Customer Reviews

In the Court of Crimson King

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Time and time again we are confronted with artists who put out a great debut album and never climb that high ever again. When it comes to talking about the paradigmatic example of such a phenomenon my choice would be King Crimson and their debut album "In the Court of the Crimson King." Released in 1969 with its distinctive cover art, this was the album that set the standard for progressive/psychedelic rock for the next decade. Except for the title track the songs are ensemble efforts by guitarist Robert Fripp, drummer Michael Giles, bass player and lead vocalist Greg Lake, keyboard player Ian McDonald, and lyricist Peter Sinfield.

The best track on the album is the first, "21st Century Schizoid Man," with its big main riff and jazz-rock middle section ("Mirrors"). The music is somewhat distorted at times, but that does not stop the group's musical virtuosity from coming through. As you would expect from the title, the song paints a picture of dystopian future that embodies the worst tendencies of the late 1960s, and remains the standard by which other progressive rock epics are judged. In terms of political sensibilities nothing comes close. The song also stands out because the following track, "I Talk to the Wind," is more folk-rock and constitutes a sort of cleansing of the palate before proceeding to the rest of the album (it is actually a song members of the group had played on earlier efforts).

The title track is not the best King Crimson song, but it is probably their best known one (and the one song that was written just by McDonald and Sinfeld). The conceit is of a medieval court afflicted by a black queen, fire witch, and other equally dark images heading for total destruction. It is a daring finality, teetering on the brink of the sort of bombastic pomposity that often afflicted progressive rock (Emerson, Lake & Palmer's "Tarkus Suite," with its synthesizer excess is the example that springs to mind). Musically on this album as a whole it is McDonald who makes the biggest mark on the album, playing mellotron and assorted other instruments like saxophones, although Fripp's guitar is also prominent. When I was growing up the singing voice I most wanted to have was Greg Lake's, and this is the album when he sounds the best. The result is that "In the Court of the Crimson King" is one of the albums that has to be considered when you are making a list of top albums from the Sixites or in the history of progressive rock music. It does not matter that King Crimson had a revolving door lineup and that it would take them years to come up with anything close to this classic album.

There is still much confusion as to which CD release has the best sound.
After having researched the various CD issues and re-issues of "In the Court of Crimson King" I feel I should pass on what I have learned.

The 30th Anniversary Edition (issued 1999) - side two is from an original master tape while side one is from an inferior higher generation tape.

The Original Master Edition (issued 2004+) - both album sides are from original master tapes.

"The original masters - with splicing tape still present between the various songs, and crossfade between I Talk To The Wind and Epitaph yet to be created - were discovered in the Virgin archives in 2003."

"The word I've heard is that the master tapes were basically rolled for the new Original Master Edition (OME) without any tinkering at all. They basically ran the master tapes flat."

"Simon Heyworth did the mastering for the new OME and the 30th Anniversary Edition. He does not use Noise Reduction."

The following CD issues should all be the superior "OME":

2004.11.15 UK DGM (Panegyric) DGM0501 (reissue, 2004 re-remaster)
2005 CD Discipline Global Mobile 501
2006.02.22 Japan WHD IECP-10003 (reissue, paperboard picture sleeve) (Ultimate Edition)
2006 CD JVC Japan 10003
2008.03.26 Japan WHD IECP-50001 (reissue)

This debut here, released in 1969, influenced quite a few musicians in the rock world, especially those found under the "progressive" rock label. After more than 30 years since it's release, it still sounds as fresh, explosive and provocative. This is without a doubt my favorite King Crimson album (with their 1973's release _Larks' Tongues In Aspic_ in a close second.)

It starts off with the fiery "21st Century Schizoid Man," which is a mix of scathing proto-metal and fiery jazz: listen to how Greg Lake's processed vocals sound akin to something of an apocalypse, which are backed by some harsh, distorted, convulsive blasts, and how during the verses, we are treated to the scorching guitar and saxophone lines playing the same melody in unison. It's intense stuff, and this song -- for better or worse -- is the benchmark to which nearly everything Crimson released afterward would be compared. Indeed, this song embodies a *huge* part of what Crimson is, and what they would be for their entire career. "I Talk To The Wind" is an interesting and mellow mix of R&B and light orchestral: the kind of tune you would hear if The Everly Brothers got together with The Moody Blues, and sang lyrics to a Black Sabbath tune. It's very ethereal, melodic and soothing. Love the flute playing on here.

"Epitath" is a very absorbing extended tune with great vocals and lush, dramatic mellotron. The lyrics and singing here are quite disturbing. Once again, this track has an interesting crazed mix of psychedelia/R&B/classical rock. "Moonchild" starts off like an almost bedtime lullaby, which I find beautiful and imaginative, then it segues into the most challenging part of the disc. The last nine minutes of this song is nothing but instrumental experimentation. I don't personally find it as awful as many others seem to, in fact I find it enriching and mind-expanding, but still challenging. It especialy works best at nighttime. "The Court Of The Crimson King" is probably my favorite, though it's hard to choose. This is the most symphonic on here. The ahhh-ahh-ahh-ahh melody backed by the D-C-B progression is just phenomenal and too good for words. Listen to Greg Lake's dramatic, regal and enchanting vocals here.

This album is considered a classic for a reason. Highly recommended for fans of prog-rock, or music that is imaginative and challenging.

Progresive rock always took on a lot of heat for ruining the true spirit of Rock and Roll, trunning it into an "adults only" matter. A lot of it is very true, but there were also some true talants in the movement. King Crimson, the brainchild of guitar god Robert Pripp, was one of them. In this first release, the band mixes just the right dose of rock, jazz, trippy jams and classical drama to create what is to me, its best and most solid body of work.

This is the best King Crimson offering I've heard so far. "21st Century Schizoid Man" and "In the Court Of The Crimson King" are wonderfully superb, progressively hard-rocking bookends. The pages of this book contain somewhat somber, moody songs like "I Talk To The Wind", "Epitaph" and "Moonchild". There is a relaxed instrumental which follows "Moonchild" titled "The Dream And The Illusion". "In The Court Of The Crimson King" is truly a work of art. You'll want to add this masterpiece to your collection.

This is the ultimate proto progressive album.
Crazy jazz, beautiful folk, classical influences and wierd avant-garde - it's all there.
Fripp & co achieved here a great artistically success, which will grow even better and bigger in the next albums.
This is a superb start for any progressive and non-progressive listener.
A Must!

There are few albums that command the respect and admiration that this one does, nearly 40 years later. The fact that it's hard to find, and that people (like me) are willing to pay more than would be paid for most other nearly-40-year-old albums, attests to it's enduring value. It is one of those albums that you can enjoy sober or...

As an ex-musician, I know good musicianship when I hear it. And I hear it in abundance here. It is an incredible effort, and well worth paying premium for.

Wow. That's all I have to say. This CD is simply fantastic. I came across it while doing an English 12 research paper on Prog rock and decided I simply had to buy it. The consummate skill and mind-bogglingly complex songwriting of Fripp, McDonald, et. al. is simply beyond anything I've ever experienced. It's a shame I wasn't born yet when this lineup was touring. I highly recommend tracks "Schizoid Man," "I Talk to the Wind," and "Crimson King." "Epitaph," I think, lags behind just a bit. The only time I lost interest in the album was during the improv section of "Moonchild," which I think goes on too long and lacks focus. However, the rest of the album more than makes up for this flaw, and I wholeheartedly recommend it to anyone. Now I just need to save up my money and buy Larks, Red, and Discipline.

fantastic - i bought this album in 1970, i loved it, it's a little rock/jazzy infusion. i have not heard this record in 30 years it sounds just as good now, this cd would probably do better on today's market than when it originally was introduced.very well put together record for it's time.i recommend buying this one, y won't regrit it.

I had never heard of King Crimson until a friend mentioned them to me and said I had to buy the album even if it was only for the cover. This was 1971 when I was 15. It blew me away. I was always terrified by the opening track. Looking back it all seems a little pretentious but in 1971 it was way ahead of its time