The great­est hits of Greg Lake, chamber style.

Prog - - The Musical Box - DL

Orig­i­nally planned as a col­lab­o­ra­tion be­tween Greg Lake and pi­anist Max Repetti, this stripped­down jour­ney through the prog leg­end’s great­est mo­ments has reluc­tantly be­come a post­hu­mous trib­ute, Lake’s parts taken by singer An­nie Barbazza. Too ill to par­tic­i­pate when the al­bum was recorded in 2016, Lake de­scribed Moon­child as “a won­der­ful and touch­ing trib­ute to the mu­sic I have made dur­ing my life­time”, and it would be mean­spir­ited to view this project in any other way. For­tu­nately, the ma­jor­ity of these re­work­ings hit the tar­get: Barbazza’s sweetly pas­sion­ate de­liv­ery works won­ders on Take A Peb­ble, Lucky Man and In The Wake Of Po­sei­don. Prog fans hardly need re­mind­ing that Greg Lake was a su­perb song­writer and lyri­cist, but when some­thing like C’est La Vie is reimag­ined as an ephemeral torch song, the ef­fect is gen­tly rev­e­la­tory. In a per­fect world, the gor­geous ver­sion of In The Court Of The Crim­son King that opens the al­bum wouldn’t mu­tate into a shouty, jar­ring Schizoid Man three min­utes in, and Karn Evil 9 would have been re­spect­fully left alone, but the rest of Moon­child will def­i­nitely re­sult in Lake diehards dis­cov­er­ing they have some­thing in their eye.

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