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Forgot Password? Sign Out. Email Subscriptions. Redeem Gift Certificate. To place an order or for customer service, call toll-free or outside the United States, call Spanish-speaking representatives available, Monday-Friday: 9am-5pm Eastern Time. For personal non-commercial use only. Improvisation meets carefully arranged pieces with good effect, and the overall quality is fairly strong. It's a shame that a weak ending brings down the album slightly.
The basic band is technically competent, though Cross's violin and Pete McPhail's soprano sax are really the only inherently interesting parts of it, with the background violin we see in Starless And Bible Black as the most prominent style. The other playing is usually good, occasionally very good, but sometimes a little too conventional for my taste.
Naturally, these three guests do fill their places at least capably, and John Wetton especially is a standout vocalist. The take on Exiles will no doubt be controversial for many classic prog fans. As it is one of my favourite tracks off my favourite album, I am one of those fans. Initially, I was utterly bamboozled by the dancey synth on the opener and saddened by the absence of Bill Bruford, though the very neat incorporations of piano, slippery acoustics and more rock-based content did impress me from the start.
The twists are evident, and it's clearly putting a very different stamp on a classic piece and producing a real cover rather than simply a re-performance. David Cross's connection with the piece is evident from his own alterations on the violin as well as the general calibre of the cover, and the slightly clearer Wetton vocal delivery does a world of good for Richard Palmer-James' excellent lyrical content.
Tonk features Peter Hammill's vocal, growling, ferocious and threatening with a couple of clever eclectic touches. Behind the rather generic metallic riff, David Cross and Robert Fripp strike ferociously with screechy violin and chaotic Fripp guitar parts.
Not instant love, for me, but once I began to look at the leads more closely, it became much more satisfying and enjoyable. The instrumental Slippy Slide, aside from featuring an odd treble-riff thing with violin and two guitars, I think, is mostly of interest for Pete McPhail's fluid soprano sax soloing, with a convincing verve, even in the fairly heavy context of the piece.
The percussion part is cleverly handled, and has a fairly nice elephantine sound to it. Overall, a very energetic and high quality piece of work.
Cakes, a, no doubt improvised, piece featuring only Cross's violin and Fripp's lush soundscapes on guitar, supposedly. Interesting as the contrast between the very chaotic, splintering violin and the reverent, haunting keys is, I really have an issue getting any imagery or concept from the long, developing piece until about the fifth or sixth minute. A highly avant-garde piece of work, with some very odd violin choices, but still not fully satisfying for me.
Besides a sublime Wetton vocal performance, which carries the cryptic lyrics nicely, it features excellent background violin, clever additions from keys and guitars, as well as a very nice bass rhythm. The 'tinker, tailor, soldier, sailor A highly original piece of work, much as it may not be the average progger's cup of Earl Grey. The metallic opening of Fast gives way to an Arabic-feel thick violin, and fast bass, which then switches back to the quick metal piece. This pattern of various interludes followed by the metallic theme is repeated mainly throughout.
Aside from the excellent fast-paced violin soloing and the neatness with which the sections merge there's not that much to commend the piece for. Solid, but too easily forgotten. Troppo features another Hammill performance, equally good in quality, though this time substituting confusion for threat of Tonk, and complimented by an 'oh-oh' effect.
This time the bass is spotlighted in the vocal sections, while some excellent dark keys and guitar which turns out to be Fripp, looking at the booklet come to the forefront of the instrumental section. A dark, effective and potent piece with killer percussion.
Hero concludes the album, with a largely improvisational feel. Hugely explosive guitar features, as does some more normal sax-work. The piece builds up gradually, with some reminding themes, solid playing and some very strong soloing, but it is not entirely convincing in the way it does this.
Long, meandering, and only hitting its target of creating a scenic feel on occasion. So, experimental and powerful at times, and with plenty of integrity and an overall consistency.
However, the album is probably not essential for those who are not fans of David Cross or especially fixated on the album's three guests. It is good in most parts, but would have been more pleasing to me with a little more focus on the themes of the improvisations. Not bad at all, and I look forward to discovering more of David Cross's discography. Recommended to anyone interested in seeing a well-incorporated violin in a variety of contexts. Worthy of a place in the collection of most fans of Crimson.
John Wetton then comes in vocally and I like the guitar that follows after 3 minutes and later after 6 minutes where it sounds even better. Please try again later. Verified Purchase. So, yes, this IS quite Crimsony, but is not a pale reproduction but a proper revisit, rethink, replay. The other tracks range from full on "Prog Rock" to a surprisingly gentle ballad at one point.
Oh, yes, and the magnificent Peter Hammill of the inimitable Van Der Graaf Generator adds some vocals to a couple of tracks. Definitely different to the Crimson King - but a delight to listen to One person found this helpful. All Good. Many thanks! With a different version of Exiles with a beautiful integration between the instruments.
This whole album has an air of completeness that involves one from the start. With contributions from Fripp, Hammill and Wetton the sound cannot and does not disapoint. If you have had enough of heavy King Crimson then this is not for you. It has an edge that is different, but it's still of that ilk and will grab you the same way.
I do find that David Cross does come across with a bit more jazz than aforementioned band, but can still mix it up. Is this all out of date, well yes, but to me it gives a lot of copycat bands a run for their money.Listen to Exiles by David Cross on Deezer. With music streaming on Deezer you can discover more than 56 million tracks, create your own playlists, and share your favourite tracks with your friends. David Cross. | Red Hot Records Exiles David Cross | Total duration: 54 min. Exiles. David Cross.