Playlist Week of 2013-03-02

* J.S. Bach: Sonatas & Partitas For Violin Solo (Podger) (Channel Classics 2CD)

* Maderna: Quadrivium/Aura/Biogramma (Norddeutschen Rundfunks/Sinopoli) (DG CD)

* Berio: The String Quartets (Arditti) (Montaigne/Naïve CD)

* Charlie Parker: The Complete Savoy & Dial Studio Recordings (d.6) (Savoy/Atlantic 8CD)

* John Coltrane: Interplay (d.4-5) (Prestige/Concord 5CD)

* Sun Ra: Some Blues But Not The Kind That’s Blue (Saturn/Atavistic CD)

* Sun Ra: Unity (Horo 2LP>CDR)

* Sun Ra: Of Mythic Worlds (Philly Jazz LP)
* Archie Shepp: Attica Blues (Impulse! CD)

* Archie Shepp: The Cry Of My People (Impulse! CD)

* Kip Hanrahan: Tenderness (American Clave CD)

* Kip Hanrahan: Exotica (American Clave CD)

* Kip Hanrahan: A Thousand Nights And A Night (American Clave CD)

* Marvin Gaye: What’s Goin’ On (Motown/Mobile Fidelity SACD)

* Roberta Flack: Softly With These Songs: The Best of Roberta Flack (selections) (Atlantic CD)

* Gonervill: Gonnervill (Innerrhythmic CD)

* Frank Ocean: Channel Orange (Island/Def Jam CD)†/‡

* Rock Candy Funk Party: We Want Groove (J&R Adventures CD/DVD)

* Elvis Presley: Loving You (RCA-Victor/Friday Music LP)

* Elvis Presley: A Date With Elvis (RCA-Victor/Friday Music LP)

* Elvis Presley: Elvis Is Back! (RCA-Victor/DCC LP)

* Grateful Dead: Europe ’72 (Warner Bros./Rhino 3LP)

* Grateful Dead: Europe ’72 Volume 2 (Warner Bros./GDP/Rhino 4LP)

* Grateful Dead: Paramount Theatre, Portland, OR 1972-07-25 (selections) (SBD 4CDR)

* Jimi Hendrix: Live At Woodstock (Experience Hendrix/MCA 2CD)

* Jimi Hendrix: Band Of Gypsies (Experience Hendrix/Capitol CD)

* Jimi Hendrix: Live At The Fillmore East (Experience Hendrix/MCA 2CD)

* Buffalo Springfield: Buffalo Springfield (d.4) (Atco/Rhino 4HDCD)

* King Crimson: Islands (40^th Anniversary Edition) (Inner Knot CD/DVD)

* King Crimson: Larks’ Tongues In Aspic (40^th Anniversary Edition) (Inner Knot CD/DVD)

* King Crimson: Starless And Bible Black (40^th Anniversary Edition) (Inner Knot CD/DVD)

* Camel: Mirage (Deram/EMI CD)

* Camel: Music Inspired By The Snow Goose (Decca/EMI CD)

* Camel: Moonmadness (Decca/EMI CD)

* Camel: Raindances (Decca/EMI CD)

* Camel: Breathless (Decca/EMI CD)†/‡

* Talk Talk: The Colour Of Spring (EMI LP/DVD)

* Talk Talk: Spirit Of Eden (EMI LP/DVD)

* Talk Talk: Laughing Stock (Polydor 2LP)

* Mark Hollis: Mark Hollis (Polydor/Ba Da Bing LP)

* Chelsea Light Moving: Chelsea Light Moving (Matador WAV)†

* Porcupine Tree: Stars Die: The Delirium Years 1991-1997 (KScope 2CD)

* Porcupine Tree: The Sky Moves Sideways (KScope 2CD)

* Katatonia: The Great Cold Distance (Peaceville CD)

* Meshuggah: Koloss (Nuclear Blast CD/DVD)

* OM: God Is Good (Thrill Jockey LP)†

* OM: Advaitic Songs (Thrill Jockey 2-45RPM LP)†

* Alcest: Écailles de Lune (Prophecy Productions CD)†/‡

* Alcest: Les Voyages de l’Âme (Prophecy Productions CD)†/‡

†=iPod

‡=car

Commentary:

After numerous delays, the two-disc 40^th Anniversary Edition of King Crimson’s 1973 album, Larks’ Tongues In Aspic, finally arrived a few weeks ago. As with the others in this series (which I wrote about here and here), Steven Wilson’s remix is revelatory—especially on high resolution 24-bit/96kHz DVD-Audio. This is probably my very favorite King Crimson album—and it has never sounded so good.

After numerous personnel changes over the years, King Crimson reinvented itself in mid-1972, with a whole new lineup handpicked by nominal leader (and only remaining original member), Robert Fripp: two drummers, including Bill Bruford and Jamie Muir; violinist/keyboardist David Cross; and bassist/singer/frontman, John Wetton. Bruford was riding high with Yes, who were at the peak of their powers and commercial success, but he was looking for a challenge (he got one). Wetton was also looking to break free from Family and Fripp was willing to make him the front man for the new incarnation of Crimson. Cross was virtually unknown; Fripp had met him through Crimson’s work on college campuses. But the most interesting—and fleeting—new member was Muir, who was well known as a member of Music Improvisation Company, the landmark free music collective with guitarist Derek Bailey and saxophonist Evan Parker. His expansive drum kit, extended techniques and wild-man stage persona transformed the sound of King Crimson and his effect would be felt long after he left the band.

They immediately hit the road, incorporating long stretches of free improvisation amidst slowly evolving new material. In a grudging nod to the past, an encore of “21^st Century Schizoid Man” might appease the stunned and somewhat puzzled audiences. Accordingly, the new band was well-prepared when they went into the studio in January 1973 to record Larks’ Tongues In Aspic. However, the cheap and cheerful Command Studios in London was fraught with technical problems and an inept, novice engineer. Although they valiantly tried to capture the dynamic, improvisational aspects of their live shows, no one was particularly happy with the way the record sounded at the time. Wilson’s remix goes a long way towards rectifying this. He admits in the liner notes that he “was a little bit less faithful to the original recording in the sense that I knew there were some things we could do to toughen the sound up a bit to give the album a bit more balls if you like.” I’ve heard this record hundreds of times and the first time I listened to this remix, I heard things I’d never noticed before—mostly little bits of Muir’s meticulously detailed percussion that had previously been buried in a murky, hastily put together mix. Purists should be satisfied that the original can be found on the DVD but I can’t see anyone wanting to return to it.

The extras include the entire album re-imagined through alternate takes and mixes (including Muir’s solo track from “Easy Money”) but the coolest thing by far is the video segment from television appearance on "The Beat Club" in Bremen prior to the album's recording sessions. Opening with an astonishing thirty-minute improvisation, you really get to see the two drummer lineup in action—and how truly progressive this version of the band really was. At times evoking the edgy jazz/rock fusion of Miles Davis’s music during this period (or the guitar-god heroics of the Mahavishnu Orchestra), it also ventures into the sound world of post-Bartokian classical music, with Cross’s violin and flute combined with the dual Mellotrons going to places rock music has rarely ventured. But it is Muir’s presence that seems to lift the bandstand, his antics highly theatrical but also profoundly musical. “I always remember I had an urge to get Robert to let his hair down because he was very controlled in the way he played,” says Muir in the liner notes. “At the TV gig, I really tried  and tried to provoke him.” Fripp (who has plenty of hair in the video), remains as tight-assed as ever, but you can watch him watching Muir, subtly deferring to his lead during parts of the improvisation and at all times playing with a fierce determination. In fact, everyone seems to be watching Muir, wondering what he might do next. It’s all very exciting and wondrous to behold and worth the twenty bucks all by itself. Apparently, the legal hassles involved with securing the rights to this footage  held up the release of this new edition of Larks’ Tongues In Aspic. Well, it was certainly worth the wait.

Muir abruptly quit the band in early 1973, ostensibly due to an onstage injury but in reality because of a deep spiritual crisis. He withdrew to a Buddhist monastery in Scotland for the next several years, only occasionally making music ever again. King Crimson continued on as a quartet but with Bruford incorporating Muir’s textural, atmospheric playing into his more groove-oriented approach. For the hardcore fan of the Jamie Muir era, a limited edition fifteen-disc box set is available, containing every scrap of tape known to exist of this short-lived version of the band. Am I a hardcore fan? Well, the vast majority of the live recordings are taken from audience bootlegs—not my favorite listening material—but I have to say I am tempted. Some music is so good, it’s worth suffering through shitty sound quality (e.g. Sun Ra). This incarnation of King Crimson is definitely in that category. Well, I guess I better make a decision before it goes out of print forever. For everyone else, the 40^th Anniversary Edition is more than enough to convince you that this incarnation of King Crimson was truly incredible, both live and in the studio. Wilson’s remix unearths a wealth of detail while retaining the warm ‘70s vibe of the original, revealing Larks’ Tongues In Aspic to be every bit the masterpiece I always knew it was.

Playlist Week of 3-17-12

* Buxtehude: Seven Sonatas (Holloway/Mortensen/ter Linden) (CPO/Naxos CD)
* Vivaldi: The Four Seasons (Venice Baroque Orchestra/Marcon/Camignola) (Sony CD)
* Vivaldi: Late Concertos, RV 386, etc. (Venice Baroque Orchestra/Marcon/Carmignola (Sony CD)
* Vivaldi: Cello Sonatas (ter Linden/Mortensen) (Brilliant Classics 2CD)
* Sun Ra: WXPN-FM, Philadelphia, PA 12-25-76 (FM CDR)
* Sun Ra: ESP Radio Tribute Highlights (d.4) (selections) FM 5CDR)
* Pat Patrick’s Baritone Retinue: Sound Advice (Saturn LP>CDR)
* Derek Bailey: Standards (Tzadik CD)
* Derek Bailey: Ballads (Tzadik CD)
* Jimi Hendrix Experience: Are You Experienced? (Experience Hendrix/MCA CD)
* Jimi Hendrix Experience: Axis: Bold As Love (Experience Hendrix/MCA CD)
* Jimi Hendrix: Electric Ladyland (Experience Hendrix/MCA CD)
* Grateful Dead: Road Trips Vol.4 No.2: April Fools’ ’88 (GDP/Rhino 3HDCD)
* King Crimson: In The Court Of The Crimson King (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* King Crimson: In The Wake Of Poseidon (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* King Crimson: Lizard (40th Anniversary Series) (DGM/Inner Knot CD/DVD)†
* King Crimson: Islands (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* King Crimson: Starless And Bible Black (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* King Crimson: Red (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* King Crimson: Discipline (40th Anniversary Series) (DGM/Inner Knot CD/DVD)
* Yes: Going For The One (Atlantic/Rhino CD)
* Yes: Tormato (Atlantic/Rhino CD)
* Caravan: In The Land Of Grey And Pink (Deram/Decca 2CD/DVD)
* Robert Pollard: Mouseman Cloud (GBV, Inc. LP)
* Porcupine Tree: The Incident (Roadrunner 2CD)†
* Steven Wilson: Grace For Drowning (KScope 2CD)
* Opeth: Still Life (Peaceville/Icarus CD)†
* Opeth: Blackwater Park (Music For Nations/KOCH CD)†
* Opeth: Deliverance (Music For Nations/KOCH CD)†
* Opeth: Damnation (Music For Nations/KOCH CD)
* Opeth: Lamentations: Live At Shepherd’s Bush Empire 2003 (Music For Nations/KOCH 2CD)†
* Opeth: Ghost Reveries (Roadrunner CD)†
* Opeth: The Roundhouse Tapes (Peaceville 2CD)†
* Opeth: Watershed (Roadrunner CD)(†)
* Opeth: In Live Concert At The Royal Albert Hall (Roadrunner 3CD/2DVD)(†)
* Opeth: Heritage (Deluxe Edition) (Roadrunner CD/DVD)
* Katatonia: Last Fair Deal Gone Down (10th Anniversary Edition) (Peaceville CD/CDEP) †
* Katatonia: Viva Emptiness (Peaceville CD)†/‡
* Katatonia: The Great Cold Distance (Peaceville CD)†/‡
* Katatonia: Night Is The New Day (Peaceville CD)
* Agalloch: The Mantle (The End Records CD)†
* Agalloch: Ashes Against The Grain (The End Records CD)†
* Agalloch: Marrow Of The Spirit (Profound Lore CD/2LP)(†)
* Mastodon: Leviathan (Relapse CD)†
* Baroness: Red Album (Relapse CD)†/‡
* Baroness: Blue Record (Relapse CD)†/‡

†=iPod
‡=car

Commentary:

The rest of the King Crimson 40th Anniversary Series arrived this week and I’ve been in prog heaven. These things are a model of how historical reissues should be presented. Steven Wilson's remixes are for the most part revelatory and the CDs sound very good—but the DVDs are where the action is, containing the new re-mix (as well as the original mix) in MLP lossless stereo and 5.1 surround; alternative mixes, outtakes, live tracks; and, if available, video footage. For twenty bucks, you really can’t go wrong with any of them. Even if you have the originals or the 30th Anniversary editions, these are well worth having—especially if you have a DVD-Audio player. This is state-of-the-art digital.

In the Court of the Crimson King (1969). Was there ever a more audacious debut? My God! That cover! And the grinding dissonance of the opening track, “21st Century Schizoid Man”! Yikes! It may not be the first prog album, but it certainly came to define the term for everything that came after. Those who are intimately familiar with this classic record might be shocked at first by Wilson’s remix, which removes layer upon layer of sludge and noise from the original tapes. His mix is faithful to the original down to the finest detail but the clarity of the instruments and vocals is nothing less than astounding. Curiously, Robert Fripp requested that three minutes of improvisation on “Moon Child” be excised on this remix. Heresy! Casual listeners will never notice, but I actually prefer the original, extended space-out and, fortunately, it can found on the DVD. Thank you, Mr. Fripp! Also included is a short video clip of the band at the infamous Hyde Park gig on July 5, 1969. Super-hardcore fans will want the deluxe six-disc box set, which includes all this and every other scrap of tape from the sessions plus a dub of the original UK mono LP. Also available is a 200-gram vinyl reissue, but be aware that it is the original mix, not Wilson’s remix contained therein, which sort of makes sense, I guess, in that it reproduces the original artifact.

In The Wake Of Poseidon (1970). The ’69 Crimson was killer live band, but it burned out after an intense U.S. tour (as documented on the Epitaph box set) and promptly disintegrated. Fripp gamely kept things going with a follow-up album which feels a bit like a pale imitation of the debut. There’s some good stuff here, though, like the jazzy “Cat Food” (featuring pianist Keith Tippett) and the doomy, Mellotronic “Devil’s Triangle.” Unfortunately, the original multitracks for the latter have disappeared, leaving only the original, murky mix to contend with. Not sure how that works in 5.1, but it’s rather jarring to listen to in the midst of Wilson’s pristine remix. Oh well; they certainly try to make up for it with oodles of bonus tracks, alternate mixes and several version of the angular jazz instrumental, “Groon.” A 200-gram vinyl reissue is also available, but again contains the original mix. A Wilson re-mix of “Devil’s Triangle” might have changed my mind, but In The Wake Of Poseidon remains my least favorite Crimson album. Hey, no one bats a thousand.

Lizard (1971). I wrote about this one last week. A flawed masterpiece redeemed by Wilson’s tireless efforts.

Islands (1972). Continues with the out-jazz inflections of Lizard, but the (mostly) down-tempo material combined with soaring strings, glistening acoustic guitars and flittering horns provide a pastoral calm at its center which is utterly unique in the Crimson discography. Then again, the almost offensively macho “Ladies of the Road” nearly wrecks the mood, but also points toward the more aggressively visceral music of later years. Also like Lizard, Islands has always suffered from a fuzzy, indistinct mix and Wilson once again comes to the rescue. It’s truly a revelation, especially in high-rez! While no video exists of this short-lived lineup, the two live recordings included here sound amazingly good for the period and show the restrained power and wide-ranging versatility of this band. The DVD is rounded out with tons of alternate takes, rehearsals, rough mixes and alternative remixes—more than enough material to allow for an honest reappraisal of this neglected gem. If you think you don’t like this album (and it is many fans’ least favorite), you are in for a big surprise. Wilson’s crowning achievement in the 40th Anniversary Series (so far).

Larks’ Tongues in Aspic (1973). The 40th Anniversary edition is not out yet and no release date has been set; apparently, they are still negotiating rights to issue the proposed video content. The arrival of the Bill Bruford/John Wetton rhythm section gave the band a muscular, jazz/rock fusion feel that really floats my boat and this is probably my favorite Crimson album of all time. I can’t wait to hear what Wilson has done with it!

Starless And Bible Black (1974). An interesting experiment combining live tapes with overdubs and new studio recordings that really packs a punch in Wilson’s remix. Sadly, the original multitracks for “Trio” and “The Mincer” are missing, which is a big disappointment. Nevertheless, given the higher-fidelity of the recording, the negative impact of this sonic incongruity is less severe than on Wake. And, again, this deficiency is more than made up for with the inclusion of tons of bonus material, including the entire Zurich concert from November 15, 1973 (my tenth birthday!), along with other live tracks from the period; single edits (stereo and mono) of “The Night Watch”; and radio advertisements for the album. To top it off there’s some tasty video footage from Central Park June 25, 1973 where the band tears into “Easy Money” and “Fragged Dusty Wall Carpet.” This version of the band was at the top of its powers as a live unit, leaping into the void with extended improvisations which sound like full-notated compositions. That kind of thing is much in evidence here making this reissue worthwhile for the bonus tracks alone.

Red (1975). The final album of the “classic” era and a signpost to things to come. Sounding at times like a brainy metal band, this is as heavy as Crimson ever got. Determined to quit while he was still ahead, Fripp announced the end of King Crimson months before the album ever hit the stores. Nevertheless, it was a hugely influential record, inspiring nascent proggers everywhere for years to come (like, for instance, Mr. Wilson and his pals in Opeth). Curiously, Wilson chose not to make a new stereo mix, deeming the original “perfect.” Well, maybe. It does sound great in high-rez—but I can’t help but wonder if Wilson could have worked his magic here as well. Whatever—there is once again enough bonus material here to make this reissue a worthwhile purchase, including a rare television broadcast from ORTF, France on March 22, 1974. The cheesy video effects may look dated, but the music sounds as intensely up-to-the-minute now as it did then.

Discipline (1981). The ‘80s version of King Crimson was a very different animal, combining the interlocking modal melodies of gamelan music with jittery New Wave beats and the manic vocals of Adrian Belew. This record might not have been what old-timers were hoping for but it was enormously important to many of us at the Conservatory. We spent many hours analyzing its complex metrical frameworks and experimenting with electronic delay effects to re-create the delicately chiming rhythms that hold the music together. We failed miserably. Anyway, Wilson displays his chameleonic mixing abilities, faithfully re-creating the dry, brittle ambience of the original while also clarifying and enriching the instrumental textures. It’s not a night-and-day difference, but it sure sounds good—especially in high-rez. The DVD is rounded out with a bunch of alternate mixes (including the original overdubbed version of “Matte Kudasi” (which I prefer) and a dub of the promo-only 12” dance re-mix of “Elephant Talk”) plus video footage from "The Old Grey Whistle Test" from October 1981 and March 1982.

Beat (1982) and Three Of A Perfect Pair (1984) are forthcoming.

So what about those 30th Anniversary editions? I guess I’m going to hold onto them. I like the way they look: the oversize, heavyweight gatefold jackets are luxurious and the scrapbook-style booklets are fascinating to look at. Boy, it’s hard to believe it’s been ten years—but digital technology has come a long way since then. King Crimson is the preeminent progressive rock band and the 40th Anniversary Series are truly state-of-the-art, making them the definitive versions of these classic albums. Essential!

Playlist Week of 3-10-12

* Buxtehude: Seven Sonatas, Op.1 (Holloway/Mortensen/ter Linden) (CPO/Naxos CD)
* Buxtehude: Seven Trio Sonatas, Op.2 (Holloway/Mortensen/ter Linden) (CPO/Naxos CD)
* Berio: Chemins II & IV, etc. (Ensemble Intercontemporain/Boulez) (Sony Classical CD)
* Berio: Voci (RSO Wien/Davies/Kashkashian) (ECM CD)
* Miles Davis: The Bootleg Series Vol.1: Europe 1967 (d.2)(Columbia/Legacy 3CD/DVD)
* Sun Ra: WXPN-FM, Philadelphia, PA 12-25-76 (FM CDR)
* Pat Patrick’s Baritone Retinue: Sound Advice (Saturn LP>FLAC)
* Grant Green: Idle Moments (Blue Note CD)
* John Abercrombie: Class Trip (ECM CD)
* Tom Rainey Trio: Camino Cielo Echo (Intakt CD)
* Aych (J. Hobs/M. Halvorson/T.H. Bynum): As The Crow Flies (Relative Pitch CD)
* Taylor Ho Bynum Sextet: Apparent Distance (Firehouse 12 CD)
* Grateful Dead: Dick’s Picks Vol.17: Boston Garden 9-25-91 (GDP 3HDCD)
* Grateful Dead: Road Trips Vol.2 No.4: Cal Expo ’93 (GDP/Rhino 2+1HDCD)
* Neil Young: On The Beach (Reprise DVD-A)
* Neil Young: Comes A Time (Reprise LP)
* Joni Mitchell: Hejira (Asylum HDCD)
* King Crimson: Lizard (40th Anniversary Edition) (Inner Knot CD/DVD-A)
* King Crimson: Discipline (40th Anniversary Edition) (Inner Knot CD/DVD-A)
* King Crimson: Heavy ConstruKction (DGM 3CD)†
* ProjeKct One: Live At The Jazz Café (DGM CD)†
* ProjeKct Three: Masque (DGM CD)†
* Yes: Tales From Topographic Oceans (Atlantic/Rhino 2CD)
* Yes: Relayer (Atlantic/Rhino CD)
* Gentle Giant: Three Friends (Alucard/EMI CD)
* Gentle Giant: Octopus (Alucard/EMI CD)
* Gentle Giant: In A Glass House (Alucard/EMI CD)
* The Police: Synchonicity (A&M SACD)
* Robert Pollard: Mouseman Cloud (GBV, Inc. LP)
* Porcupine Tree: In Absentia (Lava/Atlantic CD)
* Porcupine Tree: Deadwing (Lava/Atlantic CD)†
* Porcupine Tree: Fear Of A Blank Planet (Atlantic CD)†
* Porcupine Tree: The Incident (Roadrunner 2CD)†
* Opeth: Still Life (Peaceville CD)†
* Opeth: Blackwater Park (Music For Nations/KOCH CD)†
* Opeth: Deliverance (Music For Nations/KOCH CD)(†)
* Opeth: Damnation (Music For Nations/KOCH CD)†/‡
* Opeth: Ghost Reveries (Roadrunner CD)†
* Opeth: Watershed (Roadrunner CD)†
* Opeth: Heritage (Roadrunner CD/DVD)
* Katatonia: Last Fair Deal Gone Down (10th Anniversary Edition) (Peaceville CD/CDEP)†
* Katatonia: Viva Emptiness (Peaceville CD)†/‡
* Katatonia: The Great Cold Distance (Peaceville CD)†
* Katatonia: Night Is The New Day (Peaceville CD)†/‡
* The Mars Volta: De-Loused In The Comatorium (Gold Standard Labs/Universal CD)†/‡
* Baroness: Blue Record (Relapse CD)†
* Baroness: Red Album (Relapse CD)†

†=iPod
‡=car

Commentary:

The King Crimson 40th Anniversary Editions are starting to trickle in and I was pleased to see one of the first to arrive was Lizard. Their third album, originally released in 1970, has always been a hard one to love. It’s a transitional record by a version of the band that never performed live and while it continues with the Mellotronic grandeur of their previous albums, it moves in an overtly out-jazz direction with prominent use of pianist Keith Tippett and members of his sextet. In fact, the Crimson King himself, Robert Fripp, asked Tippet to join the band full-time, but the offer was declined. Imagine what that might have sounded like! Overflowing with ideas, Lizard looks good on paper (and sports a stunningly gorgeous sleeve), but always suffered from a murky, indistinct mix, marred by layers of tape hiss and inadvertent blasts of distortion. Lizard has always stood out as their most musically ambitious album but it was also the most difficult one to listen to and enjoy.

Once again, Steven Wilson comes to the rescue, utilizing up-to-the-minute digital technology to meticulously remix Lizard from the original master reels, thereby eliminating the sonic degradation inherent in the primitive multitrack techniques which relied on “bouncing” tracks to make room for further overdubbing. While his remix is fastidiously true to the original, the newfound clarity of the voices and instruments is truly astonishing. Now you can finally hear the delicate, jazzy interplay within the dense orchestrations and, moreover, the rhythm section has a heft and solidity that was sorely lacking in the original. Nowhere is this more apparent than on the sprawling, side-long title track: the original mix is a mess—almost laughably disjointed and downright weird—but Wilson’s remix clarifies the richly variegated instrumental textures and brings out the dramatic arc of the piece in a way the original utterly failed to do. As Fripp admits in his liner notes, “The music of Lizard is redeemed. In that there is hope.”

Indeed.

I’ve been avoiding them up to now, but these 40th Anniversary Editions are a model of how historical reissues should be done. For twenty bucks (or so) you get a nicely mastered CD of the Wilson remix along with some bonus tracks—plus a DVD with the original album (and bonus tracks) in four different audio formats: MLP Lossless 5.1 surround; MLP Lossless 2.0 stereo; DTS 5.1 digital surround; and LPCM 2.0 stereo. Very nice! For the truly obsessed, the original mix is also included in high-resolution stereo and, if any exists, contemporaneous video content is also appended. Now, that is what I call value for the money. I don’t have a surround sound set-up, but these high-rez stereo tracks sound magnificent—glorious, even! This is state-of-the-art digital done right at a more-than-fair price. The gatefold digipack/slipcase packaging is simple but classy—honestly, it doesn’t get any better than this, folks. Even if, like me, you bought all the 30th Anniversary Editions ten years ago, you will be delighted to hear what Steven Wilson has done with these classic albums. If you can play DVD-Audio, you are in for a real treat! I can’t wait for the rest of them to arrive in the mail! See you next week.