Author: Peter Podbrežnik
Artist: King Crimson
Label: Discipline Global Mobile
Release: 1975
Rating: 4/5
“USA” was King Crimson’s second live album, recorded on their American tour in mid-1974, which also turned out to be their last tour for seven years. For more than 20 years it was the only live document of the band’s third incarnation, and while “USA” is a much better showcase of what the band could do on stage than their first official live album “Earthbound” (1972), the sound isn’t dramatically better, even though the reissue is a noticeable improvement. “USA” works as a kind of symbolic farewell, released after the band had already split. The credits even end with an R.I.P., because guitarist and undisputed bandleader Robert Fripp was so convinced that the King Crimson legend was finished for good. As we know, he thankfully changed his mind (and then did it all over again later), and the band got to carry on with its unbridled exploration of the experimental edges of modern music and new sonic landscapes. This recording captures the quartet of the day (Fripp, Wetton, Bruford and Cross) at one of their best live moments. This version of King Crimson was without a doubt one of the hardest-hitting bands of its time, in the studio and on stage, and “USA” is, among other things, a proper peek at the roots of early progressive metal. Most of these tracks radiate their incredible energy, power and aggression, the dazzling technical polish of the individual members, and also the stunning symphonic beauty hidden inside their mostly dark and apocalyptically chaotic compositions. The sound on most tracks is at times raw and metallic, mainly thanks to Wetton’s mighty bass lines, which drive most of their traditionally ultra-complex and dissonant rhythms. His bass lays a solid foundation for Fripp’s breakneck guitar excursions and his layered orchestral curtains on the mellotron. Bruford’s drumming is top-notch as always, though in the production it’s somehow pushed into the shadow of the bass. The same goes for Cross’s violin, which sounds much sharper and less lyrical on these recordings than on the studio albums.
To protect the copyright, Fripp made a rather controversial move back then and replaced the contribution of violinist and keyboardist David Cross (who by the time this was being prepared for release had been out of the band for a while) with studio parts by Eddie Jobson (ex-Roxy Music, Frank Zappa) on three tracks. Jobson never had the honor of becoming an official member of the band, even though he joined Wetton and Bruford in the short-lived prog supergroup UK toward the end of the 70s. Jobson stood in for Cross’s violin on “Larks Tongues In Aspic – Part II” and for the piano on “Lament”, and the difference between their styles is barely noticeable. Most of the material comes from the band’s show in Ausbury Park (New Jersey), except for “21 Century Schizoid Man”, which was recorded at another venue, in Providence. The 30th-anniversary reissue also adds three bonus tracks that weren’t on the original release: the short intro “Walk On…No PussyFooting”, plus “Fracture” and “Starless”. Those last two masterpieces do a lot to raise the overall quality of the album even further. The production is noticeably improved on the reissue, though it’s still one of the few weak spots of this very good live album.
“USA” opens with a short intro called “Walk On…No Pussyfooting”, which partly comes from the Fripp & Eno project – “No Pussyfooting” (1973), born of Fripp’s collaboration at the time with former Roxy Music keyboardist Brian Eno. Then comes a hellish march straight into the traditionally ominous yet brilliant “Larks’ Tongues In Aspic – Part II” (Larks’ Tongues In Aspic, 1973), where the Crimson crew rake us with their supersonic combinations of Fripp’s guitar wizardry, Wetton’s rattling bass, Bruford’s supersonic drum swings and the rowdy violin of Cross (or rather Jobson). I’d even say this version of Part II of Larks’ Tongues in Aspic might be better than the studio one, since the rhythm section is even more aggressive this time, all the way to its magnificent finale. Another treat follows, “Lament” (Starless And Bible Black, 1974), which also sounds better than the studio version. The excellent performance of “Exiles” shows off their incredible feel for sonic sensitivity, with Cross’s lyrical violin and Wetton’s melancholic vocals ruling the track. It’s simply unbelievable how they manage to combine hellish, sprawling rhythms with such a gift for the symphonic at the same time. We also get to hear one of Wetton’s best vocal performances from his time with the band. “Ausbury Park” is one of the best improvisations they ever allowed themselves and even contains a few melodic lines, so it’s a real pleasure that it made it onto this reissue. Of course, it would have been a sin to forget their take on the classic “Easy Money” (Larks’ Tongues In Aspic, 1973). At its close, the extra improvisation over the mellotron accompaniment is especially impressive. Although “21 Century Schizoid Man” (In The Court Of the Crimson King, 1969) should have been the high point of the whole recording, this isn’t one of the better versions of the piece this time around. Mainly thanks to Wetton’s not-so-successful singing. His voice just somehow isn’t made for this classic. The hysterical sax solo was replaced by Cross’s violin this time, and as a whole it sounds a lot punchier. Still, I’d probably miss it a bit. “Fracture” (Starless And Bible Black, 1974) is another highlight, where Wetton’s bass once again cuts through Fripp’s guitar acrobatics to the sound of Bruford’s supersonic swings around the drum kit. But the peak of the whole recording is undoubtedly the breathtaking performance of the timeless “Starless” (Red, 1974), which they never played live again afterward and which really needs no further introduction. Fripp’s opening mellotron flows through Wetton’s incredibly melancholic, deep vocals and turns into some of the best music the human mind has ever come up with. Which of their songs could possibly make a better farewell for such an influential band?
After “Earthbound” (1972), which was basically an official bootleg of rather poor sound quality and which many didn’t even count as an official live album, “USA” is really their first proper live album, one that manages to capture the true live spirit of the band. Additional recordings from this period can now be found on numerous releases, such as the box set “The Great Deceiver” (1992), the double live album “The Night Watch” (1997), “Live in Central Park, 1974 (2000)” and “Live in Mainz, 1974” (2001), all of which are better recordings than “USA”. But “USA” is, if nothing else, historically a far more important release than any of them. King Crimson were always unmatched in the studio, but the truth is they were even better live, which “USA”, despite its not-so-dazzling production, undoubtedly proves. Still, apart from true fans of the band, of course, this recording isn’t exactly essential, since, as I already mentioned, there are now much better showcases of their incredible live potential out there. The band’s farewell in 1974 was thankfully only temporary, and six years later they rose from the ashes in a new form like a phoenix.
Lineup
John Wetton – vocals, bass guitar
Robert Fripp – guitar, mellotron
Bill Bruford – drums, percussion
David Cross – violin, keyboards
Eddie Jobson – violin on “Larks’ Tongues In Aspic – Part II”, piano on “Lament”
Production
King Crimson
Tracklist
1. Walk On… No Pussyfooting (0:35)
2. Larks’ Tongues in Aspic Part 2 (6:24)
3. Lament (4:21)
4. Exiles (7:23)
5. Asbury Park (6:53)
6. Easy Money (7:11)
7. 21st Century Schizoid Man (8:10)
8. Fracture (11:19)
9. Starless (14:57)
Album length: 67:16
