Originally released in 1970, the debut album from the newly formed supergroup combined musicianship and showmanship in a glowing ball or energy. The keyboard-dominated instrumentals and romantic ballads clearly showcased each of the three members' individual talents, and demonstrated the variety of influences each artist brought with them to the band…
This special edition of the 1976 album will contain new Steven Wilson stereo remixes on CD 1, although this is of the version of the album re-recorded for a TV Special. Only five multi-track master tapes for the actual album could be located and new stereo remixes of those tracks are also appended on the first disc. The second CD consists of a complete flat transfer of the original stereo mix, and eight bonus tracks (seven of which are 2015 remixes). This bonus material includes two unheard songs: Salamander’s Ragtime (not related to album track Salamander), and Commercial Traveller. A third outtake Advertising Man was planned to be included but was not sufficiently complete to merit inclusion.
"Pictures of a City" seems meant to pick up where "20th Century Schizoid Man" left off, with it's furious ensemble passages, knotty Fripp guitar leads and Greg Lake's authoritative vocal. "Cadence and Cascade" helps fill out the ballad quotient with a beautiful, wispy vocal from transitional singer Gordon Haskell. A valuable note of humor is interjected into the proceedings via the jokey, off-handedly jazzy "Cat Food." Keith Tippet's piano and Mel Collins' sax–both soon to play larger roles–were introduced on POSEIDON as well.
'Larks' Tongues In Aspic', from 1973, is widely regarded as one of the truly great King Crimson albums. With its raw tone, inspired improvisations and hard hitting odd-metered rhythms, the album marked a radical departure for this most forward thinking of groups and was the first to include Bill Bruford and John Wetton as band members. This 40th Anniversary edition features new mixes by Steven Wilson (Porcupine Tree) and Robert Fripp.
After three decades of Carmen in opéra comique-style, each one offering its own brand of authenticity, here we are back in the 19th century with the old grand opera version, with the Guiraud recitatives, tacked on after Bizet’s death. This was the way Carmen was usually performed until the 1950s, when producers and scholars started to reconsider the original.