Most Helpful Customer Reviews
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15 of 15 people found the following review helpful:
5.0 out of 5 stars
A THRILLING, TIMELESS CLASSIC!, July 23, 1999
By A Customer
When I first listened to 'Letters', back in 1971, I found myself shaking afterwards! When I listen to this song today, it has the same effect on me as back then! Nothing has changed, because this incredible album was eons ahead of its time, to begin with. It's no wonder that many Crimson fans do not place this gem where it belongs: It's too personal, too esoteric, perhaps fully accessible only to the "initiates" (let us not forget that Robert Fripp is a very spiritual person and a serious student/teacher of meditation. In fact, in his guitar school, meditation is an integral part of the student's training). This album certainly contains the best elements of King Crimson's music. The heavy (Sailor's Tale), the lyrical (Formentera Lady, Islands), the classical (Prelude..), the jazzy (Letters, Sailor's Tale), and the pop/humorous (Ladies of the Road). But most important, behind the real beauty of the music, comes a message of despair and agony: The cry of the contemporary man who tries to escape the crashing loneliness of this age. The need of us humans to escape our plightful, lonely "island" state of existence and merge into a collective consciousness (..Islands join hands 'neath heaven sea). Together with 'Red', this is not only my favourite Crimson album, but one of my five favourite albums ever!
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18 of 20 people found the following review helpful:
5.0 out of 5 stars
Islands: Exotic, Beautiful and Underrated, August 24, 2002
1971's _Islands_ is quite the subject of mixed opinions among King Crimson fans. Many probably were not ready for something on the more subdued side (at least for King Crimson.)
'Boz', lead vocalist and bassist for this album only, admitted in an interview from a Bad Company profile (the band he would join after leaving Crimson) that he disliked the material he helped to create on this album. I couldn't disagree more. While I do enjoy this album, I must admit that I do not pull it out very often.
The music found on Islands is not as aggressive as on albums like Red or the debut. Instead, it's more reflective, subtle, ambient, esoteric, celestial, absorbing and meditative. It starts with Formentera Lady, which reminds me of early Moody Blues. It's mostly ambient-driven featuring flute, bass, sax and assorted percussion. Sailor's Tale seems to pick up where the previous track left off (the sax hints at the latter in the last few minutes of Formentera Lady) which is a spellbindingly atmospheric and inventive jazz rock tune. The Letters spews forth dark and ambient soft guitar passages, followed by ominous and fiery jazz rock. Ladies Of The Road sounds _Beatle-esque_, especially the vocal harmonies. However, the subject matter (sexual) is more Rolling Stones (not designated). Song Of The Gulls is an instrumental bridging new age and classical forms. Very heavenly instrumental. Islands (title track) is no different. Ethereal and soothing instrumentation combined with ethereal and soothing vocals makes this a perfect track to unwind to.
Islands is far too subtle and esoteric to be appreciated by everyone, including King Crimson fans. To take it a step further, it's not an album that will reveal it's strengths upon first listening. If subtle, atmospheric-ambient jazz, new age or classical (with rock added) is your cup of tea, this may be a wonderful pick. Give this album time and you may be rewarded with the transcendent and magical breeze of a wonderful _Island_.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
space, June 2, 2000
The last record by King Crimson Ver 1.0, `Islands' is stately, beautiful, sophisticated, and moving, notwithstanding the cracking and totally untypical 'priapic prog' track, Ladies Of The Road, which comes replete with fabulous Beatlesque harmony vocals. It will make you laugh out loud. Relaxing like no other KC LP, `Islands' finds Robert Fripp apparently, for once, fully at ease in the company of his bandmates. In such a context special things happen. During The Sailor, the setting, instead of providing a gladiatorial arena for Fripp to survive - as per other KC records - drops back and becomes schematic. Fripp, suddenly given space, takes the opportunity to produce a spellbindingly original solo. Anyone who thinks progrock guitar solos are pyrotechnic wibbling needs to hear this. Move over Robert Smith; this is chordally more advanced. Bernard Sumner, take note of the simplicity. Hendrix, listen well to the anticipation. Belew, bow down in front of the early elephantosity. Here, Fripp enters a hallowed zone of non-idiomatic phrasing and emotional expression shared only by one other guitarist in rock: Fred Frith. It's electrifying. Robert has not allowed himself this sort of freedom before or since, and it's our loss. The other key track is `Islands', which is just gorgeous. With its nostalgia and yearning, you will be running the phrase `Beneath the wind-turned wave' through your head for days after hearing this for the first time. Boz, a supposed amateur, brings an unaffected vocal purity to this most emotional of pieces, and he perfectly expresses Sinfield/Fripp's attempt to crystallise existential solitude. If Boz is an `amateur', I am Robert Fripp (and I assure you I'm not. I just scratch away like a clueless Derek Bailey, with the odd harmonic chucked in). `Islands' is an astonishingly mature record. It synthesizes a unique classically-tinged progressive jazz-rock which melts and breathes with emotion. It's magisterial. If you are a KC fan with reservations, drop those reservations now, and stick it in yer shopping basket this minute.
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