In The Court Of The Crimson King

Blending elements of several forms of music, including classical, jazz, and folk, four young British musicians banded together in 1969 as King Crimson and recorded a five-song masterpiece. Looking back in time to the year when this album was released, it has oftentimes been said that King Crimson's first album, "In the Court of the Crimson King", was a milestone in rock music history that marked the beginning of a new branch in rock music henceforth called, "progressive or art rock." However, it would be amiss to claim here that this group had accomplished this feat all alone. There were a number of other prominent rock groups at the time such as The Moody Blues and Deep Purple who were likewise experimenting along the same lines. Both of these groups had also been strongly influenced by classical music, and The Moody Blues, in particular, released two groundbreaking albums that same year. These two albums, "On the Threshold of a Dream" and "To Our Children's Children", were phenomenal in their own right. Like King Crimson, The Moody Blues prominently used a relatively new instrument at that time called, the mellotron. In addition, certain harsh and heavy passages from this album by King Crimson have, at times, been credited as being a strong influence in the formation, and early development, of yet another form, or branch, of rock music, namely, "heavy metal." And now, and most fortunately, King Crimson's debut album, "In the Court of the Crimson King", has, once again, been remastered using the latest advances in digital technology for future generations to appreciate and enjoy. The early stages of this group's formation saw three friends, Robert Fripp, Michael Giles, and Peter Giles, enter the studio and record a number of songs together under the name of "Giles, Giles, and Fripp." Robert Fripp was a versatile guitarist with the ability to play a wide range of styles. Along the way, they were joined by Ian McDonald, a multi-instrumentalist, who played various woodwind instruments and who also played a number of different keyboards, including the mellotron. When one of the Giles brothers left the band, he was soon replaced with Greg Lake on bass and vocals. With the final addition of Peter Sinfield as lyricist, the group was formed. The year was late 1968. The album's strong appeal, no doubt, lay in the group's prominent use of the mellotron. Without its use, the album would certainly not have reached masterpiece status. This instrument (actually, an amalgam of prerecorded tapes) replaced the diverse sounds of an entire philharmonic orchestra. Rock groups had already been experimenting, and recording, with the mellotron for sometime, ever since the Summer of Love. The Rolling Stones, for one, first began to use the mellotron in 1967 when they were writing songs for their upcoming album, "For Their Satanic Majesties Request." The Rolling Stones, too, had a talented multi-instrumentalist in Brian Jones. During the psychedelic era, musicians from various groups, ranging from David Bowie to Pink Floyd, took an interest in, and a quick liking to, the mellotron, especially with its outworldly sounds. However, the Stones soon returned to their R&B roots, abandoning further experimentation in that direction with the mellotron. The Moody Blues, on the other hand, who had previously employed the full services of the London Philharmonic Orchestra, found the mellotron to be a suitable replacement for the orchestra, and they soon integrated the new instrument into their recordings (and also into their upcoming touring plans.) Mike Pinder of The Moody Blues became quite proficient with its use. The Rolling Stones did not forget their brief experimentation with the mellotron, and their affection towards it. And when it came time to introduce to the public, especially their fans, their new line-up in the summer of 1969, featuring guitarist extraordinaire Mick Taylor, at a free concert in London's Hyde Park, they invited King Crimson to precede them on stage. It was a great honor. The group's unconventional approach to rock music that day blew away the crowd. Needless to say, these Stone's fans knew that they had just experienced something very special musically, something new and refreshing. It had been the public debut of King Crimson! The end for King Crimson's stellar initial line-up was nonetheless near. While on tour in North America to support the release of their debut album, tensions within the band became apparent. Giles and McDonald declared that they planned to leave the band at the conclusion of the tour and record together. Their ensuing album entitled, "McDonald and Giles", unsurprisingly had much of the same feel as King Crimson's debut album. It is worth a listen. Greg Lake soon thereafter left the band, too, to form the supergroup, Emerson, Lake, and Palmer, with Keith Emerson on keyboards (formerly with the band, The Nice) and Carl Palmer on drums (formerly with Atomic Rooster.) This band's popularity, especially with fans of progressive rock, soon eclipsed the popularity of King Crimson. Before he left King Crimson, however, Greg Lake began work with the remaining members of the band on several tracks for the band's second album, "In the Wake of Poseidon." Further down the line, Ian McDonald founded another prominent group in the mid-1970's. This band, Foreigner, with time, made its own significant contribution to rock music history, too.

I would definitely place this in my top five favorite albums of all time. Though it isn't immediately accessible, with repeated lessons, its genius is slowly revealed. It's a five song set, with incredibly varied, consistently high-quality material throughout. It arguably has no real down time or "filler," with the possible exception of the wandering experimentation on Moonchild. Even that is debatable, however, as some experimentation is always welcome on any album. The album is great from start to finish, and really has no equal. There is no other album which compares to this one in style--not even King Crimson's later efforts. This "golden period" in their career was one which was never repeated. Though they were able to capture a similar level of originality and grandiosity in later albums (In the Wake of Poseidon, Red) they never did reach the same level of quality as on their debut. 1. 21st Century Schizoid Man - Sets the perfect tone for the album. Epic, overblown and sporadic, moving in many different directions all at once. Mystical, political, jazzy and experimental, this is one of King Crimson's most well-known and noteworthy tracks. It isn't the absolute best on the album, but does an excellent job of grabbing the listener and making them wonder what else is in store over the course of this unique album. The band's creative, free-form style is showcased excellently on this opening piece. 2. I Talk to the Wind - If you thought that the whole album was going to be comprised of the hyperactive, jazz-infused rocking out which was flaunted during the previous track, think again. I Talk to the Wind is a laid back, introspective song. It's dreamy and folk-like, and makes evident King Crimson's ability to restrain themselves as a band, and resist the urge to rock out in order to write varied material. A wholly satisfying song, which complements the album perfectly. Includes a cool little jam with mellotron and drums at the end. 3. Epitaph - After the break that was I Talk to the Wind, King Crimson take us on another extravagant adventure. This time, the tone is less quirky and more sincere, with lyrics that verge on heart-wrenching. The subject matter is earnest and grandiose, with otherworldly, expansive instrumentation and a reflective, powerful vocal performance by Greg Lake. The creative, off-beat and glorious drumming talents of Mike Giles are put to excellent use, especially as the song builds to its towering climax. This is easily one of the most enjoyable songs on the album, and stands as one of the greatest examples of King Crimson's importance. 4. Moonchild - Here is another more relaxed, toned-down track, with a greater emphasis on experimentation than I Talk to the Wind. Esoteric and unpredictable, Moonchild is quite mysterious and beautiful in its downbeat, fractured nature. Though the song can be eerie and unappealing to listen to on its own, due to its lack of resolution and meandering nature, when taken in context with the rest of the album, it's an eccentric masterpiece. 5. In The Court of the Crimson King - This is the track which everyone has been waiting for, by the time they're through with the rest of the album. The title track is a sprawling, prog rock masterpiece, which utilizes every single one of the band's strengths. The lyrics are especially fantastical and relevantly surrealistic. Robert Fripp's mellotron once again steals the show by adding a healthy dose of psychadelic, awe-inspiring, layered harmony over the rest of the band. The song is over 9 minutes in length, with a false-ending 7 and a half minutes in. The song goes quiet, and then a keyboard plays a twisted, stripped-down version of the main melody, before the other instruments join in for an encore of the song's infectious, inspiring chorus. This time, however, Greg Lake takes a break and a strange "electricity" patch is used on the keyboard to great effect. Some of the finest moments in prog rock come at the end of this magnum opus.

Debut of classic progressive rock band King Crimson, In the Court of the Crimson King is an absolute must have for not only prog rock fans, but those who have an appreciation for the history of music. In 1969, this album, released on island records, gained a very large following almost immediately for its use of classical instruments such as flute, clarinet, trumpet, sax, and what would soon become a staple for the band, the Mellotron. Each track is beautifully crafted, and quite long, the shortest being around 5 minutes. Although hints of progressive rock have definitely been around before this albums release, this album marks a golden age of progressive rock, and for the band itself. The album opens with 21st century schizoid man. The song starts off with a heavy riff, and a quite verse. After repeating this, the song goes into about 5 minutes of quick, heavy, and unrelenting rock called mirrors. This track perfectly sets up what you can expect to hear from this album, delightful and unapologetic insanity. After returning back to the original riff, the song ends with a blast of random improv. This abruptly shifts to I talk to the wind, a shorter and gentle song to let the listener relax after 21st century. This song features some beautiful flute and clarinet playing by Ian McDonald, and poetic and quiet lyrics by Greg Lake. After this, the song transitions into Epitaph, the complete opposite of what we've listened to before. While I talk to the Wind was gentle, Epitaph is dark and foreboding. The music Swells gracefully with Lake's vocals on this track, which shows off perfectly the bands relationship at this time, especially between guitarist Robert Fripp and lake. Onto Side B, we start off with moonchild. The song starts off mystically, very quiet and "distant". After a couple short verses, the song throws away any structure it had and goes into about 6 minutes of Improvisation between the band. Its a long listen, with guitar plucks, rogue drums, and sometimes the band will come together to make a very short cooperation with their improv. Finally, we reach the title track, which is epic and grand finale to this album. This is definitely one of the highlights to this album, along with epitaph and 21st century. Is this album for everyone? No. Its a very challenging listen on your first go, with instrumentals that sometimes make absolutely no sense, and seem to drag on, but this I think is the true beauty of this album. Its unapologetic with its musical styles, and demands you to look deeper into the music.

Not much that I can really add to the already massive commentary that has been bundled atop this work, yet, just know that this is a pivotal and necessary addition to any music collection. Not only was this album arguably the spear-head to the 'progressive rock' movement, it also was innovative in its approach and accessibility. The original line-up of Robert Fripp (guitars), Ian McDonald (woodwinds and keyboards), Greg Lake (vocals and bass), Michael Giles (drums), and lyricist Pete Sinfield only recorded one album together. It could be said that this group was too good to have lasted too long, which unforunately proved to be the case. Mixing elements of rock n' roll, jazz, classical, and folk musics, this was a band that could not possibly be re-produced. The album opener "21st Century Schizoid Man" is incredibly powerful, energetic, and arguably one of the first heavy metal tunes. Combining the frantic rhythms of rock and the advanced musician-ship of jazz, this song was like a massive burst of energy in the music world: a sort of warning signal that King Crimson has arrived and is taking no prisoners. "I Talk to the Wind" is very mellow, soft, with acoustic guitars, flute, and drums. "Epitaph" is lengthy, moving, and other two syllable words. Was also one of the first songs to prominantly feature the Mellotron, a keyboard instrument that produces orchestral sounds via a tape looping system. Greg Lake belts out Pete Sinfield's looming lyrics, Fripp holds down a steady acoustic arpeggiated figure, and McDonald keeps the tune moving with the swooshing Mellotron tones. "Moonchild" has been called the weakest link in this otherwise impenetrable chain of musical events. While the lyrics may leave a bit to be desired, and the tune does ramble on with sparse improvisational noodling for a good 10 minutes, the song DOES work, and fans of jazz and jam-band rock will be comfortable in this musical setting. The final track, which is also the title track, is, like "Epitaph", monstrous, forbodding, heavy, and, like a good classical composition, moves in many diverse orchestral formations. The lyrics are perhaps a bit on the pagan side, with images of Satan, demons, and demented kings and jokers. However, it's all about the music, and the music does what it does, which is no less than great. I particuarly love the way the album ends, with the pipe organ playing a silly melody, leading into a rocking finale which sort of screeches to a halt at the very end. Just like the album, the first line-up also hit with a bang and then, out of nowhere, dissipated. It would be several years before the group, with Robert Fripp leading the helm, would again come into it's own with "Larks Tongue in Aspic". If my review isn't convincing enough, at least listen to a song or two, and see if this music appeals to you. A note concerning the re-mastered issue of a few years ago, I would highly suggest this release. The sound quality, while not leaps and bounds over previous editions (the original master tape has been lost and therefore cannot be used for sonic improvements), it is the best version thus far, with photos, period interviews, and notes from Mr. Fripp.

This is a classic progressive rock album by one of the original progressive rock bands. This lineup of King Crimson is hard to beat, especially Greg Lake's vocals. When I first got this album in vinyl, probably 1970 (it was released at the end of 1969) I didn't think the first song, "21st Century Schizoid Man" fit with the rest music on the album. Sometimes I was just not in the mood for that song and would drop the needle on the second track. Over the years the song has grown on me, and I do not skip it anymore. I'm sure this might horrify some fans who may think it is the best song on the album, but the song is a little harsh. The rest of the album is not, it is more melodic. As I stated, I have had this album on vinyl since it was first released. After getting a new turntable and cartridge I realized I needed a new (clean) copy, giving me 2 vinyl versions. After I "rediscovering" this albumxs great sound and music I decided it was time to upgrade (yes upgrade) to a CD version. I was not disappointed. The CD version extends the dynamics and frequency enough that things I barely noticed before were much clearer on the CD. The other benefit is being able to load the music on to my portable devices. I highly recommend this version because the sound quality is outstanding for a recording this old. I also have the 40th anniversary edition (CD & DVD). However, I have never done a side by side comparison. I'm sure the sound quality is the same if both were produced from the same master tapes. The difference would be in how Steve Wilson re-mixed the album, which is usually different, but not always better. This version sounds the way I remember the original vinyl record sounded. You really can't pass on this classic album if you are a fan of Prog Rock.

"In the Court of the Crimson King" (1969) is a classic progressive rock album. But until now I had heard only the title track and one other; so, after hearing samples that sounded accessible to me, I bought the album. It has received high praise through the years. The Who's Pete Townshend reportedly called it "an uncanny masterpiece". Well, some parts of it deserve that praise, but some do not. There are 5 tracks. The first track, "21st Century Schizoid Man", does have laudable qualities. There is drama, alarming imagery, psychedelic sounds, and instrumental sections with faster tempo in a jazz setting. But there are "cons" also. The faster sections are repetitious, choppy and loaded with manic drumming; and the lyrics in the main sections are not easily understood due to the distorted vocal. That's too bad because the lyrics are vivid: "Blood rack barbed wire/Politicians' funeral pyre/Innocents raped with napalm fire/21st century schizoid man." Thankfully the lyrics are provided with the CD. The longest track "Moonchild" (12:12) is also the worst. After a section (about 2:20) of quiet and pretty conventional music which contains a vocal with lyrics about an ethereal girl who is "Dancing in the shallows of a river...Dreaming in the shadow of the willow", most of the track consists of formless and dull music (again with too much drumming, although lighter). It meanders and sometimes fades to the point where I think it is done, but no, not just yet... To me it is pointless. I played it twice and I will probably never play it again (except for the initial 2:20). Two slow tracks with more conventional structure are better. "I Talk to the Wind" is soothing, a bit on the gloomy side. It features mellow jazz music and some clever Dylanesque lyrics: "You don't possess me/Don't impress me/Just upset my mind/Can't instruct me or conduct me/Just use up my time." "Epitaph" is solemn, ominously serious. The lyrics voice a dire pronouncement: "The fate of all mankind I see/Is in the hands of fools." The final track, "The Court of the Crimson King" is the prime reason to want this for your collection. It opens with a majestic symphonic riff, and it retains the interest of the listener throughout the 10-minute track. The bulk of it consists of 4 verses, each of which begins with the grand riff and ends with the singer emphasizing the words "THE COURT OF THE CRIMSON KING". The obscure lyrics make references to fanciful things like medieval times, fairy tales, magic: "The black queen chants the funeral march/The cracked brass bells will ring/To summon back the fire witch/To the court of the crimson king." Amid the verses there are two instrumental sections, both of them comforting with just a hint of mystery. After the fourth verse comes a brief, simple instrumental "Dance of the Puppets". Finally the symphonic riff returns, and this time a subtle bit of discord is heard, and soon the whole thing ends with an orchestral crash. Since about 80% of it is of very good quality, I give this classic album 4 stars. I realize that music, like all art, is subjective, and that some may disagree with my opinions. To them I can only say what Bob Dylan said in "One Too Many Mornings": "You're right from your side/I'm right from mine."

A wonderful classic, the one King Crimson compilation every music lover should have in their collection.

This album is an honest to god experience, I highly recommend to listen with headphones at a quiet and calm spit and really let your imagination go wild, "I Talk to The Wind" is like if some gave wispy wind instruments and just as you could imagine it plays wonderfully and angelically in a way. Highly recommend!

Je n'avais pas réécouté ce disque depuis quelques décennies et là, ce fut le grand frisson ! Il y a une ambiance dans cet album qui est incroyable...ça plane et c'est un régal pour les oreilles!

Aşırı begendigim bir albüm.Plağımın geldiği gün pikapım bozuldu.Asla dinleyemedim:)))) Umarım sorunu yoktur.Bir gün zevkle dinlemeyi umuyorum.(pikap tamircisi bulursam:)))

Approved by Robert Fripp himself this vinyl pressing has a unique warm sound of the classic King Crimson. It's my first addition to my record collection and I am not disappointed at all. Some websites say that this pressing sounds better than the original 1969 pressing but I have no idea if that's true or not. But it has crisp clear sound especially the bass and the drums sound wonderful. In addition Greg Lake's mesmerizing vocals in Epitaph along with Fripp's brilliant guitar work is really something that gives you goosebumps everytime you spin it.

Maravilloso disco por la gran obra musical, lo que representó en su tiempo y una apertura a lo atonal sobre todo en el requinto de Fripp, un genio de la guitarra. La voz de Lake perfecta, una demostración de su afinación melódica y contraste de sentimiento y potencia. Sellado, bien embalado y sin huellas de uso, me esperé mucho para apreciar esta gran obra del rock progresivo. Muy contento con la compra.

Lyssna på denna lp. Tjock vinyl, bra ljud, mycket bra musik, klassiker.