Lizard [Original recording reissued, Original recording remastered]

King Crimson | Format: Audio CD

Product Details

• Audio CD (March 21, 2000)
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Caroline
• ASIN: B000003S0D
• Also Available in: Audio CD  |  Audio Cassette
• Average Customer Review: 4.3 out of 5 stars  See all reviews (83 customer reviews)
• Amazon Best Sellers Rank: #198,344 in Music (See Top 100 in Music)

Track Listings

1. Cirkus (Including Entry of the Chameleons)

2. Indoor Games

3. Happy Family

4. Lady of the Dancing Water

5. Lizard: Prince Rupert Awakes/Bolero: The Peacock's Tale/The Battle of G

Customer Reviews

Most Helpful Customer Reviews

24 of 24 people found the following review helpful:

4.0 out of 5 stars Note to Crimson fans--buy this album., January 4, 2000

By 

David Hogan "Iron Horse" (Edison, NJ USA) - See all my reviews
(REAL NAME)   

This review is from: Lizard (Audio CD)

As a Crimson fan, Lizard was always an album I was slow to buy. You hear all the accolades for In the Court, Larks Tongues, Red, and Discipline (rightfully so, of course) and then there are those OTHER albums. "Lizard and Islands" say critics and some fans, "do not SOUND like Crimson, they are more jazzy, there is little electric guitar from Fripp, and the vocals suck." Well, as I like jazz and acoustic guitar, and as vocals are rarely an intregal part of Crimson, I took a chance and bought this gem.

I love this album. They (read; Fripp) try so much here, and much of it works. In particular, I find welcome the inclusion of a few brief moments of poppy fun (I am not usually in favor of poppy fun, but mixed in with mostly gloomy and gothic arrangements, they work quite nicely). As I'm writing this, I still hear in my head the hook parts to "Indoor Games" and "Prince Rupert Awakes." Catchy. As is, to me, Cirkus. Most people go around whistling top 40 radio, while in my head is stuck a grating gloomy mellotron riff from the first cut of a 1970 prog album...and yet I still manage to keep a girlfriend :)

Indoor Games, Happy Family (about the Beatles Breakup), and most musical parts of the immense title track actually hold up when you listen to them today. As a matter of fact, I think this album holds up better than its predecessors do, although I still believe "Court" to be a better album.

Lady of the Dancing Water is weak, definitely the weekest part of the album. But there is some good acoustic work here, as there is on much of the first side (though I've never owned a record, I still like to divide CD's into sides) and it helps to think of 'Dancing Water' as Moonchild without the stupid instrumental, which makes it more enjoyable. There is some great electric guitar for a few fleeting minutes, by the way, on Prince Rupert's Lament on the title track for those longing for that "plugged" sound (I still cling to the belief that Fripp and Steve Hackett were one in the same man playing for different bands)

However, all this having been said, if you don't like jazz, you'll hate this album. Its finest moments involve Collins' sweet sax and other session players dualing with Fripp on Bolero, Indoor Games, and Last Skirmish. But if you like jazz as I do, it makes this album all the more enjoyable.

At first, I didn't like the album's conclusion ('Big Top'), but after further contemplation, it works for two reasons: it ties everything together and presents a logical conclusion to the Cirkus motiff; and it works as a kind of musical companion to Peter Gabriel's cry of "It's only knock and knowall but I like it" at the end of the Lamb.

I don't mind Haskell's voice. I'm 21, and my generation regards vocalists with hoarse, terrible voices like (insert names here) from the Goo Goo Dolls and Matchbox 20, who in my mind render Haskell's voice akin to Sinatra or some other classic crooner. Besides, on this album, the music is where it's at.

Things to keep in mind--much acoustic guitar, much sweet Mel Collins sax (IMO, 10 times better than Ian McDonald) and many jazzy interludes, some nice pop moments, a dash of grating Fripp electric (actually about 2 minutes), and a concept that isn't really there at all but still works very well.

18 of 18 people found the following review helpful:

5.0 out of 5 stars Lizard: The Pandemonium Seesaw, October 30, 2002

By 

Samhot (Star Land) - See all my reviews

This review is from: Lizard (Audio CD)

_Lizard_, King Crimson's third studio album, is probably the most strange, surreal (musically and lyrically) and jazziest out of Crimson's 1970's period. It's also very fantasy-laden, ephemeral (in a good way), manic, quirky and idiosyncratic. The biggest contributing factor to this (beside the trippy and surreal jazz-rock), is the underrated and understated contributions of Gordon Haskell (vocals, bass). His dark, brooding and raspy vocals fit perfectly with the dark and regal music found on here. His glycyrrhiza glabra (licorice) pipes tend to produce a voice that's unique, idiosyncratic, magnanimous, chivalrous, kingly, regal and moving--almost a deeper-voiced, early incarnation of Peter Gabriel (whom may have been influenced by this album).

"Cirkus" starts off magically, then explodes into a forbidding nightmare of ominously gallant synthesizers and backdrops. The jazzy drumming of Andy McCulloch (or McCullogh, I've seen two different names, so I'm not sure which one is accurate), is also something to behold throughout the album. "Indoor Games" features tasteful r&b-esque guitar playing from Robert Fripp. Very idiosyncratic, ambiguous and almost indescribable jazz-rock tune. "Happy Family" is a "pandemonium" of dissonant unity amongst all the players: synths, flutes, guitars--and more. A real messy track (I mean that in the most flattering way). "Lady Of The Dancing Water" is a short, ethereal and mellow flute-laden track which brings reminiscence to Cadence And Cascade (from _In The Wake Of Poseidon_). Ironically, "Cadence" is the track Gordon Haskell sang vocals for. That raspy voice heard here sounds nothing like the mellow voice heard on that ditty found on the previous album. Arguably, this track also gives an utter hint of things to come on the follow-up album, _Islands_. "Lizard", the title track, is a 23-minute dark, jazzy/symphonic epic, featuring Jon Anderson (Yes) singing lead vocals for the first movement. Personally, I was saddened to know that Gordon Haskell didn't complete all the vocal duties. Jon Anderson does an excellent job on his vocals. I believe Gordon Haskell's vocals reappear somewhere near the end of the track. Other than that, a large percentage of this track is instrumental, moody and given to atmospherical spatiality.

_Lizard_ is definitely not an album to skip in the King Crimson catalog (are any of them?). If quirky, theatrical, bizarre, manic, complex jazz-rock with symphonic touches appeals to you, pick this up. Also, pick this up if you like the bizarre antics of the Gabriel-era Genesis. The bizarre and theatrical elements of this disc may have influenced Peter Gabriel and his contributions to Genesis. (Side Note: I believe ALL of the Caroline 30th anniversary studio remasters feature the lyrics to Crimsons's songs).

29 of 32 people found the following review helpful:

5.0 out of 5 stars ONE OF ROCK'S GREATEST MASTERPIECES, April 12, 2003

By 

MurrayTheCat (upstate New York) - See all my reviews

This review is from: Lizard (Audio CD)

King Crimson has gone through many changes since its inception, but it was always a case of brilliant musicians replacing brilliant musicians, and there's really no room to give you any band history here; I'd rather discuss this most phenomenal album. What's special about LIZARD (1970) is the contribution from the jazz players. Mark Charig (cornet) and Nick Evans (trombone, can be heard on Soft Machine THIRD) were joined by the dazzling Keith Tippet (returning on piano). These three musicians were instrumental in generating much of this music's added enchantment. And, here again, we get Pete Sinfield's captivating lyrics, which are a world unto themselves and some of the most entertaining lyrics in all of rock.

The magic begins at once with the hushed introduction to "Cirkus." The theme is peaceful and the embellishment almost twinkles. Then the band kicks in with a loud, eerie, minor-infused, twisted-smile-like riff and the song proceeds, the guitar and drums refreshingly hitting all the accents you wouldn't expect them to. And at the end, Mark Charig's trumpet solo takes us to the stratosphere. "Indoor Games" is a complete change of mood. Andy McCulloch's drumming is superb in this intensely bluesy piece. The bridge gets cosmic, and then there's a pleasingly playful improvisation between sax and guitar. The end is a gas, as Gordon Haskell's laughter (and such) abruptly segues to the highly sardonic opening riff (more twisted-smile stuff) of "Happy Family." Here, we are delighted by Tippet's deliciously "out" piano playing, Haskell's very altered vocals and another stellar group-jam with flute and trombone. (It's pretty easy to guess that this song is about The Beatles.) "Lady Of The Dancing Water" is a gorgeous tune, beautifully sung and beautifully ornamented with guitar, flute and trombone. Piano and percussion also make a subtle appearance in this calming, wonderfully lazy tune.

The haunting voice of Jon Anderson (Yes) mystifies us in the opening section of the title cut. Keith Tippet blows us away with his brilliant countermelodies. When "Bolero--The Peacock's Tale" begins, mellotron enters and we are given a grand, wordless treatment of the verse theme--absolutely breathtaking in its beauty! Toward the end of the oboe solo, Tippet's piano hints of the bluesy improvisation to come. The horns then create the most spellbinding and meaningful improvisation on a theme I've ever heard on a rock album--enthralling in its detail, brilliant in its invention. The music resolves, the ad-libbing goes away and the oboe returns to the gorgeous theme from before. The Bolero section ends, and we get quite a foreboding atmosphere as we enter "Battle Of The Glass Tears." The battle begins--the drums wickedly bizarre, a menacing sax riff enters and the band eventually improvises around this eeriness. After this fit of group interplay comes "Prince Rupert's Lament," a gut-wrenching guitar solo by Fripp that cries in anguish. And finally, the playful absurdity of "Big Top" (remember "Cirkus"?) eases the anguish from that pain-filled guitar solo.

I don't know if this is my favorite rock album, but it's close. I usually point to LIZARD as one of the most brilliant rock albums because rock, jazz, intense imagination and incredible musicianship intelligently collide to produce one thoroughly engaging work of art. It is a monument of the genre. I can't recommend this strongly enough to those who enjoy their music on the progressive side. It differs in sound from all other King Crimson albums, but it is the most developed, the most advanced of any they made. Because there is so much thematic detail involved here, LIZARD will grow on you the more you listen to it. The music is deep, and richly rewarding.

LIZARD also has the coolest album cover ever. But you really need the vinyl LP jacket to see all the detail. Don't pass this by.

Cheers,

Murray