In January 1974 King Crimson began work on the follow-up to Larks’ Tongues In Aspic at AIR Studios, a venue chosen in part because of John Wetton’s previous sessions connections with owner George Martin.
One of the three studio-only numbers they recorded during their time at AIR, Fripp is on record as saying that the solo on The Night Watch counts as a personal highlight.
Originally recorded in one take, Fripp recalls that The Night Watch’s co-composer, John Wetton’s first reaction wasn’t convinced about it. However, at Fripp’s urging, a second listen persuaded him otherwise.
For this special remix by Alex Mundy, placing the solo in the background spotlights some of the scaffolding and harmonising work that went into the song's construction.
Some of them are familiar having made it through the final mixing stages but other touches, including some ornamental sped-up electric piano flourishes toward the end, as well as a second solo guitar pass, are heard here for the first time.
28 October 2024
One of the three studio-only numbers they recorded during their time at AIR, Fripp is on record as saying that the solo on The Night Watch counts as a personal highlight.
Originally recorded in one take, Fripp recalls that The Night Watch’s co-composer, John Wetton’s first reaction wasn’t convinced about it. However, at Fripp’s urging, a second listen persuaded him otherwise.
For this special remix by Alex Mundy, placing the solo in the background spotlights some of the scaffolding and harmonising work that went into the song's construction.
Some of them are familiar having made it through the final mixing stages but other touches, including some ornamental sped-up electric piano flourishes toward the end, as well as a second solo guitar pass, are heard here for the first time.
28 October 2024
