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Posts tagged Ian McDonald
21st Century Schizoid Band – In Concert Live In Japan & Italy (2004) (@256)
28 Apr 2011
(Review from amazon)
This release contains both the “Official Bootleg Two” (Live in Japan) and “Official Bootleg Three” (Live in Italy) concert albums of the 21st Century Schizoid Band.
The Japanese concert, after a brief intro, starts with the whole band thrusting themselves raucously into `A Man A City’ which was always one of King Crimson’s early classic heavy numbers. Originally titled `Pictures Of A City’ it is a firm fan favourite in King Crimson’s early days and exactly why `The 21st Century Schizoid Band’ was formed – so that this wonderful music does not go to waste and disappear into time.
There is then a fun rendition of King Crimson’s almost hit single `Cat Food’ from the same album. You cannot help but chuckle at the lyrics. We are then taken into a little bit of solo territory with the title track from Mike Giles solo album “Progress” and “Let There Be Light” from Ian McDonald’s solo album `Drivers Eyes’. Both of these songs fit in perfectly with the mood being musically set up. This leads us nicely to the meat of the concert, a perfect rendition of `In The Court Of The Crimson King’.
The next two songs come from the “Islands”, originally recorded by a jazzy line-up featuring Mel Collins. During these “Formentara Lady” and “Ladies Of The Road”, Mel Collins is given full reign to showcase his talents. Ian McDonald then rather steals the show for the next three songs; two more from Crimson’s debut “I Talk To The Wind” with some of the finest flute playing from Ian McDonald ever heard in the rock format. Next we are treated to the beauty of “Epitaph”. Then what could be more natural for this band than to finish off the set proper with a snippet from “Birdman”, a sympathetic piano laden instrumental from the McDonald / Giles solo album of the same name from 1970.
For an encore we have the namesake “21st Century Schizoid Man”, the first track off King Crimson’s debut album. Jakko. M. Jaksyk fills Robert Fripp’s boots to bursting point whilst the others have a glorious time around his riffing, playing their hearts out, having the time of their collective lives, whilst the Japanese fans go mad for it.
The second CD contains the whole Italian concert. The line-up is a little different, with Michael Giles leaving and another seasoned King Crimson drummer, Ian Wallace filling in. Apart from the “Improv” section and the bonus studio track, all the songs performed here was also performed in the Japanese concert. However, with Ian Wallace replacing Michael Giles, it’s nice to hear what Wallace brings to the table.
Ian Wallace passed away in 2007 and the 21st Century Schizoid Band is currently inactive.
Line-up:
- Mel Collins / Baritone, Tenor and Alto Sax, Flute, Keys and Backing Vocals
- Peter Giles / Bass Guitar and Backing Vocals
- Jakko M. Jakszyk / Guitar, Vocals, Flute and Mellotron
- Ian McDonald / Keyboards. Flute, Alto Sax and Vocals
- Michael Giles / Drums, Percussion and Vocal (CD1)
- Ian Wallace / Drums, Percussion and Vocal (CD2)
Track List:
CD1
01. Schizoid Intro – 1:59
02. A Man, A City – 8:32
03. Catfood – 4:22
04. Let There Be Light – 3:18
05. Progress – 6:59
06. The Court Of The Crimson King – 7:42
07. Formentera Lady – 11:58
08. Ladies Of The Road – 7:34
09. I Talk To The Wind – 5:43
10. Epitaph – 8:42
11. Birdman – 4:24
12. 21st Century Schizoid Man – 8:32
CD2
01. Schizoid Intro – 2:00
02. A Man, A City – 8:36
03. Let There Be Light – 3:26
04. Court Of The Crimson King – 7:54
05. Ladies Of The Road – 7:11
06. Improv – 11:56
07. Birdman – 4:40
08. Epitaph – 8:42
09. Catleys Ashes (Bonus Studio) – 7:06
Link in comments.
21st Century Schizoid Band – Official Bootleg Volume One (2002) (@256)
24 Apr 2011
(Review from seaoftranqulity.org)
Here’s a little something that will rub that “nostalgia itch” for all King Crimson fans, especially lovers of the band’s first few albums. Featuring former members Ian McDonald, Michael Giles, Mel Collins, Peter Giles, plus former Level 42 guitarist/vocalist Jakko Jacszyk, 21st Century Schizoid Band plays a variety of vintage Crimson tunes that the actual band itself no longer covers. Never intended as an official release, but more as a souvenir of the 2002 tour, this is a nice walk down memory lane.
Hearing these geezers run through the jazzy “Catfood” , complete with squonking sax from Collins and McDonald’s rolling piano lines, brings back fond memories of one of the most overlooked Crimson albums, In the Wake of Poseidon. Jacszyk does a good job coming up with a Greg Lake flavored vocal, as he does on all the songs covered here. The band really gets the “sound” on “In the Court of the Crimson King”, complete with McDonald’s flute and Mellotron samples. The band pulls out “Formentara Lady” from the Islands LP, a real introspective tune that gets royal treatment here with lovely woodwinds from Collins, as well as the more jarring “Ladies of the Road”, where Jakszyk does a good job mimicking Fripp’s jangly guitar work as it does battle with Collins and his nasty sax tone. Of course, this set would not be complete without a rendition of “21st Century Schizoid Man”, the metallic progressive rock classic, in which these guys really rock the house with note for note precision, yet add a strong jazz feel at the same time. Other tunes included are “A Man A City” (the Crimson title is actually “Pictures of a City”) and the lovely “I Talk to the Wind”.
For longtime King Crimson buffs, this live album will be a load of fun. Some familiar faces dust these tunes out of the closet after 30 years and give them a fresh reworking.
Line-up:
- Mel Collins / Saxes, Flute, Keys & Backing Vocals
- Michael Giles / Drums
- Peter Giles / Bass, Backing Vocals
- Ian McDonald / Saxes, Flute, Keys & Backing Vocals
- Jakko Jakszyk / Guitar, Vocal
Track List:
01. A Man A City – 8:27
02. Catfood – 4:52
03. In The Court Of The Crimson King – 7:28
04. Formentera Lady – 12:44
05. Ladies Of The Road – 7:16
06. I Talk To The Wind – 5:25
07. 21st Century Schizoid Man – 7:37
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Ian Wallace – Happiness With Minimal Side Effects (2003) (@256)
19 Sep 2008
(Review from wikipedia, cdbaby.com, amazon)
Judge a man by the company he keeps, so the saying goes. By those standards, the company Ian Wallace keeps would rank him among the most accomplished and highly regarded drummers of his time. Sought out by acclaimed artists and successful record producers, and a favorite of fellow musicians, Ian Wallace has quietly amassed one of the most impressive musical resumes of the last three decades.
Yet he’s probably most known with his work as a member of King Crimson, in the 1971-72 period. He appeared on the album, “Islands” in 1971, and on the live album, “Earthbound” in 1972, as well as a number of later archival releases.
His sole solo album was released in 2003. The album has sweeping arrangements that groove in odd time signatures with layered melodic harmonies that tell a tale of modern existence.
The music is very crimsonish at times, partikcularly on ‘Too Much Dogma’ and ‘Castaway’. It’s a shame the intro didn’t last longer. There is mellotron aplenty and it could well fit into the ‘Islands’ album. There is some Beatle-ish chorus’s throughout. The latter tracks are like Steely Dan with the funky bass lines.
On August 10, 2006, Wallace was diagnosed with esophageal cancer. He chronicled his illness in his online blog in the hope his story would encourage others with similar symptoms to pursue treatment. He died, aged 60, with his wife, Marjorie Pomeroy, at his side.
Line-up:
- Ian Wallace / Percussion, Drums, Keyboards, Guitar, Vocals
with
- John Billings / Bass
- Clive Gregson / Guitar
- Pat Mastelotto / Drums
- Ian McDonald / Flute
- Michael Rhodes / Bass
- Kenny Vaughan / Electric Guitar
Track List:
01. Too Much Dogma
02. Castaway
03. I Can’t Breathe
04. Bad Boy
05. Captain Of Industry
06. The Spotlight
07. Pilgrim’s Progress
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McDonald & Giles – McDonald & Giles (1971) (@256)
20 Aug 2008
(Review from vintageprog.com, progarchives.com)
After recording “In the Court of the Crimson King” as founding members of King Crimson, Multi-instrumentalist Ian McDonald and drummer Michael Giles left the band. Together they managed to record one self-titled album of fine quality progressive music.
While there are some obvious nods to the feel of “In the Court of the Crimson King” this album sounds much more like Caravan and even Supersister. The album is of a much lighter and less sinister tone than anything King Crimson ever did. It has a very hippie vide, a stubborn desire for playfulness, and a “let’s find Utopia” attitude. While it doesn’t push the envelope like Fripp would, it is still an extremely enjoyable album for fans of the bands mentioned above. Top notch playing is everywhere from Giles’ very tasteful percussion to McDonald’s lovely flute and guitar. The arrangements are quite adventurous and the sound is really good. Lyrics are absurdist and silly sometimes but that’s part of the fun.
This is progressive rock weaving together all kinds of styles and ideas into one hazy patchwork quilt.
Line-up:
- Ian McDonald / guitar, piano, organ, saxes, flute, clarinet, zither, vocals and sundries
- Michael Giles / drums, percussion (including milk bottle, handsaw, lip whistle and nutbox), vocals
- Peter Giles / bass guitar
- Peter Sinfield / lyricist
with
- Steve Winwood / organ, piano solo (1)
- Michael Blakesley / trombone (4)
Track List:
01. Suite In C
02. Flight Of The Ibis – 3:18
03. Is She Waiting? – 2:42
04. Tomorrow’s People – The Children Of Today – 7:00
05. Birdman
06. Involving The Inventor’s Dream (O.U.A.T.), The Workshop, Wish-Bone Ascension, Birdman Flies!, Wings In The Sunset, Birdman-The Reflection. – 21:40
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King Crimson – KCCC25 Live at Filmore East (1969) (@256)
06 Aug 2008
(Info from progarchives.com)
This album contains two back-to-back gigs from November 21&22, 1969. The sound quality is quite good and the performances are decent. The gig from 21 November was previously released as Vol. 1 of the Epitaph Live Box Set (with the exception of The Court of Crimson King).
Line-up:
* Robert Fripp – guitar
* Ian McDonald – flute, saxophone, mellotron, vocal
* Greg Lake – bass guitar, lead vocal
* Michael Giles – drums, percussion, vocal
* Peter Sinfield – words and illumination
Track List:
01. The Court Of The Crimson King – 2:36
02. A Man A City – 12:21
03. Epitaph – 8:03
04. 21st Century Schizoid Man – 8:05
05. The Court Of The Crimson King – 2:16
06. A Man A City – 12:19
07. Epitaph – 8:31
08. 21st Century Schizoid Man – 7:56
Links in comments.
King Crimson – KCCC12 Live in London (1969) (@256)
24 Jul 2008
(Review from progarchives.com)
On this album we can hear the famous Hyde Park concert, where King Crimson played in front of some 500,000 people as opening act for the Rolling Stones. It all happened on July 5, 1969.
The concert opens with two tracks from their debut album, which at the time of this concert had yet to be released. First “21st Century Schizoid man” and then the mellotron drenched “In the Court of the Crimson King”. The next track, “Get thy bearings” was written by Donovan. It’s a jazzy track with great soloing by McDonald and a bluesy, guitar led ending. Next is a short and beautiful version of “Epitaph”. This is followed by “Mantra”, also a short tune. It sounds spooky and has a beautiful flute sound. Without noticing this track turns into the next track, “Travel Weary Capricorn”. This is also a very jazzy tune. The concert ends with “Mars” (written by Holst). This music would be used for the track “The Devils Triangle” on the album “In the Wake of Poseidon”.
As bonus tracks there is an interview with the members of the first King Crimson incarnation at the time the live album Epitaph was released (March 15, 1997). But even more interesting there is an instrumental version of “21st Century Schizoid Man”, recorded at Morgan Studio on June 12, 1969.
The sonic quality of this release is acceptable and comparable to the mainstream Epitaph live set.
Line-up:
* Robert Fripp – Guitar
* Ian McDonald – Flute, Saxophone, Mellotron, Vocal
* Greg Lake – Bass Guitar, Lead Vocal
* Michael Giles – Drums, Percussion, Vocal
* Peter Sinfield – Words and Illumination
Track List:
01. 21st Century Schizoid Man – 6:37
02. In The Court Of The Crimson King – 6:31
03. Get Thy Bearings – 9:41
04. Epitaph – 4:28
05. Mantra – 3:04
06. Travel Weary Capricorn – 5:37
07. Mars – 3:59
08. Band Reunion Meeting (Bonus 1997) – 15:20
09. 21st Century Schizoid Man (Bonus Instrumental 1969) – 6:48
Links in comments.
King Crimson – KCCC01 Live at Marquee (1969) (@256)
14 Jul 2008
(Review from wikipedia, progarchives.com)
In 1998, King Crimson Collectors’ Club (KCCC) were founded, a service that regularly releases live recordings from concerts, studio sessions and radio sessions throughout the band’s career.
Live at The Marquee is the first of many KCCC albums. Tracks 1-7 believed to be recorded at the Marquee Club, London, UK, July 6, 1969. Track 8 was recorded at the Fairfield Halls, Croydon, UK, October 17, 1969.
Fripp is absolutely marvelous on this record, and his harmonizations and arpeggios are flawlessly executed, as well as the occasional shreds. Greg Lake’s vocals here are awfully forced and there’s hardly any modulation in his voice, often just shouting. Giles is Giles as always, a very underrated drummer, although this album is probably not the best way to be introduced to his talents; studio albums will do much better. Ian McDonald’s flute sounds flowing as always, especially on “Travel Weary Capricorn”: a very jazz-flavoured piece, in which he pulls out a “Ian Anderson”.
This album has the worst bootleg quality you could find anywhere, but if you’re not an audiophile or a sound quality freak, then this will present no problem. Proceed with caution though… this albums has as much flaws as virtues.
Line-up:
* Robert Fripp / guitar
* Greg Lake / bass guitar, vocals
* Ian McDonald / woodwinds, keyboards, mellotron, vocals
* Michael Giles / drums, percussion, vocals
* Peter Sinfield / illumination
Track List:
01. 21st Century Schizoid Man – 6:21
02. Drop In – 5:41
03. I Talk to the Wind – 5:17
04. Epitaph – 3:20
05. Travel Weary Capricorn – 11:06
06. Improv (including Nola and Etude no. 7) – 12:29
07. Mars – 8:29
08. Trees – 18:44
Links in comments.
King Crimson – Epitaph (Live 1969) (@256)
26 Jun 2008
Thanks to Bragi Taliesin for the contribution.
(Review from rollingstone.com, wikipedia)
“Epitaph” features four hours of previously unissued live music. It covers a minute slice of King Crimson’s ongoing history: the seven months between the group’s BBC Radio debut, in May ’69, and the December Fillmore West weekend, when the founding lineup performed its last shows. The music explains much about how Fripp, McDonald, bassist Greg Lake, drummer Michael Giles and lyricist Peter Sinfield defined progression in rock.
For live performances of the first incarnation of King Crimson, look no further.
Line-up:
- Robert Fripp / guitar
- Michael Giles / drums, percussion, backing vocals
- Greg Lake / bass, lead vocals
- Ian McDonald / woodwinds, keyboards, mellotron, vocals
Track List:
CD1 (BBC Radio 1969, Fillmore East Nov 1969, Fillmore West Dec 1969)
01. 21st. Century Schizoid Man
02. In The Court Of The Crimson King
03. Get Thy Bearings
04. Epitaph
05. A Man, A City
06. Epitaph
07. 21st. Century Schizoid Man
08. Mantra
09. Travel Weary Capricorn
10. Improv. Travel Bleary Capricorn
11. Mars
CD2 (Fillmore West, December 14, 1969)
01. In The Court Of The Crimson King
02. Drop In
03. A Man, A City
04. Epitaph
05. 21st. Century Schizoid Man
06. Mars
CD3 (9th National Jazz and Blues Festival, August, 1969)
01. 21st Century Schizoid Man
02. Get Thy Bearings
03. In the Court of the Crimson King
04. Mantra
05. Travel Weary Capricorn
06. Improv (including By the Sleeping Lagoon)
07. Mars
CD4 (Victoria Ballroom, September 7, 1969)
01. 21st Century Schizoid Man
02. Drop In
03. Epitaph
04. Get Thy Bearings
05. Mantra
06. Travel Weary Capricorn
07. Improv
08. Mars
Links in comments.
King Crimson – Red (1974) (@256)
15 Jun 2008
(Review from progreviews.com, vintageprog.com, wikipedia)
With David Cross’ exit from the band, King Crimson forged ahead as a trio, and produced this, the last album Crimson would make in the 70s. Red is often cited as the strongest of the three Larks’-era albums, and sometimes of King Crimson’s entire discography. Generally, here the band is consistently heavier in force and tighter in focus than ever before, with the departure of any remaining possibility for the violin line of abandon from Cross.
The first side is a juggernaut of solid musicianship and probably represents the most accessible and distilled album side for this era of the band. The title-track opens the album, and is as typical for this version of Crimson as it can get, consisting of a simple but yet powerful and heavy riff that carries the track all the way through. “Fallen Angel” is a strong vocal-track with the mellotron mixed very far back in the sound on the verse, while the chorus is a far heavier and more electric thing. “One More Red Nightmare” is another prime example of how Fripp could use a very simple riff to create a really powerful and enjoyable progressive rock track.
The masterpiece of Red, however, is doubtlessly the album’s closer “Starless”. It’s hard to find a more emotional, down-to-earth moment in Crimson’s repertoire than Wetton’s weary voice clutching for a ray of hope as it enters past the melancholic, mellotron-drenched opening: “Sundown, dazzling day…” The thunderous climax (in 13/8) and sweepingly powerful ending of the song closes the chapter on 70s Crimson like an unstoppable (and unforgettable) deluge.
Robert Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the “world was coming to an end”. The Red line-up never toured, and two months before the album’s release Fripp announced that King Crimson had “ceased to exist” and was “completely over for ever and ever” and the group officially disbanded on late September 1974.
Line-up:
- Robert Fripp / guitars
- Bill Bruford / drums
- John Wetton / bass, vocals
with
- Mark Charig / cornet
- Mel Collins / soprano saxophone
- David Cross / violin
- Ian McDonald / alto saxophone
- Robin Miller / oboe
Track List:
01. Red – 6:17
02. Fallen Angel – 6:04
03. One More Red Nightmare – 7:07
04. Providence – 8:11
05. Starless – 12:18
Link in comments.
King Crimson – In the Court of the Crimson King (1969) (@256)
09 Jun 2008
(Review from wikipedia, vintageprog.com)
The initial “Giles, Giles and Fripp” band was changing, as their debut record had not been particularly successful. The first musician to be added to their new line-up was the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald had been writing songs with lyricist Peter Sinfield who also joined the new group. Fripp’s childhood friend, singer-guitarist Greg Lake, was recruited, and replaced Peter Giles on bass, also singing for the band. Shortly afterward they purchased a mellotron and began using it to create an original orchestral rock sound. The name King Crimson was coined by lyricist Peter Sinfield as a synonym for Beelzebub, prince of demons. According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase “B’il Sabab”, meaning “the man with an aim”.
No serious progressive rock fan can be without a single King Crimson-album in his collection. While their output not always was the most even one, they were undoubtedly one of the most important and influential progressive rock bands ever. King Crimson’s membership has fluctuated considerably throughout their existence. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band’s leader. He describes King Crimson as “a way of doing things” and notes that he never originally intended to be seen as the head of the group.
“In the Court of the Crimson King” is the definitive debut-album by a progressive rock band and it remains to most as King Crimson’s best album ever.
The legendary opener “21st Century Schizoid Man” is a heavy, complex, raw, angry and ultra energetic showcase of angry, sax-driven progressive rock. Greg Lake spits out the lyrics with a distorted effect on his voice to underline the aggression and anger in both the music and lyrics. Peter Sinfield’s lyrics may seems weird and hard to understand at first, but most people with a certain degree of fantasy will be able to understand most of his genius metaphors.
The rest of the record is of a much more mellow and symphonic kind, where the mellotron creates an often-sinister carpet of sound that perfectly fits the mood of the music and lyrics. “I Talk to the Wind” is actually one of the “brightest” moments here, with a pleasant and relaxed melody that is beautifully surrounded by the flute. “Epitaph” is far darker and features one of Sinfield’s best lyrics ever. Just the mellotron combined with Fripp’s mellow guitar-tones on the beginning is enough to make you shiver.
The fantastic title track is simply so beautiful and majestic that it can’t be described in words. Nobody had until then used the mellotron in a better, more powerful and symphonic way than this. Everything goes straight to heaven each time the chorus appears. Symphonic progressive rock can impossibly get any better than this.
“In the Court of the Crimson King” is one of progressive rock’s most magic moments.
Line-up:
- Robert Fripp / guitar
- Greg Lake / bass guitar, lead vocals
- Ian McDonald / reeds, woodwind, vibes, keyboards, mellotron, vocals
- Michael Giles / drums, percussion, vocals
- Peter Sinfield / words and illumination
Track List:
01. 21st Century Schizoid Man (including Mirrors) – 7:23
02. I Talk To The Wind – 6:06
03. Epitaph (including March For No Reason and Tomorrow And Tomorrow) – 8:48
04. Moonchild (including The Dream and The Illusion) – 12:12
05. The Court Of The Crimson King (including The Return Of The Fire Witch and The Dance Of The Puppets) – 9:23
Link in comments.
Giles, Giles and Fripp – Brondenbury Tapes (1968) (@256)
09 Jun 2008
(Review from progarchives.com)
This wonderfully fun, well-recorded and absolutely hilarious collection from a session in 1968 after the making of their first album is a delight. It is especially interesting if you have a penchant for the very earliest beginnings of progressive rock and it was during this period lyricist Peter Sinfield and multi-instrumentalist Ian McDonald began working with the boys, later transforming into the legenary King Crimson. Some tracks such as ‘Why Don’t You Just Drop In’ and ‘Digging My Lawn’ are shameless 1960s pop but others are sweet-sounding and carefully constructed like ‘Under the Sky’ with Judy Dyble’s lovely soprano and McDonald’s jazzy flute, the psycho- symphonic ‘Murder’, and the gorgeous arrangements and Beach Boys harmonies of ‘Wonderland’.
This is not a record one pulls out to play very often and it is rife with so many cliches as to make it a spoof of itself, like some joke 60s band right out of ‘This is Spinal Tap’, vainly trying to fit in to a quickly disappearing fad and doing it badly, to boot. But the music is thoroughly pleasant, well-produced and will make you giggle all at the same time.
The tapes can be fascinating for the Crimson fanatic (the first two versions of I Talk To The Wind with Dyble on vocals and McDonald on flute but also the version without those two) but can be tedious to the casual listener.
Line-up:
- Robert Fripp / guitar
- Peter Giles / vocals, bass
- Michael Giles / vocals, drums
with
- Ian McDonald / vocals, piano, flute, saxophone, guitar, clarinet
- Judy Dyble / vocals
- Al Kirtly / piano
Track List:
01. Hypocrite 3:41
02. Digging My Lawn (a) – 1:59
03. Tremelo Study In A Major (Spanish Suite) – 1:41
04. Newly Weds – 1:53
05. Suite No. 1 5:34
06. Scrivens 2:15
07. Make It Today (a) 3:27
08. Digging My Lawn (b) – 1:55
09. Why Don’t You Just Drop In (i) 3:40
10. I Talk To The Wind (1) 3:18
11. Under The Sky (x) 3:53
12. Plastic Pennies 2:19
13. Passages Of Time 3:32
14. Under The Sky (xx) 2:50
15. Murder 2:41
16. I Talk To The Wind (2) 3:15
17. Erudite Eyes 6:47
18. Make It Today (B) 4:46
19. Wonderland 6:09
20. Why Don’t You Just Drop In (ii) 3:42
21. She Is Loaded 3:12
Links in comments.
Steve Hackett – Genesis Revisited (1996) (@256)
28 Mar 2008
(Review from progarchives.com)
If you’re going to revisit some of the songs you created with one of the world’s greatest rock bands, you might as well do it properly. Hackett does exactly that with this album. He gathered together some of the finest musicians available, with the noticeable exclusion of any of his former band mates but including the Royal Philharmonic Orchestra.
The opening “Watcher of the skies” is slightly slower, more majestic, than the “Foxtrot” original. The wonderful introduction sounds even better as the mellotron is accompanied by full orchestra. John Wetton’s vocals can make any track sound good, but where he guests on tracks on this album, as he does on “Watcher of the Skies” (and “Firth of Fifth”) he adds an atmosphere to them which changes their feel completely. Hackett takes on vocal duties himself for “Dance on a volcano”, which is a pity really, as it’s otherwise superb. He does the same on “Fountain of Salmacis”. With so many talented vocalists to hand, such self indulgence is at best unnecessary.
“Firth of fifth” is transformed completely. The intro is a delicate piece of orchestration, while out goes the flute solo and intricate Tony Banks keyboard solo. In comes a completely different precursor to Hackett’s famous guitar solo. Just as you’re starting to despair and think that Hackett has done the unthinkable and disposed of his finest contribution to the Genesis archive, the sound of his guitar breezes in ever so gently before soaring even more beautifully and to even greater heights.
A couple of the tracks are not really re-visits as such, “Valley of the kings” and “Déjŕ vu” not being original Genesis tracks. That said, Peter Gabriel apparently started the latter in the 1970’s while still with the band, and Paul Carrack’s vocals are excellent on the finally finished product. “The waiting room” is nominally the track from “The lamb..”, but in reality, it’s a completely different piece in the form of a jam with heavy jazz overtones. For me, it doesn’t work, and would have been better left off the album altogether. The other tracks are interesting, and at times inspired re-workings, closing with the always excellent “Los endos”.
It’s easy to question some of the songs Hackett has chosen to “revisit”, and there are many others which it would have been good to have seen included, but remember these are his personal choices.
“Watcher of the skies” and “Firth of fifth” are the clear beneficiaries of Hackett’s re-interpretations, and it has to be said that some of the others would have been better left alone, but overall it is a commendable album indeed.
Line-up:
- Steve Hackett / vocals, guitars, percussion, harmonica, orchestration
with
- John Wetton / vocals, bass
- Bill Bruford / drums
- Tony Levin / bass
- Chester Thompson / drums
- Ian McDonald / saxophone, flute
- Paul Carrack / vocals
- Colin Blunstone / vocals
- Alphonso Johnson / bass
- John Hackett / flute
- Pino Palladino / bass
- Julian Colbeck / keyboards
- Aron Friedman / keyboards, orchestration, programming
- Hugo Degenhardt / drums
- Nick Magnus / keyboards, programming
- Will Bates / saxophone
- Royal Philharmonic Orchestra Sanchez / Montoya Chorale
- Roger King / keyboards, vibraphone, orchestration, programming
- Jerry Peal / keyboards, programming
- Ben Fenner / keyboards, orchestration, programming
Track List:
01. Watcher of the Skies (8:40)
02. Dance On A Volcano (7:28)
03. Valley Of The Kings (6:29)
04. Déja Vu (5:53)
05. Firth of Fifth (9:39)
06. For Absent Friends (3:02)
07. Your Own Special Way (4:18)
08. Fountain of Salmacis (9:53)
09. Waiting Room Only (6:53)
10. I Know What I Like (5:37)
11. Los Endos (8:51)
Links in comments.
