"Moonchild" | |
---|---|
Song by King Crimson | |
from the album In the Court of the Crimson King | |
Released | 12 October 1969 |
Recorded | 31 July 1969 |
Genre | |
Length | 12:13 |
Label | Atlantic |
Composer(s) | |
Lyricist(s) | Peter Sinfield |
Producer(s) | King Crimson |
"Moonchild" is the fourth track from British progressive rock band King Crimson's debut album, In the Court of the Crimson King .
Along with songs by Yes, this song was used in the 1998 movie Buffalo '66 , in the scene in which Christina Ricci tap dances at the bowling alley. [4]
After having been rehearsed in 2013–2014 by King Crimson VIII, the song made its live debut after 48 years on 18 October 2017 in Austin, Texas. [5]
The first section, "The Dream", [2] is a mellotron-driven ballad, but after two and a half minutes it changes to a completely free-form instrumental improvisation by the band (called "The Illusion" [2] ), which lasts until the end of the song. Robert Fripp plays a snippet of "The Surrey With the Fringe on Top" (from Rodgers & Hammerstein's "Oklahoma!") in this section.[ citation needed ] In the 2009 remix of the album, the track was edited by Fripp and colleague Steven Wilson, with around 2.30 minutes of the original improvisation (the reference by Fripp to "The Surrey With the Fringe on Top") being removed. This issue of the album does, however, offer the original version as a bonus track.
The song contains drummer Michael Giles performing a unique alternation between the ride cymbals, [6] which was praised by music critics and writers. [7] The song was described as a "space jam." [7] Giles describes the radical "Moonchild" as "an opportunity. We had recorded the material that we wanted to be on the album, so we thought, why not record something that is not improvisation in a jazz way, but is free of structure? You are just dealing with time and space. Music, of all the art forms, is just abstract; you can't pick it up or hold it, or put it on the wall. We started off with this little ditty and then we just took off into outer space, into nothingness, to see what happened. If it had been rubbish we wouldn't have left it on there. I keep looking at the other side of things. What about if we hadn't done it? What about if it wasn't there?" [8]
"What is rarely ever mentioned about In the Court of the Crimson King is that a quarter of its running time is given over to free improvisation," writes Mike Barnes in his book A New Day Yesterday: UK Progressive Rock & the 70s (2020), adding: "'Moonchild' rarely got more than a passing mention in contemporary reviews and is still barely mentioned in more recent commentaries. One gets the feeling that it was a track that some listeners would skip – in the way that Beatles fans might have passed on 'Revolution 9' – but in its own contemplative way, 'Moonchild' was both beautifully played and the most adventurous track by a British rock group to date." [8]
King Crimson were an English-based progressive rock band formed in London in 1967. Led by guitarist Robert Fripp, they drew inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, blues, industrial, electronic, experimental music and new wave. They exerted a strong influence on the early 1970s progressive rock movement, including on contemporaries such as Yes and Genesis, and continue to inspire subsequent generations of artists across multiple genres. The band has earned a large cult following, especially in the 21st century.
Progressive rock is a broad genre of rock music that primarily developed in the United Kingdom through the mid- to late 1960s, peaking in the early-to-mid 1970s. Initially termed "progressive pop", the style was an emergence of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more frequently associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening rather than dancing.
Starless and Bible Black is the sixth studio album by English progressive rock band King Crimson, released in March 1974 by Island Records in the United Kingdom and by Atlantic Records in the United States. It features most of the personnel which appeared on the group's preceding album, Larks' Tongues in Aspic, with only percussionist Jamie Muir not returning, and is the band's final album with violinist David Cross as a member, although he would appear on one track on Red. Much of the album was recorded live and edited together with studio recordings and overdubs. The album includes multiple fully improvised pieces.
Larks' Tongues in Aspic is the fifth studio album by the English progressive rock group King Crimson, released on 23 March 1973 through Island Records in the UK and Atlantic Records in the United States and Canada. This album is the debut of King Crimson's third incarnation, featuring co-founder and guitarist Robert Fripp along with four new members: bass guitarist and vocalist John Wetton, violinist and keyboardist David Cross, percussionist Jamie Muir, and drummer Bill Bruford. It is a key album in the band's evolution, drawing on Eastern European modernist classical music and European free improvisation as central influences.
Gregory Stuart Lake was an English musician, singer, and songwriter. He gained prominence as a founding member of the progressive rock bands King Crimson and Emerson, Lake & Palmer (ELP).
In the Court of the Crimson King is the debut studio album by English progressive rock band King Crimson, released on 10 October 1969, by Island Records. The album is considered one of the earliest and most influential of the progressive rock genre, with the band combining musical influences that rock music was founded upon with elements of jazz, classical, and symphonic music.
In the Wake of Poseidon is the second studio album by English progressive rock group King Crimson, released in May 1970 by Island Records in Europe, Atlantic Records in the United States, Philips Records in Australia, and Vertigo Records in New Zealand. To date the album is their highest-charting in the UK, reaching number 4.
Islands is the fourth studio album by English band King Crimson, released in 3 December 1971 on the record label Island. Islands is the only studio album to feature the 1971–1972 touring line-up of Robert Fripp, Mel Collins, Boz Burrell and Ian Wallace. This would be the last album before an entirely new group would record the trilogy of Larks' Tongues in Aspic, Starless and Bible Black and Red between 1973 and 1974. This is also the last album to feature the lyrics of co-founding member Peter Sinfield.
Lizard is the third studio album by British progressive rock band King Crimson, released on 11 December 1970 by Island Records in the UK, and in January 1971 by Atlantic Records in the United States and Canada. It was the second consecutive King Crimson album recorded by transitional line-ups of the group that did not perform live, following In the Wake of Poseidon. This is the last of two albums by the band to feature Gordon Haskell and the band's only album to feature drummer Andy McCulloch.
Red is the seventh studio album by English progressive rock band King Crimson, released on 6 October 1974 on Island Records in the United Kingdom and Atlantic Records in North America and Japan. The album was recorded at Olympic Studios in London in July and August 1974, and produced by the band themselves.
The Night Watch is a live album by the English rock band King Crimson, recorded in Amsterdam in 1973, and released in 1997.
Earthbound is a live album by the band King Crimson, released in June 1972 as a budget record shortly after the line-up that recorded it had broken up. It contains the band's first official live release of their signature song "21st Century Schizoid Man", and an extended live version of their 1970 non-LP B-side "Groon". It also contains two improvised tracks with scat vocals from Boz Burrell.
King Crimson Live at Summit Studios is a live album of radio session recordings by the band King Crimson, released by the Discipline Global Mobile label through the King Crimson Collectors' Club in February 2000. The album was recorded at Summit Studios in Denver, Colorado on 12 March 1972 during one of the band's American tours. The performance was notable for the absence of the band's trademark Mellotron, resulting in an unusual setlist and the inclusion of two lengthy collective improvisations.
Ian Richard McDonald was an English musician, composer and multi-instrumentalist, best known as a founding member of the progressive rock band King Crimson in 1968, as well as the hard rock band Foreigner in 1976.
Giles, Giles and Fripp were an English rock group, formed in Bournemouth, Dorset in August 1967. It featured brothers Michael Giles on drums and vocals and Peter Giles on bass guitar and vocals, and Robert Fripp on guitar. The band's music showed an eclectic mix of pop, psychedelic rock, folk, jazz, and classical influences. The group eventually evolved into pioneering progressive rock band King Crimson.
"Starless" is a composition by English progressive rock band King Crimson. It is the final track on their seventh studio album, Red, released on 6 October 1974.
"Epitaph" is the third track on British progressive rock band King Crimson's 1969 album In the Court of the Crimson King. It was written by Robert Fripp, Ian McDonald, Greg Lake, and Michael Giles with lyrics written by Peter Sinfield.
"The Court of the Crimson King", sometimes billed "In the Court of the Crimson King", is the titular fifth and final track from the British progressive rock band King Crimson's debut album, In the Court of the Crimson King. Released as a single, it reached No. 80 on the Billboard Hot 100 chart, the only King Crimson single to chart on the Hot 100.
"Larks' Tongues in Aspic" is a musical suite by the English progressive rock band King Crimson. Spanning thirty years and four albums, the series comprises five parts, all of which carry unifying musical motifs. Parts I and II were released as the introductory and final tracks on King Crimson's 1973 album of the same name, part III was featured on their 1984 album Three of a Perfect Pair, part IV appeared on 2000's The Construkction of Light, and the final part, "Level Five", was included on the 2003 album The Power to Believe. Despite breaking the naming convention, Robert Fripp, King Crimson founder and only constant contributor to the suite, insists that "Level Five" is part of the pentalogy.
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