Then Robert Fripp's electric guitar improvises for a while. The first album released from King Crimson featuring Robert Fripp, Michael Giles, Greg Lake, Ian MacDonald, Peter Sinfield. Epitaph, although at first glance seems pretty straightforward, has become my favorite track on the album. Posted Tuesday, September 20, 2005 Review 47375 For my very first review, I've chosen the very first prog album I listened to in its entirety, some thirty years ago. This song is very spatial and trippy, Fripp's guitar work and McDonald's keyboard work are awesome in this song and you have to listen hard to tell that there are 2 different instruments being played for awhile.
The lyrics and the melody for the vocals are if you are familiar with Emerson, Lake, and Palmer , very much dominated by Greg Lake's influence in retrospect. The musicianship is brilliant and being a drummer myself I can't praise Michael Giles good enough as he provides some of the most melodic and creative rock drumming I've ever heard, being essentialy a jazz drummer but using the kit for the best effect possible. They're beautiful sounding- that's what they are. Ian McDonald rounded out the lineup by playing saxophone, flute, and keyboards, as well as the new Mellotron, the instrument besides synths most associated with progressive rock. Many of today's youth can't pay attention beyond 5 minutes, let alone inprovise musically beyond that frame.
Greg Lake has always had one of those voices that irritate me. Sinfield's lyrics are particularly good here. I won't talk about the music itself, it has been done too many times and we all know this album by heart, or at least we all should, but I will say this: This album changed popular music like few did, and rarely does it get the credit it deserves. I need to figure out how to make this work for my band! To be honest, the melody and singing-style reminds me of old Rock 'n Roll. Yet the music is uplifting too, partly because it's Greg Lake's most heartfelt vocal performance ever. I just don't like that song, so each time I listen to this album I have to jump over this song, and whatever the reason I never have to jump any song on albums to which I give 5 or even 4 stars. This is naturally the opinion of most viewers of this site, and I am thrilled that I honestly share it with them! The album is heavily influenced by jazz, Particularly evident in Michael Giles groovy drumming most notably during 21st century schizoid man which ranks up there with the best progressive rocks songs of it's time although it lends itself more to fusion than to prog.
The guitar plays a gentle role and the vocals are intimate. Everyone interested in Progressive Rock must own it. Nice vocals, flute, and laid back jam at the end. On soft gray mornings widows cry. You will find that it is very, very good. It also features Lake's strongest vocals on the album.
Then the drums and brass work together, playing a little ditty- very funky. I like to think that this is a good album, but it shows that there were a lot more good things to come. Very calming with some great guitarwork. The instrumental part of the song can be heard in the French movie. It transports you to an entirely different world. My father told to get near the speaker, and listen carefully, and so I did. The end sounds completely disjointed.
The coda, led by the flute, is a bit of a surprise when it kicks in around 4:50. I walk a road, horizons change The tournaments begun. Live in Paris is routinely described as 'legendary'. Memorable opening mellotronbit in the beginning that kicks into the lyrical part. Fripp did some shows with Brian Eno last year. I also appreciate the importance of this album as perhaps the first truly prog album.
The biggest being the experimental piece in Moonchild which is really pointless noise to my ears and enough for this album to go from 5 to 4 stars in my book. It's quality isn't as high as all the other material and the term 'failed experiment' comes to mind. Posted Monday, October 16, 2006 Review 94677 It's difficult to put into words how significant this album is in the realm of Progressive Rock. We learn from our mistakes and build upon our successes, and the same can be said here. Any regular to this site is familiar with the shock and awe of 21st Century Schizoid Man, but what's rare is for a such a song to be followed up with a song a gentle as I Talk To the Wind, which in turn is followed by the other-worldliness of Epitaph. What can be said of this seminal album that hasn't been said 1000 times before and maybe 10 000 better than I ever could? If those 2 albums are not prog, what is it then? Radiohead was one of the first and they named King Crimson as an inspiration, say no more! However, only a handful of albums can claim to have shocked the music world as much as this one did.
Overall this is a great album essential to any serious fan of progressive rock and although I really dislike Moonchild the other 4 songs make up for it and the sheer influence and the innovativeness of this album merits the 5 star rating. To me, however, it is just a practically perfect record which contains all the defining elements of progressive rock music: suitably esoteric, vaguely disturbing lyrics, a lead vocalist to die for, accomplished musicianship, and no fear at all of crossing any boundaries between musical genres. Michael Giles' drumming stands on a par with Bruford's, and Ian McDonald's performance on both keyboards and woodwind instrument is superlative. The Gunslinger He is alluded to in by preacher woman , who believes has impregnated her with the King's son. Looking back, however, it is only natural to see that they could not stay together too long. It is the beginning of it all and is an essential listen for anyone who listens to progessive rock music and wants to have some understanding of the history of progressive rock music.
Confusion, will be my epitaph maybe, I will like to have this written on mine. Throughout the album the musicianship is perfect, with Greg Lake's dreamlike vocals often serving as the centrepiece of the album. It's gonna be boring if I review track by track as I used to do it with other prog albums. This is somewhat better, although to me, it sounds very influenced by The Moody Blues. Funny, that they have so many critics, but these musicians rocked the 70s, trust me, they did! A friend bought it years ago, until which time I had only heard snippets of it. You almost need a looking glass to watch that mindblowing cover from the late Barry Godber, the Hobbits must have thought this was a special edition for them! All well, such is life.