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* Mixes 2019 en 5.1 y estéreo de Steven Wilson en resolución 24/96 (por primera vez) * Edición maestra original de la mezcla de álbumes de 1969 en estéreo 24/96. * Un álbum alternativo completo que comprende mezclas de 2019 de Steven Wilson * El material adicional de un álbum adicional tomado de tomas de estudio * Un conjunto de mezclas instrumentales de 2019 y el fragmento superviviente de imágenes en blanco y negro de Hyde Park en 1969.

Notas sobre lo anterior1. Toma de los estudios Morgan de junio de 1969 con sobregrabaciones vocales de Greg Lake de Wessex de agosto de 1969 y sobregrabaciones de Mel Collins y Jakko Jakszyk de agosto de 20192. Mezcla alternativa de 20193. Versión a dúo, máster completo, mezcla de 20194. Voces aisladas/resaltadas, mezcla de 20195. Toma alterna, mezcla de 20196. Toma 1, 2019 mix7. Estudios Morgan, toma de junio de 1969, mezcla de 2019

1. Sesión de viento (mezcla estéreo de 2019)2. 21st Century Schizoid Man (versión del trío, mezcla de 2019)3. I Talk to the Wind (Versión en estudio, mezcla de 2019)4. Epitaph (Pista de acompañamiento, mezcla de 2019)5. Moonchild (Edición del álbum, mezcla de 2009)6. The Court of the Crimson King (Toma 3, mezcla de 2009)7. 21st Century Schizoid Man (toma de los estudios Morgan, junio de 1969)8. The Court of the Crimson King (part 1) (Cara del single, 1969)9. The Court of the Crimson King (part 2) (cara b del single, 1969)

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A scarcity of miracles

To produce the album, the band had Tony Clarke, who had worked with the Moody Blues. But it seems that Clarke had trouble understanding what the King Crimson guys wanted to do, so he left the project, and the band itself took over the production work. Barry Godberg, a friend of Pete Sinfield’s, and a computer programmer by trade, was in charge of the iconic album cover. Inspired by the band’s sound, he drew the face of a horrified man, mouth and eyes wide open with a blood-curdling expression of terror.

21st Century Schizoid Man: Declaration of principles of the album. Authentic musical bomb that combines elements of rock and jazz, with a very long and brainy guitar solo, chaotic passages of saxophone and drums, distorted voices that speak, cryptically, about the Vietnam War and consumerism. The end of the song is impressive.

I Talk To The Wind: Beastly counterpoint to the first song. Quiet and bucolic melody, where the flutes and the now sweet voice of Greg Lake take us to a kind of false peace where a desperate man talks to the wind about the confusion and disillusionment around him, but the wind does not listen, the wind cannot listen.

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Radical action to unseat the…

The warm reception of the band led to the recording of Discipline (1981), with a polyrhythmic, complex and supposedly atonal sound, in which the different personalities of the group came to the surface. We can consider this work as one of the first in history to amalgamate different styles, a fusion product.

The idea had its continuity in Beat (1982), which includes one of the few radio hits of the group, Heartbeat, and Three of a perfect pair (1984), album that shows in its first side a friendly and accessible vision, even with funky touches, in front of another one in which improvisation and the Frippian universe reach their maximum splendor.

We find ourselves before a necessary and uncompromising group, in continuous movement, that led rock to sublime moments, endowed with a personal and unrepeatable sound based on constant transformation and virtuosity as elements of transgression, of contempt for labels, of repudiation of clichés. Those who accuse progressive rock of being grandiloquent and empty, vacuous and overbearing, have the opportunity to approach a complex, consistent and resounding work, at the same time polysemic, a microcosm to which we are all invited, swinging on the penetrating strings of Fripp’s universe.

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Europa europa (with robe…

Minutes after 7 p.m., the band took the stage, to begin a witty dialogue between the three drummers that make up this incarnation of King Crimson. From right to left from the audience’s point of view: Gavin Harrison, Jeremy Stacey and Pat Matelotto. It was not a display of virtuosity – that would come later – but rather an exhibition of how the triad of percussionists complement each other, arranged at the front of the stage at a lower level than the rest of the band, which is up top with Robert Fripp on the right, followed by Jakko Jakszyk, Tony Levin and Mel Collins. An ideal line-up to walk through the different stages of the group, with members from different periods, among which the oldest -not counting Fripp, obviously- is the flutist and saxophonist Collins.

Por Pablo Zamora Sánchez

Hi! Soy Pablo Zamora Sánchez, copywriter. En mi blog escribo sobre las últimas novedades del momento.