Customer Reviews

In the Court of the Crimson King (Deluxe)

5 star:		(37)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

First of all, let me preface my comments by saying that I am a fan of surround. Generally, when given the choice between stereo and 5.1 I will always listen to the 5.1 version. This time, I prefer the MLP lossless stereo version of In the Court of the Crimson King. I think that it has enormous clarity, but is smoother and more listenable than the surround version.

I am not sure whether it is the excellent mix on this 2009 stereo version or a weakness in the 5.1 version (probably a little of both), but this time around the separation and distinct presentation of the instruments and voice were at times a bit distracting to me in surround. In particular, "The Court of the Crimson King" sounded much better to me in the stereo version. For example, the keyboards coming from the left channel in 5.1 were a bit overwhelming to me. The distorted vocals in 21st Century Schizoid Man are isolated in the center channel, which makes Greg Lake sound, well, even more distorted.

I have the 1999 remaster, which as I understand it, was not taken from the original master tapes (as was this new version). The clarity of this 2009 version, compared to the 1999 mix of In the Court of the Crimson King, is very much improved. If you do not have a remix taken from the original master tapes, this is worth the money. Plus, there are so many different versions of this album it's hard to compare them all. It's fun to try, though. The 2 disc set contains: 1.) MLP lossless 5.1 surround; 2.) MLP lossless stereo; 3.) DTS 5.1 surround; 4.) LPCM stereo; 5.) standard CD stereo on a second disc. The CD stereo is the 2009 remaster, but the DVD also contains the 24-bit "Original Master Edition 2004." There is additional audio content on the DVD, including a "full version" of Moonchild, a duo version and alternate mix of "I Talk to the Wind," the backing track from "Epitaph," and studio tapes from the sound effects recording for the beginning of "21st Century Schizoid Man." There is an "alternate album" mix. The video is a brief edit from Hyde Park in 1969, and the quality is poor.

I just noticed that the December issue of Sound and Vision magazine has an article (several, actually) on the King Crimson 2009 releases as well as Steve Wilson and surround sound. It's worth a read if you are interested in these recordings.In the end, I have to go with five stars on In the Court of the Crimson King. This is, after all, one of the top 100 records ever made. I may have gone less than five stars for the surround mix, but the 2009 stereo mix is top notch. There is something here for every fan of this album to enjoy.

Get this one before the price goes even higher. This is another fine job by Steve Wilson (porcupine tree) mixing a King Crimson masterpiece. Other reviewers will no doubt go into details about how and why and what is so good about this album's re-mixing. My last version of this was vinyl, so all I can say is it's really, really, really sounds great! DVD-Audio in 5.1 is the way to listen to music! Who whould have thought Fripp and Wilson could have gotten so much fidelity out of those old anologue tapes from 1969? It's clear and crisp with a full frequency response - and no hiss, pops, rumble or flutter! A really fine job. King Crimson's Red in 5.1 is also outstanding, if not better, than this release. I would check it out, too.

I actually think the inverse of the other comments. This 5.1 mix sounds much more dynamic than that of Red--whose stereo mix I preferred. This cd will never sound this good again and that is a guarantee. It should be mentioned that on both titles the stereo mix is of higher resolution (96/24 as opposed to 48/24), but " The Court" 5.1 really seems to have its own life, consciousness and existence--it is more free and unpredictable (like the way music sounds when you hear it live) and really keeps you on your toes with the surprises literally lurking around every turn. This is the way 5.1 should be!! Don't even hesitate to buy this one!!

Love the 5.1 mix. Prefer the DTS version. Would love to have everything I own in 5.1. I wouldn't leave my sound room. Right now, I have to settle for David Crosby, Ringo Starr, and the Beatles. (just talking about CDs redone in DVD)

21st Centruy Schzoid Man: After the intro, the song explodes! Chords go through each channel separately. Sounds so good. Love Greg Lake's voice in the center channel--matches the mood of the song (if not the title). Micheal Giles's drumming is superb. I prefer it to Bill Bruford's playing. Actually, they're both the same kind of drummer: jazz drummer playing with a rock band. Giles would be at home with any jazz band (his work on "I Talk to the Wind" is so tasteful). I think Giles is just a bit braver with his fills and patterns. And the middle? So tight! You couldn't squeeze a 64th note in among those breaks!

I Talk to the Wind: That gorgeous flute! Lake singing harmony with himself. The bass is perfectly balanced. Lake is so talented on this and the acoustic. If you listen to the guitar solos, you'll hear a forerunner of Lake playing solos for ELP. I really enjoy being surrounded by music (real 5.1 not the processed stuff one can get from good receivers). Already mentioned: Giles's wonderful jazz drums with the 16th notes on the cymbals stronger than I've heard them before. Fripp's guitar coming through the center channel, usually reserved for vocals, is a vocal line in itself. The fade out abruptly ends and begins again. Hope this isn't a recording mistake.

Epitaph: Again, Fripp's guitar is in the center channel. This sounds exactly like some Lake solos with ELP. Giles provides a funeral march beat and tempo. The acoustic guitar shines in the middle (again, repeated in later ELP recordings by Greg Lake). Such a wonderful tone on Fripp's guitar. When he's not playing atonal guitar licks, he's really a maestro on the guitar. The mellotron swells in the background, with all channels full of the great sound. Almost too much to take in. The middle part goes into the dirge again, with loud toms accenting the marching funeral procession. Sinfield's lyrics still resonate today. What a poet!
"I fear tomorrow, I'll be crying" crescendo's into a strong ending, with Giles's tympani. Then a fade out. Lovely.

Moonchild/The Dream/and the Illusion: The sound begins in the left rear speaker, then moves to the front. Lake's vocals are gorgeous. Curiously, he has no vibratto at this stage. In later ELP (and solo LP), he develops (or begins to use) the vibratto. The whole beginning has a mysterious feel with Fripp's acoustic in the background. Great lyrics. Never really enjoyed the free-form ending, though it begins with little niceties: guitar, little percussion fills (cymbal work, little drumming fills), lovely little guitar chords. Then it goes into a collection of little noises. I know there are those who love this, but like Chicago's free form, I want the song to begin!

The Court of the Crimson King: Giles's intro , so recognizable now. The song is still gorgeous. Mellotron in the rear speakers. The acoustic playing those strange chords. Such an evil sound (and I mean that in a good way: it matches the song). The keys come through louder than I remember, but still sounding great. Giles's fills are so inventive. He has the rudiments down to perfection. Lake's bass (sound's like a fishing joke) is softer on this song. Still there but not as dominant. Fripp's playing in the center speaker with the flute taking the rear speakers again. What a glorious mix! Mellotron joins the mix, and Giles's cymbal work comes (again) like a jazz drummer). The "Court" sound is regal with the background voices announcing the King. More tympani from Giles. A false ending. Giles fills in with cymbal work. Then the wonderful idea of the keyboards sounding like a puppet show background (the underlying notes sounding offbeat but still coming out even with the keys). Now Lake's bass is in full throttle as Giles leads the group back in with another inventive fill. Love his work with the snare and cymbals on one of the fills particularly. The vacuum ending! Magnificent!

You have GOT to hear this on a good sound system! Haven't heard the rest. Just wanted to get this down before I forgot it. Maybe more later...

your DVD player has a DTS output. My 2 year old DVD player does NOT have a DTS output. The only other way to hear the 5.1 mix, is if you have a DVD AUDIO PLAYER. However, at least the STEREO REMIXED version is on the DVD, and plays on ANY DVD player. For some, this might be a VERY GOOD reason just to buy the CD version, and save a few dollars. But we all replace our DVD players, and I am sure that in a few years, the DTS audio standard, will be more widely available. I just wish I knew this, before I bought this edition. HOWEVER, there's so many reasons to buy this new 40th anniversity edition, that even if you own this title on VINYL, and on CD, I would still recommend it.

For the first time EVER, Fripp and Steve Wilson (The leader of PORCUPINE TREE) used the multitrack 8 track masters, to produce a remixed album that simply sounds remarkable. Even the 24 bit remastering done in 1999, was made from a production master, because the original master tape (the 2 track mixdown tape, mixed directly from the 8 track multitrack) had been lost for decades. Thankfully, the 8 track master tape, and sub-mix tapes (for the drums, keyboards and such) were recently discovered. Robert Fripp and Steve Wilson took these master multitracks, and sub-mix tapes, moved them to digital, synched them together, and using musical necromancy, brought the audio quality firmly into the 21st century. Three generations of tape transfers, including the inherent tape hiss, have been scrubbed clean. For King Crimson fans, its comparable to the cleaning of the Sistine Chapel. First the two band leaders first produced a NEW STEREO MIX based on the original 1969 mix, and from there, Steve Wilson worked on the 5.1 surround mix. The improvment is miraculous. Michael Giles' drumming, which had always sounded like he was playing on cardboard boxes, sounds like DRUMS for the first time. Also, you can hear Fripp's acoustic guitar arpeggios, where previously they had been covered over by mellotron work. And the audio clarity of Greg Lake's vocals shine like angels. I played the new stereo mix on the DVD, next to the 1999 24 bit remastered version of the album, and fell over. The biggest improvements, include the bass sound, which is more punchy, and clear, and the drums, which FINALLY sound like DRUMS. Overall the new mix is much warmer, and vastly more clear, more precise. Also, FRIPP turned up his guitar parts in many places, which were priviously buried. OKAY, that's the GOOD NEWS FIRST, now comes the BAD NEWS!

For starters, FRIPP removed his 3 minute guitar solo from MOONCHILD. Hey, its not the first time he chopped that song up. When Fripp released the BEST OF KC box set FRAME BY FRAME, he reduced MOONCHILD down to 2:26 minutes. BUT, not to worry, Steve Wilson put a new remix of the original 12 minute long MOONCHILD right at the end of the album, so you can program your CD player to have the original MOONCHILD song where it belongs. ALso, this new remix was suppose to be based on the ORIGINAL 1969 MIX. BUT...its not. Lots of changes were made, many having to do with stereo imaging and panning effects. In 1969, the SINE QUA NON of "psychedelic stereo effects" included panning voices, or drum parts, guitar parts, or whatever between the two stereo speakers. 40 years later, those panning effects sound dated at best, or at worst ruin the music when overused. On MOONCHILD, the 1969 mix begins with Greg Lake singing out of the left channel, then in the midst of the first verse, his voice moves to the right channel. Now, Greg Lake sings from the middle of the virtual soundstage, which is standard for modern audio mixes. However, other bits of wierdness were maintained, like Michael Gile's cymbals, which quickly move from left to right channel. Except for MOONCHILD, there are no other drastic edits, nor were songs lenghtened. I'm hearing piano parts, previously buried underneath the mellotron. Fripp's guitar parts, especially his acoustic work, have increased in volumn too. But what if you want to make up your own mind, about the best mix? Dont worry. The complete, original 1969 mix, unaltered and unexpulged, is included.

SO LETS GET TO THE GOODIES!!! Absolutely NO studio outtakes have EVER surfaced from the sessions for this first KING CRIMSON album, except for an instrumental studio run thru of SKITZOID MAN, only available on the Collectors Club edition of LIVE AT HYDE PARK. Now, there are so many versions of unreleased run thrus, remixes, alternate solos, instrumentals, that the DVD even includes THE ALTERNATE COURT OF CRIMSON KING as a bonus offering. Altogether, you get a instrumental version of SKITZOID MAN, a studio run thru of I TALK TO THE WIND, an alternate version of EPITAPH, take 1 of MOONCHILD, and take 3 of COURT OF CRIMSON KING. Add to this, the extra tracks on the CD, including a beautiful, tender rendition of I TALK TO THE WIND, with Fripp on acoustic guitar, and Ian playing Flute, sans vocals. The alternate mix of I TALK TO THE WIND has completely different solos, at least as good as the "offical" version. Aditionally, there's an instrumental version of EPITAPH, thats most welcome. Finallly, there's something called "WIND SESSIONS". ITs just a few seconds of ambient wind sounds, with a few remarks by the band. It's useless, except for its comic value.

The other "SPECIAL INCLUSION" on the DVD, is one minute of KING CRIMSON playing during the "HYDE PARK" show. The set is better with it than without. This is one of the best CD/DVD 5.1 remix sets that have EVER come out for any band. Starting with ten never before heard studio outtakes, add vastly improved sound on the 2009 stereo and 5.1 REMIXES, and the entire album with the original mix, and a peak of the original CRIMSON band performing live at their first major gig. Even the color on the gatefold album cover, has been restored to same colors of the original Vinyl LP pressings. Included is an informative, beautiful booklet, with a short history of how the band got together, lots of photos, a reproduction of the album's inner gatefold art with lyrics, and a complete explanation of how FRIPP and STEVE WILSON created this new edition of ITCOTCK, from those newly discovered multitrack masters. Who should buy this? It depends, on how much of a fan you are. If you have all the band's music, or if ITCOTKC is your favorite album, then definately buy this edition, even if you cant play the DTS 5.1 AUDIO MATERIAL yet. Or, if you have the money, and you cant get enough of ANYTHING by Fripp, I'd recommend the expanded CD-DVD boxset due out soon. It has lots of extras, including a MONO version of the album on CD, a VINYL version transferred to CD, live songs from the HYDE PARK show, and lots more studio outtakes. If you just want a CLEAN, BEAUTIFUL STEREO REMIX of the original album, with only 5 studio outtakes, and no surround mixes, just buy the single CD version that's to be released. Only YOU know your own fan level. Even tho I cant access that surround mix, I'm in heaven. During the instrumental versions, I'm singing along, and playing the alternate mixes, and studio run thrus. Its like falling in love with the album all over again. If you are only going to buy ONE of these 40th anniversery editions, THIS IS THE ONE. Robert Fripp has been throwing out new versions of this band for 40 years now, and yet, this will ALWAYS be the seminal album, not only for this band, but also for the entire PROG ROCK movement. To this day bands like FIERY FURNACES, PORCUPINE TREE, DECEMBERISTS, and many others, follow in the footsteps first laid down by this album four decades ago. This is timeless music, sonically perfected by huge strides in digital audio technology, and the recent discoveries of the long lost multitrack master tapes. ESSENCIAL PURCHASE.

Is it just me and my older DVD-Audio player, or did anyone else's player freeze when you tried to play the "Advanced Resolution 5.1" version? It plays fine in DTS Surround and sounds great, but I just wonder what I'm missing. I had the same experience with Talking Heads "Brick" box set. All the discs freeze before starting the Advanced Resolution mix, but will play in Dolby 5.1. This is also a pain, because I have to go into the player's menu and change it from DVD-Audio to DVD-Video. Make no mistake, I still would have purchased all of the above, as the DVD-Video mixes sound great. I have not had any other problems from the rest of my DVD-Audio or SACD discs.

Celebrating the 40th anniversary of King Crimson, producers Robert Fripp and Steve Wilson have left no stone unturned in this exhaustive edition. From the stereo album to DTS 5.1 digital surround, clips and bonus tracks, this is what fans have been waiting all this time for. Robert Fripp has been the only constant over the years with the band members changing nearly every album. This initial offering is one of the most intriguing.

The CD contains the original album with five songs remastered in clear stereo arguably better than the 2004 release. Every instrument is clearly heard and separated. But the bonus tracks are the most compelling. The full version of "Moonchild" is here along with a `duo version' and an alternate mix' (different solos) of the romantic " I Talk To The Wind". The backing instrumental track of "Epitaph" is mystical and mesmerizing. Remember that short intro of `wind/organ-like' sounds before "21st Century Schizoid Man"? Extracts from that are also included giving the listener an idea of how special effects were produced forty years ago.

The DVD is really why I bought this edition. The entire album is presented here in DTS 5.1 digital surround sound, giving new life to every instrument and vocal. The harsh quick guitar riff that runs throughout "21st Century Schizoid Man" travels from speaker to speaker around the room, while Greg Lake's equally sharp vocals are blasted from the front center. And that is just one song. The percussion varies throughout each song, but is so exact and clean you get a true sense of the extent of Michael Giles talent. Ian McDonald's woodwind instruments vibrate as if they are in the room with reed-like clarity. Fripp's guitar work is as varied as the song he is playing on. Also, many thanks go to lyricist Peter Sinfield.

The original Master Edition of the entire album from 2004 is included here just for comparison. Again all the five previously mentioned bonus tracks are in 5.1 surround sound here as well. Not to exclude anything from this special edition, the complete alternate album is included here as well, although in stereo. Not to be outdone, there is a two-minute black and white video in mono of the band doing "21st Century Schizoid Man" on an outdoor stage. For mono, its not bad at all.

Future albums of King Crimson are in the works, Red being released already and Lizard coming out in December of 2009. Robert Fripp is arguably one of rock's best musical genius. His guitar work and creations are legendary; beyond progressive rock. Having been the only constant all these years, Robert Fripp is King Crimson. This album is a classic.

The importance of this album is undeniable - in the notes, Fripp refers to the band as being touched by the "other", the Good Fairy, and having received a revelation from music itself. The magic is the convergence of so many threads of modern music, including rock, contemporary classical, and improvisation, into a stunningly artistic and accessible whole that would still sound revolutionary if it were being released for the first time today. So the question is, if you have already purchased this album several times, is it worth getting the 40th anniversary version? I would say the answer is definitely yes, mainly because this is the first reissue that goes all the way back to the original studio tapes, before any mixing, resulting in a notable increase in clarity and reduction in hiss.

Amazon's product specifications could be clearer. The CD track list is correct, but the DVD track list just includes the bonus material, which is presented in MLP lossless 96 khz stereo (DVD-Audio format) and LPCM 48 khz stereo (for DVD players). A player that can read DVD-A is optimal, but any DVD player can access everything in somewhat lower resolution (still beyond CD capabilities). The first 5 bonus tracks are the same as on the CD, while 6 - 10 are arranged in an "Alternate Album". These are not necessarily complete tracks. The instrumental 21st Schzoid Man begins in progress. The first take of Moonchild, the only one with vocals, is just the song part, ending at 2:20. The main DVD content is a 5.1 surround mix and stereo mix of the entire album, in both MLP lossless (for DVD-A) and DTS (for DVD). The 2004 master edition is also included in MLP lossless 96khz or LPCM 48 khz, for those who want to hear the "classic" mix of the album in higher resolution than is possible on CD.

I found that the surround mix sounds very natural, with subtle use of the rear channels. I preferred the stereo version, but that may reflect the higher quality of my front stereo speakers. The most controversial change on the CD is probably trimming 3 minutes from the improv in Moonchild. But it's still 9 minutes long, and I understand how the tighter edit could be considered an improvement. On the DVD, the 12-minute version is used in the surround mixes, and the 9-minute version in the 2009 stereo mixes, although the longer stereo version is available as a bonus track. The duo version of I Talk to the Wind and the Epitaph instrumental are my favorite bonus tracks on the CD. The "Wind Session" is a track of studio out-takes from the recording of the opening seconds of 21st Century Schizoid Man, and is interesting mostly as a curiosity. The only video on the DVD is a snippet, less than 2 minutes, of a performance of 21st Century Schizoid Man at Hyde Park. The quality is so low it borders on surrealistic, and makes one wish more, and higher-quality, documentation were available of the first edition of King Crimson (which lasted only 9 months). If all this isn't enough, a limited-edition 6-disc set, In The Court of The Crimson King (5CD+1DVD), is available for the truly obsessive.

King Crimson's "In the Court Of The Crimson the King" is an album that stands out in the group's vast catalog; not just by being a debut album, but especially by being the group's most melodic implemented. On this album the great compositions are allowed to be what they are - beautifully complex musical works.

The discordant approach which gradually was allowed to be a part of the group's expression is largely absent here.

"How about "21st Century Schizoid Man"? some might want to ask. Yes, could be, but that song is more or less some a kind of heavy-metal number, and as such it comes natural that there can be scratchy passages. This classic opening track, is probably also the group's most successful rock number. Great and catchy riff, powerful singing (a little George Young sound on the distorted vocals) and lyrics that fit perfectly to the song. If you have heard Ginger Baker's Air Force, you may find similarities to that short-lived band's sound.

The rest of the album may well be called beautiful melodic psychedelia rock. A little like early Moody Blues some may think, but at any rate clearly more interesting than most of this group's music.

Lead-singer Greg Lake's vocals, along with the mellotron, are probably the most significant instrument of the album, and Lake performs the following four great songs with conviction. Especially on "I Talk to the Wind" these two characteristic elements are present. Moreover, fine harmony vocals and beautiful flute playing.

"Epitah" is a very moving number, both melodically and lyrically. Nice tasteful guitar, too.

"Moonchild" is probably the most experimental track on the album; spacey sounds, a little like Floyd, but still in the context of a very beautiful song, which by no means is ruined by the wish to experiment. If you find the extended outro too long, you can always make your own edited version.

Four great songs, and yet the best is still to come. The title song, "The Court of the Crimson King" is a song that just sticks with you, and a song which perfectly sums up the whole album; grand and majesticly.

The many extra tracks are all nice to have, but they are all alternate versions, and as such interesting, but there is nothing that could/should have been included on the original album, which was, is and shall remain a milestone in rock history.

A Classic Masterpiece,mixed from a Musical Genius of PT Steven Wilson

Hearing this album again is like hearing it for the first time again!
It is so clear clean and full sounding with the vocals and such great separation with every instrument played.

If you like this album before then you like even better now!
Now this is what you call a remastered issue of a album!
Down side a little pricey.