King Crimson
Islands

The excellent debut of the most interesting and cultured band of the entire progressive era is known to everyone: "In the Court of the Crimson King" may be their most famous work, some say the best, I’ll only classify it as one of their masterpieces... The second album "In the Wake of Poseidon" perhaps sins of too much dependence on the band's initial core ideas, so it is too similar to the first... sure, there are good tracks... but the true characteristic of KC is precisely their versatility in composing, their continuous evolution and their desire to experiment with new sonic and artistic solutions...

Following these principles, Fripp, charismatic leader and incredible guitarist, and the faithful lyricist Sinfield search for new elements for the next album. The result is "Lizard," a new and original album but perhaps underrated by many, with its sound leaning towards clear free jazz with many classical references, an album certainly recommended... But the real stroke of genius of the early period (69-72) may be the album I am about to review: "Islands". The band rearranges once again and Fripp and Sinfield remain at 90 degrees, recruiting a new set of musicians including the legendary Mel Collins on winds and the gentle Boz Burrell on bass and vocals. The result is a new sound, very inclined towards jazz but with explicit references to classical music. The album (I hear, as I wasn’t even a gleam in my father’s eye at the time, being only fifteen years old) received heavy criticism and fans may have been a bit unsettled by the new sound, perhaps too sophisticated and leaning towards the romantic.

The first track "Formentera Lady" can easily be divided into two parts: in the first, Boz sings sweetly over a light and sweet carpet of romantic piano notes by the illustrious guest Keith Tippett. In the second, much more mystic (which I love to call the "Acoustic Lark's Tongues in Aspic"), the elegant singing of a soprano embroidered on the main theme of the entire album (which resembles the sound of waves), repeated by violins, literally warms the hearts... If you've warmed up enough, you'll now be ready to get a bit wet... In fact, the second and "impressionist" piece, the instrumental "Sailor's Tale", extraordinarily puts into music the tale of a sailor who, in his wandering, encounters a terrible storm... The track plays entirely on the theme repeated by the Mellotron (which resembles the surge of the sea), over which an incredible and terrifying solo, depicting the storm musically by Master Fripp, slowly begins... such imagination!!!!

The third track is perhaps the least beautiful (calling it the ugliest is unfair since it is also a masterpiece). Boz's expressive voice returns to narrate the drama of two women jealous of each other. The central part of the track is truly interesting, with a tearing sax solo accompanied by winds and a powerful guitar. Let’s move to the fourth track, "Ladies of the Roads", which some define as Beatles-inspired (I disagree). The piece is very sexy and captivating, with vaguely jazzy sounds. Sinfield praises the girls of the road, namely the groupies, whom he nonetheless calls "apples to be picked in youth", perhaps to remind that youth is the best time of one’s life...

And now... something completely different (as the Monty Pythons would say)!!! Away with guitars, drums, and bass, enter strings and winds... here is "Prelude: Song of the Gulls", the second instrumental. Imagine lying near the shore, above you the red sunset serves as a backdrop to a seagull flying away, carrying the memories of a romantic summer that ended in the worst way; there is nothing left but to remember your lost love, the caresses, and the tender kisses that, like waves, pamper your limbs... And just when you are about to shed the first tears, comes the best piece by KC (along with "The Fracture"). Yes, take out your tissues because you're going to cry... "Islands" is a piece of unique sweetness: Boz sings to peace and inner serenity, making us feel blessed and light... You will hear around the seventh minute an emotional trumpet solo (or horn, I can't define it) on which a tear-jerking mellotron crescendo slowly arrives...

Guys, buy it! A true masterpiece!