sharp and incisive fretwork is the flawless execution of the propelling rhythm section. "Red" follows, bearing further power and precision than it had boasted back some eight years earlier. Belew's sinuous electric guitar and Levin's full-bodied undulations further weave within the distinct melodies. "The Howler" is a recent addition, boasting an urgency girding the swirling arrangement that overpowers its studio counterpart. Again Belew hurls himself into the performance, maneuvering the slippery time signatures with formidable passion. In light of the incendiary rendering heard here, it is simply baffling that the tune did not remain in their repertoire for very long. A similar vibrancy races through "Neurotica"; the incredible intensity will leave the listener as spent and satisfied as the musicians must surely have been. Belew's exceptional songwriting is worthy of mention in the form of the loping and languid love song "Matte Kudasai," as well as the pop-infused "Heartbeat." Concluding the disc is a brisk "Larks' Tongues in Aspic, Pt. 2," bearing much of the same frenetic force that began and unified the outing. While the Collectors' Club is a multi-volume series in progress, enthusiasts and the curious alike will find 2004's Live in Philadelphia, PA, 1982 to be one of the strongest statements from this era of King Crimson. ~ Lindsay Planer, All Music Guide
'Live at Fillmore East, 1969'
Release Date 2/20/2004
Tracks 8
Label Discipline Global Mobile
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What The Critics Say
Precious few live documents have survived of King Crimson's incipient incarnation, featuring Robert Fripp (guitar), Michael Giles (drums/percussion/vocals), Greg Lake (bass/vocals), Ian McDonald (flute/sax/Mellotron/vocals), and Peter Sinfield (lyrics). Live at Fillmore East, 1969 (2004) -- the 25th installment in King Crimson's Collectors' Club -- is especially important, as even fewer had been captured in this quality. In terms of the band's public life, this quintet barely lasted 12 months from their earliest rehearsals circa mid-January 1969 through to December of the same year. As the song list bears out, they stick closely to the same approximately 40-minute repertoire on both November 21 and 22, when they shared the bill with Joe Cocker, Fleetwood Mac, and the Voices of East Harlem choir. Three-quarters of the material is gleaned from their debut LP, In the Court of the Crimson King, with the exception of "A Man a City," which would be retitled "Pictures of a City" when it resurfaced as the lead track for the second King Crimson long-player, In the Wake of Poseidon (1970). As the packaging clearly states, neither set is tip-to-tail complete. Tapes from both nights commence at roughly the same place, McDonald's lilting flute interlude during the opening number, "In the Court of the Crimson King." Sharp-eyed and keen-eared enthusiasts will undoubtedly recall that "A Man a City," "Epitaph," and "21st Century Schizoid Man," from November 21, were included on the Epitaph, Vols. 1-2 (1997) two-disc box set. However, Live at Fillmore East, 1969 marks the first time that any music from the following evening has been available. While each of the combos collected under the King Crimson moniker has contributed considerably to the legacy, there remains an obvious vitality and purity of spirit that would inform this particular aggregate. A perfect example can be extracted from the subtly significant distinctions in the timbre and mood within the respective renderings of the ethereal "Epitaph." The latter has darker and palpably edgier attributes that are driven home with incisive precision arguably lacking in its counterpart. While that example is among the more evident, others exist. As alluded to above, the fidelity, while far from perfect, is an obvious upgrade from a majority of the concert recordings circulating from this era. ~ Lindsay Planer, All Music Guide
'ProjeKct Three: Live in Austin, TX March 25, 1999'
Release Date 1/1/2004
Tracks 12
Label Discipline
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What The Critics Say
After the dissolution of the six-man double-trio incarnation of King Crimson in 1997, the individual members re-formed in a variety of smaller fractals or "ProjeKcts." Released in 2004, the 27th installment in the Discipline Global Mobile Collectors' Club series includes the final performance of ProjeKct Three on March 25, 1999, at Antones in Austin, TX. The personnel incorporates the talents of Robert Fripp (guitar), Trey Gunn (touch guitar, talker), and Pat Mastelotto (electronic drums, buttons, percussion). Together they unleash a dozen instrumentals with an ear toward collective improvisation in the hopes of summoning the spirit of the next manifestation of the greater Crim. Indeed, their mission is most certainly accomplished as their excursions provide a definite precursor to 2000s The ConstruKction of Light. The edgy and rhythmically complex opener, "Masque 3," is contrasted by the probing tones and inquisitive "Masque 11." While the sounds are entirely spontaneous, ProjeKct Three: Live in Austin, TX March 25, 1999 contains a few selections that were concurrently "works in progress" being developed within the context of each of the ProjeKcts. The barreling "Heavy ConstruKction" as well as the soulful syncopated "The Deception of the Thrush" are presented as impulsive and ultimately beautiful creations. Speaking of beauty, Fripp's "Introductory Soundscape" is equally cerebral in its moody unadorned tranquillity. This is quite the opposite of the hard and driving "ProjeKctions," a number possessing more than just a passing resemblance to "Into the Frying Pan," which would commence the aforementioned ConstruKction of Light once Adrian Belew (vocals, guitar) joined forces to complete the sixth touring version of King Crimson at the dawn of the new millennium. Although this single-disc volume is recommended for seasoned enthusiasts, those unfamiliar with the trial by fire and intrepid nature of the ProjeKcts would be best served by a sampler such as 1999's The Deception of the Thrush -- A Beginners' Guide to ProjeKcts rather than this highly enjoyable yet bold endeavor. ~ Lindsay Planer, All Music Guide
'EleKtriK'
Release Date 12/15/2003
Tracks 12
Label Discipline Global Mobile
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What The Critics Say
This audio-only companion to the Eyes Wide Open double-DVD package features King Crimson performing at Kouseinenkin Hall in Tokyo, Japan, on April 16, 2003. The quartet of Adrian Belew (guitar/vocals), Robert Fripp (guitar), Trey Gunn (Warr guitar/fretless Warr guitar), and Pat Mastelotto (drum traps/buttons) is a neo-progressive and practically industrial-sounding force to be reckoned with, emerging from the fraKctionalization of the double-trio version of the group -- which also included contributions from Bill Bruford (percussion) and Tony Levin (bass/Chapman stick). Now pared down to its essence, the band is leaner and able to effortlessly maneuver through some of the most challenging material to bear the King Crimson moniker. There is an undeniable and virtually palpable sense of drama that becomes magnified by the reserved and respectful Japanese audience. This becomes all the more pronounced during Fripp's "Introductory Soundscape" solo, which is an opening prelude to Belew's "Power to Believe I (A Cappella)" haiku. The arrangement provides several new angles and narrow aural slipstreams during "ConstruKction of Light" and "Happy With What You Have to Be Happy With." The quartet also momentarily reaches back to the double trio for a strikingly intimate "One Time." The instrumentals "Level Five," "Dangerous Curves," and the fourth installment of "Larks' Tongues in Aspic" are among the highlights as they demonstrate the seemingly psychic powers and singular thought processes that unify this aggregate into equaling, if not in some ways besting, previous incarnations with their imaginative interactive improvisations. Belew is once again impressive as he trades licks with Fripp, cajoles some stellar solos, and, as always, complements the unit as a solid, versatile vocalist and equally inspired lyricist. EleKtrik serves both new and well-versed listeners with an accurate portrayal of King Crimson in performance circa 2003, and is recommended for all interested parties. ~ Lindsay Planer, All Music Guide
What The Critics Say
The 22nd installment of the King Crimson Collectors' Club series of archival performances contains some of the music that ProjeKct One unleashed during their criminally brief existence from December 1 to December 4, 1997 at the Jazz Café in London. The quartet featured on this release includes Bill Bruford (drums/percussion/mixing), Robert Fripp (guitar), Trey Gunn (Warr guitar) and Tony Levin (bass/Chapman Stick/synthesizer). They became the first sub-division [read: ProjeKct] of the mid-'90s double-trio incarnation of King Crimson. Its passing also marked the departure of Bruford from the greater King Crimson orbit. Musically, these completely improvised instrumentals seem to reflect the individual personalities of each band member rather than forming a cohesive statement from the ensemble. This is not meant as a debasing comment, but rather an observation of the lack of complete musical unification. The three suites included on this disc are, in essence, a pastiche of sounds from all four nights; rather than an unedited account of the proceedings. Although that enters the realm of revisionist history, it likewise allows for more cohesive listening away from the context of the 'real time' experience. This style of compilation recalls a similar technique incorporated into the improv-heavy Thrakattak (1996) -- which was culled from the mid-'90s reformation of King Crimson, and includes contributions from Crimson mates Adrian Belew (guitar) and Pat Mastelotto (percussion). "Suite One" is the longest of the three and begins with Fripp's layers of soundscapes over which Gunn and Levin slowly reveal themselves. Bruford's entrance offers a substantial focus with some potent counterplay from Levin. This four-way exchange is both inspired as well as maddeningly schizophrenic. There are several distinct moments of utter joy and unfettered musical brilliance that instantly recall the majesty of the mid-'70s King Crimson improvisations. Sadly, those threads are short-lived. "Suite Two" is immediately dominated by the rhythm section. The delicate low vibrations from Levin resonate profoundly with Bruford's cymbalistic sputtering. Fripp's trumpet-like leads recall the late-'60s and early-'70s jazz /rock fusion of Miles Davis. Again, there are hints at greatness and some inspired passages -- especially in the contrasts between Fripp's languid, chiming drones and tones when juxtaposed with Bruford's impulsive bombasts. "Suite Three" offers a sampling of this quartet's variety of textures, ranging from the heavy thump backbeat, courtesy of Levin, to some gritty guitar leads from Fripp. While the opening groon [read: a term coined by Fripp to describe something in between a 'groove' and a 'groan'] brings to mind a neo- or post-modern Sun Ra, the pulsating backbeat propels the suite into a funkier and less sporadic musical space. It is unfortunate that this combo deteriorated so quickly as they truly never had an opportunity to organically develop a unique musical language between themselves. That said, King Crimson enthusiasts whose leanings include the unpredictability of free-form improvisation should not pass up this volume for both its significant historical value as well as its adept performances. ~ Lindsay Planer, All Music Guide
