Customer Reviews

Lizard: 30th Anniversary Edition

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

 

 

Please understand that I came upon King Crimson just as Crimso Mk. I was laid to rest, in 1973 or so. I was a lonely, too-sensitive fifteen-year-old growing up in Alabama, and newly in love with prog-rock. I "learned" the King Crimson oeuvre chronologically, starting with ItCotCK, then ItWoP, then "Lizard."

"Islands" had just been released that very year; KC broke up immediately after the conclusion of the "Islands" tour, and I therefore had missed my opportunity ever to see them live--or so I thought.

Having put my POV in context, please know that upon first hearing I knew that "Lizard" would be my favorite of all the KC Mk. I albums, and so it remains to this day. There is truly no accounting for taste, of course, and I am sure that mine is the decidedly minority view, but the opinion formed in my sixteenth year is concurred with in my fiftieth.

First, "Lizard" is saturated with jazz fusion - another of my musical loves that lingers to this day. Many of the "sidemen" on the album, including Mel Collins and Keith Tippett, continue to produce experimental jazz, and they never sounded better than on this record. The complex, interwoven layers are, in fact, much more dense than what groups like Weather Report and Return to Forever were laying down in that era, and I would suspect that even the grand-daddy of Fusion, Miles Davis himself, was probably impressed with the complexity and breadth of "Lizard" (though I have no way of knowing this).

Half of the album (Side Two on the original vinyl) is a "concept piece," and the remainder is a loosely conjoined bit of psychedelic free-association that hangs together just as well. The sound is even more dense than the Mellotron-saturated first two albums, yet so much more sophisticated.

"Lizard" appears to have been a "perfect storm" of sonic bliss. The following offering, "Islands," featured most of the same ensemble - and has some flashes of the same brilliance - but is nowhere near as satisfying (and in fact, is the weakest of the four early Crimso works).

The hell of it is, even after KC was resurrected in 1974, with "Larks' Tongues in Aspic" (and the KC Mk. II era that would last to nearly the end of the seventies begun), it was obvious that the "Lizard" sound would never be heard again. It remains like a prehistoric insect in fossilized amber, and shines just as brightly.

Thank goodness for modern audio engineering and the wonderful world of the "Digital remaster." "Lizard" never sounded better, and I highly recommend it to anyone dedicated enough to King Crimson to procure the very best the band has to offer.

This 1970 release was created in-between the brilliant 1969 debut (In the Court of the Crimson King) and the staggering virtuosity and general "wildness" of the 1973-1975 incarnation of King Crimson (Larks Tongues in Aspic; Starless and Bible Black, and Red). Although some fans and critics regard Lizard as a weaker album (and even hard to "get into"), I personally feel that the music is excellent and shows a great deal of compositional sophistication (classical influences figure prominently). Pete Sinfield even turned the heat up on his lyrics and they are very elaborate and complex on Lizard. Come to think of it, the album stands among some of my favorite King Crimson albums.

The core lineup on Lizard included: Robert Fripp (acoustic and electric guitars, mellotron, electric keyboards & devices); Mel Collins (flute & saxophones); Gordon Haskell (bass guitar & vocals); Andy McCulloch (drums and percussion); and Peter Sinfield (words & pictures; VCS3 synthesizer). Additional musicians include: Robin Miller (oboe & cor anglais); Mark Charig (cornet); Nick Evans (trombone); Keith Tippet (piano & electric piano); and finally Jon Anderson of Yes fame (vocals on "Prince Rupert Awakes"). In terms of musicianship, Robert Fripp and excellent drummer Andy McCulloch are the true standouts here, although the supporting brass and woodwind players turn in some excellent ensemble work (especially on the track Bolero). Bassist/vocalist Gordon Haskell (who was apparently a fan of soul and Motown music) was either reluctant (or unable) to embrace the complex material on Lizard and it shows in his bass playing, which is fairly weak throughout (his vocals may be an acquired taste for some - although I like them a lot). Following the release of the Lizard album, Haskell left the band (along with McCulloch).

The five tracks on the album range in length from 2'47" (the delicate Lady of the Dancing water) to the massive (23'15"), seven-part Lizard suite, which would prove to be the largest piece that the band would ever compose. Musically, Lizard presents a nice mixture of symphonic prog, the avant-garde, and even some highly experimental, jazz-inflected moments here and there (apparently a Miles Davis influence), although it is extremely odd-sounding and angular jazz. Pieces that are good examples of the avant-garde aspects include Happy Family, which features Tippetts' insane pounding on the piano. Although there are some hectic and aggressive moments on the album, in large part it is quiet and even reflective at points. Lady of the Dancing Water is the most soft and pastoral piece on the album, and features some excellent flute playing by Mel Collins.

Other personal favorites include Cirkus (love the mellotron), Indoor Games, and the huge Lizard suite. The suite opens with the very delicate and pastoral Prince Rupert Awakes movement and features the high pitched and soft vocals of Jon Anderson. His vocals work perfectly with this track. Bolero (the second movement in the Lizard suite) is another favorite and is a virtual showcase for supporting musicians Tippett, Miller, Charig, and Evans. The Lizard suite goes through a number of twists and turns, ranging from the delicate to the all out instrumental chaos of The Battle of Glass Tears/Last Skirmish. The piece closes some 23 minutes later with Big Top, which consists of carnival music, sped up and otherwise distorted (very creepy sounding stuff).

All in all this is a very progressive and challenging album by King Crimson and is a personal favorite from the 1970 -1972 period. Very highly recommended along with the 1969 debut, Larks Tongues in Aspic (1973), and Red (1974).

After Gordon Haskell sang on "Cadence and Cascade" for King Crimson's "In the Wake of Poseidon," Robert Fripp asked him to become an official member of the band for the recording of "Lizard." Also asked to join the new line-up were saxophonist/flautist Mel Collins and drummer Andy McCulloch. This group was then augmented with some interesting supporting players, including another "In the Wake of Poseidon" alumnus - the noted jazz pianist Keith Tippett - together with Yes vocalist Jon Anderson, and the brass/woodwind players Robin Miller, Mark Charig, and Nick Evans (who also supported Soft Machine).

As a result, "Lizard" is arguably King Crimson's most jazz-inflected album, developing further the direction suggested by the track "Cat Food" on "In the Wake of Poseidon." The powerful opening track, "Cirkus", is the most reknowned track on the album, begining with a hushed verse from Haskell before launching into the menacing theme played by Fripp on the mellotron. The track boasts some of Fripp's most impressive acoustic guitar playing, not to mention a soaring saxophone solo by Collins. With memorable lyrics by Sinfield rich in theatrical imagery, the track builds to a cacophonous climax.

The next two tracks, "Indoor Games" and "Happy Family", are simultaneously offbeat and humorously full of mischief - the former with lyrics evoking disparate forms of hedonism, and the latter with lyrics concerning the dissolution of the Beatles. Haskell's vocals are distorted on both "Indoor Games" and "Happy Family", the two tracks being separated by the sound of Haskell laughing in a strange, uncontrollable manner.

"Lady of the Dancing Water" is a more tranquil piece, whose lyrics and instrumentation have a medieval feel, reminiscent of "Moonchild" on "In the Court of the Crimson King," or "Cadence and Cascade" on "In the Wake of Poseidon." Mel Collins' atmospheric flute playing provides much of the beauty on this track.

Concluding the album is the bombastic title track, "Lizard" (though divided into several sections, there is a narrative running through its entirety concerning a prince who takes part in an epic battle), the first fully-composed "side-long" piece to be recorded in rock history.

After the predictable Poseidon, KC comes up with an almost entirely new lineup plus various important Jazz musicians. The product is bold, unique, inspiring and powerful. This one of my top 3 KC albums (Larks and Starless being the other 2). I heard this album 30 years ago and I am still listening to new hues, dissonances thanks to technological advances of recording. It is casual and playful at times but never boring, never "over your head". This is Andy McCullough's (drummer) only KC project but it is refreshing to hear the freedom, close to melodic chops he displays. The use of mellotron at is best: with power and depth. Highly recommended for serious listeners!!

The reason King Crimson's Lizard album is so great is simple- from beginning to end, the album is filled with little creative musical bits. From "cirkus" all the way to the end of the 23-minute epic, this album contains hidden musical journeys in the background of the music, behind the lead singer. Little entertaining bits of piano, drums, mellotron and other instruments playing throughout the entire album in the background, and many people who dismiss this album don't even notice what's going on back there. It ends up making the whole album feel very jazzy and intense.

I also don't get all the complaints about the lead singers voice. He's not a gifted singer, but he's nowhere near the worst out there. You might even say his voice can be quite pretty and believable during certain parts.

For someone like me who likes music that's WAY out there, this is certainly a very comfortable listen for me. Little bits of creativity are just bursting all OVER the place. Great album.

I feel that every album from King Crimson circa 1969-1975 is essential. They were at their creative peak here before turning into minimalist, machine music in the 80s.

In response to a top 500 reviewer:

reviewer: "I may not be the best judge for the record, I'm not a huge fan of the 'progressive rock' sound"

Well, spare us your opinion since King Crimson *is* 'progressive rock'. We won't mind, I promise.

reviewer: "For Crimson fans, completionists, and maybe the occasional prog fan who likes this kind of stuff."

Translation: Buy this album if you like King Crimson or want to own all their albums or you are somebody who would like King Crimson. Hey, thanks for the advice!

If you thought the first two King Crimson albums were too similar, this should be the fix. With a new band, Fripp made Lizard at the end of 1970.

This is a mellotron album if there ever was one. "Circus" is a jazzy fever dream soaked in the pre-taped orchestra. "Indoor Games" and "Happy Family" cut back on the tron, but maintain the creepy, orchestraced jazz of the first track. There is a strange, hillucanatory feel to all this--it is not hard rock or all jazz, but strange little acid cakes with wierd orchestral nuances, Gordan Haskells processed vocals and Sinfield's obtuce lyrics.

The second half is all mellotron and jazz, with long improvosations by the horn section Fripp added. These tracks maintain that surreal creep the first side had--you get the feeling you have walked into someone's subconcious, but it is definately not yours. "Big Top" ends Lizard, reinforcing the acid circus this album is.

Fripp had a hot band here: the drummer sounds like Micheal Giles but is even more syncopated, and Haskell is a meloldic bassest. The horns were playedby Marc Cheric and Nick Evens, some of the best jazz musicans in England at the time.

Strange, unique and fantastic album.

King Crimson's third album released in 1970. It's full of experimentation and in the five songs featured there's a fine mix of rock, jazz, and classical influenced stuff and it's all great!

The last song, the album's main piece, is "Lizard". A multiple part epic that lasts around 23 minutes, yet for me, it never has a dull moment alternating between quiet classical sounding passages with Fripp's nice mellotron playing, excellent piano played by Keith Tippet and on the other hand you get jazzy passages full of wind instrumentation like oboe, sax, and trumpet. Sometimes the intensity rises and it becomes quite frightening indeed! Also there's a surprise as well. In the beginning Jon Anderson from the group Yes gets to sing the vocals!!! Great surprise indeed! The highlight for me it's near the end where Fripp plays an electric guitar solo that has one of his signature lead sounds and it's great!
"Happy Family" is another jazz workout while "Lady Of The Dancing Water" is a very quiet ballad that features some excellent flute playing from Mell Collins and it's the shortest song on the album at 2 minutes and a half. I wish it was longer!
Then you add the slightly funky sounding "Indoor Games" and the opener "Cirkus" where Fripp opens the album with his ever-present haunting mellotron sound and you get a masterpiece of an album!
The singer who also plays bass is Gordon Haskell. While not having the world's greatest voice, I think it complements nice with the music. I thought it was alright.

In conclusion this is an awesome album! Highly recommended if you like experimental music and prog rock.
Thanks for taking the time to read!
Later...

This is one of Crimson's forgotten and misunderstood albums. I've always really like it. It's extremely gentle for the most part, with just enough outbreaks of cacophony for us long time fans (especially on the song Happy Family). The band was in great flux at this time (Robert Fripp was the only consistent member of the band since its inception, and the album was written in its entirety by Fripp and lyricist Pete Sinfield), but you couldn't really tell from the album itself. I really like the exquisite musical interplay going on here, especially in Andy McCulloch's drumming. He's playing very complicated structures, but somehow it's very gentle and light. Lizard is softer than most Crimson albums, and it's still as intricate and as complex as anything they put out, but it's not as showy as other albums. I really like Cirkus, the first song, and I absolutely love the title track, an epic masterpiece and the longest song Crimson has yet to record. The opening movement, Prince Rupert Awakes, has a great lead vocal by Jon Anderson of Yes (a band Fripp almost joined), and the rest of the song moves from this beautiful first movement.

If you're just getting into Crimson, this may not be the place to start, but if you dig them, you should really pick this one up.

Crimson album no 3 has long been one of my personal favorites- of course, the first time I heard it, I had no idea what the hell to make of it. It was very similar to In The Court Of The Crimson King and In The Wake of Poseiden, yet very,very different and a bit more bizzare. More jazz-fusion oriented , Lizard is also much darker and brooding than the first 2 crimso albums- even the light, humorous sections ("indoor games" "happy family")have an undercurrent of menace- as if something horrible is lurking just around the next verse. In fact a lot of it sounds like Herb Alpert gone horribly insane.
Over time The album grew on me. Over time came to regard "Cirkus" as one of my favorite crimson tunes. it starts the album off one a deliciously erie note , going from quiet to loud and interjecting a beautiful instrumental middle section before whirling like a dirvish to an explosive finale. "indoor games" and "happy family" provide the album with its sence of humour- something the last 2 albums lacked. Totally of the wall, Indoor games has a bouncy rythem where all the brass is played slightly out of tune as we discover what the "upper crust" do with their free time when they think noone is watching, complete with somewhat suggestive but giggle inducing lyrics. "happy family" is a jarring piece of lunacy with a barely discernable main theme and a time signature thats barely there in spots..at least during instrumental moments. quirky but effective and intertaining.
"Lady of the dancing water" is a beautiful acoustic piece that stands apart from the rest of the album and provides a nice interlude before the musical madness continues. the second half of the album is the title track- beginning with the breathtaking "prince rupert wakes" featuring vocals by jon anderson of yes,and heavy orchestral mellotron, it moves into "the peackocks tale" abolaro with trumpets and claranets aplenty, going form starkly beautiful to mind numbingly creepy, peacock's tale leads into the "battle of glass tears- a frantic musical representation of a battle thatwill knock you out of your seat while giving you the creeps. the album ends with a boom, boom, of bass drums overlayed with some guitar by fripp in a creepy finally that suddenly gives way to cirus music as it fades in it slows and speeds up jarringly, speeding up one final time as it fades out completely, ending the album on a jarring, usettling fasion. Great stuff, but if your not into jazz fusion, this album will drive you up the damn wall. an underrated work of genius in my view.