MCDONALD & GILES

In the wake of Ian McDonald's passing, I couldn't pass up this opportunity to relisten to this great album and contribute further to its and his remembrance. Ian McDonald (1946-2022) joined the pre-King Crimson Giles, Giles and Fripp band in time to feature on one of the most iconic, most beloved albums, not only in Progressive Rock (where, of course, it is timely, timeless and essential), but in all of Rock music: In the Court of the Crimson King (1969). Although we may think of Mel Collins as the reedsman officiel for early King Crimson, Ian McDonald is the one that is heard all around the world on that first KC album, esteemed eternally with Fripp, Lake and Giles. His final Crimson feature was, playing alongside Collins, the iconic Red (1974). This is significant, as Red is matched most closely in love and admiration to that other Crimson McDonald feature for Prog fans everywhere. He would later go on to found the classic Hard Rock band Foreigner and appeared on their first three studio albums; I'm frankly a huge fan of the first two. Of comparable importance, in my mind, to the fun, experimental Psych Pop album that came before him, The Cheerful Insanity of Giles, Giles and Fripp (1968), is this, his sole collaboration with the great Michael Giles (drummer of King Crimson, 1967-70). Enough said? Well, here's some more haha.

"Suite in C" starts off low and slow, sort of post-Psychedelic on its first part, "Turnham Green" (Prog is freshest here in 1970, indeed!). Even so, excellent performances all round. Melodically satisfying and masterfully done. Next to Ian and Michael is Mike's brother, Peter Giles on bass, an exemplary performer, more than capable and melodic. What's most surprising and exciting is that, of all people (and I certainly had no idea until now), Steve Winwood plays piano and solos here! Spectacular. All of this occurs following some flutey beauty and atop great, expectedly jazz drummin' and organ riffin'. All falls away on part 2: "Here I Am". The vocals really should be mentioned: lovely stuff goin' on here. A little Trad Pop? And then wham! Ian saxes all over it, flowing over this sweet, funky jam. The ending will certainly appeal to KC fans. Assuredly.

"Flight of the Ibis" is a pretty little number to follow. If you're into the 'low and slow', well, this is the song for you. And if it isn't...? Well, I can't help you. Really, the only thing I could complain about is the way that it's mixed: it is very loud in the drums department. Lucky for us Michael is something we want to hear, no? "Is She Waiting?" is even more low and slow. Sort of bucolic and soft, this is simply an intimate vocal number with acoustic guitars and piano. The first track that won't necessarily appeal to your average fan of Progressive Rock, as it were.

Then "Tomorrow's People - The Children of Today" starts off big and triumphant. I hear Freakbeat in this, which is... awesome, because Freakbeat has some of my all-time favorite songs and bands: Y'all into that secondary period of The Pretty Things or The Creation or The Action? This should do it for ya. Some really cool percussion following minute 2 here. Once again in funky territory. Then another big blast of awesome with a McDonald flute solo atop some nice organ. I wasn't sure where I was going to mention it, but here is an appropriate time: this album was self-produced and there's another tick off the ol' How Can You Not Respect the Ability of These Particular Musicians More? sheet. A nice Psych-era mini-epic if there ever was one.

"Birdman" closes out the album, a 21-minute epic. It is, in its first part, "The Inventor's Dream (O.U.A.T.)", a very psychedelic song, which starts off with these beautiful group vocals (like on the level of the Beach Boys). It's then pretty avant-garde, and then slips into this Psych Pop lilt. Quirky and lovely, all at once. It is followed by "The Workshop", a very fun number, which is jazzy, dancey and psychedelic, which in turn is followed by the huge, grandiose and then cool "Wishbone Ascension", a surefire highlight here. This sick jam falls away to something which sounds unsure, even melancholic ("Birdman Flies!"), with light cymbal clangs and soft melody on the organ. Very slow build here. Around 3 minutes, flute enters as it continues to drive upwards. Really excellent wordless imagery: I mean, compositionally genius. The epic celebrates the Birdman's success with the celestial "Wings in the Sunset". Short and sweet and to the point. And finally, we have "The Reflection", another soft, building number with grandiosity and triumph in its essence.

What a way to go out. Don't sleep on it, y'all.