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Our Favorite Epic Tracks: Volume III | Fan Favorites - Episode 41 (Patreon)

Published:
2025-10-07 22:23:47
Imported:
2026-06
Tags:

Videos

Content

I apologize for my tardiness in delivering this episode. I think it was worth the wait, because there's some great music in this countdown. We're hearing:

Autobahn (Kraftwerk)

Waka/Jawaka (Frank Zappa)

The Fountain of Lamneth (Rush)

Lark's Tongues in Aspic - Part IV (King Crimson)

I hope you enjoy!

Files

Our Favorite Epic Tracks: Volume III | Fan Favorites - Episode 41

Comments

Alan Wilson

Looking forward to listening to this tomorrow, way past my bedtime now!

Steve Hall

The Autobahn was built before WW2, during the 1930's. Dwight Eisenhower got the inspiration for our Interstate system from the Autobahn.

Randy Hammill

Great stuff. Don’t read into Belew’s lyrics across all the parts of Larks’. They are among Belew’s darkest, but there was some friction between Fripp and Belew about them. They dropped them live. But they don’t apply to the overall arc of songs. Fripp had asked Belew to try to write a second verse with the opposite more uplifting side, but he couldn’t come up with them. It originally was going to start with Belew playing an acoustic version of that part, but it was dropped because Fripp wasn’t comfortable with it. They did release it, though. The Rhythm Buddies (Pat and Trey) are a beast, though. On the entire album (and the next) and were unbelievably heavy live. Recordings, of course, don’t do it justice. Level V is definitely Lark’s V. They opted not to use the name on the album, but it was listed as Larks’ V on setlists. Fripp’s “solo” isn’t really a solo. It’s part of the composition, and a variation of the Larks’ theme. If you listen to Larks’ I again, you’ll hear a similar fast guitar part and this is a variation. Another (slower) variation forms the first part of Larks’ II. The second major theme of Larks’ II is the ascending line, and there’s a variation on that in Larks’ IV. Although it’s hard to believe, Level (Larks’) V is even heavier. Probably more so when performed live by the 2014- era lineup. Funny that you mentioned Tool. Crimson opened for a few Tool shows on this tour. A lot of Tool fans probably didn’t know who KC was, so Maynard explained the situation like Madonna opening for Britney Spears. Danny Carey sat in as second drummer on Red at least once, and Fripp provided a soundscapes into into Tool’s set.

Peter Tutak

Nice to hear Waka Jawaka again, and yeah, Don Preston knew how to get *so* much color out of the Mini-Moog - a supreme but very under appreciated player. And that flourish he does at 33:07 in your video is just howlingly good. About the ending - I'm not aware if Frank wrote one for this piece. I'm pretty sure he just ran it into another tune on the Grand Wazoo tour, and the 'outtake' version (on YT) and the live bootleg from Passaic both just break down at the end. So, who knows. A little mystery. (Thanks, Barry !)

Greg Goddu

One of the reasons I love Caress of Steel ss an album by Rush is the way the instruments are mixed. I fell in love with the sound of Alex's phased guitars instantly. I loved that I could feel Geddy's fingers hitting the strings of his bass. And Neil...I feel like I am sitting right next to him when I listen to this record. Everything feels so close and that lends itself to the raw emotion of the Fountain of Lamneth. Anyway, I'm so glad you got a chance to listen to this one.

Alan Wilson

I should have mentioned in my submission that I see Autobahn as an electronic tone poem - think of Smetana Vltava, but for cars on roads instead of boats on a river. Of course, the Autobahn is famously without speed limit - there's nothing quite like driving at 90+ mph and being overtaken by a Porsche doing 130 on the outside lane! Also just realised , from Doug's analysis of form, that it's almost Genesis like - ABACA(B) 😂

Ralph Darvill

Wow! That was a journey and a half!!! The Rush track I have on vinyl so I know it really well. "Caress of Steel" I think is their most classically "Prog" album, and is seriously underrated, even by many fans of the band. It's really well recorded, that drum sound is just astonishing, and there are places where Geddy's bass Rickenbacker Farts it was out of the speakers. Alex sounded awesome on there whether on acoustic or electric. Beautiful. Kraftwerk we're simply unworldly when they appeared in our boring British musical landscape in the 70s, have always loved that piece, and it never dates despite the age of those instruments. The Zappa was just great Zappa, can't add any .ore really. And then the Crimson piece - which I'd never heard before. Truly scary heaviness, like being hit by a freight train. Thanks for bringing those together Doug, and I hope you're all repaired soon. Back pain is the worst. My wife is going into hospital tomorrow for some injections which we hope will ease her constant troubles with ongoing pain in her lower back 🤞

Richard Moore

It's almost impossible to be in a bad mood while listening to Autobahn! Best experienced while driving to appreciate its minimalist aspects; I get the need for something more involving when listening attentively at home.

Adie

I loved this edition of Fan Favorites. Thanks for getting through this Doug, and I hope you keep trending up 🙂 I agree that the Crimson piece is essentially Metal (not sure it is Heavy Metal in the original sense, even though it is definitely heavy). It seems to me that from the very start of both genres, which emerged in paralell, there was a close connection between Prog and Metal, and that Crimson bridged across both genres. Each track (beyond KC of course) had new avenues for me - with Kraftwerk, the variations were great, and it was great to hear a very human playing of the old analogue synths. With Zappa the minimoog solo was exquisite. With Rush the expression of inevitably subjective moments was powerful. Again, well done Doug for getting this extensive video done - it was worth the wait.

Eusebio R-Z

Warning: Autobahn can be a bad choice in a playlist for an actual road trip. While driving, we are "conditioned" to react to warnings, and it's not that good hearing car horn sound effects when there is nothing happening on the road (talking from experience).

Matt B

Well, Autobahn is officially Dougs first reaction to a "Techno" track. Autobahn is one of the pioneers that formed the Techno movement. "Detroit Techno resulted from the melding of synth-pop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra with African American styles such as house, electro, and funk. Added to this is the influence of futuristic and science-fiction themes relevant to life in contemporary American society, with Alvin Toffler's book The Third Wave a notable point of reference. The music produced in the mid-to-late 1980s by Juan Atkins, Derrick May, and Kevin Saunderson (collectively known as The Belleville Three), along with Eddie Fowlkes, Blake Baxter, James Pennington and others is viewed as the first wave of techno from Detroit".

panurge

when I was going to tech school in 1974 in Pheonix KDKB radio played this and that was my first introduction to Kraftwerk

Margaret Barnes

Listening to Waka/Jawaka, it’s hard to fathom that Frank Zappa composed and performed this in a wheelchair! At a concert in London in 1971, an audience member got up on stage and shoved Zappa off into the orchestra pit, giving him a concussion, breaking his back in a few places, his leg, a couple of ribs, and crushing his larynx, which dropped his voice by 1/3 of an octave!! He spent about a year recuperating in the chair, but stayed busy with his music. Makes me feel like a wuss for ever, ever calling in sick!! 🤭

ax o'lotl

possible future epic reaction - Henry Cow - Living in the Heart of the Beast? thanks for all these of course... pleasantly surprised by Rush. not a crowd-pleaser but it pleased me. get well soon. :-)

Jeff Norman

Larks' IV is definitely in the musical lineage of the earlier ones. A number of musical similarities and parallels: some of the metrical games, a section where chunky chords run for several bars after which the band plays an angular, primarily ascending line; a lot of movement upward by minor thirds... There were more I noticed relistening, but these are the ones I remember this morning! (Re your comments about time signature: I think that parts of this, like the 'Discipline' era records, are in multiple times simultaneously. But I think Belew's solo (when you specifically ask) is 11/8, 3+3+3+2. There's a lot of "5" too (both signatures showing up frequently in earlier "Larks")