Review 73, Beat, King Crimson, 1982
StarStarStar
Beat is sometimes considered the worst of King Crimson's efforts, and looking at some of the negative reviews here, I have to admit there's some justification for that. The rhythm section is much more restrained than elsewhere, not providing the textural backdrop of Discipline. Belew's prominent lyrics and delivery might chagrin some, even if they do work for me. I suppose the question is whether you view these things as flaws, or merely as features. Sure, Bruford is the storm of percussion he was on SABB, but that gives a much greater chance for the guitar interplay to be heard. Yes, the lyrics and vocals are a key feature, but they are well-written shots of ambiguity, and they mark an attempt of Crimson to move themselves on rather than merely re-doing Discipline.
This is also quite odd as a Crimson album since it contains a genuine concept, but I don't know enough about the subject matter to say anything other than that it gives the album a coherent feel, and the music matches up neatly with the lyrical ideas. The other really significant feature of the album is the significant reliance on the twin lead guitars. Fripp and Belew provide a range of fiery textures and solos, extended and brief, and they, with the vocals, make the mood of just about every song. That might be a bit too lacking in diversity for some, but it does add interest for me.
Neil And Jack And Me opens the album with a series of guitar loops, Belew's shouted, whispered and sung, distorted and clean, often repeated vocals and a supportive rhythm section. Bruford saves up his cymbal crashes to make maximum impact, and Levin's gritty stabs on bass punctuate the piece. The guitars, however, are the real highlight, with a brief background soundscape, a unique solo from Fripp and maddened screeches from Belew. A classy opening, establishing the feel of the album.
Heartbeat follows this well, with two absolutely beautiful guitar tones, a restrained bass part evoking the heartbeat, tolerable lyrics and vocals from Belew. Bruford puts a relatively limited percussion range to extensive use, and the song as a whole is quite neatly arranged. It has a 'pop' feel, but I think this more derives from the limited instrumental choices and vocals than a lack of unusual and creative input.
The instrumental Sartori In Tangier provides a little more material to look at, from Fripp's organ work and soprano-sax-on-guitar-solo to a compulsive bass throb from Levin, which is taken up by Bruford later on. All sorts of weird textures feature fluidly, creating a sort of continuous musical image. Very accomplished, even if it is basically Mr. Fripp's three minute playground.
Waiting Man continues the very textural feel, with Belew's calling (needs a better word, but lacks one) vocal overlaying a static worldish rhythm under which Levin subtly shifts bass tones. A very intricate guitar-drums-guitar interplay section followed by a scraily (screechy+waily, but in a good way) Fripp solo features, allowing for a much fuller re-working of the opening texture.
The bizarre Neurotica is perhaps the highlight of the album, with the first true breakout of the rhythm section. Levin and Bruford are playing constantly, always providing something interesting in the background, while Belew's mostly-nonsensical vocals act don't really feel like a lead instrument, taking the back spot a bit more except in the weaker 'chorus'. Again, the guitars are on good form, providing all sorts of lunatic scrails for good measure.
Two Hands is the one piece from the album that simply doesn't do a lot for me. The boobam rhythm section and guitar touches all sound nice, and the sort of decadent romanticism is perfectly evoked. The guitar solo is sublime. The only problem is that I don't like the lyrics (they're not bad, just not my style at all), and the delivery doesn't do a lot for me either, and they make it harder for me to really enjoy the fleeting perfection encapsulated in the middle of the song.
The Howler is a faster-paced piece, with a generally wailing band accompanying a quite interesting sort of side-spoken vocal from Belew and some rather vicious lyrical touches. Levin especially provides a lot of grit for the song, as does Fripp's sirens-esque solo. Good stuff, though the guitar loops grate a little.
Requiem is a real opportunity for Fripp to illustrate his creativity on scraily guitar very prominently, with an extended, fast-paced and moving solo. Belew provides creaky touches towards the end, while the rhythm section works around the guitar textures with thunderous rolls. I swear one of the more cleverly-veiled guitar parts is reprising something, but I can't work out what. A neat, textural, showcase conclusion, and one that does work for the album.
So, all in all, the songs are not individually at all weak, the guitar-work is an especial highlight throughout. On the other hand, those who aren't already big fans of Belew and Fripp's menagerie of sounds will not really find that much to enjoy. Consequently, if you aren't a fan of King Crimson (Discipline and Red in particular), this isn't an enormous gap in your collection, but if you are, or simply love unusual guitar-work, this is a very worthwhile purchase. Three stars, good, but not entirely essential.
Rating: Three Stars.
Favourite Track: Requiem, I think, but it's a pretty even album, and could be Neal and Jack and Me or Neurotica on different days.
---
Well, reviewing again, and I've got to catch up with some other collab stuff at some point soon.
However, new stuff:
Things I've Been Listening To
A Lot:
Peter Gabriel III (Crossover) 5ish. Justifies the existence of crossover. Incredible vocals, probably my second favourite album in terms of vocals ever (am I overenthusiastic? As always), just after Pawn Hearts.
Rock Bottom (Canterbury) - Robert Wyatt 5ish. Not so keen on A Last Straw, but Sea Song is simply incredible, as is Alifib/Alife. Really emotional experience, but not without a sense of humour.
World Record (Eclectic) Van Der Graaf Generator 5ish. Really, really stunning. Love the lyrics and some of the really interesting harmony ideas ('Easy targets, easy crosswords, easy life/These key margins leave you balanced on the knife'). Great vocals, wasn't expecting miracles, but got them.
Genesis Live (Symphonic, Live) 4ish. Admittedly Gabriel sometimes doesn't quite hit the vocal levels he can in the studio, but very dry and humorous, and improving on most of the studio versions in some ways, and the version of The Knife must be the single funniest piece of music I've heard other than 20 Tons of TNT.
Things I've listened to a time or two
U.K. - U.K. 3ish. The vocals didn't always work, and occasionally the band felt a bit clean and restrained for my liking. Rave about Holdsworth all you like, but he hasn't really caught onto me yet.
Are You Experienced? (Um... protopsychmaybe? dunno) - Hendrix. Made much more of an impression the second time round. Great writing, good lyrics, good on all musical fronts, love the soloing madness. 4ish.
Trilogy - ELP. 4/5ish. Great, I'd got all the tracks except Endless Enigma pt. 2, Fugue and the real version of Abaddon's Bolero, but the remastering job was really superb in bringing new character to the album compared to the worn out sound on the compilation. Trilogy all the way.
Pictures At An Exhibition - 3ish. Great in parts, but the synth tones don't always work. Actually (bite me), I prefer the studio version to this in many parts, since the live sound on the main album leaves Palmer feeling a tad stranded to my ears. Still, early days.
The Great Deceiver (vol. 1) - KC. Really good live collection. All great versions, especially the Providence, RI, version of Easy Money (laughed quite a bit when I heard the altered lyrics...). Highlights a lot of the strengths of individual pieces, and a lot of interesting changes, while keeping the basic outlines in place. 4 stars.
Fear Of A Blank Planet - PT. Liked the sound. Disliked the lyrics. Quite a good album, but really I am going to have to put on my 'pretend Pete Sinfield wrote the lyrics in 1969' ears. 3/4ish.
Hall Of The Mountain Grill - Hawkwind. Great stuff, even if I haven't had the time to really just sit down and listen to this one yet. 4/5ish.
Phoenix - Asia. Great opener, the rest left me a bit unmoved. Plenty of perfectly good stuff in there, but it seemed a little lacking in diversity. Only one listen, though, so...
Still Got The Blues - Gary Moore. Some classic stuff, no really weak tracks, great arrangements, incredible guitar tone.
Allman Brothers Band - Live At Fillmore East. A revelation. You need this album.
The Quiet Zone/The Pleasure Dome. Good, but I don't think the vocal 'your so...' bit pays off much. Cat's Eye Yellow Fever, The Last Frame and The Wave are all pretty killer, though.
The Nice - THoughts of Emerlist Davjack. Good, made progressively more of an impression as I went through and got past a slightly sixties feel. Keith Emerson =
Things I've heard, but can't really comment on
In Rock - Deep Purple. Really liked it on the first listen, which I wasn't fully expecting. Good stuff.
Disraeli Gears - Cream. Ditto.
Even in The Quietest Moments - Supertramp. Didn't really go in. Need to listen again.
Doomsday Afternoon - Phideaux. Was interrupted by family. Sounded good from what I'd heard.
Leg End - " "
Free Hand - Gentle Giant. Good. Felt the medieval pieces were a bit meandering, but first listen is never a good indication with GG.
Misplaced Childhood - Marillion. Heard too late at night to really listen, so cut it out about halfway through.
Ziggy Stardust - Only one listen. Needs more.
Things I have, but haven't heard
Quadrophenia
Time Out
Images And Words
Led Zeppelin II
Interview
Gnidrolog In spite/Lady Lake
A Saucerful of Secrets
Hunky Dory
probably more, but I'm lazy.
/PAlogo_v2.gif "Progarchives.com Homepage")
I Talk To The Wind: Prog Blog and Reviews
Topic Options
King By-Tor wrote:
...................2 STARS ONLY
.
