Tracklist
CD 1: In the Studio (1969-1971)
1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moon Child
5. The Court of the Crimson King
6. Peace - A Theme
7. Cat Food
8. Groon
9. Cadence and Cascade
10. In the Wake of Poseidon (Instrumental Edit)
11. Ladies of the Road
12. Sailor´s Tale
13. Islands (Instrumental Edit)
14. Tuning Up
15. Bolero
CD 2: Live (1969-1972)
1. The Court of the Crimson King
2. A Man, A City
3. 21st Century Schizoid Man
4. Get Thy Bearings
5. Mars
6. Pictures of a City
7. The Letters
8. The Sailor´s Tale
9. Groon
10. 21st Century Schizoid Man
CD 3: In the Studio (1972-1974)
1. Lark´s Tongues in Aspic Part I
2. Book of Saturday
3. Easy Money
4. Larks´ Tongues in Aspic Part II
5. The Night Watch
6. The Great Deceiver
7. Fracture
8. Starless
9. Red
10. Fallen Angel
11. One More Red Nightmare
CD 4: Live (1973-1974)
1. Asbury Park
2. The Talking Drum
3. Larks´ Tongues in Aspic Part II
4. Lament
5. We´ll Let You Know
6. Improv: Augsburg
7. Exiles
8. Easy Money
9. Providence
10. Starless and Bible Black
11. 21st Century Schizoid Man / Trio
Plaadi pikkus: 05:00:00
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Tutvustus
1969. aastal kitarrist Robert Frippi ja trummar Michael Gilesi loodud King Crimson ei ole kunagi pälvinud samalaadset populaarsust kui Pink Floyd või Emerson, Lake & Palmer, kuid bändi aastatepikkune ja aegumate loometöö on olnud eeskujuks sadadele ja tihtilugu neist tuntumatelegi järgijatele. King Crimsoni esikalbumit "In The Court Of The Crimson King" peetakse prog-rocki nurgakiviks, lisaks on bänd läbi aastate põiminud oma loomingusse mõjutusi näiteks jazzist, klassikalisest muusikast, psühhedeeliast, elektroonikast ja folk-muusikast. Vaatamata laialiminekutele ja hingusperioodidele ei ole King Crimson oma energiat tänapäevalgi kaotanud, avastades pidevalt uusi muusikalisi territooriume.
Arvustused
Kerry Leimer
Amazon
http://www.amazon.com
It seems legitimate enough to ask why this box set exists, with yet another on the way. Everything here is already available elsewhere. Between the original re-releases, the remastered re-releases, the anniversary re-releases, the 24-bit remasters, the multiple mini-lp versions, the HDCD editions and the Collector´s Club releases, things are pretty well covered, covered again and then covered once more.
Not to imply that the music isn´t worth it. And if you are new to King Crimson, starting with a box set such as this may be a decent enough way to get acquainted. For my money, the albums are still the best road to the King. Because the records were always very carefully put together, hearing the pieces out of sequence, surrounded by strangers, so to speak, never seemed quite the right thing to do. But this volume does a good job, even when you consider the dismembering that is an intrinsic part of building a box. There is of course a booklet which accompanies these generations of KC which is generally informative and provides the newcomer with a sense of the time and events around the band, its personnel and the critical response to the recordings and performances. If you´re a collector, you will have seen parts of this as well, in "The Great Deceiver" box set and in the mini-booklets which accompanied the various anniversary and mini-lp editions.
Unlike previous meet-the-music collections there does not seem to be an accompanying controversy about the pieces selected, who selected them and why. Some, like the snippet at the end of "Islands", aren´t all that interesting. Others, like "Moonchild", here restricted to the lyric opening with subsequent doodling left off, reveals itself to be a charming song when heard absent of the always annoying I-do-this-then-you-count-two-and-do-that-improv (or was it a jam?) that set the low point for their debut album. Treating it this way seems to me to be a cake and eat it too outcome for Fripp: the worst piece on what some think to be their best album is somehow redeemed by presenting only Part the First.
But this box set is really about improvements in sound. Back in the day, King Crimson records were awaited not only for the great music, but for great recording and production. Still, improving the clarity of "rock" records is always a dicey affair: sometimes the only thing that holds together rock n´ roll is the fact that you can not always hear precisely what´s going on. Where the musicians may fail, where the music may fail, your brain obliges by filling in the gaps. If those gaps are made more obvious, your brain might not want to play along.
For example, the great staccato passage in "Lark´s Tongues" now has a strikingly different feel to it. Where once the interaction of the bass and drums seemed to overlap slightly, the new mix reveals all the gaps making the exchanges between Wetton and Bruford sound more like a crisp, almost automated Q&A than an all-out on the edge but still in control thrash.
In some cases, such as the LTA balloon freak-out and Fripp´s buzzing-insect effects, the sound is under greater control and comes across as more purposeful. The dynamic range is much better as well: quiet passages that were comprised of some distant pizzacato and bird song must have been absolute nightmares to accomplish on tape. Here, they come at you with a better than llife, noise-free delicacy. Much of the music from "In the Court of the Crimson King" also comes across as fuller, in this case clearly benefiting from the digital re-examination. Is this an improvement? While the sound is objectively "better" -- you´ll notice better defined and rounded bass, a clearer sense of soundstage and more precise imaging throughout these remasters -- I´m not certain that the music itself always benefits from the change. But then, as technologically-driven as recording can be, there will always be compromises. Resolving what the recording of a piece of music should or should not be is best left to those who create it. After all, you can learn quite about about the artist by paying attention to these sorts of technical choices, as well as the artisitc choices remastering demands -- or an artistic choice such as the near complete absence of any trace of "Lizard".
This box set then, shows us two things. First, leaving the music open to such continuous evaluation and interpretation can be a worthwhile though not foolproof exercise (see Jacob Bronowski´s essays on resolution) and, second, that after more than thirty years the work reflected here is still highly relevant, no matter how it´s mastered. The only question that remains is asking how much longer a Crimson-starved world must wait to hear it all again as SACD versions...
4/5 |
