M -nlvt THURSDAY. JULY 7. 1983 The Tech PAGE 3 _ Long lime the kin ARTS contibutions are frequently ignored, thus lying almost completely on the ensemble's his departure from the group. ability to improvise within loosely defined, In the Wake of Poseidon - Wake seems extended structures. For the most part the to be Fripp's attempt to rework Court in approach works, as in "Larks' Tongues his own image in once McDonald left the Aspic, Part 11" and group. "Easy Money," but Careful scrutiny, however, reveals "Talking Drum" shows tighter the formula still in song structures, cleaner sound, and need of work. more relaxed playing. The disc's i: chef Starless and Bible Black - Bruford d'oeuvre, buried at the end of the second takes up the slack in the wake of Muir's side, is "Cat Food," a jazzy vamp that departure, a move which tightened - provides a peek at the as band's considerable well as shortened - the arrangements improvisational ability. and playing. Crimson successfully attempts Lizard - The jazz from a "Cat Food," variety of styles, from the wild "Great De- extended over a full disc, swings a little ceiver'" to the gentle, live improvisation in less, but makis up for it with icy-cold ar- "LTrio." rangements and clever lyrics (e.g., "Happy Red- Further attrition reduced Crim- Family," a Beatles break-up allegory). Vo- son to the essential trio that recorded this calist Gordon Haskell is completely over- swansong, the band's finest moment on shadowed bv the guest performance vi- from nyl. The record is fueled on pure power: Yes' Jon Anderson on "Prince Rupert Fripp's furious chordal attack, Wetton's Awakes." If only Fripp had become Yes' muscular singing and bass new guitarist ... playing, and Bruford's complex drumming. Instrumen- Islands - Lacking a distinctive singer tal coloring is added by former band and a consistent lin,.c-up, Fripp relies on members, including Ian McDonald, who long instrumental workouts. This album was on the verge of rejoining the band. contains the last lyric contributions from Unfortunately, Fripp dissolved the band Peter Sinfield, whose bombastic prose was once Red was recorded. King Crimson proving increasingly embarassing. An of- would be dormant for seven years. ten overlooked work, Islands has its mo- U.S.A.- For its final live performance, ments of brilliance, particularly "Ladies of King Crimson abandoned all the Road" and subtlety and Fripp's solo during "The turned up the volume, Sailor's Tale." resulting in a Wag- nerian-scaled wall of sound. It took this Earthbound - Crimson's first live al- posthumous release to prove this bum, never released stateside band due to ques- could play powerful rock and roll. tionable sound quality, is the only album The Young Person's Guide to King Crim- the band should not have released. The son- The omission of "Easy Money" l sound is indeed atrocious, and the music is and "2ist- Century Schizoid Man" makes The King record, one of the most stunning debuts in the product of a jaded, disillusioned is not dead! The Editions EG en- this a retrospective rather than a greatest record the history of pop music, singlehandedly semble on the verge of breaking label has just completed a reissue of up. One hits compilation. What makes it worth the complete defined the progressive art-rock genre. bit of newN material is included: (pre-Warner Brothers) King an ex- owning is the Fripp-compiled booklet of Crimson From the industrial noise and crashing tended jam on "Groon," the unreleased catalog. Two previously unavail- B- photos and press clippings, the original able chords of the opening "21st Century side of "Cat Food." discs will make their first US appear- version of "Groon," and the demo of "I ance, Schizoid Man" to the grandiose coda of Larks' Tongues in Aspic - and, as an extra bonus, the records After a year's Talk to the Wind," recorded when Crim- the title track, Court is a study in instru- hiatus, Fripp assembled are being reissued as half-speed mastered a new band, argu- son was still Giles, GiIes and Fripp. mental contrasts, pitting frenetic riffs ably his best ever, featuring audiophile pressings. Here follows a brief vocalist/bass- Almost all these records are worth against chamberlike neo-classical passages. ist John Wetton, own- overview of the recordings by this pioneer- ex-Yes drummer Bill Bru- ing, but In the Court, Larks' Tongues, The album is carried by virtuoso perfor- and ing band. ford, percussionist Jamie Muir, and violin- Red remain quintessential mances from Robert Fripp Crimson. Long In the Court of the Crimson Kings- This and multi-in- ist/keyboardist David Cross. This record live the strumentalist Ian McDonald. King. I McDonald's imarks a change ill Crimson's approach, re- -I-- . -- . _ . - c David Shaw classified advertsln THE MIT MUSICAL T14EATRE C-CJILD - IS PROhU TO ANOUNC)JNCF Scrle~~O "O Inventors. 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