King Crimson - Indisciple Mining Rocks FLAC

Two recordings from ABC's "Fridays" variety show in December of 1981 along with a set of audience recordings from Stonybrook University Gym Feb 28, 1982. The sound quality is in the B- (Fridays) to C+ (Stonybrook) range, with the usual sonic pitfalls, but the performances are great, with a really wild "Elephant Talk" starting off the proceedings. The most interesting stuff is on side 2, which has an early "Thela Hun Gingeet" with altered lyrics - again from the Fridays show, and contains some nascent versions songs from Beat including "Howl" (here called "Turkish Tea") and a piece of the unreleased track called "Absent Lovers" written during the Discipline sessions - unreleased at the time, as the new 80's era box set sees a proper release of the original studio version. Fripp has done yeoman's work as per usual making sure this era of the band has plenty of live coverage, yet over the collectors club releases its odd some of these early '82 shows where "Absent Lovers" was played aren't represented in the official live discography yet, and so maybe for the fanatic this otherwise sonically substandard Crim bootleg has a certain utility.
The album art is ambitious - for a bootleg. Complete with Warner/EG sigils, it had me fooled for a few seconds it was a legitimate promo. My version has plain green labels. The cover is a riff on the Discipline album cover, and the back gleefully pilfers Fripp's well-known essay Bootlegging, Royalties and the Moment alongside some enjoyable pseudo-Frippian ramblings from the bootleggers e.g. "Through all the shows we were present at, the Stonybrook show came closest in many aspects to representing the disastrous breakdowns in the audience/performer relationship that King Crimson would rather avoid."

Bootlegs exist because WE NEED to hear every single live moment or rehearsal or demo from our beloved artists. That's why we pick them and we "collect" them for the very same psychological reason someone becomes a collector. My point is that if someone (probably the artist or his representatives) blocks a bootleg release MUST replace it with the original release of the same art-event. In different case, the artist blocks the history of music to be revealed and hides his artistic self from us. This is as a bad behaviour as the hunger of the bootleggers for easy money, I tent to believe.