Famously contrarian, Michael Giles was never keen on the drum sound achieved at Wessex Studios during the making of King Crimson’s debut album in 1969, complaining that the timbre was rather papery and thin. Yet despite his misgivings, the sound of the drums, and his playing in particular, was hugely influential to established players and beginners alike but is widely regarded as the template for the burgeoning progressive music scene of the day of which Crimson was at the forefront.
Taken from the original 8-track master, Alex Mundy has stripped away everything but the drums and bass guitar, and the processed vocals as a point of orientation, on what is the first take of King Crimson’s signature song. The isolated tracks also highlight Lake’s nimble bass work reminding 21st-century listeners just how formidable the original rhythm section was when they were in full flight. Interesting also to hear Lake shouting/cueing up in the song’s scrabbling coda.
Alex notes, ”I assume they only kept Take 1 as there are no other takes. I'm pretty sure that the bass (along with the drums) are the original first take, and were used in their entirety with no drop-ins added. The improv section is quite amazing.”
