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* ''Beat'':
** [[https://www.youtube.com/watch?v=7N27rSAdu20 "Heartbeat"]] shows that even King Crimson weren't afraid of doing a pop song in the 80's and results are awesome.
** [[https://www.youtube.com/watch?v=7N27rSAdu20 "Heartbeat"]] shows that even King Crimson weren't afraid of doing a pop song in the 80's and results are awesome.
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Changed line(s) 1 (click to see context) from:
KingCrimson, just about the most influential and acclaimed prog rock band other than Pink Floyd. Most of their songs fit the crowning moment easily.
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Organising the page chronologically? Fine. Good idea. But indenting it properly and identifying the albums makes it easier to follow.
Changed line(s) 8,9 (click to see context) from:
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
* ''In the Wake of Poseidon'' often gets accused of being a retread of the band's first album, as many of the major pieces have counterparts on the previous album, but it has its moments. "Pictures of a City" is like a more melodic version of "21st Century Schizoid Man", and its instrumental section is every bit as entertaining as the instrumental break of the earlier song.
* ''In the Wake of Poseidon'' often gets accused of being a retread of the band's first album, as many of the major pieces have counterparts on the previous album, but it has its moments. "Pictures of a City" is like a more melodic version of "21st Century Schizoid Man", and its instrumental section is every bit as entertaining as the instrumental break of the earlier song.
to:
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the Michael Giles' cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
* ''In the Wake of Poseidon'' often gets accused of being a retread of the band's first album, as many of the major pieces have counterparts on the previous album, but it has itsmoments. moments.
** "Pictures of a City" is like a more melodic version of "21st Century Schizoid Man", and its instrumental section is every bit as entertaining as the instrumental break of the earlier song.
* ''In the Wake of Poseidon'' often gets accused of being a retread of the band's first album, as many of the major pieces have counterparts on the previous album, but it has its
** "Pictures of a City" is like a more melodic version of "21st Century Schizoid Man", and its instrumental section is every bit as entertaining as the instrumental break of the earlier song.
Changed line(s) 12,17 (click to see context) from:
* "Cirkus" provides a suitably ominous opening to ''Lizard''. It begins with one of the most dissonant melodies the group ever composed (rather reminiscent of Music/JimiHendrix' "[[Music/AreYouExperienced Purple Haze]]") before resolving to a minor key. The effect is more or less heartbreaking.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]]. In particular, the second part with its EpicRiff sounds like a TropeCodifier or UrExample for ProgressiveMetal (and has indeed been covered by many prog metal acts).
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
* The title track on ''Starless and Bible Black'', a masterpiece of melancholic distortion and grade A NightmareFuel.
* [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]]. In particular, the second part with its EpicRiff sounds like a TropeCodifier or UrExample for ProgressiveMetal (and has indeed been covered by many prog metal acts).
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
* The title track on ''Starless and Bible Black'', a masterpiece of melancholic distortion and grade A NightmareFuel.
* [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description.
to:
* ''Lizard'':
** "Cirkus" provides a suitably ominous opening to''Lizard''.the album. It begins with one of the most dissonant melodies the group ever composed (rather reminiscent of Music/JimiHendrix' "[[Music/AreYouExperienced Purple Haze]]") before resolving to a minor key. The effect is more or less heartbreaking.
* Their ** The whole [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues inAspic"]].Aspic"]] is so awesome it took three albums and 27 years to unfold, with Parts I and II on 1973's ''Larks' Tongues in Aspic'', Part III on 1984's ''Three of a Perfect Pair'', and the trifecta that is Part IV on 2000's ''The [=ConstruKction=] of Light''. In particular, the second part with its EpicRiff sounds like a TropeCodifier or UrExample for ProgressiveMetal (and has indeed been covered by many prog metal acts).
* ''Starless and Bible Black'':
** The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
* ** The title track on ''Starless track, "Starless and Bible Black'', Black", is a masterpiece of melancholic distortion and grade A NightmareFuel.
* ** [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description.
** "Cirkus" provides a suitably ominous opening to
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in
* ''Starless and Bible Black'':
** The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
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* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline". The results are ''amazing.''
* "Discipline" qualifies as AwesomeMusic too. The band decided to write a piece where the two lead guitars were rarely playing in the same time signature, and where none of the instruments (except the drums, in a constant 17/16 with a 4/4 bass drum polyrhythm) kept the same time signature for long. It is one of the finest examples of UncommonTime in music history, and has to be heard to be believed.
* "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* "Discipline" qualifies as AwesomeMusic too. The band decided to write a piece where the two lead guitars were rarely playing in the same time signature, and where none of the instruments (except the drums, in a constant 17/16 with a 4/4 bass drum polyrhythm) kept the same time signature for long. It is one of the finest examples of UncommonTime in music history, and has to be heard to be believed.
* "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
to:
* ''Discipline'':
** "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline". The results are ''amazing.''
* ** "Discipline" qualifies as AwesomeMusic too. The band decided to write a piece where the two lead guitars were rarely playing in the same time signature, and where none of the instruments (except the drums, in a constant 17/16 with a 4/4 bass drum polyrhythm) kept the same time signature for long. It is one of the finest examples of UncommonTime in music history, and has to be heard to be believed.
* ''Three of a Perfect Pair'':
** "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* ** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
** "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline". The results are ''amazing.''
* ''Three of a Perfect Pair'':
** "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
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* "Discipline" qualifies as AwesomeMusic too. The band decided to write a piece where the two lead guitars were rarely playing in the same time signature, and where none of the instruments (except the drums, in a constant 17/16 with a 4/4 bass drum polyrhythm) kept the same time signature for long. It is one of the finest examples of UncommonTime in music history, and has to be heard to be believed.
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Changed line(s) 7,8 (click to see context) from:
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar
and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
to:
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar
guitar and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
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moving this into more or less chronological order
Changed line(s) 3,4 (click to see context) from:
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/8, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/8 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
%%A list of song titles is not a proper example. Explain what makes EACH of the following songs awesome in a way that someone who has never heard OF them, never mind heard them, will understand.
%%A list of song titles is not a proper example. Explain what makes EACH of the following songs awesome in a way that someone who has never heard OF them, never mind heard them, will understand.
to:
%%A
* Anything played in ''Music/InTheCourtOfTheCrimsonKing'' is made of progressive rock beauty.
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song proper (after the disorienting 20-second intro), to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** "I Talk to the Wind" could be a TropeCodifier for MoodWhiplash and BreatherEpisode. Coming right off the heels of "Schizoid Man", it's one of the most jarring transitions in music history, and undoubtedly did a lot to convince audiences of the time how versatile progressive rock could be. Today it holds up as one of the band's prettiest compositions.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar
and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
Changed line(s) 9,10 (click to see context) from:
* "Fallen Angel" is another in the group's long line of {{Tear Jerker}}s. That chorus in particular is heartbreaking, and fits the song's theme of urban violence nicely.
* "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
* "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
to:
* "Fallen Angel" Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is another in awesome, but the group's long line epic, ominous section "The Battle of {{Tear Jerker}}s. That chorus in particular is heartbreaking, and fits the song's theme of urban violence nicely.
* "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.Glass Tears" stands out.
* "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
Changed line(s) 12,18 (click to see context) from:
* Anything played in ''Music/InTheCourtOfTheCrimsonKing'' is made of progressive rock beauty.
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song proper (after the disorienting 20-second intro), to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song proper (after the disorienting 20-second intro), to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
to:
* Anything played in ''Music/InTheCourtOfTheCrimsonKing'' The live {{improv}}isation "Trio" is made of progressive rock beauty.
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster,utterly gorgeous, and it's difficult from the weighty sax and guitar riff that opens the song proper (after the disorienting 20-second intro), to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each memberto it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the band, especially Robert Fripp on guitar piece, and Ian [=McDonald=] on mellotron, as well as he received a great lead vocal from Greg Lake.
** The (almost) title track, "The Court ofcomposition co-credit for contributing what the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.band labelled "admirable restraint".
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster,
** The solemn "Epitaph" features another parade of instrumental wizardry from each member
** The (almost) title track, "The Court of
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
* [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description.
* There isn't a single song on ''Red'' that doesn't qualify as AwesomeMusic:
** The absurdly epic instrumental "Red". Music/KurtCobain cited it as a major influence, believe it or not.
** "Fallen Angel" is another in the group's long line of {{Tear Jerker}}s. That chorus in particular is heartbreaking, and fits the song's theme of urban violence nicely.
** "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
** [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/8, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/8 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
* There isn't a single song on ''Red'' that doesn't qualify as AwesomeMusic:
** The absurdly epic instrumental "Red". Music/KurtCobain cited it as a major influence, believe it or not.
** "Fallen Angel" is another in the group's long line of {{Tear Jerker}}s. That chorus in particular is heartbreaking, and fits the song's theme of urban violence nicely.
** "One More Red Nightmare" is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
** [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/8, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/8 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
Changed line(s) 22,23 (click to see context) from:
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever made.
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
to:
* From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus.
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs evermade.
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".made.
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for contributing what the band labelled "admirable restraint".
Is there an issue? Send a MessageReason:
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Changed line(s) 7 (click to see context) from:
** "The Devil's Triangle" is one of the major pieces without a counterpart on the previous album. It's a lengthy instrumental inspired by Gustav Holst's "Mars, the Bringer of War", and it is ''terrifying''.
to:
** "The Devil's Triangle" is one of the major pieces without a counterpart on the previous album. It's a lengthy instrumental inspired by Gustav Holst's Music/GustavHolst's "Mars, the Bringer of War", and it is ''terrifying''.
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Changed line(s) 5 (click to see context) from:
%%* "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", and more...
to:
** "In
** "The Devil's Triangle" is one of the major pieces without a counterpart on the previous album. It's a lengthy instrumental inspired by Gustav Holst's "Mars, the Bringer of War", and it is ''terrifying''.
* "Cirkus" provides a suitably ominous opening to ''Lizard''. It begins with one of the most dissonant melodies the group ever composed (rather reminiscent of Music/JimiHendrix' "[[Music/AreYouExperienced Purple Haze]]") before resolving to a minor key. The effect is more or less heartbreaking.
* "Fallen
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* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]].
to:
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]]. In particular, the second part with its EpicRiff sounds like a TropeCodifier or UrExample for ProgressiveMetal (and has indeed been covered by many prog metal acts).
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Changed line(s) 12 (click to see context) from:
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]]. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
to:
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]]."Fracture"]], which was described by Fripp as the hardest guitar piece he's ever played and is every bit as epic as one would expect from that description. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
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Changed line(s) 19 (click to see context) from:
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.
to:
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.contributing what the band labelled "admirable restraint".
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Changed line(s) 19 (click to see context) from:
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it wasn't improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.
to:
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it wasn't was improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.
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Changed line(s) 18 (click to see context) from:
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever made.
to:
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever made.made.
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it wasn't improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.
* The live {{improv}}isation "Trio" is utterly gorgeous, and it's difficult from listening to it to believe it wasn't improvised. Music/BillBruford's decision not to play on it was credited by the other band members as having a significant impact on the direction of the piece, and he received a composition co-credit for it.
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Changed line(s) 17 (click to see context) from:
* "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
to:
* "Sleepless" may be ParanoiaFuel, but it counts as this too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.it.
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever made.
* "Dinosaur" off of ''Thrak'' is an underrated gem of a song, filled with complex melodies and compositions. It's a sad piece, but gorgeous, fully capturing the feeling of growing older and regretting all of your mistakes and flaws. It's packed with raw emotion, and is one of the most intense songs ever made.
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Hyphens get spaces either side of them, and album titles go in italics.
Changed line(s) 15,17 (click to see context) from:
* The title track on "Starless and Bible Black", a masterpiece of melancholic distortion and grade A NightmareFuel.
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''
* "Sleepless" may be ParanoiaFuel, but it counts as this too- that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''
* "Sleepless" may be ParanoiaFuel, but it counts as this too- that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
to:
* The title track on "Starless ''Starless and Bible Black", Black'', a masterpiece of melancholic distortion and grade A NightmareFuel.
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song:"Indiscipline." "Indiscipline". The results are ''amazing.''
* "Sleepless" may be ParanoiaFuel, but it counts as thistoo- too - that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song:
* "Sleepless" may be ParanoiaFuel, but it counts as this
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Changed line(s) 16 (click to see context) from:
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''
to:
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''''
* "Sleepless" may be ParanoiaFuel, but it counts as this too- that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
* "Sleepless" may be ParanoiaFuel, but it counts as this too- that damned awesome, [[EpicRiff epic]] bassline is what really clinches it.
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Changed line(s) 8 (click to see context) from:
* Anything played in ''In the Court of the Crimson King'' is made of progressive rock beauty.
to:
* Anything played in ''In the Court of the Crimson King'' ''Music/InTheCourtOfTheCrimsonKing'' is made of progressive rock beauty.
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Changed line(s) 9 (click to see context) from:
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song, to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
to:
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song, song proper (after the disorienting 20-second intro), to Greg Lake's punchy, distorted rendition of the lyrics, through the epic instrumental interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
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Changed line(s) 4,5 (click to see context) from:
* "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", "One More Red Nightmare", and more...
** "One More Red Nightmare" deserves some elaboration, as it is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
** "One More Red Nightmare" deserves some elaboration, as it is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
to:
%%* "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel",
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Changed line(s) 5 (click to see context) from:
** "One More Red Nightmare" deserves some elaboration, as it is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
to:
** "One More Red Nightmare" deserves some elaboration, as it is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush [[{{Music/Rush}} Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
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Added DiffLines:
** "One More Red Nightmare" deserves some elaboration, as it is a contender for best drum track of all time, and is Exhibit A in the Bruford vs. [[{{Music/Rush Peart]] argument. Bruford played "One More Red Nightmare" on a beat up cymbal he found in the trash, which explains its thoroughly unique sound.
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Changed line(s) 13 (click to see context) from:
* The title track on "Starless and Bible Black", a masterpiece of melancholic distortion and grade A NightmareFuel.
to:
* The title track on "Starless and Bible Black", a masterpiece of melancholic distortion and grade A NightmareFuel.NightmareFuel.
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''
* "Indiscipline" has got to be the best of their "weird" tracks, and the story behind the insane percussion section is prog rock legend. Bill Bruford played the entire album except for that song on a drum kit with no cymbals as part of a dare from Robert Fripp. He was allowed to cut loose on just one song: "Indiscipline." The results are ''amazing.''
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Added Starless and Bible Black
Changed line(s) 12 (click to see context) from:
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
to:
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.out.
* The title track on "Starless and Bible Black", a masterpiece of melancholic distortion and grade A NightmareFuel.
* The title track on "Starless and Bible Black", a masterpiece of melancholic distortion and grade A NightmareFuel.
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Changed line(s) 12 (click to see context) from:
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies.
to:
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies. The whole song is awesome, but the epic, ominous section "The Battle of Glass Tears" stands out.
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Changed line(s) 11 (click to see context) from:
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus
to:
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely choruschorus.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies.
* Their [[EpicRocking 23 minute epic]] "Lizard" surely qualifies.
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There\'s no such thing as an eighteenth note; I\'m assuming, after having listened to it, that this is supposed to be 13/8.
Changed line(s) 2,4 (click to see context) from:
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/18, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/18 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
to:
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime
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Changed line(s) 8,10 (click to see context) from:
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song, through numerous epic instrumental interludes, to the chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=MacDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the energetic mellotron solo and virtuosic flute solo that come between them... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=MacDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the energetic mellotron solo and virtuosic flute solo that come between them... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
to:
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song, to Greg Lake's punchy, distorted rendition of the lyrics, through numerous the epic instrumental interludes, interlude led by Robert Fripp on guitar and Ian [=McDonald=] on saxophone that separates the last two verses, to the final chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian[=MacDonald=] [=McDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come betweenthem...the later verses... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the twin ''tours de force'' for Ian [=McDonald=] that are the energetic mellotron solo and virtuosic flute solo that come between
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Fleshing out the Zero Context Examples with which I\'m familiar.
Changed line(s) 5 (click to see context) from:
* "21st Century Schizoid Man", "Epitaph", "The Court of the Crimson King", "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", "One More Red Nightmare", "Starless", and more...
to:
* "21st Century Schizoid Man", "Epitaph", "The Court of the Crimson King", "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", "One More Red Nightmare", "Starless", and more...
Added DiffLines:
** "21st Century Schizoid Man" is a real rock 'n' rollercoaster, from the weighty sax and guitar riff that opens the song, through numerous epic instrumental interludes, to the chaotic, shrieking buildup that cuts off suddenly... and then begins again, getting still louder, only to cut off into silence again. A great track for the band to announce themselves to the listening world.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=MacDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the energetic mellotron solo and virtuosic flute solo that come between them... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
** The solemn "Epitaph" features another parade of instrumental wizardry from each member of the band, especially Robert Fripp on guitar and Ian [=MacDonald=] on mellotron, as well as a great lead vocal from Greg Lake.
** The (almost) title track, "The Court of the Crimson King". There's Greg Lake's soulful rendition of Pete Sinfield's enigmatic lyrics, and the energetic mellotron solo and virtuosic flute solo that come between them... and just when the song seems to have ended, the cymbals play on, quietly, until the song appears to begin again, transposed up a whole tone, only to cut off into silence after a few iterations of the opening riff.
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Changed line(s) 1 (click to see context) from:
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/18, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/18 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
to:
KingCrimson, just about the most influential and acclaimed prog rock band other than Pink Floyd. Most of their songs fit the crowning moment easily.
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/18, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/18 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then itends.ends.
* "21st Century Schizoid Man", "Epitaph", "The Court of the Crimson King", "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", "One More Red Nightmare", "Starless", and more...
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]].
* Anything played in ''In the Court of the Crimson King'' is made of progressive rock beauty.
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]]. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/18, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/18 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it
* "21st Century Schizoid Man", "Epitaph", "The Court of the Crimson King", "Pictures of a City", "In The Wake Of Poseidon", "Cirkus", "Fallen Angel", "One More Red Nightmare", "Starless", and more...
* The 4-part, 40-minute epic [[EpicRocking "Larks' Tongues in Aspic"]].
* Anything played in ''In the Court of the Crimson King'' is made of progressive rock beauty.
* The absurdly epic instrumental "Red". Also [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Fracture"]]. Or [[http://www.youtube.com/watch?v=6YOdK7iFX-k "Providence"]], which starts off sounding like a horror movie soundtrack before going out into a full blown rocker.
** From the Eighties era, there's "Dig Me", with Adrian Belew delivering a delightfully freaky monologue as a car about to be crushed into a cube, capped off with a lovely chorus
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Transferred from Awesome to Awesome Music
Added DiffLines:
* "Starless", surely a trope codifier for EpicRocking. It starts as a subtle and melancholy PowerBallad in 4/4, then it [[SongStyleShift changes]] into a [[SubduedSection long, quiet, ominous middle section]] in a different key and UncommonTime (13/18, to be precise) with a very minimal guitar part and increasingly edgy drums, then it gets louder and louder until it bursts into crazed sax and guitar solos, still in 13/18 but played much faster, and just when things can't get any more frantic there's a LastChorusSlowDown which coincides with a return to the home key of G minor and CommonTime, and the original Power Ballad melody returns for just one cycle with everyone playing ''incredibly loudly'' - and then it ends.
