Although McDonald and Giles remains popular among King Crimson fans, its commercial success was limited. (The album was released on Atlantic itself in several countries.) The album was recorded at Island Studios between May and July 1970. The album was first issued on Island Records (ILPS 9126) in the UK and Cotillion Records (SD 9042), a division of Atlantic Records, in the US. McDonald and Giles is an album released by British musicians Ian McDonald and Michael Giles in 1970.
Peter Giles returned to the accounting trade, alas, while Ian McDonald eventually wound up as part of Foreigner, which is another tale entirely.Cotillion (original US & Canadian release)Ītlantic (original releases in Australia, New Zealand, Japan & South America) The main attraction is really the performances turned in by McDonald and the Giles brothers - they all sound fabulous, even when waffling musically, while Michael Giles has a unique drum tone that never has been duplicated (Giles himself abandoned the sound for his later career in Jackson Heights and as a session drummer). The 20-minute “Birdman” tends toward self-indulgence, while “Tomorrow’s People – The Children of Today” loses focus halfway and spends the next four minutes being a blithering - if pretty - musical idiot. įollowing the meltdown of the original King Crimson lineup, Ian McDonald and Michael Giles brought brother Peter Giles back, which helps to account, in some ways, for the resemblance of this album to the 1968 Giles, Giles & Fripp recordings - though the songs here tend to go on at some length, combining prog rock’s traits of length and multiple sections with some of the lighter feel of the GG&F days. “The Devil’s Triangle,” which is essentially an unauthorized adaptation of “Mars, Bringer of War” from Gustav Holst’s The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. Fripp, however, has made an impressive show of transmuting material that worked on stage (“Mars” aka “The Devil’s Triangle”) into viable studio creations, and “Cadence and Cascade” may be the prettiest song the group ever cut. The record doesn’t tread enough new ground to precisely rival In the Court of the Crimson King.
Surprisingly, Fripp’s guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald’s departure - and played even better than before - still remains the band’s signature.
Their second album - largely composed of Robert Fripp’s songwriting and material salvaged from their stage repertory (“Pictures of a City” and “The Devil’s Triangle”) - is actually better produced and better sounding than their first. King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave.
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These ex King Crimson pair teamed up to record a stunningly beautiful album with rich musical textures and Abbey Road-esque vocal arrangements and full orchestration, the album continued where their work in King Crimson left off and featured a guest appearance by Steve.Īrtist: King Crimson | Album: In The Wake Of Poseidon | Style: Prog Rock | Year: 1970 | Quality: DVD-Audio (MLP 5.1 96kHz/24Bit, MLP 2.0 96kHz/24Bit, DTS 5.1 48kHz/24Bit, PCM 2.0 48kHz/24Bit) | Bitrate: lossless | Tracks: 11 | Size: ~6.6 Gb | Recovery: 3% | Release: UК © 2010 DGM | KCSP2 | Note: Not Watermarked McDonald And Giles - McDonald And Giles (1970) Originally released in 1970. Following the meltdown of the original King Crimson lineup, Ian McDonald and Michael Giles brought brother Peter Giles back, which helps to account, in some ways, for the resemblance of this album to the 1968 Giles, Giles & Fripp recordings - though the songs here tend to go on at some length, combining prog rock's traits of length and multiple sections with some of the lighter feel of the GG.
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