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King Crimson / King Crimson - In The Wake Of Poseidon - 30th Anniversary Edition |
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King Crimson - In The Wake Of Poseidon - 30th Anniversary Edition
The 30th Anniversary Edition + 2 bonus tracks
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THIS CD CONTAINS THE SAME REMASTERING AS THE 30TH ANNIVERSARY EDITION BUT DOES CONTAIN TWO BONUS TRACKS. Featuring: Robert Fripp:- guitar, mellotron & devices Greg Lake: vocals, Michael Giles: drums, Peter Giles: bass, Keith Tippett: piano, Mel Collins: saxes & flute, Gordon Haskell: vocal, Peter Sinfield: words King Crimson spent 1970 as a studio band recording a single ‘Catfood’ & two albums – ‘In the Wake of Poseidon’ & ‘Lizard’. ‘Catfood’ was released in March – earning the band an appearance on British BBC TV flagship music show “Top of the Pops”. “Poseidon” followed in May. While McDonald & Giles had announced their intention to leave in December 1969 & Greg Lake would depart in April 1970, Giles & Lake appeared on the single & album with Peter Giles (formerly of Giles, Giles & Fripp) & incoming members Keith Tippett, Mel Collins & Gordon Haskell – alongside Fripp & Sinfield. As a result, the album shares some similarities in approach & sound to their debut “In the Court of the Crimson King” & has been a firm favourite among fans of the band since its initial release. Though working with a transitional lineup the album sounds remarkably cohesive. Like the debut album “Poseidon” was self produced & displayed an increased confidence in the use of the recording studio. The breadth of material recorded is even broader than the debut. The short ‘Peace’ appears in 3 different settings bookending the album’s longer tracks. One of the band’s prettiest ballads ‘Cadence & Cascade’ leads into the powerful title track, while the album version of ‘Catfood’ is followed by ‘The Devil’s Triangle’ an ambitious sound collage that seems to owe more to contemporary classical & free jazz roots than any form of rock music. The short burst of “In the Court of the Crimson King” in the final part of the track eerily anticipates modern sampling techniques. Upon release, “Poseidon” reached No. 4 in the UK album chart – one position higher than their debut, & the highest chart placing the band would enjoy in Britain This edition of the album contains the single version of ‘Catfood’ & its b side ‘Groon’ as additional tracks, presenting, for the 1st time, King Crimson’s studio recordings of the period on one CD.
Track Listing: 1. Peace – A Beginning 2. Pictures of a City (including 42nd at Treadmill) 3. Cadence and Cascade 4. In the Wake of Poseidon (including Libra’s Theme) 5. Cat Food 6. Peace – A Theme 7. The Devil’s Triangle (including a] Merday Morn b] Hand of Sceiron c] Garden of Worm 8. Peace – An End Bonus tracks: 9. Cat Food (single version) 10. Groon (Cat Food single b side)
Average Rating: (From 4 Reviews):
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THE BEST
From Larry Pittis of NEW YORK, New York on .
Hi, In the 69-74 KC there really is no best recording, all have very strong and weak points, but Poseidon has the best band in my opinion. Peter Giles is and was the best KC bass player, no insults to Wetton and Lake though. Keith Tippett should have joined KC full time also. This recording is more "live" han the opening LP. THE PERFORMANCE IS HARD, LOUD, AND INVENTIVE. This group reaches the same levels as artists on FMP and INCUS labels. Sadly this CD FALLS FAR SHORT IN TERMS OF SOUND. The details are lost. Fripp's solos on Merday Morn are lost for example. Buy the Japanese issue lp on Atlantic, 8000 series,to hear the best sound. Give this CD a try.
Absolute fear
From Valdez of Duarte, Armed Forces Europe/Middle East/Canada on .
The level of sheer fascination, deep digging psychadelia and beautifully horrifying sounds and visions on this King Crimsons second LP surpass the first and also anything ever after. I'm not saying there weren't as good or better albums released by King Crimson, but this one truly gave you a whole lotta bang for your buck. 1970, headphones, a little weed, this LP, and you could re-live the trip over and over again, never hearing the same record twice. It was really something! Gave Pink Floyd a run for the MONEY as well. The weed is gone and we're a bit older now but give this thing a spin and it all comes back to you!
inexorably into 1970, despair and isolation. But there's some good parts anyway.
From Ed Stokes of Philadelphia, Pennsylvania on .
Since I've learned to not hear Muzak, "Cat Food" plays in every Acme & SuperFresh I visit. It's a great anthem for reading ingredients labels. The quizzical "Groon" bonus track would be my second favorite on this record, and the daring "Devil's Triangle" my third.
I liked this album more before someone pointed out how badly it misses Ian McDonald. Almost everything here was done a little better on In The Court Of The Crimson King, but "The Devil's Triangle" and maybe "Poseidon" show progress toward classical(/"symphonic") (and toward jazz when Keith Tippet plays, but that hardly makes this into Soft Machine nor "real" "jazz" so let's not get bogged in retentive genre spotting), away from psychedelia, and some of the sounds here are harsh, angry sounds. So there are uses for which this album might be preferable to ITCOTKC.
Despite the increasing abstraction, this album is less complicated and less subtle than the first. Wind instruments are less promiment, and Fripp leans heavily on the Mellotron (especially "strings"). There's less of a "band" feel, by which I guess I mean fewer interesting interactions between the players.
Sinfield's lyrics are getting colder, but he denies that despair and isolation are setting in, so "Peace" sounds like a wish from someone too unfamiliar with the experience to describe it. And the instrumental "Peace - A Theme" conveys the same false hope, like it were insisting idealistic countercultural aims would soon be realized in society.
Meanwhile, the angrier material seems more honest, but still only partial, too stuck in the negation 70s rock would bring us to ever feel fully human.
The title track is Crimson's first really boring song. A good mellostring break justifies one of its 8 minutes.
If you can find it, Disc 1 of the Frame By Frame box set has "Cadence and Cascade" with Adrian Belew singing lead. He has a better feel for the delicate and pretty melody than Gordon Haskell did, and his singing is warm and open, so that inauthentic version has become definitive for me. Come to think of it, Greg Lake's singing on Poseidon is rather cold compared to what he does on the first album. I suppose most of this material dictates a cooler approach, but a singer like Belew could deliver the sardonicism with some humor.
I guess an "all-Adrian" remix of this album would be too much to ask for, but if the Collector's Club offered such, I'd play it more than the original.
In the Wake of Poseidon - Talent in Action..
From Arnold Tortorella of Glasgow, Scotland on .
It has been written many times that the Crimso of 1973-74 were in a league of their own. Certainly none of the other proto English prog-rock bands of that era - ELP, Yes or Genesis - sounded remotely like them, or produced improvisational material on the scale of that version of Crimso. What is not clear is that 3/4 years earlier, Crimso were already easily out-stretching the pack of fellow 'prog-rock' bands of that era.
Despite being produced without the benefits of a 'standard' rock group, ITWOP stills sounds as fresh and adventurous to these ears, as it did way back in 1970. Indeed, the inclusion of the edited version of the 'Cat Food' single, along with its B-side in 'Groon', shows how remarkably wide Fripp's vision and playing were. From the frentic be-bop rock blues of 'Pictures of a City' to the pastoral ballad of 'Cadence & Cadence', thro' to the mellotron-drenched epic of ITWOP itself, along with the 'Peace' theme - played three times on the original album & still on the CD, one senses a spirit of adventure yet coheiveness of overall view. When combined with the atonality & complex time signature changes of 'Cat Food' and now 'Groon' itself - the latter which should have been on the 1970 album - one sees how far ahead of everyone else Crimso, and in particular, Robert Fripp, were. In no real sense can this music be said to have dated, though out of the context of a concert/gig, 'Devil's Triangle' always did seem far less powerful & foreboding.
I can well recall seeing Crimso in May 1971 at the old Greens Playhouse in Glasgow - with the Mel/Ian/Biz/Robert/Peter version of the band, and was struck by their whole approach to everything. A significant part of that version of the band's repertoire - 'Pictures of a City' and 'Cadence & Cascade' being regularly played in concert, and was struck by how strong these compositions were when performed live.
If you wish to know where English prog-rock developed its template from, then invest in a copy of Crimso's rich history. You will not be disappointed.
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