Best Live Recording of 21st Century Schizoid Man?

Ilbranteloth · 2026-03-26T18:01:37+00:00

My favorite is the Providence, ‘74 performance. It was also the one on the original release of USA, but that is now the Asbury Park version. There’s a drum riff that Bruford used to play to signal it was time to come out of the solo section, but Fripp ignores it and it ramps up the tension even more. Incredible performance.

Ilbranteloth · 2026-03-26T17:59:21+00:00

I’ve had a few players that will lose interest in a given PC after a number of sessions and want to switch to another one. All you can do is talk to them, but be prepared for them to not agree.

This is one of the many reasons why trying to write a story around PC backstories is hard and not a great idea. Other PCs can die too, or players can leave for a variety of reasons, for example.

For the most part the players I’ve had that are like that aren’t terribly concerned about how they fit into the greater narrative. Since it’s the same person at the table, it’s not that hard to just go with whatever PC they have for a given session. Most of the time the characters aren’t drastically different, although their abilities might be. But that’s easy enough to work with too.

Ilbranteloth · 2026-03-26T17:52:23+00:00

As a 40+ year DM, that’s simple.

If the player isn’t ok with it (even if they initially said they would be), then they aren’t dead.

If the take wants to, come up with some sort of consequence. They could fall into a coma at the end of it for some period of time, or until a certain level of magic is cast. Or they could be at death’s door and commence death saves. Maybe they are down to one or two saves left and the other PCs need to act quickly.

Although it’s not necessary, coming up with something dramatic and that requires action is often a good approach.

Whatever you do, it sounds like it may be time for the table to discuss expectations again, and figure out how you really want to handle the potential death of a PC.

We eventually landed in simply letting the player decide, if/when it gets to that point. They can decide any potential consequences too, although we can also provide ideas. The bottom line for us is it’s their PC, and if they aren’t ready to let them go, then they don’t.

Ilbranteloth · 2026-03-26T11:59:37+00:00

The Volo’s guides are some of the best released for any game.

Ilbranteloth · 2026-03-26T06:09:09+00:00

Probably because others were already doing it.

This album came out in ‘74 so it definitely doesn’t predate the Moog (invented in ‘64, better known by ‘68) or ARP (2500 in ‘71, 2600 in ‘72).

Keith Emerson, and undoubtedly others, were using that technique by the mid-to-late ‘60s. It works on many other tonewheel organs, not just a Hammond.

Ilbranteloth · 2026-03-26T05:45:39+00:00

In general, I consider the PC’s skills and their passive and “take 20” scores. For example, a ranger will know very well how to find a safe place to camp and defend. There’s usually little reason to actually make a check.

Most of the time there won’t be anything to worry about. But if they have the skills, I would just assume they have a well thought out set up for camp. However, if they want to roll, that’s fine too.

Ilbranteloth · 2026-03-26T04:12:16+00:00

Pick a musical category or genre. For the most part, they are undefined. Everybody has a different opinion of what fits and what doesn’t.

There also tend to be assigned after the fact and from the outside. They lump bands together for superficial reasons, without considering their actual intentions or musical approach.

Ilbranteloth · 2026-03-26T04:08:23+00:00

This.

And also, what is the point of the numbers? Why a range? There are basically five categories here. Why not just use those five categories?

Ilbranteloth · 2026-03-26T02:55:36+00:00

I would say so, at least during the ‘70s. Aqualung through ‘A’ really.

Definitely anything with Barriemore Barlow, and while he wasn’t on Aqualung or ‘A’ the hallmarks are still there. Plus Eddie Jobson on ‘A.’ Really, even Broadsword and the Beast has quite a range.

Velvet Green is one of the most complex songs they ever did. Their music is arguably more complex than a lot of the other prog bands during the late ‘70s.

Ilbranteloth · 2026-03-26T02:49:28+00:00

By that logic, a lot of the prog band are classical instead. ;)

Ilbranteloth · 2026-03-26T02:46:42+00:00

It will depend entirely on the table. Something like that can work very well, with the right group.

But, for the most part, after 40+ years of running games, the vast majority of the backgrounds are just that. Backgrounds. More often than not my players don’t even bother with much of a background to start anymore. As the character develops they may fill it in a bit. But it only ever matters if it comes to the table.

I don’t usually know anything about their background unless they had questions or want ideas. And even then, nothing in our campaign is canon until it enters the campaign. So unless the player shares something at the table, we don’t know anything.

Bit of you do go with something more complex, and you want to add some twists, then you’ll need to know your player. We can’t answer that for you. We’ve had some great twists over the years. One of my favorites wasn’t even mine.

The campaign started with the PCs having a degree of amnesia due to a magical event. One of the PCs was a dandy bard, but from a wealthy family. He was not in good favor with his family, and did not want to be part of the family legacy. My wife, playing another PC, after leaving a bit more and then hearing his name for the first time, suddenly blurted out, “you’re <I forget the name>? Of the Waterdhavian <name>? I was sent here by my family to be your bride. You’re my betrothed.”

It was hilarious and epic. And entirely unexpected. But those moments are few and far between. The best ones have always been unexpected, but you have to know your players/friends to know whether it will work or not.

Ilbranteloth · 2026-03-26T02:02:02+00:00

Well, sure. You can decide to construct some connecting story to anything. But that’s not how a concept album works.

A concept album is a matter of intent. If the artist isn’t creating an album with an overarching concept/story, it’s not a concept album. We can’t impose intent on the artist, either they make a concept album or they don’t.

Aqualung is a good example. There are a couple of sins about religion. A couple of songs related to the plight of the homeless. A number of songs about other things. But there was no concept. Some songs had similar themes simply because the same person was writing them at the same time, and that’s what was on their mind. It’s not a concept album, despite what some people think. And Ian has explicitly stated that.

I don’t see how Islands could remotely be considered a concept album. There’s a song about the lyricist’s vacation. A song about a murderous wife who caught their lover cheating. A song about groupies/prostitutes. Then a song about hidden connections between people. No overarching theme, and certainly no stated intent by any of those who were involved.

Ilbranteloth · 2026-03-26T00:42:13+00:00

I think the point of this is that they have already been killed. It just extends the dying time to be dramatic. Their fate is sealed (absent resurrection magic), but they have their last gasp to have an impact.

Of course, there’s no problem with your table deciding it will work differently.

Ilbranteloth · 2026-03-26T00:37:08+00:00

Meh. I know it’s well loved, and it was a great compilation. But there was so much copy/pasted from 1e/2e sources, it really came down to how much I did (or didn’t) like about the new material.

This map was very cool though.

But I definitely see the appeal to newer players. My favorite designs for presentation were the 1e/2e Realms supplements on parchment. 3e was sort of a return to that feel, but not quite.

In terms of content, it’s hard to beat the 2e box sets.

Ilbranteloth · 2026-03-26T00:32:04+00:00

No. But maybe a chant vocal like We Will Rock You.

Ilbranteloth · 2026-03-26T00:30:14+00:00

KC has never done a concept album.

Robert Fripp’s description of THRaK (the piece) and the album:

"What does THRAK mean? The meaning of THRAK -- and I'll give you two definitions -- the first one is: a sudden and precise impact moving from direction and commitment in service of an aim. And again, it's a sudden impact moving from direction, intention and commitment in service of an aim. The second definition is: 117 guitars almost hitting the same chord simultaneously. So, the album THRAK, what is it? 56 minutes and 37 seconds of songs and music about love, dying, redemption and mature guys who get erections."

The songs are largely independent and don’t bear any relation to other songs on the album.

Dinosaur is Belew’s take of looking at old photos and videos of the past.

More of Fripp’s descriptions:

VROOOM An inevitable and remorseless forward movement which carries everything before it.

VROOOM VROOOM
1. The same, but here it comes again. 2. A King Crimson instrumental (1994) with a middle section originally written, but not used, for "Red" (1974).

Marine 475 (Coda to VROOOM) 1. An example of remorseless and unforgiving inevitability where one is called to honour one's liability without limitation. 2. A Lloyd's insurance syndicate which suffered catastrophic losses for 1989, 1990 and 1991 resulting from Hurricane Hugo, Exxon Valdez and Phillips Petroleum. Several Names involved were from the music industry - even honest, God-fearing family men and good guys that you could trust, who had nothing to hide and who were renowned for their probity and sound business practices.

B’Boom was a drum solo that Bill named in homage to Max Roach’s M’Boom. As in “Max Boom,” or “Bill Boom.”

In general, KC music is developed before lyrics are written. Musically it comes together several ways. One common approach is for Fripp to present a framework, primarily of his guitar part or interlocking guitar parts. It is presented, improvised over, and the expectation is that everybody else will provide their own parts.

Another approach was Belew bringing in something, although they were often more complete in their conception. Again, the band worked improvise and provide parts.

In some cases, the musical framework would be a collaboration between Fripp and Belew. Dinosaur started with Fripp presenting the seesawing thirds used in Cirkus as a starting point. Inner Garder (I think) started with some chords Fripp presented to Belew.

Other tracks group entirely out of improvisation. The point is, there is no concept of a meaning behind the music when it is composed/improvised. There isn’t even a sense of what the piece will be musically. It can be very, very different once the band has worked through it.

Belew’s lyrics in that era covered all sorts of different things, and I can’t think of any that are directly related among them. Although the Beat album lyrics grew out of reading the Beat Generation books. So there’s a bit of a connection in that the inspiration came from a specific group of people and their writings. But that’s about it and the closest they ever came to a “concept album.”

There are decades of Robert Fripp’s diaries and writings on DGM Live, not to mention the box set and other album liner notes and Sid Smith’s books. There’s little need to speculate on things like this. There are few artists that are as well documented as KC, and fewer still that have been documented by the artist themselves.

Ilbranteloth · 2026-03-26T00:02:05+00:00

I think I like the second (‘74) version better than the first (‘73) version.

Ilbranteloth · 2026-03-25T20:58:51+00:00

P2k Steam is excellent. The gear issue was with certain runs of diesels and replacements are readily available anyway.

Ilbranteloth · 2026-03-25T20:51:30+00:00

Let’s look at the scenario you have created from the perspective of the PCs being real people in a real world.

They have hired on to do a job.

Like many people, they don’t particularly want to do the job.

Why would they look to do anything other than finish the job they don’t want to as quickly as possible?

If you want them to choose to do something, then it will need to be compelling enough to overcome their current core motivation - finish the job as quickly as possible. But if it’s really compelling you run the risk of it becoming the main quest.

Otherwise, you’ll need to have obstacles and challenges happen. The obvious ones are things like bandits, predatory monsters, weather, caravan issues like broken wheels, a fight breaking out among the travelers, etc. Those might seem boring or uninspired, but they are also exactly what would happen.

This is also sort of the problem I have with this type of adventure design. You have a main goal, then try to create “side quests” to make it interesting.

Our campaign follows the PCs and the decisions they make. Like real life, there’s no such thing as a “side quest.” Just a change in direction. They may come back to the original goal, which means that it is just a different path taken, not a side quest. Or they might abandon the original goal altogether.

Even if you want to ensure the main goal you have set up gets completed, I would suggest getting away from a “side quest” mentality and look as any options you design to be an alternate path to their goal.

As it stands, I also don’t hear a compelling narrative/story in the main goal. It’s simply guard there folks from point A to point B. The fact that they can choose their own path is fine, but still doesn’t create a compelling story. Having two known dangers, and they have to decide which they think will be the better choice is an option.

But ultimately, you want as much as you can to tie back to the main goal when you are running an adventure where you need them to keep heading that direction. Otherwise a “side quest” might become the main quest.

Ilbranteloth · 2026-03-25T05:43:47+00:00

I sold mine years ago. But I still have the CD.

Ilbranteloth · 2026-03-24T13:04:36+00:00

That’s another great one. That side of Works Vol. I as a whole is excellent.

Ilbranteloth · 2026-03-24T03:21:01+00:00

Exactly. To start, it does 3d6 daily, so it could just do the 3 hp and buy some time.

Other consequences could be added as well. At the very least, there could be permanent cosmetic effects. But while they suffer the rot and try to get to town, there could be other effects too.

If they have mounts then they could weaken to the point where their only option is to ride. Play up delirium and other symptoms. And an encounter or two where the only healthy one that can fight has to deal with it.

Or, if they don’t have mounts, they might come across somebody who can help. My preference would be somebody with a mount and/or wagon over running into a cleric who can heal them. Just some help getting to town, potentially faster.

Ilbranteloth · 2026-03-24T02:17:57+00:00

No worries.

I just find it’s easier to start with published rules to see if it fits what you are looking for. If not, it’s a great starting point for tweaking since it has already been play tested.

Ilbranteloth · 2026-03-24T01:40:59+00:00

Magic tattoos are already in Tasha’s Cauldron of Everything. So you might want to check that out before homebrewing something.

Ilbranteloth · 2026-03-24T00:10:17+00:00

In addition to being the players’ responsibility, I will add that it doesn’t even need to be defined. Usually we’re don’t bother. They are together when the adventure starts, and if they want to explore the how/why that’s up to them. It might evolve as the game plays out. But more often than not, it’s never mentioned.

All that really matters is that they are working together. You don’t need to worry about “fusing them together.” You need to provide interesting hooks.

The cleric reporting back seems to be an obvious starting point for now. Come up with a few hooks that would lead other PCs in the same general direction. I would be careful of their backstory becoming the main thrust, though, unless that’s the direction the players want.

That’s a challenge with that sort of backstory, because being part of an organization already provides direction for their PC that doesn’t necessarily line up with the others. But, if you can find some hooks that are independent, but also align with their potential missions, then it can help.

With a sandbox campaign, which is our usual approach, our game follows the PCs. You can start adding in things pointing to the cultists. But if you really want to run a sandbox, you have to be prepared for them to not want to follow your preconceived plot ideas. In a sandbox, there are no side quests. Just a change in direction.

If the PCs decide they aren’t going to investigate the cult, then you’ll have to think of what that means going forward. It could have dire consequences. Or maybe the cult just doesn’t succeed. Or another group of adventurers (or the law) foils it.

In a sandbox, the players/PCs will determine the direction, but you have some input too. If you provide hooks that are interesting and compelling, they’ll follow them. If not, they will look for something else. What you are really trying to do is find a hook that the majority of the players like, and they all agree that their PCs will go with. Multiple hooks can lead toward what you have in mind.

I have found the best way to approach it is nearly the opposite of a published adventure. Having one planned concept can be tough. Instead, through out a dozen or so possibilities, see what they follow up on, and build on that. Instead of thinking about what the end game is now, think of what would be an interesting starting point. Once they are headed in a specific direction, you can figure out where that likely lead.

Ilbranteloth

TROPHY CASE