King Crimson’s second and third LPs, both originally released in 1970, have arguably been undervalued and misunderstood ever since they first came out.
In The Wake Of Poseidon was an early example of difficult second album syndrome, given both the epochal impact of their debut and the subsequent collapse of the band.
And Lizard, featuring a significantly changed line-up, pushed at the boundaries of traditional rock composition in a way that left many listeners nonplussed.
Another opportunity to reassess the works is presented in what’s described as their most complete editions ever, despite being just two-disc sets. But with since of those is a Blu-ray, there’s room to accommodate a veritable cornucopia of recordings.
These include new Dolby Atmos, 5.1 Surround and stereo mixes by Steven Wilson, alternate Elemental Mixes by DGM co-owner David Singleton – and if that’s not enough, the complete sessions for each album, with, for instance, 15 takes of Groon for hardcore fans.
Suffice to say it all sounds fantastic and leads to a greater appreciation of the source material. Wilson makes impressive use of the stereo spectrum, with the detailed flow of the music always in focus.
On Poseidon, Pictures Of A City slinks and prowls; and despite the circumstances of its creation, the musicians play with an easy discipline. The delicacy of Cadence And Cascade is highlighted, while the ludicrously groovy Catfood reveals a more playful side to the band and also points a way forward.
Singleton’s mixes are a fascinating opportunity to look under the hood of the songs, and in some cases almost totally reimagine them, with less prominent parts and different takes combined and emphasised.
For example, a shorter and in some ways more successful version of Poseidon’s title track foregrounds the filigree of Robert Fripp’s guitar, while Cadence features a rare Greg Lake vocal take.
Lizard is a revelation as Wilson oversees a complex but rewarding work. With its honking Mellotron, narcoleptic sax and impenetrable lyrics, the strangeness that KC could conjure is never more apparent than on Cirkus, while both Indoor Games and Happy Family are full of post-Beatles weirdness and skittish, deconstructed melodies.
But the side-long title track is the most ambitious arrangement here, opening with a romantic theme, uncoiling into drifting, conversational jazz, then surging and testifying in The Battle Of Glass Tears section.
Singleton’s mix of Lizard is particularly transformative, with Keith Tippett’s dazzling piano playing pushed forward and the baroque drama amped to the max.
The ultimate editions of In The Wake Of Poseidon and Lizard are on sale now via DMG/Panegyric.
