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More Than Blinds Group

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In The Wake Of Poseidon 1970 Rar



In The Wake Of Poseidon Wessex studio sessions 4th March1970.This will form part of the previously unreleased recordings from the "In the Wake of Poseidon" studio sessions at Wessex Studios in early 1970. The recordings are presented exactly as they appear on the original multitracks, engineered by Robin Thompson, with consecutive takes on each...




In The Wake Of Poseidon 1970 Rar



King Crimson were a progressive rock band formed in 1968 in London, England. The band drew inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, industrial, electronic, experimental music and new wave. They exerted a strong influence on the early 1970s progressive rock movement, including on contemporaries such as Yes and Genesis, and continue to inspire subsequent generations of artists across multiple genres.[1] The band has earned a large cult following.[2][3]


Founded by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and lyricist Peter Sinfield, the band initially focused on a dramatic sound layered with Mellotron, McDonald's saxophone and flute, and Lake's powerful lead vocals. Their debut album, In the Court of the Crimson King (1969), remains their most commercially successful and influential release, with a potent mixture of jazz, classical and experimental music.[4] Following the sudden simultaneous departures of McDonald and Giles, with Lake also leaving very shortly afterwards, Fripp and Sinfield assumed direction of the group for In the Wake of Poseidon (1970), Lizard (1970), and Islands (1971) with Mel Collins, Boz Burrell and Ian Wallace among the band members during this period. In 1972, Fripp changed the group's instrumentation and approach, drawing from European free improvisation, and developing ever more complex compositions. With Bill Bruford, John Wetton, David Cross and, briefly, Jamie Muir, they reached what some saw as a creative peak on Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974). Fripp disbanded this group in 1974.


King Crimson made their breakthrough on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park, London before an estimated 500,000 people.[22][10] The debut album, In the Court of the Crimson King, was released in October 1969 on Island Records. Fripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs).[15] Who guitarist and composer Pete Townshend called the album "an uncanny masterpiece."[23] The album contains Sinfield's gothic lyrics and its sound was described as having "dark and doom-laden visions".[24][25] Its opening track "21st Century Schizoid Man" was described as "proto-metal" and the song's lyrics criticise the military involvement of the United States in Southeast Asia.[1][26] In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity.[27][28] The band's music drew on a wide range of influences provided by all five group members. These elements included classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician) and free improvisation.[1][26][28][23]


With Fripp and Sinfield planning for recording the second King Crimson album, In the Wake of Poseidon, the band's management booked Elton John to sing the material as a session musician amidst the uncertainty, but Fripp decided against this idea after listening to his Empty Sky album.[32] Lake did agree to sing all the vocals, but left to form Emerson, Lake and Palmer before he could finish recording "Cadence and Cascade", for which Fripp's old school friend Gordon Haskell was brought in as a guest vocalist.[33][34] Michael Giles was recruited as a session musician. Other musicians who contributed to the recording were Peter Giles playing bass guitar instead of Lake, saxophonist Mel Collins (of the band Circus) and jazz pianist Keith Tippett.[35] Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album.[36] With no set band to perform the new material, Fripp and Sinfield invited Mel Collins and Gordon Haskell to join permanently, with Haskell also handling bass as well as vocals, while Andy McCulloch joined the band as drummer. Collins would also act as occasional keyboard player and backing vocalist.[37][35]


Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "outlier",[39] the album had been made by a group in disagreement over method and taste. The more rhythm-and-blues-oriented Haskell and McCulloch both found the music difficult to relate to, and tedious and confusing to record. Collins disliked how his parts were composed, while both Fripp and Haskell detested Sinfield's lyrics.[37] This lineup of the band did not survive much longer than the Lizard recording sessions. Haskell quit the band acrimoniously during initial tour rehearsals after refusing to sing live with distortion and electronic effects on his voice, and McCulloch departed soon after.[10][11] With Sinfield not being a musician and Fripp having seemingly given up on the band, Collins was left to search for new members.[37]


Following rehearsals in Woodstock, New York, the group released the extended play Vrooom in October 1994. This revealed the new King Crimson sound, which featured the interlocking guitars of the 1980s mixed with the layered, heavier feel of the 1970s period.[131][failed verification] There was also a distinct influence from the industrial music of that time.[132][133] Many of the songs were written or finalised by Belew, and displayed stronger elements of 1960s pop than before; in particular, a Beatles influence.[134] Bruford would refer to the band as sounding like "a dissonant Shadows on steroids".[55] As with previous line-ups, new technology was utilised, including MIDI, which Fripp used to convert Frippertronics to digital version of it called "Soundscapes",[124][135][136] and the versatile Warr tap guitar with which Gunn replaced his Stick in 1995.[137] King Crimson toured the album from 28 September 1994 in Buenos Aires, Argentina; portions of these concerts were released on the double live CD set B'Boom: Live in Argentina in 1995.


The 1981 reunion of the band brought in even more elements, displaying the influence of funk, post-punk, new wave, gamelan music and late 20th century classical composers such as Philip Glass, Steve Reich, and Terry Riley.[239][91][5] For its 1994 reunion, King Crimson reassessed both the mid-1970s and 1980s approaches in the light of new technology, intervening music forms such as electronica, drum'n'bass and techno;[144] and further developments in industrial music, as well as expanding the band's ambient textural content via Fripp's Soundscapes looping approach.


The 2013 version of the band returned, for the most part, to the band's 1960s and 1970s influences and repertoire but addressed them via current technology and rearrangements suited to a larger ensemble of more experienced musicians, while also incorporating the New Standard Tuning used by Fripp since 1984.[citation needed]


King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. Genesis and Yes were directly influenced by the band's usage of the mellotron,[249][1] and many King Crimson band members were involved in other notable bands: Lake in Emerson, Lake & Palmer; McDonald in Foreigner; Burrell in Bad Company, and Wetton in U.K. and Asia. Canadian rock band Rush's drummer Neil Peart credited the adventurous and innovative style of Michael Giles on his own approach to percussion.[250]


Tippett was born Keith Graham Tippetts in Bristol on August 25 in 1947. In the late 1960s he left for London, and started several projects with groups of various sizes like his sextet, and with fellow pianist Stan Tracey in the duo TNT, a 50-piece ensemble Centipede, and many other combinations. In the early 1970s he married Julie Driscoll, who was a famous singer with Brian Auger and the Trinity. From then on she collaborated with him using the name Julie Tippetts, adopting the original spelling of her husband's surname.


Este post sin comentarios????? pero que pasa aquí????.King Crimson es uno de los grupos más importantes de la música del siglo XX y Robert Fripp, un guerrillero musical que va por libre, siguiendo sus impulsos y sin "casarse con nadie. Para mi, "In the wake of Poseidon" es un gran disco, no tanto como "In the Court..." pero un gran disco, con un gran Mel Collins al saxo y flauta. Gracias por la labor, Mother.Saludosssssssssss


Sinceramente, analizando ambos discos, uno puede notar que la estructura conceptual es la misma. Yo me quedo con este, pues el primero, es algo lento y meloso, mientras que "in the wake of poseidon" es un ir y venir melodico sonoro impresionante. Que decir del teclado cromatico atonal de cat food, la balada con un increible arpegio de cadence and cascade, las Pictures of a city que dibujan musicalmente, con esencia de manhatan en los 40s, y la entrada al triangulo de las bermudas. El disco es una explosión sonora exquisita.


Originating from an unsuccessful 1968 album, The Cheerful Insanity of Giles, Giles and Fripp, guitarist Robert Fripp and drummer Michael Giles enlisted vocalist and bassist Greg Lake, multi-instrumentalist Ian McDonald, as well as lyricist Peter Sinfield to form King Crimson. The group were immediately successful with their debut In The Court of King Crimson, its long song lengths and instrumental virtuosity laying the groundwork for the symphonic progressive rock that was popular in the early 1970s. 350c69d7ab


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