LP Review: King Crimson - Starless and Bible Black

After gorging myself on Lizard and Larks' Tongues in Aspic recently, King Crimson's Starless and Bible Black is a teeny bit of a letdown. Sure, this album is still an essential for fans of the band, but it lacks a bit of the same energy and originality of the preceding albums.

There's still plenty to love: "The Great Deceiver" is as good an album opener as you'll find, and "The Night Watch" is an incredibly beautiful song and is in fact my favorite John Wetton vocal performance. (Call me crazy, but I'm not a big fan of his vocals in general. I don't know what it is, but there's something slightly off-putting about the tone of his voice...) Side 2 features two lengthy songs that, to be blunt, just aren't as good as the instrumentals/longer numbers on Lizard, Red or Larks'.

Overall, I'd say this is the weakest King Crimson album of the '70s. It's still a pleasure to hear, but it falls shy of the mark set by Larks' Tongues the previous year.

King Crimson personnel:
Bill Bruford - drums
David Cross - violin, viola, keys
Robert Fripp - guitars
John Wetton - bass, vocals

Track - Time (Composers)
Side 1
1. The Great Deceiver - 4:02 (Wetton, Fripp, Palmer-James)
2. Lament - 4:00 (Fripp, Wetton, Palmer-James)
3. We'll Let You Know - 3:46 (Cross, Fripp, Wetton, Bruford)
4. The Night Watch - 4:37 (Fripp, Wetton, Palmer-James)
5. Trio - 5:41 (Cross, Fripp, Wetton, Bruford)
6. The Mincer - 4:10 (Cross, Fripp, Wetton, Bruford, Palmer-James)

Side 2
1. Starless and Bible Black - 9:11 (Cross, Fripp, Wetton, Bruford)
2. Frature - 11:14 (Fripp)

Purchased at Schoolkids Records in Athens, GA
Condition: G

Back cover:



Inside:

LP Review: Yes - Relayer

Structurally, Relayer is very similar to Close to the Edge: Side 1 is comprised of a ~20-minute-long epic, while Side 2 features two other pretty long songs that reveal a different dimension of the band. Maybe since Close to the Edge is regarded by many as the quintessential progressive rock masterpiece, it isn't fair to compare the two, but I'm going to anyway because I just don't give a fuck.

Relayer's album art is roughly seventy quo-gillion times better than Close to the Edge's green-fade job. The full band pic on the inside cover is a nice touch as well, although the way everyone's positioned around that bench in the middle of a pleasant field somewhere sort of makes Yes seem like a bunch of pansies. There's a badass snake on the back, though, so I guess that counts for something.

"Gates of Delirium" is the mammoth track this time around, and to be perfectly clear, it probably isn't as good as "Close to the Edge." Then again, not many songs are, and by any reasonable measure it's still an astounding work of art. It does take its time getting going, but once it does, it really does not let up. Steve Howe is masterful throughout, contributing some incredible solos and rhythm parts, and new keyboardist Patrick Moraz is no slouch either. There is one section in the middle of the song, a very thunderous and chaotic part with what sounds like swords clashing (the lyrics are as indecipherable as ever, but I think the song is about a battle of some sort). During this section, the drums and bass get really quiet, which makes me sort of lose track of what's going on. As I become more comfortable with the track, I'm sure I'll get used to it, but this is not a point in Relayer's favor. Overall, as I said, this song just doesn't stick with you like "Close to the Edge" does.

Side 2 kicks off with "Sound Chaser," a blazing-fast virtuosic whirlwind in which Yes seem to be saying, "Yeah, Bruford and Wakeman are gone, but clearly we don't need them." There isn't an equivalent to this song on Close to the Edge, but it's more like "Siberian Khatru" than "And You and I," and for my money it's much better than "Siberian Khatru." It's certainly not catchy, but the instrumental sections are mesmerizing. "To Be Over" closes out Relayer with a somewhat forced attempt at something pretty. They're successful to an extent, but "And You and I" wins hands-down.

I suppose Close to the Edge is a better album, but I don't think I've reached my potential with Relayer quite yet. I've had the album for two days, and it generally takes a bit longer than two days to become comfortable with a 21-minute song. However, I've definitely heard enough to say that Relayer is an essential album for prog fans.

One interesting note: Yes released consecutively Close to the Edge, Tales from Topographic Oceans and Relayer. Tales spans 2 LPs and contains a whopping four songs. So that means, over three albums and four vinyls, Yes released just ten songs. All but "Siberian Khatru" clock in at nine minutes or longer, and that song is only three seconds shy. Six of the ten top eighteen (!!!) minutes.

So when critics of progressive rock point to Yes as the prime example of how overblown and demanding the genre can be, I suppose they have a point.

Yes personnel:
Jon Anderson - vocals
Chris Squire - bass and vocals
Steve Howe - guitars and vocals
Patrick Moraz - keyboards
Alan White - drums

Track - Time
Side 1
1. Gates of Delirium - 22:55

Side 2
1. Sound Chaser - 9:25
2. To Be Over - 9:08
All songs written and arranged by Yes

Purchased at Wuxtry Records in Athens, GA
Condition: F (some minor water damage)

Back:



Inside:

LP Review: Yes - Close to the Edge

I bought Relayer today, but I'm going to need a little (lot) more time to digest that album. Here's a review of Close to the Edge instead. In response to criticisms concerning the lack of grandiloquence in recent reviews, I have somewhat altered my writing style for this review.

When I consider Yes's Close to the Edge, I cannot help but think of God on His throne in the year 1971, pondering all He had created to this point. He is pleased, but discontent; "The world of man is missing something!" He cries. "There is grace, there is beauty, there is majesty - but the humans have nothing that is the embodiment of all three!" He considers showing Himself to Man, but such overt actions displease Him. And then, in His infinite wisdom, God says: "Mankind needs a masterpiece. I shall inspire Man to create a great work, and it shall live forever atop the pinnacle of human creation!"

Soon thereafter, God spoke to Steve Howe and Jon Anderson, and thus the seeds of Close to the Edge were sown.

This album is perfection carved in vinyl, two sides of such staggering genius that it is a sheer wonder anyone accomplished anything at all after its release. The breadth of the human experience is captured here, masterfully intoned by Yes, those modern-day apostles of truth. So frighteningly wondrous was the creative energy that drummer Bill Bruford, so as not to be driven insane by constant visions of euphoria, left the band after recording this album.

Side 1 is occupied by the titular "Close to the Edge," a work of such noble perfection that one may believe it is the reason for the Mona Lisa's knowing smile. The initial swell of sound is accompanied by surreptitious synthesizer, played by the nimble fingers of Rick Wakeman, and from this grand crescendo is born a dizzying whirlwind of virtuosity, an avalanche of pure sonic domination, a joyful noise akin to the sound of stars - nay, galaxies - forming amidst the chaos of our universe's creation, shocking the listener's mind and utterly ruining all preconceived notions of what music is and should be.

Now held at rapt attention, the listener is introduced to the astral tonality of Jon Anderson's angelic voice, as he recites such profound and powerful lines: "A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace..." Do not fear, gentle reader, if these words confuse or worry you, for they convey a message that perhaps humankind is simply not read to understand! However, upon reading the poetry, one can certainly sense the genius contained just below the surface, elusive and mysterious. Chris Squire's powerful bass lines together with Bruford's savage drumming conjure images of Thor destroying his foes with booming thumps from his eternal hammer. This aural lovemaking is sometimes put aside for moments of absolute tranquility; one's soul feels suspended amidst the heavens by Rick Wakeman's gentle and delicate soundscapes. And we shall certainly not forget Steve Howe, whose blistering solos are streaks of lighting against this perfect summer night sky.

"Close to the Edge" is a cerebral truthsong, an abstract shadow of God, a mathematical passion play, a perfect reflection of the true nature of the universe - and it is accompanied on Side 2 by "And You and I," a warm and stunningly gorgeous song that is proof of the existence of love, and "Siberian Khatru," a rollocking affair capturing the happiness of friendship and the innocent goodness that lives within us all. Taken as a whole, these three masterpieces are at once life-altering and life-affirming.

As I paw around like a blind man, searching in vain for the proper words to sum up Close to the Edge, I am reminded of the story of Jesus Christ, a mortal with divine power and knowledge, who was willingly slaughtered so that humanity may be saved. So it was with Yes - with Bruford's departure, the band was never the same. They would never again approach such magnificence; perhaps mortals simply cannot handle such gifts of creation. But just as Jesus died to give mankind hope, so too did Yes record this album, the ultimate manifestation of glory, a musical experience that will touch and embolden your soul - if only you shall allow it!

Purchased at Wuxtry Records in Athens, GA
Condition: Ethereal

Yes purveyors of wonder:
Jon Anderson - vocals
Chris Squire - bass, vocals
Rick Wakeman - keys
Bill Bruford - drums
Steve Howe - guitars, vocals

Tracks - Times (Composers)
Side 1
1. Close to the Edge - 18:50 (Music: Yes, Lyrics: Anderson, Howe)

Side 2
1. And You and I - 10:09 (Music: Yes, Lyrics: Anderson)
2. Siberian Khatru - 8:57 (Music: Yes, Lyrics: Anderson)

Back cover:



Inside:




(I really do love this album, but this review is mostly a joke. I would like to believe that I didn't need to say this.)

LP Review: Genesis - Nursery Cryme

Nursery Cryme is regarded by many to be the first classic Genesis release - I'll have to wait until I hear Trespass and the other before it to make that call, but it is indeed a classic. "The Musical Box" is among the best Genesis I've heard, ranking just below "Supper's Ready," featuring some intricate and surprisingly heavy passages (including a soaring guitar solo) before a grand crescendo to the final majestic flourish. The other two long numbers are fantastic as well, though "The Return of the Giant Hogweed" is perhaps the least awesome.

Ah, damnit, the record just skipped. The cover is fairly worn as well, and I'm not a huge fan of the artwork as it is, but otherwise the album sounds just fine. As good as Nursery Cryme is, I think Foxtrot is a bit better overall in every regard, but that's what one more year of cohesion will do for a band; this is Phil Collins's first record with Genesis, after all.

One final thought: Check out the "personnel" section below. Did they really need three different people to record 12-string guitar parts?


Genesis personnel:
Tony Banks - keys, 12-string guitar, voices
Phil Collins - drums, percussion, voices (lead vocals on "For Absent Friends")
Peter Gabriel - lead vocals, flute, bass drum, tambourine
Steve Hackett - electric, 12-string guitar
Mike Rutherford - basses, acoustic and 12-string guitar, voices

Tracks - Times:
Side 1
1. The Musical Box - 10:24
2. For Absent Friends - 1:44
3. The Return of the Giant Hogweed - 8:10

Side 2
1. Seven Stones - 5:10
2. Harold the Barrel - 2:55
3. Harlequin - 2:52
4. The Fountain of Salmacis - 7:54

Purchased at Wuxtry Records in Athens, GA
Condition: F

Back Cover:

LP Review: Yes - Fragile

Yes's Fragile is a brilliant album from start to finish. Perhaps I'm committing some mortal sin by saying this, but I actually prefer Fragile to Close to the Edge. The songs "Close to the Edge" and "And You and I" are outstanding classics of progressive rock, to be sure; so is "Roundabout," and "Heart of the Sunrise" and "South Side of the Sky" deserve to be as well. "Heart of the Sunrise" is the best Jon Anderson vocal performance I've heard, and the bass line in "Roundabout" is the most awesome bass line of any song ever.

Fragile also features five individual compositions, one by each member of the band. They're hit (Steve Howe's "Mood for a Day," Rick Wakeman's Brahms thing) and miss (Squire's "the fish"), but they all lend a charming personal touch to the album.

I'm listening to "Heart of the Sunrise" as I write this. Jon Anderson just hit the high note. I wonder if I'll ever not get shivers at that part.


Yes personnel:

Jon Anderson - vocals
Bill Bruford - drums, percussion
Steve Howe - electric and acoustic guitars, vocals
Chris Squire - bass guitars, vocals
Rick Wakeman - a shit ton of keyboards

Tracks (Composers):
Side 1
1. Roundabout (Anderson, Howe)
2. Cans and Brahms (Brahms, arr. Wakeman)
3.We Have Heaven (Anderson)
4. South Side of the Sky (Anderson, Squire)

Side 2
1. Five Per Cent for Nothing (Bruford)
2. Long Distance Runaround (Anderson)
3. the fish (Squire)
4. Mood for a Day (Howe)
5. Heart of the Sunrise (Anderson Squire Bruford)

Purchased at Wuxtry Records in Athens, GA
Condition: G

Back cover:



Inside:

LP Review: Queensrÿche - Operation: mindcrime

So far, I've only purchased two new (sealed) LPs, and Queensrÿche's Operation: mindcrime is one of them. I owe it to my dad for introducing me to Queensrÿche via Empire way, way back in the day, but I didn't discover this other (and I might say better) album until I was old enough to make my own musical decisions.

Since I bought it new and have been taking very good care of my records, there aren't really any flaws to speak of with the album cover or the vinyl itself. Pretty cool album art; the symbol in the middle might make a good tattoo.

Operation: mindcrime is a concept album about a guy who starts working for the cleverly-named Dr. X, the leader of Operation: mindcrime, an underground revolution that apparently doesn't do much besides kill people. We also meet Mary, a prostitute-turned-altar girl who is (naturally) the narrator's love interest, and the two do some terrible things before I lose track of what's going on on Side 2 (apparently, heroin is involved). The concept is little corny, but as a vehicle for Geoff Tate's political views, it serves nicely.

This album is fast-paced and full of hooks. Literally every chorus on Side 1 is ultra-catchy, and after the opening skit, there's no time to breathe until Side 2 begins. "The Mission," which closes out Side 1, may well be the best song on the album. Unfortunately, Side 2 is most certainly a B-side; after the phenomenal "Suite Sister Mary," we get mostly filler until the quasi-philosophical and dynamic "Eyes of a Stranger," a song that provides the album with a fittingly epic finish. Queensrÿche showcase a fair amount of musical skill on the album, most notably during an odd-time section in "The Needle Lies," but it's Geoff Tate's vocals that really shine.

Despite its somewhat dated sound and heavy-handed political themes, this record is a lot of fun to hear. It's not the most musically complex thing I've reviewed, but sometimes, all you want is a catchy tune to sing along with, and Operation: mindcrime delivers in spades.

Purchased at the Disc Exchange in Knoxville, TN
Condition: NM

Back:



Inside sleeve + vinyl:

LP Review: Rush - 2112

2112 by Canadian prog-rock legends Rush is a classic not only within the realm of prog, but also among rock fans in general. As Rush's first gold-certified album, 2112 catapulted the band into prominence - a surprising fact, considering the prodigious length of the titular track.

I bought this record for something like $4, and I guess you get what you pay for: The cover is pretty beat up (see pics), and the song "2112" skips in a few parts. The artwork itself is iconic, as is the "Star Man" symbol, which is visible on the inside of the cover. However, what stands out most to me on this album cover is how completely ridiculous the band looks. Are they all wearing kimonos? Did Alex Lifeson not realize that he absolutely looks a woman, especially with the lip gloss and the wide-brimmed ribbon-adorned hat? Geddy Lee appears to be waiting on puberty. Look at Neil Peart's mustache. Did he wake up that morning and think, "OK, we're shooting pictures for an album, time to look as much like a Japanese transvestite living in the Wild West as possible"? This cover taught me that the early '70s were a strange time for a lot of people.

So, yeah, these are funny-looking guys, but they can write the hell out of a concept. It's a pretty big risk to put a twenty-minute-plus suite on Side 1 of an album, but "2112" is so cohesive that it doesn't feel nearly so long. Each part transitions beautifully into the next; there's no filler to be found. "The Temples of Syrinx" may be Geddy Lee's most impressive vocal performance, and the musicianship is top-notch throughout. The lyrics are perhaps surprisingly coherent, given that this is a prog-rock album, and the story is actually pretty interesting. "2112" may very well be the most popular "epic" in rock history - and it's not for no reason.

Side 2 is better than one might think, although after the grandeur of "2112," I can't help but feel that these songs were somewhat of an afterthought. "A Passage to Bangkok" features some impressive drumming from Peart, and "Lessons" is a fine enough song, but "2112" alone is worth the price of admission.

For the artwork and the title track, 2112 is a worthy addition to any vinyl collection. Maybe one day I can find a copy that's in better shape.

Purchased at the Disc Exchange in Knoxville, TN
Condition: F

Back cover (hahahahaha):



Inside:

LP Review: King Crimson - Lizard

"When you want to hear where music is going in the future, you put on a King Crimson album." - Bill Bruford

I love this quote, and I'm not even sure it's true, for few bands in music today sound like King Crimson do on Lizard. It's an album that pushes the boundaries of even such an ill-defined genre as progressive rock - which, ironically, makes it a definitive progressive rock album. Esoteric, playful, technical, haunting, and even downright silly at times, Lizard is a masterpiece, and it's quickly becoming my favorite King Crimson album.

It doesn't hurt that the record looks as impressive at it sounds. The chaos, intricacy and beauty of the album's cover is a fair representation of the music to be found within. The band's name is spelled over the front and back of the cover, and the gatefold design opens to reveal lyrics that are, in a word, confusing (pics below). Of all the records I own, this one has probably my second-favorite artwork, behind another King Crimson album, the legendary In the Court of the Crimson King.

Musically, the star of the show is the title track, which spans all of Side 2. That isn't to say that Side 1 should be ignored - quite the contrary. In the opening track, "Cirkus," Gordon Haskell's languid vocals are counterbalanced by the nimble runs and solos of guitarist Robert Fripp, who with his razor-sharp precision seems to be in a different frame of mind from the rest of the band. The result is a song with dueling personalities, so to speak, yet is still sublime in its cohesiveness. "Indoor Games" and "Happy Family" are delightfully strange songs - in the 10 minutes occupied by these two numbers, you'll hear meandering horn sections, a flute and trombone duet, deranged laughter, and lyrics that are bizarre even by King Crimson's standards. "Lady of the Water" closes out Side 1 with stunning grace and serenity, an almost jarring departure from the insanity of the previous tracks.

Side 2 is comprised entirely of "Lizard," a 22-minute opus in three parts that encapsulates everything I love about this band. Melodic and moving, weird and abstract, "Lizard" is a masterwork that is too often overshadowed by more 'traditional' prog rock epics ("Close to the Edge," "Thick as a Brick," etc.). Sure, it's not easy to get into, but it's simply beautiful once you do.

Fans of King Crimson probably already own this album; if not, then they need to get it immediately. For everyone else, Lizard is a challenging album that may not be appealing at first listen. Stick with it, absorb the complexities, and you'll be rewarded handsomely.

Purchased at Wuxtry Records in Athens, GA
Condition: VG+

Back cover:



Inside:

LP Review: Camel - Mirage

I impulsively picked up Camel's Mirage, having never heard a song from the album (or the band at all), only recalling that it was ranked rather high on ProgArchives's Top 100 Albums list. Both the sleeve and the vinyl are in fantastic condition - the cashier told me that he purchased it from a large collection, and that it likely had never been played.

Some may fault Camel for a lack of originality in the album artwork, as it's basically the front of a pack of Camel brand cigarettes with some image distortion. However, it's certainly memorable and easily recognizable, which is probably all the band wanted in the first place. The cover is just a sleeve and there isn't any art to speak of on the back side. I'd sooner call this cover 'efficient' than 'enjoyable.'

Thankfully, any gripes one may have about the artwork are forgotten as soon as the needle finds the track. Side 1 opens with "Freefall," a diverse song replete with everything we love about prog rock - a catchy verse and chorus give way to an energetic instrumental section and guitar solo, followed by a passage that is at once subdued and intricate. This skillful mood-juggling continues throughout the album, particularly on the longer tracks that end each side. The highlight of album is the "Lady Fantasy" suite, a complex, 13-minute arrangement that follows the blistering instrumental "Earthrise," which opens Side 2. Camel's often fast-paced and chaotic instrumental sections are perhaps reminiscent of Yes, although given how I've approached the genre chronologically backwards, I can't help but find similarities to some of The Flower Kings's material. TFK are perhaps a bit more psychedelic and jam-bandy, but certain songs on Mirage would not feel out of place on, say, Space Revolver, and vice-versa.

Mirage has few flaws to speak of, although I don't particularly enjoy the "Nimrodel/The Procession/The White Rider" trio that closes out Side 1. It's not bad, it just seems a bit directionless at times. Perhaps a similar complaint could be made about other songs on the album - I've only given the record three spins, so time will tell. Fans of Yes and The Flower Kings can't go wrong here.

Purchased at Wuxtry Records in Athens, GA
Condition: VG+

Back of the album:



Inside sheet/vinyl: