King Crimson – In The Wake Of Poseidon
Artist: King Crimson | Album: In The Wake Of Poseidon | Style: Prog Rock | Year: 1970 [2010 DVD-Audio] | Quality: DVD-Audio (MLP 5.1 96kHz/24Bit, MLP 2.0 96kHz/24Bit, DTS 5.1 48kHz/24Bit, PCM 2.0 48kHz/24Bit) | Bitrate: lossless | Tracks: 11 | Size: ~6.6 Gb | Recovery: 3% | Release: UК © 2010 DGM | KCSP2 | Note: Not Watermarked![Mcdonald and giles rar download pc Mcdonald and giles rar download pc](https://1.bp.blogspot.com/-oFH6AHPFLjU/XvtnlmZahnI/AAAAAAABSf8/AlI5IRlZqL4lEcdFotU7F3TCVsUuiLL9gCLcBGAsYHQ/s1600/King%2BCrimson%2B-%2BLive%2B1969%2B%2528Various%2BDates%2B-%2BVenues%2529%2B-%2BPic.jpg)
This was a one-off album with Ian McDonald and Michael Giles with some help from Peter Giles on bass, Judy Dyble on vocals (I'm assuming, since she is pictured on the front cover, though.
- This was a one-off album with Ian McDonald and Michael Giles with some help from Peter Giles on bass, Judy Dyble on vocals (I'm assuming, since she is pictured on the front cover, though.
- Former King Crimson members Ian McDonald & Michael Giles recorded this set shortly after leaving the British prog-rock group in 1969. They enlisted the help of Traffic vocalist / keyboardist Steve Winwood and released this album in 1970.
Artist: King Crimson | Album: In The Wake Of Poseidon | Style: Prog Rock | Year: 1970 [2010 DVD-Audio] | Quality: DVD-Audio (MLP 5.1 96kHz/24Bit, MLP 2.0 96kHz/24Bit, DTS 5.1 48kHz/24Bit, PCM 2.0 48kHz/24Bit) | Bitrate: lossless | Tracks: 11 | Size: ~6.6 Gb | Recovery: 3% | Release: UК © 2010 DGM | KCSP2 | Note: Not Watermarked
King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album — largely composed of Robert Fripp’s songwriting and material salvaged from their stage repertory (“Pictures of a City” and “The Devil’s Triangle”) — is actually better produced and better sounding than their first. Surprisingly, Fripp’s guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald’s departure — and played even better than before — still remains the band’s signature. The record doesn’t tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage (“Mars” aka “The Devil’s Triangle”) into viable studio creations, and “Cadence and Cascade” may be the prettiest song the group ever cut. “The Devil’s Triangle,” which is essentially an unauthorized adaptation of “Mars, Bringer of War” from Gustav Holst’s The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. [In March of 2000, Caroline and Virgin released a 24-bit digitally remastered job that puts the two Mellotrons, Michael Giles’ drums, Peter Giles’ bass, and even Fripp’s acoustic guitar and Keith Tippett’s acoustic piano practically in the lap of the listener.]
Tracklist:
01. Peace – A Beginning
02. Pictures Of A City
03. Cadence And Cascade
04. In The Wake Of Poseidon
05. Peace – A Theme
06. Cat Food
07. The Devil’s Triangle (part I)
08. The Devil’s Triangle (part II)
09. The Devil’s Triangle (part III)
10. Peace – An End
11. Groon
01. Peace – A Beginning
02. Pictures Of A City
03. Cadence And Cascade
04. In The Wake Of Poseidon
05. Peace – A Theme
06. Cat Food
07. The Devil’s Triangle (part I)
08. The Devil’s Triangle (part II)
09. The Devil’s Triangle (part III)
10. Peace – An End
11. Groon
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Heizer solutions manual. As if my last few posts weren’t indication enough, I’ve been spending a disproportionate amount of time recently with 60’s/early 70’s music. Perhaps it’s due to a dearth in quality new releases (I can dig the narcoleptic minimalism of Beach House, but not through an entire album… and I AM an ‘album listener’). But really, the appeal of discovering old and under-appreciated gems (especially from divisive, pre-punk genres like psychedelia and prog) just sucks me in every time. So here are a couple I’ve come across in the last couple weeks:
Judy Dyble is an English singer who featured prominently in the original 1967 lineup of Fairport Convention, though she was soon edged out by replacement Sandy Denny. Dyble went on to pursue only a couple of other musical projects before getting married, having kids, and getting a job as a librarian. One of these was a 1970 collaboration with ex-Them keyboardist Jackie McAuley for the short-lived group Trader Horne. They released just one album — an acid-folk artifact called Morning Way — did a few shows, then broke up. Thirty years later, Morning Way has been reissued, and can now be found for cheap download on emusic.
I zeroed right in on the title track, a gorgeous-yet-spacey collage of acoustic guitar, electric autoharp, and traded male-female vocals that recalled The Incredible String Band in their heyday. It’s a special kind of sound that I think would fit easily on a modern day ‘freak folk’ album by the likes of Bonnie ‘Prince’ Billy or Joanna Newsom…
Another group Dyble dallied with in the late ’60s was Giles, Giles, and Fripp, a whimsical, London-based psych-pop act that would morph into the original, ass-kicking lineup of King Crimson. Before she split the scene, Dyble contributed vocals to an early version of “I Talk to the Wind”, a song that eventually appeared on Crimson’s 1969 prog landmark In the Court of the Crimson King.
I’d been down with Court since college, but never read deeper into the history to learn how the original Crimson lineup broke up after only a year. Apparently, drummer Michael Giles and multi-instrumentalist Ian McDonald felt that between scathing live renditions of 21st Century Schizoid Man and ominous, set-closing covers of Holst’s Mars, the Bringer of War, things with King Crimson were starting to get a little too dark. (BTW, How often do you hear “fear of the music” cited as reason for a breakup?) So McDonald and Giles broke off after the American tour and recorded a prog album of their own. Released in 1971, McDonald and Giles is a far sight sunnier than In the Court of the CrimsonKing, but no less virtuosic. I especially love the album cover (seen above): two young rock stars, flush with cash, new threads, and model girlfriends, walking through a park! Check out the drum-happy “Tomorrow’s People – The Children of Today”:
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