"U.S.A." - King Crimson (Island)

- Reviewed by David McLennan

"U.S.A." it the final album from King Crimson ("R.I.P.", as it says on the cover), and chronologically comes between 'Starless' and 'Red', being recorded in America in June, 1974.

All but two of the tracks are from "Lark's Tongues" and "Starless", but they are by no means note-for-note re-rum of the studio versions. Side one opens with "Lark's Tongues In Aspic, Part II", one of the heaviest tracks from that album, and features some crushing bass from John Wetton (who's now wasting his talents in Uriah Heap). Robert Fripp's guitar features very much on this, his self-[unclear: penned] cut.

Next up are two of King Crimson's quieter pieces, "Lament" and "Exiles", both of which are extremely beautiful tunes, and perfect vehicles for Wetton's voice. The instrumental work is subdued and peaceful (except for the end of "Lament"). Fripp executes a beautiful flowing solo on "Exiles", complete with harmonics, and Davud Cross handles the Mellotron very nicely. Beautiful.

Side two opens up with a new track, "Ash-bury Park", which is one of the best things they, or any previous incarnation of K.C. have ever done. It is pure Crimso jazz-rock, and positively sizzles from start to finish. Fripp lays down some blistering guitar runs and the rest of the group go to town in a similar fashion.

"Easy Money" comes up next, a rather different treatment from the original, due mainly to the lack of mad percussionist Jamie Muir (last seen in a Buddhist monastery, I believe). The words are different in parts too. There's another beautifully restrained solo from Fripp, at the end of which he seems to strangle his Les Paul. This is actually one of my favourite Fripp solos.

Finally there is the hardy perennial, "21st Century Schizoid Man". This too is somewhat different to the original or even the "Earth-bound " version. There's no sax for one thing, and Fripp and Cross take the sax and guitar parts respectively on their own instruments in the fast middle section. One point though; I question the ethics of having Eddie Jobson verdub Cross' violin in the studio remix. Aside from the fact that it's cheating a bit, it is also the case of having a boy do a man's job.

So that's it. Their last release. I, for one, will sorely miss King Crimson, but I am sure we haven't heard the last of Fripp. I heartily recommend this album to any Crimso fan, but I have one complaint: Why couldn't it have been a double album?