This track has been made available as a free download and tribute to Greg Lake, who died on December 7th, 2016.
It’s a little piece of Crim history that nobody knew existed until DGM engineer, Alex ‘Stormy’ Mundy took a deep breath and dived into the vaults at DGM HQ. It’s likely that this version, taken from a quarter-inch reel to reel, was run off as a reference copy for Fripp at the time. Forgotten for nearly 37 years, the track was eventually made commercially available online in 2007 and on the 2010 edition of In The Wake Of Poseidon.
Cadence And Cascade was one of the abiding mysteries of King Crimson’s second studio album, being the only vocal track on the record not sung by Greg Lake but by a then-guesting, Gordon Haskell.
The common consensus from talking to all of the players involved in the making of In The Wake Of Poseidon, including Greg himself, was that Cadence and Cascade hadn’t been attempted by the time Greg left for ELP.
The discovery of the tape by Alex Mundy in 2007 proved the previously accepted history of the album was wrong, with the song recorded in the first sessions in March 1970 that yielded Cat Food and Groon.
On this outing Greg’s singing is a touch tentative and was probably a guide-only vocal, with the intention being to come back and finish it at a later session.
There’s no flute solo here because Mel Collins hadn’t yet been recruited to the band and Robert’s celeste overdubs would be added much later in the recording sessions at Wessex Studios.
The carefully listener will note that although the Giles Brother’s parts appear to be the same there are some significant differences in the guitar parts and Tippett’s piano near the end. Thus it seems likely that the backing tracks for Gordon Haskell’s rendition, which are the same as the Belew remix from 1991, were a remake recorded near the completion of the Poseidon sessions in May 1970.
This track has been made available as a free download and tribute to Greg Lake, who died on December 7th, 2016.
It’s a little piece of Crim history that nobody knew existed until DGM engineer, Alex ‘Stormy’ Mundy took a deep breath and dived into the vaults at DGM HQ. It’s likely that this version, taken from a quarter-inch reel to reel, was ru...
Wonderful tidbit of KC, just wondering what Peter Sinfield would say? The lyrics to his songs are astonishing to me, the vocals wonderfully soft if anyone knows what his top choice for vocals, would be interesting to know. Thanks again, just listening to this song and In Wake of Poseiden lately....Don
Written by Alessandro Vasserot
This is a true gem.Many thanks for having brought it to light for us to enjoy.Greg Lake vocals are sensitive, delicate, evocative, they fit so well with this moving and melanchonic melody.It is such a surprise this special version has been finally unearthed after nearly 40 years of obscurity, the emotion of its first listening leaves me without words.It deserves to be included, in a way or another, on the forthcoming 5.1 edition of Poseidon, because it’s really amazing.Alessandro
Written by Randall Hammill
Spine tingling
I hadn’t listened to this in quite some time. Over the last week I’ve been revisitng all sorts of Crim goodies after the show last Saturday. I was sort of half-listening to this at work (in fact, I only had one headphone in), and had forgotten that this had Greg Lake singing, until about half way though (on the line "just a man") it sent a shiver down my spine. Wow. I think what I had really forgotten is how amazing Greg’s voice is (was). And at this time there is no sense of self-import...
I hadn’t listened to this in quite some time. Over the last week I’ve been revisitng all sorts of Crim goodies after the show last Saturday. I was sort of half-listening to this at work (in fact, I only had one headphone in), and had forgotten that this had Greg Lake singing, until about half way though (on the line "just a man") it sent a shiver down my spine. Wow. I think what I had really forgotten is how amazing Greg’s voice is (was). And at this time there is no sense of self-importance or ego at all, just a clear, chilling rendition of a sublime ballad. Add that on top of Robert’s beautiful acoustic guitar, Michael’s drums and Keith’s understated piano, it’s a stunning performance and I have to wonder why this was never developed for the final release.