The Great Deceiver 2. Lament 3. We'll Let You Know improv recorded in Glasgow 4.
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The Mincer improv recorded in Zurich 7. While the other songs are not as noteworthy, "Fracture" is a notable exception. This one MUST be played loud! Hot on the heels of Lark's Tongue, the band started touring, and despite losing quickly Muir, they chose to go on as a quartet and when the came back to the studio to record this SABB album, they'd grown into a very tight quartet. Of course Muir's exciting percussions and noises are missing into this album, and the very bland artwork and probably some lesser worked-upon songwriting make this album quite a deception compared to Lark.
This one sounds sloppy to me, unfinished studio tapes and weird song endings.
Although I see this mostly on the first side of the album I realize that I must be one of the only one to think that way but try the "Aspic" or "Red" albums as they represent the best of this line-up. Strange song structures such as Lament or un-interesting writing as trio makes that much is lost on me in the first side.
Even the more conventional songs like Nightwatch and Great Deceiver appear a little weak and would be fillers on either album preceding or following SABB. The two instrumental on the flipside are a bit unstructured to my liking, but they tend to be the best tracks of the album, solid energetic and crunchy.
The instrumental s on Aspic were so much more interesting and riveting. Still much worth a spin, though! And as a Crimson fan, it's relatively inconceivable not having this album in your shelves, even if it is the poorest Crimson studio album of the 70's social review comments Review Permalink Posted Tuesday, February 3, Review this album Report Review As such, "Starless" may be the most appealing of the "original" CRIMSON albums for the second generation of fans who found the marvelously manicured indiscipline of the post-"Discipline" outfit intoxicating.
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The studio songs Best of bible black some of the best they have produced ever. What a shocking way to start off an album! Lament would become a live classic during these years, a small 4 minutes rollercoaster that goes from gentle singing and violin to groovy rhythms to weird atonal soloing to heavy riffing. A personal favorite of mine. And of course The Night Watch.
What a. As a matter of fact there is only one real composition in this part of the album: Fracture, but I will talk about this one in a while. Funny thing, although Bruford does not play in this one he still is credited for the song for the fact that he decided not to play, but he sat down during the 5 minutes doing nothing. Now there are also some songs we could, or at least I could, live without.
The Mincer goes absolutely no where, with Wettons vocals put over in the studio to give it some coherence and that sudden stop they literally run out of tape during the live recording makes this a forgettablewhile Starless and Bible Black also suffers from this "going no where" it's not that bad, but again, nothing really shocking either. But if you want shocking.
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If you ever need prove of how original Fripp can be, just listen to this. The progression in the guitars, the dissonant bass, the grand final. A very rewarding album in the end, just a tad misunderstood. The few studio recordings on this album are good though; "The Great Deceiver" which they didn't quite manage to play in satisfying way at the concert stages, and "Lament" which then worked in the concerts much better.
The pastoral opening is from the Amsterdam concert, but the main song is redone in the studio, as mellotron crashed during the concert.
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If this kind of editing doesn't bother, this is a good version, but I have heard the best rendering of it on their "Live in Mainz, Germany " CD. It has a recording from a live jam, where the tape runs off during middle of the play, and then there's some studio overdubbed singing on it. Quite disappointing, the version without these studio overdubs can be found from "The Great Deceiver" box.
d score: "3 stars" as for a couple of songs, especially "The Great Deceiver" John Wetton's performance is one of the best features here. In fact, his vocals are vastly superior to "Larks' Tongues in Aspic", even though he still sounds rather weak in the upper ranges, as in the second part of "Lament", which would be more suitable for a hard-rock singing style.
In the opening "The Great Deceiver", he snarls and spits out the biting, acerbic words in a way that complements the music perfectly. Moreover, his powerful, aggressive bass playing really comes to the fore on this record, especially on "We'll Let You Know". Fripp's guitar is at its most experimental, as in the eerie, disturbing "The Mincer"; while Bruford's crisp, complex drumming patterns provide a perfect foil for both Wetton's booming, muscular bass lines and Fripp's wild guitar excursions.
David Cross's violin, though, is somewhat under-employed here in comparison to "Larks' This is KC at its darkest and most intellectual - not for the faint-hearted maybe, but progressive in the true sense of the word. The opening track "Great Deceiver" is a dynamic composition showing Fripp and Cross combined their work in an excellent way. The power of vocal by Wetton is also key contributing factor to the beauty of this song that later became the title of the compilation boxed set of 4 CDs see my review on "The Great Deceiver at this site.
Other tracks like "Starless and Bible Black" are interesting ones to enjoy and they indicate the early King Crimson sound. Keep on proggin'.!
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Unfortunately, there are many strengths to this album, but there are also some weaknesses. Lament is an overall weak tune, with a bland intro and a somewhat unispired middle section. We'll Let You Know and The Mincer are also pretty forgettable instrumentals, despite the excellent performances from the band.
However, those songs comprise of less than half the album.
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So let me tell you about the strong tracks. The Great Deceiver is the opener to the album, with a strong opening riff that is really heavy for its time.
A memorable chorus and a strong bass performance from Wetton top off the track. The Night Watch appears after Lament and We'll Let You Know, and it's one of the most beautiful pieces the group had created at that time with only Exiles being ahead of it.
The great mellotron work from Cross is augmented brilliantly from a great guitar line during the instrumental breaks from Fripp. Easily one of the best on the album. Trio is one of the two completely improvisational works on the album. It's amazing how intuitive the group is, because this song sounds like in no way, shape, or form, an improv. Every musician performances couples perfectly with everyone elses to make a truly enjoyable experience.
Starless and Bible Black is the second true improvisational track on the album, and it really is strong.
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The drumming on this track is also notable, with Bruford really going all out on this track. The guitar from Fripp is also utterly superb. Speaking of superb guitar from Fripp, Fracture totally takes his playing to the next level. Words cannot describe how utterly complicated the guitar playing on Fracture is, it's just so, unbelievably difficult to play those dissonant lines that are played all around the fretboard in such a quick sequence. Fripp really is one of the greatest guitarists of all time because he can play songs as complicated as this. Wetton, Bruford, and Cross help him out all along the way, with strong performances from all of them as well.
Well, musically, this album is hit and miss. Vocally, this album is hit and miss. But despite these faults, there is a lot to like about this album. If you are a guitarist, or any musician as a matter of fact, you should get this album because you will be blown away by some incredibly talented an understatement musicians. For me, I liked this album, but I wouldn't call it a masterpiece such as Red or Discipline. It's a good album. Wetton sings lead and backing vocals. It is the best song in this album, IMO. Curiously, Bruford had a songwriting credit Best of bible black not playing in this song.
It is a "neurotic" instrumental song, heavy in some parts, with Bruford playing tuned percussion. It is very good piece of music which at the end has a climax. One of the best instumental songs played by this line-up of King Crimson.