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DAVID CROSS

Jazz Rock/Fusion • United Kingdom


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David Cross biography
Best known as the violinist for the 1972-1974 incarnation of KING CRIMSON which produced such classics as "Larks' Tongues In Apsic" and "Red", many don't know that David CROSS released a handful of solo albums, which have featured such musicians as Keith TIPPETT, John WETTON, Robert FRIPP and Peter HAMMILL. David's solo work tends to be very jazzy (though there are some CRIMSON-esque moments) and unfortunately his albums are now for the most part quite difficult to find.

CROSS' best album is unquestionably his 1997 record "Exiles". It features all of the above mentioned guests (aside from TIPPETT) and probably sounds the most like KING CRIMSON out of any of them, thanks largely to FRIPP's guitar and WETTON's vocals. 1994's "Testing to Destruction" is also worth a listen. Liking KING CRIMSON is no guarantee that you'll like David CROSS. He has a style very distinct from the band he's best known for playing with, and he's suggested more to fans of jazz fusion than the straight ahead prog that KC is known for.

: : : Bryan Adair, CANADA : : :

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Shut Up, You Fucking Baby!Shut Up, You Fucking Baby!
Explicit Lyrics
Sub Pop 2002
Audio CD$12.02
$0.01 (used)
It's Not FunnyIt's Not Funny
Sub Pop 2004
Audio CD$4.99
$0.01 (used)
Bigger and BlackererBigger and Blackerer
Sub Pop 2010
Audio CD$9.15
$1.95 (used)
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DAVID CROSS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DAVID CROSS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 4 ratings
Low Flying Aircraft
1987
3.05 | 8 ratings
Memos From Purgatory
1989
3.21 | 11 ratings
The Big Picture
1992
3.62 | 13 ratings
Testing to Destruction
1994
3.71 | 26 ratings
Exiles
1997
3.97 | 12 ratings
Closer Than Skin
2005
2.04 | 4 ratings
David Cross And Andrew Keeling - English Sun - Vol 2
2009

DAVID CROSS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 3 ratings
Alive In The Underworld
2008

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DAVID CROSS Reviews


Showing last 10 reviews only
 The Big Picture by CROSS, DAVID album cover Studio Album, 1992
3.21 | 11 ratings

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The Big Picture
David Cross Jazz Rock/Fusion

Review by Anon-E-Mouse

4 stars Delightfully insane, eruptive violins are a hallmarks of Cross' solo albums. The former member from King Crimson tends to unleash surprising and very satisfying runs that are truly "one of a kind". Not sure about how he ended up in Jazz-Rock/Fusion as he rarely sounds anything jazzy, more like Eclectic with a very slight touch of Avant Rock.

Indeed, it is a rocking album with pretty good tunes well performed by all. The vocals are not so great, though. Echoes of Roger Waters, Greg Lake in an uninspired moment spring to mind, but there are some better bits on the side. But the highlight is firmly on those unique violin runs.

Suffice to say that Cross' works in general align well with the 1973-75 period of KC. Almost like a continuation of "Lark's Tongues In Aspic" - if only a bit wilder still. Highly recommended.

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 The Big Picture by CROSS, DAVID album cover Studio Album, 1992
3.21 | 11 ratings

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The Big Picture
David Cross Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars The late-80's and early-90's found David Cross in a working orgasm, constantly releasing albums with Radius.However he never abandoned his solo project and in February 92' he recorded his second album ''The big picture'' with his backing group, which now included bassist John Dillon instead of Simon Murrell.Dillon is also responsible for the lead vocals of the album, which was released the same year again on Red Hot Records.

While not drastically different from the debut, Cross' second offering sounds a bit more tight and consistent.Dillon and his fascinating voice has much to do with the fact.The music is again quite diverse, including the strong KING CRIMSON vibes, the furious Fusion parts, while there are also lots of more pompous moments with an orchestral approach to be met.Dillon's voice, Cross' crying violins and Maloney's atmospheric keyboards are the main elements of these passages, which sound very grandiose.The KING CRIMSON-influence and instant Fusion material in ''The big picture'' are propably the more challenging cuts of the album.Abstract breaks, flashy synth solos, frenetic violin runs and a complex rhythm section offer charming, intricate and moving pieces of music, which however suffer again from some cheap 80's production quality.The general atmosphere of the album tends to be dark and even melancholic, still a couple of more synth-based tracks with uninteresting grooves spoil the decent effort.

A step forward for David Cross & co., as the addition of Dillon seems to have brought some fresh air and inspiration to the group.Recommended for all fans of intense and emotional soundscapes.

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 Memos From Purgatory by CROSS, DAVID album cover Studio Album, 1989
3.05 | 8 ratings

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Memos From Purgatory
David Cross Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

2 stars An important figure of the early-70's British prog scene, violinist David Cross was born in 1949 in Turnchapel near Plymouth and became widely known as a member of King Crimson, with whom he spent three intense years.From mid-70's and on Cross participated in several albums as a guest musician, before becoming a member of the one-shot project Low Flying Aircraft and also of Radius in late-80's.Additionally he formed his own band along with keyboardist Sheila Maloney from Radius, drummer Dan Maurer from Low Flying Aircraft, bassist Simon Murrell and sax player Pete McPhail.Cross debuted in 1989 with ''Memos From Purgatory'', released both in CD and vinyl by Red Hot Records.

The album is dominated by Cross'es lovely playing and his Classical tendencies throughout, however it is also tortured by the cheap-sounding keyboards of the 80's and the plastic drumming, not unleashing its true power.Influences come from Progressive Rock, Experimental Rock, Fusion and even New Age and the album has also a strong KING CRIMSON vibe of the 80's with many experimental moments next to Cross'es both smooth and attacking deliveries, featuring plenty of hard-edged moments with fiery saxes, powerful drumming and hypnotic bass work.Maloney's keyboards though become unbearable in the process, sounding too New-Agey and fake compared to the physical sound of the violins, bass and sax.The instrumental styles offered are varied, from OLDFIELD-ian dreamy soundscapes with emphasis on keyboasrds to mechanical, almost industrial type of sharp violin intervetions, containing some schizophenic grooves, and even some delicate, more Classical-inspired pieces.The mediocre sound of the instruments combined with the mass of different moods presented hurt the album's consistency.

Not the best comeback for such a great musician.Pale and rather unispired work with huge 80's vibes in the recording process, but also hints of Cross'es unique talent throughout.Recommended mainly to die-hard KING CRIMSON fans...2.5 stars.

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 David Cross And Andrew Keeling - English Sun - Vol 2 by CROSS, DAVID album cover Studio Album, 2009
2.04 | 4 ratings

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David Cross And Andrew Keeling - English Sun - Vol 2
David Cross Jazz Rock/Fusion

Review by rushfan4
Special Collaborator Honorary Collaborator

2 stars PLEASE IGNORE THE STARS AND READ THE REVIEW

When all is said and done this may well end up being the strangest review ever written on Prog Archives, but I am going to give it a go. Mr. Cross sent me a copy of this CD when I volunteered to review it on behalf of Prog Archives and after a couple of listens I came to the conclusion that "Houston, we have a problem". I am seriously not qualified to review this collection of musical pieces. So I set it aside and decided that it was probably better if I didn't write a review for it. A few months have passed and my conscience started nagging me that since I had volunteered to write a review for this CD, that I really should give it a go; especially, when I looked this morning and saw that there had not been any reviews done, except for one 1-star rating.

Mr. Cross is fairly well known around these parts, but for those who don't know who he is, he played violin and viola on a few fairly well known masterpieces from a somewhat obscure band called King Crimson. Mr. Cross has released a number of albums since his days with King Crimson, however, I am not familiar with them and I am unable to compare this album to those solo albums. I am not quite sure what I was expecting when I volunteered to review this album, but I suppose it was something along the lines of "It will be so cool to hear Larks' Tongues In Aspic revisited". I am sorry to say that that was not the case here. What we have here is what the artists describe as Electric Chamber Music. Mr. Cross has teamed up with flautist Andrew Keeling on this album that consists almost entirely of violin and flute.

The most important thing that I would like to note is that this combination of violin and flute has resulted in a collection of absolutely beautiful musical pieces in the classical music vein. But here is where we have another problem on a progressive rock website. There is no rock on this album. To a certain extent, this is like trying to fit the square in the space meant for the triangle. In my opinion at least, it just doesn't fit in with the musical theme of this website. Where I see this album having great value is for a candlelight dinner with your significant other helping to set a relaxing and romantic mood, although the beauty and the quiet peacefulness of the music might have the undesired effect of being too relaxing and just putting you and/or your significant other to sleep.

In trying to fit this in within the rating scheme provided here at Prog Archives I feel that it is best to rate it with 2 stars as an album for collectors/fans only. Since I don't feel that it qualifies as progressive rock music it would be difficult to say that it was a masterpiece of progressive rock music or even an excellent addition to any prog rock music collection. As I previously said the music is gorgeous, and thus disqualifies the album in my mind from being rated 1-star as poor. This left me with the two-star and three-star options and this is where personal preferences and tastes came into play. Although, I personally think the music is beautiful, it really isn't the type of music that I am going to ordinarily reach for. However, I believe that fans of David Cross and Andrew Keeling or fans of "Electric Chamber Music" might really enjoy this album. Unfortunately, since this is not my normal fare I am not certain how this music compares in relation to similar type music, but it seems to me that the quality of playing would be appealing to fans of relaxing music.

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 Exiles by CROSS, DAVID album cover Studio Album, 1997
3.71 | 26 ratings

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Exiles
David Cross Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars David Cross was of course the violinist for KING CRIMSON on the "Larks Tongues In Aspic", "Starless And Bible Black" and "Red" albums. A couple of things surprised me about this album, first of all how heavy it is at times recalling those three KING CRIMSON albums I already mentioned. Second is that David Cross doesn't dominate the sound here, in fact I know people who have complained at how little violin there is on here. Guests include Robert Fripp, Peter Hammill, John Wetton among others.

"Exiles" is of course that classic KING CRIMSON track we all love. A spacey, electronic intro gives way to the music after 1 1/2 minutes. It still doesn't sound like "Exiles" until before 2 1/2 minutes. 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. So uplifting. Violin follows. It ends as it began. "Tonk" opens with a nice heavy KING CRIMSON-like soundscape. Peter Hammill comes in vocally not really sounding like himself at all. More high pitched. Fripp is offering up some angular solos. Cross is content here to let Fripp and Hammill take the spotlight. "Slippy Slide" opens with tribal-like drumming as the violin lights it up. Sax follows. This is heavy stuff. "Duo" is the Cross and Frpp show as we get smothered in atmosphere from those Frippertroncs as violin comes in slowly. It all turns more powerful as contrasts continue. The atmosphere is so strong it's hard to breathe. Incredible track. "This Is Your Life" puts the focus on the lyrics that Peter Sinfield wrote, while John Wetton sings them. A laid back tune.

"Fast" is just that,a fast instrumental with in your face guitar, chunky bass and scorching violin. An excellent rhythm section on this one. Ripping guitar too. An outstanding instrumental. "Troppo" features Fripp and Hammill once again. It's experimental to start then the vocal melodies come in followed by vocals. This pattern continues. Heaviness comes and goes as well. The guitar during the prolonged instrumental section is outstanding. "Here" opens with piano, sax and drums. Flute too on this one. I like how mellow it is then it kicks in before 4 minutes. The guitar is on fire 5 1/2 minutes in as they hit us with all they got. A killer instrumental. It settles back after 7 1/2 minutes but the heavness isn't finished just yet.

A must for KING CRIMSON fans in my opinion.

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 Memos From Purgatory by CROSS, DAVID album cover Studio Album, 1989
3.05 | 8 ratings

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Memos From Purgatory
David Cross Jazz Rock/Fusion

Review by Marty McFly
Special Collaborator Crossover and E&O Teams

4 stars Certainly not your typical jazz album, am I right dear readers ? We're talking about King Crimson inspired (for sure,he has to be, being with them for so long). Every song setting its own mood, some optimistic, some dark (I like it this way) and some bizarre (well, obvious choice would be Bizarre Bazaar, strange, but funny play with words) ones. This isn't by far bad album, even it's set into dark 80's (they are finally almost over and also I was born, let's celebrate and dance in the streets), even melancholic ones (closing Basking In the Blue). I'm slowly getting used to his music, which is weird (provides some maniacal laugh), but interesting. Drums sometimes sounds like drum-machine (big, sad face from me), but lack of vocals doesn't mean anything bad, let's stay instrumental for The Greater Good. For the big Enjoy.

4(-), sometimes minimalistic (I'm starting to like this word too), but managing to be interesting enough to get your attention.

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 Closer Than Skin by CROSS, DAVID album cover Studio Album, 2005
3.97 | 12 ratings

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Closer Than Skin
David Cross Jazz Rock/Fusion

Review by Marty McFly
Special Collaborator Crossover and E&O Teams

4 stars Nice cover, innovative (I have to say). This is review on (let's call it) request, or at least suggestion. I have this album for some time, so I'm able to write this. But I wasn't about to do it anytime soon. Nevermind, let's begin with reviewing.

This is music that is not jazz at all, I never heard any his previous album (except his work with Crimson guys of course), so I can't compare. But one thing I know for sure, this album can be enjoyed by many. Yes, this is not one of these "only-for-elite", or these where you have to "suffer thirteen repeated listens to begin enjoying it", nope. This is good album that has a lot to offer and is offering it straight from first listen. Are We One, just slight hint, reminds me deserts, Arabian songs. Second one, States of Deception brings on little bit of promised jazz in "intro", but then it's more like something that's not so easy to describe. Because of violin, it makes everything brand new and original. One have to wonder how it's possible (it's just violin, isn't it ?), but hell, here we are and it sounds good (note that I'm not stick with second song anymore, more like talking about this album in general).

4(+), there are of course disadvantages. Guitar solos are here, yeah. But riffs sounds pretty much the same and it beats it a little bit. It's pleasant to listen (dark music a little bit, not so optimistic though except Awful Love of course), it satisfies you, but this is not so big fault that would prevent me from giving masterpiece rating. There are others of course, but in overall, it's very good album. And yes, this interesting violin can sounds disharmonic at times (mostly in climax parts).Of course, it's dominated by violin and as violin experimentation album it's masterpiece, but other instruments here sounds like just accompanying their leader, string instrument. Which is great though. So let's take this as it is and overlook this.

And I wondered why everyone so far gave 4 stars. But anyway, I'll do the same, because this feeling of repeated background is somehow fault for close listening (thorough, thinking about music you're listening, evaluating, you know).

So to answer the unspoken question, "What's closer than skin ?" It's music of course, so penetrating that it can get under your skin. Both in good and bad way of this word. In case of this album, we're talking about very good way. Almost masterpiece.

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 Low Flying Aircraft by CROSS, DAVID album cover Studio Album, 1987
4.00 | 4 ratings

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Low Flying Aircraft
David Cross Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

4 stars A lot of works by which musicians who were related to King Crimson participated and formed bands exist. They might always give the listener the expectation and information and be offering the enjoyment to music for the listener. The music that derives from various bands affords us the enjoyment enough as a relation.

The listener might have taken delight in music from another angle as diversity of the music that derived from a band active by the item of Prog Rock in the 80's. And, the change and advancement were indeed provided for Prog Rock and other music in the 80's when music accomplished the revolution. Band..age..catch..always..change..grope for.The work by which the musician who was related to King Crimson in the flow as one of the enjoyments participated will be able to discover the fact from which an interesting work is announced as a correlation of music.

Music exists as various elements in Music in the 80's in the deriving flow the listener the existence of this project a little valuable. And, the listener might have expected a good chemical reaction for them for the performance of musicians who were related to this project.

This band was a project done by drum player's Dan Maurer and guitar player's Jim Juhn. To start this project, they appointed David Cross and Keith Tippett. Dan Maurer and Jim Juhn showed deference to King Crimson. And, the listener might have [me]ed it to the only work by these four people the zeal of music by the shadow and the derivation of King Crimson in the period. Music by this member might have had the approval or disapproval at that time when the age of 1987 was considered. Appointment of age when this work was announced and David Cross to retire from performance almost. And, they might have created music of participated by the musician who derived from King Crimson not feeling them for a fact quite new. This album left the name as valuable music with an experimental element and relations as shape of the band that belonged exactly in the age. There is little shadow of King Crimson though David Cross and Keith Tippett participate in this album. It is music that should catch as one of the deriving music in close relation to the age. And, this project is a work of which the color of Dan Maurer and Jim Juhn has gone out strongly.

In "Sybilization", the atmosphere of the violin that flows in a piano flow and the space with the anacatesthesia is a feature. The tension is continued and it advances slowly. A glossy melody continues.

"Fourth Dimension" uses the rhythm of seven in the basis. The melody of the violin in close relation to the arpeggio of a beautiful guitar gives the listener a beautiful anacatesthesia and a peculiar impression. Such music might be an original music exactly character by this project.

A complex melody starts from "Baptism by Fire" in the form of fade In. A basic rhythm of the theme takes the rhythm of five. The wind instrument twines from the melody with the tension and the tune advances while shifting in the form of Free Jazz. The tension continues.

"Poolside" starts with heavy atmosphere. DX7 of Eric Drew Feldman that participates in the recording of the album contributes in this tune. Atmosphere advances with heavy feeling. The element of the improvisation might be strong.

"Abstract Blue" shifts to the flow with the improvisation from the theme with unique a little at once. This tune might be strongly colored by Improvisation. Feeling advanced of the band in union keeps originality. The tune gradually becomes intense and twines round another theme. The development of this part has succeeded splendidly. The end of the tune returns to the theme of the start.

"Moronathon" has the start of which the rhythm of the percussion instrument goes out ahead in the narration. The line of constant Bass is continued and the tension is kept. The rhythm is important in this tune.

In "Amnesia", originality and the anacatesthesia might be strong tunes in the tune of this album. The part where the sound of the flute twined round the composition of an intermittent rhythm originally of Bass will be reminiscent of an Oriental melody. And, the part where the theme is not felt while continuing a constant rhythm is emphasized and it advances. It might be a tune that remarkably exactly showed the age when the sound etc. of the machine parts used for the age and the tune are considered.

"Reflection" starts from a beautiful piano melody where the DeLay effect hangs. The anacatesthesia is continued and it shifts to the part where uneasiness is called. It advances as the part of Free Jazz twining round an experimental element. The violin contributes to the tune. The state that Improvisation goes out strongly is continued and the tune advances.

"What Did You Do" has a different theme in the tune of this album. As for the flow with a complex melody and ensemble in the element of Funk, the part of Fusion might be a little strong. However, the atmosphere of the tune that the band does is consistent.

"Radically Conservative" starts in the shape connected from the part of Coda of "What Did You Do". The melody that there is an anacatesthesia in the rhythm that looks like the Afro music has good atmosphere. The wind instrument twines intermittently while continuing the rhythm. Suitably to the tune that decorates the end as the entire flow of the album. might

This consistent music develops the music character to reflect the times exactly as the only project that they left. And, it is possible to talk about the performance and four ideas that did as a part with originality.

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 Exiles by CROSS, DAVID album cover Studio Album, 1997
3.71 | 26 ratings

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Exiles
David Cross Jazz Rock/Fusion

Review by TGM: Orb
Prog Reviewer

3 stars Review 57, Exiles, David Cross, 1997

StarStarStar

This album, though my only experience of David Cross post the legendary 1973-4 King Crimson, suggests a musician who has moved, sometimes successfully, sometimes not, with the times, while retaining his basic interests. Though neither as eclectic or balanced as the superb Larks' Tongues In Aspic and Starless And Bible Black albums which this violinist is mainly known for, Exiles shows many merits, and has, sometimes effectively, and sometimes less effectively, challenged my own preconceptions and ideas. 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. Of prime importance to many who might be tempted by the album is the luxurious guest list, featuring one lyric by Peter Sinfield as well as adequate David Cross/band ones, and, probably of more interest, guitar from Robert Fripp, and vocals by Peter Hammill and John Wetton. 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. Not a case of being better or worse than the original, but a case of being different, challenging and interesting in its own right, and of being strong enough to let me overcome my prejudice against the trancy introduction/conclusion of the rendition.

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.

This Is Your Life features Sinfieldian lyrics, which are justified if only for the line 'Rainbows Are Made Out Of Tears' and a vaguely worldy sound to the percussion. 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 theme which will recur at the album's end is included towards the piece's conclusion. 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. The drumming feels a little bland, and the coda at the end simply doesn't give the unified/concept feel it was meant to provide. 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 73-4 Crimson.

Favourite Song: Tonk

Rating: Three Stars, certainly good

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 Low Flying Aircraft by CROSS, DAVID album cover Studio Album, 1987
4.00 | 4 ratings

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Low Flying Aircraft
David Cross Jazz Rock/Fusion

Review by pero

4 stars Low Flying aircraft is exelent album if you like King Crimson albums Lizard, In a wake of poseidon and Islands, altough is a bit more avant. The whole album is instrumental. The crew was very inspired

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