- In The Wake Of Poseidon
- King Crimson In The Wake Of Poseidon
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The King is dead.long live the king Quite possibly the worst Crimson album ever released (so 'Earthbound' and 'Islands' sucked too, but at least they had some energy and balls) representing a particularly barren and fractious period in the band's history. Lake and MacDonald appeared to jump ship in the middle of this and given the horrors on offer, probably chose wisely. Michael Giles was to follow soon thereafter and it seems clear from published records of this exodus that the Crims were not a happy bunch of campers. THE GOOD: 'Pictures of a City' strays perilously close to '21st Century Schizoid Man' in its compositional structure but is still a belter in the Crims catalogue and easily the best track here by a country mile or two. The music before the singing starts appears to be a conventional minor blues but they manage somehow to coax an angular jarring effect out of these traditional changes?
I have always loved Michael Giles drumming and his unique style on their 1st two albums lends a rhythmic subtlety and anchor to the music. 'Cadence and Cascade' debuts the toffee coated larynx of Mr Gordon Haskell to beautiful effect as the song fits his soporific style perfectly. Interestingly, another version of this melody appears on the 'MacDonald and Giles' album under a different name.
The writs must have been flying. 'Catfood' is rather silly but utilises the infectious bass riff in the Beatles 'Come Together' to great effect and, even though commercially orientated enough to be released as a single, manages to contain some truly freaky and avant garde piano from Tippett (the 'Top of the Pops' audience look bemused on the footage) 'In the Wake of Poseidon' ain't too shabby a song but its form and structure relegates it to being a pale imitation of 'Epitaph' from the debut album.
Like an ornate and lavishly assembled marble archway to a mud hut. THE BAD: 'Peace' in its three guises is just plain drippy and wetter than a dolphin's wedding tackle. The melody is neither memorable in its unadorned or arranged settings and just seems like a waste of time all round. Lake's vocal is quite plaintive yes, but as for unforgettable hooks, you don't hang your coat on a spear do you?
THE UGLY: 'The Devil's Triangle' or more appropriately, 'Satan's Chocolate Fireplace' is an incoherent welter of half-baked and unfinished ideas ladled over a sludgey bolero beat lifted straight from Holst's 'Planets Suite' Lovers of the Mellotron (of which I am more than partial) would even turn their noses up at this concoction. It just never goes anywhere or has a transitional development to speak of and seems to last for days.
Intense yes, but so is a jackhammer. King Crimson regrouped after this debacle and went on to record some of the most innovative music in the 70's bar none, and for their fortitude alone, we should be thankful. Unfortunately this record suffers from the inevitable comparisons with its ground breaking predecessor, and Robert and his ever changing stalwarts of the Red Guard are guilty of applying 'In the Court's' template onto much weaker material which simply disintegrates under the strain.
King Crimson's debut was so incredible that their legion of fans could hardly wait for the follow-up to hit the racks. Unbeknownst to most of us there was more drama going on within the band than a TV soap opera with members coming and going constantly.
When I learned later on about the personality conflicts and constant strife the group was enduring while trying to record this album it's a wonder it got finished and even more surprising that it's as good as it is. The Poseidon adventure starts with a simple theme that will recur from time to time, 'Peace - A Beginning,' with Greg Lake singing the melody solo. Those of us who aurally devoured the first LP couldn't help but smile as the beginning of 'Pictures of a City (including 42nd at Treadmill)' gave us a needed taste of what we loved about this band. It features a gutsy crawling blues progression from Hell and Lake's snarling rendition of Pete Sinfield's subliminal lyrics ('Concrete cold face cased in steel/stark sharp glass-eyed crack and peel'). Peter Giles on bass and his brother Michael on drums combine to make an outstanding rhythm section and it's nowhere as obvious as it is here. Many characteristics that made '21st Century Schizoid Man' so alluring are included in the arrangement of this song and that's not meant as a detriment at all. However, the next tune, 'Cadence and Cascade' makes you realize that something is askew in the Crimson household.
Some guy named Gordon Haskell weakly sings this dismal ballad that is about as intriguing as day old dishwater. Some nice flute from newly acquired Mel Collins is welcomed but it's not enough to save this toadstool. A return to familiar territory is desperately required at this point and 'In the Wake of Poseidon (including Libra's Theme)' is a step in the right direction. It's vaguely akin to 'Epitaph' yet not quite as good. Robert Fripp does a decent job of replacing Ian McDonald on the Mellotron, Lake turns in another excellent vocal performance and Michael Giles adds his interesting crazed drum fills to the finale but there's an underlying stress weaving throughout the song that can't be ignored. The short 'Peace - A Theme' is a sweet acoustic guitar return to the original melody that further displays Fripp's versatility.
'Cat Food' is a cool, hip tune and the most commercial sounding in the band's history. I picture in my head some big cheese at Atlantic (after reviewing the success of the 1st album) shouting 'Now we just need those boys to give us a hit!' And this is the result. I've always loved this song personally because, even though it kinda reminds me of the riff from The Beatles' 'Come Together,' there's no way this group could play it straight. Keith Tippet's wild piano spasms and Greg's snide crooning of Sinfield's sarcastic lines like 'Goodies on the table/with a fable on the label/drowning in miracle sauce/Don't think I am that rude/if I tell you that it's cat food/not even fit for a horse!'
Create a fun five minutes for the listener. (Imagine what Pete thinks of today's processed foods!) And the last two minutes get delightfully weird with everybody taking a turn or two at contributing a moment of strangeness. Next is a little over eleven minutes of Robert Fripp and, as it lists in the credits, his 'devices.' With one of the longest Mellotron fade-ins in history, 'The Devil's Triangle' establishes a musical theme played over a marching drumbeat. 'Merday Morn' is a continuation of the same melody as it grows more intense and discordant. Manic piano runs can be heard in the mix, then things reach cacophony.
'Hand of Sceiron' is just howling wind noises and then what can only be described as arrhythmic taps before 'Garden of Worm' returns you to more bizarre avant garde dissonance in which you'll hear a short snippet of 'The Court of the Crimson King' whiz by your ears. The song is adventurous, to be sure, but it doesn't do much for me in the long run. 'Peace - An End' bookends the album with the same air you heard in the beginning. This time Lake sings softly over an acoustic guitar, bringing the album to a serene finale.
I've always found that tiny sample from the debut swirling inside 'Garden of Worm' to be significant. It's as if Robert Fripp was bidding farewell to the attitude and sound created by that initial collection of musicians because KC would never sound much like that again. The 3rd album would find the band going down a wholly new path with different personnel and never looking back. While this sophomore effort is flawed and has less of a jazz presence than any of their albums, it still deserves merit for a couple of outstanding songs and the determination it must have taken to get the album in the record bins at all. Poseidon is well known as having full domain of the oceans and is known as 'God Of The Sea,' however he is also referred to as 'Earth-Shaker' because he was thought of being the cause of earthquakes as well, so I guess the title of this album refers to the aftermath of the band after the sudden success of KC's debut album and following tours which were too much for Ian McDonald and Michael Giles who soon parted ways followed by Greg Lake being seduced by Keith Emerson to form ELP. That left Robert Fripp and Peter Sinfield as the only original members after it was decided that it was pretty much Fripp's musical vision in the first place. The former members did agree to sit in as studio musicians only.
What a change from the debut. This album seems to me like a collection of leftovers and outtakes. The very first full song 'Pictures Of A City' is obviously nothing more than a reworking of '21st Century Schizoid Man.'
One of the better pieces on the album is 'The Devil's Triangle' which was inspired by Gustav Holt's 'Mars: Bringer Of War' from 'The Planets Suite.' An ok album but too obvious that it is a half-assed reworking of the debut.
Given the band's tumultuous history it's somewhat understandable and would be a mere blip in the parade of outstanding releases to come. Despite its inferiority to “In The Court.” I still find this a worthy occasional listen. In the Wake of Poseidon sees Robert Fripp trying his best to put out a King Crimson album at a point in time when the band had for all intents and purposes completely disintegrated, with only Fripp and Sinfield 100% committed to keeping the project going.
Calling in favours from former bandmates and the likes of Keith Tippett, Fripp manages to throw together an album which is extraordinarily good considering the circumstances - but in terms of objective quality it's clearly not a top tier Crimson album. The Devil's Triangle, a Crimson take on Holst's Mars, Bringer of War, is a highlight of the album, as is Pictures of a City (which brings in a heavy jazz influence). But most of the other songs seem knocked off in a hurry (like Cat Food) - probably because they were - or seem to be mere unfinished sketches, like the Peace fragments scattered throughout the album. And the lack of solid development following on from In the Court.
Is undeniable. No doubt this is the best album Fripp could throw together at the time. But the dire circumstances meant that the best he could do is simply 'acceptable' rather than 'revolutionary'. In The Wake Of The Crimson King? One of the bigger debates among Crimson fan is how much a carbon copy Poseidon was to Court. Given the strong pressure to release another album by their label, and the fact that members were leaving left, right & centre, that there was no real group around the time of recording Poseidon, it was probably tempting to reproduce the same kind of songs that made the debut such as success.
In The Wake Of Poseidon
So yes, Pictures Of A City is based upon Schizoid Man, yes, Cadence is a rehashing of Talk To The Wind, and this album's title track is definitely inspired on the title track of the previous album. So all these three 'derivative' tracks are grouped on the first side of the album and bookended by two of the three Peace pieces, which are completely original and pleasant, even if a bit needless.
And furthermore, the three 'guilty' tracks are debatably superior technically to their inspirational muse. Onto the flipside, Cat Food is an amazing track where young 'jazz' pianist sensation of the time Keith Tippett gives an incredible performance, a highly original track, which came in an edited version as a single.
The rest of the album is made from another completely original piece, The Devil's Triangle, based on a Gustav Holtz piece, but the three part epic sounds like nothing that'd been, done before, even by a certain King Crimson. Excellent eerie stuff that sees a small prolongation in the last part of the Peace theme that closes the album. PS: rare enough to mention on Crimson albums, Poseidon might just be the only studio album ever to come with bonus tracks in the future, as both sides of the Cat Food/Groon single have been added, but not on every issue. In either case, Poseidon seems to be marked forever and a bit unjustly with the 'carbon copy' sticker, but even if partially true, it remains a must for every Crimson fan.
. 'Cat Food' Released: 13 March 1970 In the Wake of Poseidon is the second studio album by English group, released in May 1970 by in Europe, in the United States, and in New Zealand. The album was recorded during instability in the band, with several personnel changes, but repeats the style of their first album,.
As with their first album, the mood of In the Wake of Poseidon often changes from serene to chaotic. The album was their highest-charting in the UK, reaching number 4.
It has been well received by critics. This section does not any. Unsourced material may be challenged and. (September 2013) and left the band following their first American tour in 1969. Was the next member to leave, after being approached by to join what would become in early 1970.
This left as the only remaining musician in the band, taking on part of the keyboard-playing role in addition to guitar. To compensate, increased his own creative role and began developing his interest in synthesizers for use on subsequent records. Lake agreed to sing on the recordings for In the Wake of Poseidon (negotiating to receive King Crimson's PA equipment as payment). Eventually, he ended up singing on the band's early 1970 single 'Cat Food' (the flip side was 'Groon') and on all but one of the album’s vocal tracks. The exception was 'Cadence and Cascade', which was sung by Fripp's old schoolfriend and teenage bandmate.
There does exist however, an early mix of the song with Lake singing a guide vocal which was unearthed and featured on the DGM site as a download. At one point, the band considered hiring the then-unknown to be the album's singer, but decided against it.
Other former members and associates returned – as session players only – for the Poseidon recordings, with all bass parts being handled by and drumming. (formerly of the band Circus) contributed saxophones and flute.
Another key performer was jazz pianist, who became an integral part of King Crimson's sound for the next few records (although Fripp offered him full band membership, Tippett preferred to remain as a studio collaborator and only performed live with the band once). On 25 March 1970, the line-up of Fripp, Lake, Tippett, Mike and Peter Giles taped a mimed performance of the single version of 'Cat Food' for the following night's broadcast of BBCTV's. It was to be King Crimson's sole British TV appearance until 1981. While the footage was thought wiped for decades, most of the performance has since been rediscovered (though in monochrome) as it was licensed to the European show Hits a Go Go and was repeated in 2015. Several photographs taken backstage and of the dress rehearsal also document the performance. With the album on sale, Fripp and Sinfield remained in the awkward position of having King Crimson material and releases available, but not having a band to play it. Fripp persuaded Gordon Haskell to join permanently as singer and bass player, and recruited drummer Andy McCulloch, another Dorset musician moving in the West London progressive rock circle, who had previously been a member of Shy Limbs (alongside Greg Lake, who recommended him to Fripp) and.
Mel Collins was also retained as a full band member. Content The album opens with an piece called 'Peace – A Beginning', which is reprised instrumentally in the middle of the album and vocally again at the end. The strongly -influenced 'Pictures of a City' was originally performed live, often extended to over ten minutes and was called 'A Man, a City'. An example of such a performance can be found on the live compilation album. The longest track on the album is a chaotic instrumental piece called 'The Devil’s Triangle'. This was adapted from the 1969 band's live arrangement of 's 'Mars: Bringer of War' (from his suite) which can be heard on Epitaph (where it is titled merely 'Mars'). King Crimson was forbidden by Holst's legal estate to use his piece, so 'The Devil's Triangle' employs a different staccato riff than the one from 'Mars'.
In 1971, a brief excerpt from 'The Devil’s Triangle' was featured in ', the second serial of the eighth season of the television series. Also, the track samples the chorus from ', the title track from the band's first album, a studio technique known as.
Album cover The work is called The 12 Archetypes or The 12 Faces of Humankind. The colour pictures were painted by Tammo De Jongh in 1967. The twelve faces in the picture are as follows:. The Fool (Fire and Water): The laughing man with a wispy beard. The Actress (Water and Fire): The Egyptian girl with long pearl earrings and many pearl necklaces around her neck, she has tears in her eyes. The Observer (Air and Earth): A scientist type person with round spectacles pushed up above his brow, mostly bald head with white hair at the sides; his left hand is held up to his chin, he looks thoughtful. The Old Woman (Earth and Air): A woman with much wrinkled face wrapped up against the cold.
The Warrior (Fire and Earth): A dark and powerful warrior's face in blacks and reds. He wears a steel helmet, broad square face, open mouth with square teeth and a full black beard. The Slave (Earth and Fire): A black African with large gold earrings and a ring through her nose; the lips are full and pink, the eyes half-closed, sultry and sensuous; the expression is warm and friendly. The Child (Water and Air): A picture of innocence; a girl with delicate sweet smile and butterfly shaped bows at each side in her long golden hair; her eyes are large and watery and she has a delicate sweet smile on her mouth.
She wears a gold chain, on the end of which is a small golden key. The Patriarch (Air and Water): An old philosopher, with a long face and long white hair and long white beard and moustache; white bushy eyebrows; all around are shapes like flowers or snowflakes; the brow is furrowed upwards from the nose in a fan-like fashion. The Logician (Air and Fire): A scientist or wizard type man with long face, dark hair and long dark beard; he appears to hold a long stick or wand with his right hand and his left is held aloft and surrounded by stars. The Joker (Fire and Air): The picture in bright reds and yellows is of a smiling twinkle-eyed Harlequin with his typical gold-stuccoed, triangular hat. The Enchantress (Water and Earth): A sad girl with watery eyes; her long dark hair is blown sideways across her face and brow from right to left. Mother Nature (Earth and Water): Lying asleep in the long grass; their face in silhouette is viewed from the left side and all around are the flowers and butterflies.
Release Released on 15 May 1970, In the Wake of Poseidon was King Crimson's highest-charting album to date in the UK, reaching number 4. The album was re-released in 2010 with a near-complete new stereo mix by Steven Wilson and Robert Fripp.
King Crimson In The Wake Of Poseidon
As tape for one track, 'The Devil's Triangle', could not be located, the original stereo was included instead. The CD also includes a new mix of 'Groon' ('Cat Food's ), an alternate take of 'Peace: An Ending', and Greg Lake's guide vocal take of 'Cadence and Cascade'. The DVD-A features a 5.1 mix by Steven Wilson, with 'The Devil's Triangle' up-mixed to 5.1 by Simon Heyworth, hi-res stereo versions of the 30th anniversary stereo master, the 2010 album mixes and ten hi-res bonus tracks including the original single 'Cat Food'/'Groon', the bonus tracks from the CD, and a number of other session takes, rehearsals and mixes. Reception Professional ratings Review scores Source Rating C+ rated the album higher than the debut, describing it as 'more muddled conceptually than ' but commenting that 'they're not afraid to be harsh, they command a range of styles, and their dynamics jolt rather than sledgehammer'.
In his contemporary review, 's Bruce Eder praised the album, saying that it was better produced than their debut, but he also said that it 'doesn't tread enough new ground to precisely rival In the Court of the Crimson King'. 'The Mellotron, taken over by Fripp after McDonald's departure', he continued, 'still remains the band's signature'.
He also praised a 24-bit digitally remastered edition released in March 2000. Track listing All European LPs issued by Island and Polydor have erroneously printed labels that leave off 'Peace – A Theme' and list 'The Devil's Triangle' and its three movements as four distinct tracks. Most US and Japanese Atlantic LPs use the correct track listing.
All songs written by and, unless otherwise indicated. Title Length 1.
'Peace – A Beginning' 0:51 2. 'Pictures of a City'. including '42nd at Treadmill' 7:57 3. 'Cadence and Cascade' 4:35 4. 'In the Wake of Poseidon'. including 'Libra's Theme' 8:24 Side B No. Title Writer(s) Length 5.
'Peace – A Theme' 1:15 6. 'Cat Food' Fripp, 4:52 7. 'The Devil's Triangle' (instrumental). I. 'Merday Morn'. II.
'Hand of Sceiron'. III. 'Garden of Worm') Fripp, McDonald 11:30. 3:47. 4:01. 3:45 8. 'Peace – An End' 1:54 Bonus tracks on 30th Anniversary Edition No.
Title Length 9. 'Cat Food' (single version) 2:45 10. 'Groon' (single b-side; music by Fripp) 3:35 2010 40th Anniversary Series re-issue bonus tracks No. Title Length 11.
'Groon' 3:35 12. 'Peace – An End' (Alternate mix) 2:06 13. 'Cadence & Cascade' (Greg Lake vocal) 4:32 2010 40th Anniversary Series re-issue DVD-A bonus tracks No. Title Length 1. 'Cat Food' 2. 'Groon' ( b-side) 3:35 3.
Youtube How To Play In The Wake Of Poseidon
'Cadence & Cascade' (Unedited master) 4. 'Cadence & Cascade' (Greg Lake guide vocal) 4:32 5. 'Cadence & Cascade' (Instrumental take from Wessex Studios) 6. 'Groon' (Take 1) 7. 'Groon' (Take 5) 8.
'Groon' (Take 15) 9. 'The Devil's Triangle' (Rehearsal version from Wessex Studios) 10. Reed, Ryan (May 15, 2015).
Ultimate Classic Rock. Townsquare Media. Retrieved 29 May 2017. Poseidon was Lake’s King Crimson swan song, but he almost wasn’t needed for the LP.
Though the fact’s become a peculiar footnote in rock history, emerging talent Elton John was originally hired to sing on the sessions before Fripp changed his mind. Martin, Bill (December 1, 1998). Listening to the Future: The Time of Progressive Rock, 1968-1978.
Chicago and La Salle, Illinois: Carus Publishing. Burk, Graeme; Smith, Robert (October 1, 2013). Who's 50: The 50 Doctor Who Stories to Watch Before You Die - An Unofficial Companion. Toronto, Canada: ECW Press. Retrieved 21 October 2013. Retrieved 25 February 2010. Retrieved 6 August 2016.
Retrieved 30 July 2010. ^ Eder, Bruce. Retrieved 28 June 2011.
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^ Christgau, Robert. Retrieved 28 June 2011. Campbell, Hernan M. (3 November 2012). Retrieved 10 April 2013.
Retrieved 14 November 2017. External links. at (list of releases).
An item that has been previously used. See the seller’s listing for full details and description of any imperfections. Seller notes: “ The condition of the record is excellent +. The textured gatefold sleeve is excellent +. The labels are clean with no spindle marks.
A superb example! ” Genre: Rock Title: In The Wake Of Poseidon Sub-Genre: Progressive Label: Island / Polydor Records Record Size: LP (12-Inch) Catalogue Number: ILPS 9127 / 2302 058 Speed: 33RPM Year: 1970 Country/Region of Manufacture: United Kingdom Special Attributes: original late 1970s Polydor / Island UK repressing Artist: King Crimson EAN: Does not apply.
I'd like to follow up on a comment made by the previous reviewer with regard to Haskell's vocals on 'Cadence and Cascade.' I'm not sure wobbly is the right adjective to describe the vocal performance; it is understated, and therefore perfectly suited to the mellow tone of the song. I find the vocals to be fine on this track and disagree that this song represents a weak aspect of the album in any way. 'Cadence and Cascade' is a high point for me due to the excellent drumming and enticing flute solo. This song also sounds remarkable through headphones. I agree with the previous reviewer in all other respects, just thought I would share an alternative perspective regarding 'Cadence and Cascade.' I had this one - living in Ukraine in 1993, that was the only way for a poor schoolboy to get a King Crimson record ) The LP-master was cut from the Definitive Edition CD (they couldn't possibly have had an access to any master tape) and, needless to say, the sound wasn't right EQ-wise, it was thin.
But for that very reason (CD-origins) it had better dynamics than any Atlantic release. The cover was made of thin cardboard (or thick paper if you like) - no lamination, no texture, just the cheapest cover material the label (AnTrop aka Santa) could get.
Way better than nothing. Arguably the worst packaging a KC album has ever received, and for that alone a curious collector's item. The band already went through lineup changes, as Ian McDonald left, leaving wind instruments to Mel Collins (previous of the band Circus, the band that recorded for Transatlantic, that is, and later all over the place including Camel, The Alan Parsons Project, Clannad, etc.). Mellotron duty now left up to Robert Fripp. Even Greg Lake didn't want to continue on, he simply laid the vocal tracks and left the bass up to Michael Giles brother Peter. Gordon Haskell was brought in for one vocal track, and Keith Tippett for piano. Popular opinion is this is a pale rehash of their debut and nothing more.
Did they listen to the second half? I mean the quirky 'Cat Food', complete with tinkling piano from Keith Tippett would have been out of the question on their debut, and the Mellotron heavy 'Devil's Triangle', partially borrowed from Holst's The Planets, which really gets off the deep-end. I remembered back in 1991 when I bought this tripping out as a 19 year old, and glad to start hearing Mellotron on something other than a Moody Blues album. I do have to admit the first half are more in line of their debut. 'Pictures of a City' is a horn-dominated piece not unlike '21st Century Schizoid Man', 'Cadence and Cascade' with Gordon Haskell on vocals, is more mellow, on the lines of 'I Talk to the Wind', and the title track is a Mellotron-laden epic like 'Epitaph'.
It might not be as strong as their debut, but still a worthy followup.