Stegzy's Music Project

A commentary on Stegzy's album collection

In the Court of the Crimson King – King Crimson [#627]

In_the_Court_of_the_Crimson_King_-_40th_Anniversary_Box_Set_-_Front_coverI first learned about King Crimson following the amusing Bill Bailey fronted Channel 4 docu-countdown-show Top Ten Prog which was broadcast at the height of the prog revival of the late nineties/early noughties.

Crimson King was the band’s first album, King Crimson then comprising of Robert Fripp  Michael Giles, Greg Lake, Ian McDonald and Peter Sinfield. Over the years Crimson’s line up would change more often than I change my socks with other notable musicians such as Yes’ Bill Bruford and session musician Tony Levin turning up over the years. As a result of this frequent fluctuation of line up, it is difficult to find a sound that one can pin on their output as 100% identifiable King Crimson. Indeed, their heavy jazz influence makes most of their output inaccessible to me as after a while, for me, it starts to grate.

Even so, the variety of the sound and the diverse use of instruments make In the Court of the Crimson King is an album I enjoy listening to, however, the album is, sadly, not available on Apple Music. Licencing again eh?

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Going for the One – Yes [#532]

220px-Yes_Going_for_the_OnePossibly one of the first albums I had recorded on cassette. My middle brother had this on cassette and did a copy for me on his twin tape but as home taping killed music, there was nothing after this.

Nonsense of course, I eventually went and bought the album on vinyl, thus saving music for future generations.

Indeed, as a teenager, Going for the One was pivotal in my musical development to such an extent that I performed the track Turn of the Century during a school end of term concert and Wondrous Stories as an exam piece for my Music GCSE. While the majority of my peers enjoyed the likes of Wham, Culture Club and emerging techno, rap and house music, I was busy being ten years behind my contemporaries and enjoying what this album had to offer.

The album sees the return (albeit briefly) of keyboard wizard Rick Wakeman following the departure of Patrick Moraz who played keys for the previous album, Relayer. The return of Wakeman does do some favours to the band at this stage of their career and the track Awaken with its extended organ solo at the heart, really is like a “glad to be back” from Rick.

Sadly, as with all prog bands, the band would separate once more after their next album, Tormato but you can certainly hear the development of the Yes sound and how it is an acoustic ancestor of Tormato with this album.

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Fragile – Yes [#495]

FragileI originally bought this album from Woolworths in Pwllheli while holidaying in my Uncles cottage. I remember being excited at the prospect of being able to listen to it on the record player we had there. And so, in 1986 progressive rock reverberated across the Welsh mountains for a brief moment Heart of the Sunrise leading the charge. That was until I was told to turn the music down.

At the time of the album’s release, Yes were coming to the end of an era with the imminent departure of drummer Bill Bruford (who left after the recording of the follow up album Close to the Edgeand the addition, in this album, of keyboard wizard Rick Wakeman, who replaced Tony Kaye. This was to become what some fans call “The Classic Yes Line Up” which is interesting as it was only like this for a couple of albums and it seems that nobody wants to talk about the regroup non-cannon album Anderson Bruford Wakeman Howe .

The album itself features a number of really good songs, Heart of the Sunrise, Southside of the Sky and Roundabout; all fan pleasing tracks that are played regularly at gigs. It also features a handful of tracks written solo by each band member: Anderson’s We Have Heaven sounding like something from Olias of Sunhillow Bruford’s Five Percent for Nothing sounding like an A Level Music submission and the beginnings of later Wakeman solo projects audibly clear in Can and Brahms .

A fun album with some nice classic Yes songs but sounding flat, disappointing and unpromising with today’s ears.

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