Customer Reviews

Lizard

5 star:		(50)
4 star:		(18)
3 star:		(9)
2 star:		(2)
1 star:		(4)

 

 

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.

_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).

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

I love how this very, very English art-rock landmark recording has been taunting extreme reactions from critics and non-crits for no less than 28 years.

First off, Lizard is possibly the jazziest rock record ever made. Now right there you're gonna run off the Skynard and Bad Company fans. It's damn cerebral stuff, but in a Psychedelic/Goth/Jazz way it's clearly guided by a rock aesthetic.

Lizard at heart is really a blowing album. Mel Collins' fleet, Bird-like sax gracefully weaves about like a spring sparrow in this dark forest of an album. Did I mention Lizard's very English qualities?

Some critics' concerns about the "amateur" vocals seem particularly outdated, especially in this post-post-punk year of 1999. Gordon Haskell's odd, adenoidal undertoned vocals certainly fit the ominous moods here.

Lizard is more focused than the previous two King Crimson records, less melodramatic (good) and more darkly seductive. This is creative stuff, and sonically (as in recording quality) very intimately produced by Fripp.

It's some of the best Crimson for me. No bogus post-Discipline "dance" music. No Belew caterwauling. Just Fripp doing what he does best; being hyper-mental, playing always with invention and fire, leading his group to the edge and occasionally going over it.

(A note to critic David Sinclair: You should consider using your editorial powers for good, not evil.)

Don't be fooled by either the general opinion or by Fripp himself: "Lizard" is one of the most exceptional records ever recorded. Like its successor "Islands" - the two belong together, just like the first two KC recordings - Fripp's influence seems only partially established: the tracks are dominated by a host of jazz musicians - generally all playing at the same time - and not by Fripp's guitar. The result is an unique type of music: if it's jazz rock then it's of a variety which has never been heard before or after. It is, frankly, almost impossible to describe "Lizard". It has some of the hallmarks of "In the Court" (the band's first album), in that it occasionally hints at grandeur - highlighted by the use of mellotrons - in some tracks ("Cirkus" and, especially, the closing sections of "Lizard", which takes up the entire second side). However, this is immediately offset by the almost maniacal lyrics and a suitably weird accompaniment of (jazz) instruments (listen to "Indoor Games" and "Happy Family"). King Crimson will be remembered mainly for other efforts, but thank God they did this as well. Listen to it, it still sounds as extraordinary as it did then. Oh, and "Bolero - the Peacock's Tale" is flawless, in itself worth the price of the CD many times over.

I discovered this album and Islands recently. I think this is a more true Crimson-sounding album than Islands, simply because there is more guitar and mellotron. The first track Cirkus is classic Crimson all the way, with lots of trademark mellotron, Fripp-clean guitar, flute etc. Indoor Games is a catchy number and Happy Family is a classic. I think it is this song that gets the incorrect "jazz" adjective thrown at it. It's "jazzy" I guess, mainly due to Keith Tippet, who is an accomplished jazz player and a composer as well. But this album is no more jazz than was Bowie's song "Alladin Sane" with Tippets' crazy piano solo at the end (absolutely amazing by the way). The long piece "Lizard" 1st section (Prince Rupert) features Jon Anderson in a typically sing-song tune perfect for his style, the refrain sounding very lush and Yes-ish. The tune "Lizard" actually has several contrasting sections over its 20 minutes. But still this is a more Crimson-ish album than their next one, Islands, which is very chamber-orchestral and introspective. And don't let anyone tell you Wake of Poseidon is any less of a Crimson album. It's as good as any of the others! Even a little better than this one. But Lizard, as the first album after Poseidon and the first without Greg Lake, does represent a shift in style as Fripp moved away from the Court influence, making the quiet parts a little quieter and the loud parts a little less..."dangerous", as Fripp says when he refers to tunes like 21st Century and Pictures of a City. Also keep in mind that the Court version of Crimson was a writing collective, so when the rest of the band quit after the Court tour, Fripp was left holding the bag for writing the music.
I believe Gord Haskell, a very accomplished bassist, was the original 1st choice for the band before Court. But Fripp had had the same music teacher as Greg Lake and wanted him in the band, as he was a better singer and front-man. He gave the band a choice, saying he would leave if Lake was not in the band. Funny that after the whole band quit on him after the Court tour, Fripp used Haskell. (This according to the extremely informative essays by Fripp in the booklet for the "Epitaph" box set.)

Fripp claimed at the time that he wanted to make a Beatles like album. That is, just as you can listen to a Beatles album and get something out of it on the twenty-fourth listen, he wanted to achieve the same with Lizard. The problem is a Beatles album is accessible on the first listen too, while Lizard certainly is not. And further, if you listen to this album twenty-four times, you WILL burn out your brain. It's too complex and clever for it's own good.

However, the album does work on many levels. "Happy Family", a song about the Beatles, is very catchy. "Lady of the Dancing Water" is very mellow and quite beautiful. "Cirkus", one of my all time favorite Crimso songs, has a disturbing quality akin to the songs on 21st Century Schizoid Man. And finally, Jon Anderson's contribution to "Prince Rupert Awakes" is gorgeous, comparable in beauty to "Soon" in the "Gates of Delirium" (on Relayer).

Be adventurous! Get this! You will be rewarded.

Maybe it's different when you know a record for 30 years or just get to know such an old record. I had lost track with the first four King Crimson LPs for almost 20 years and only recently re-discovered them. They are my favorite King Crimson albums and the way I see it, one long suite consisting of 4 albums. Lizard used to be my favorite of these 4. Even after 30+ years, the music and the whole concept still sound not only fresh but daring - often surreal. I especially love the first three and the last two songs. There are so many details in here. There's Rock, there's Jazz, there's concert music, all amalgamated into something new - something even King Crimson ceased to do after Island - what more would one want? I hope the new listener can enjoy this LP the way I do, for I do realize there's also nostalgia involved in my judgment; yet the quality is still there, the LP has matured wonderfully. There is a remastered CD out which brings all the details of the music to your ears. Lizard is a thoroughly satisfying record.

1970's "Lizard" is King Crimson's third album, and it is arguably their most overlooked, which is shameful because it is also their masterpiece. "Lizard" is a spellbinding disc, an outstanding whirlpool of ambitious progressive rock, fused together with jazz, funk & classical. Tracks like "Cirkus," "Indoor Games," and "Happy Family" are just giddy with power. "Lady Of The Dancing Water" is an incredibly beautiful number, a truly memorable Crimson ballad. And finally, the four-part title suite, featuring none other than Jon Anderson of Yes on marvelous guest vocals, is a mindblowing epic. Brimming with energy, emotion, and beauty, "Lizard" is King Crimson as you've never heard them before.Two trademarks of this legendary rock band are their supreme musicianship & production skills, and on "Lizard," this version of King Crimson deliver nothing less. Once again, Robert Fripp lays down some truly haunting guitar licks, both electric & acoustic, and he's also a master mellotron player. Gordon Haskell's deep voice & equally deep bass fit the bill perfectly. Andy McCulloch's drumming is fantastic, and Mel Collins beautifully decorates the album with various flutes and saxes. Special mention must also be given to guest musician Keith Tippet, who contributes some pretty nifty piano & electric piano parts, most notably on "Happy Family." And produced by Fripp & lyricist Peter Sinfield, the album sounds superb, with the music, vocals, & sound effects practically *leaping* out of your speakers. Sadly, this phenomenal version of King Crimson quickly closed shop after the "Lizard" album was finished. They didn't even tour, and Robert Fripp switched to a completely different line-up for the next Crimson album, "Islands." You'll have to ask Fripp for the reason why. Nonetheless, I am so grateful to Fripp & company for making this album. "Lizard" is without question my favorite King Crimson album, and it always will be. Although there are many other classic Crimson albums like "In The Court Of The Crimson King," "Starless And Bible Black," "Discipline," etc., "Lizard" is the one that I enjoy the most. It is one of the most sensational slices of prog-rock ever recorded. "Lizard" is truly a King Crimson album to treasure. :-)

This is, as some of the comments have indicated, a wierd album.

A lot of people were disappointed in it when it came out, and it wasn't very favourably reviewed. But it's one of Crimson's very best.

It's a very strong melodic album: - the first part of "Lizard", especially the chorus, now sounds like perfect pop, though it was never conceived of or released as a single. But the tune is irresistably catchy (and "catchy" is the last thing you'd usually say about a Crimson tune).

The instrumental playing is of course brilliant, with the strange mix of Fripp's increasingly distorted and unique guitar style (Frippertronics, in which Fripp's guitar sounds like a vacuum cleaner having a beautiful orgasm, is some way in the future, but in "Lizard" we're heading there), and the jazz reeds section. Fripp's influence, perhaps, prevents them from playing "loose and warm", as jazz musos often will, instead demanding tight and cold; the tension gives their playing a fascinating acid edge... That's my theory, anyway.

The other thing about this album is the songs, and more specifically the lyrics. These are, I think, quite unlike anything else Sinfield ever wrote. They're not hippy-dippy Tolkein stuff at all - except for "Lady of the Dancing Water", my pic for worst track. Actually, his lyrics in "Lizard" are extremely good.

The imagery makes sense, which it often didn't in "Court of the" and "Poseidon". And the words are much more down to earth, though the surreal tinge is still there; but the surrealism of someone whose mind is near the edge of its tether, rather than of someone having a lovely psychedelic dream, la la la. The words are actually about the real world, and interestingly bitter.

The sarcastic song about the Beatles' breakup is still the best comment on that event, as well as being a good song about greed and jealousy, etc. It's witty, and it's nasty.

The previous song, "Indoor Games" is also about a family tearing itself apart while immersed in trivia and treachery. These are adult songs, with adult themes and ideas.

And the words to "The Battle of Glass Tears", about an army waiting for morning, are consciously in a Homeric tradition, and capture the darkness, cold and fear rather well.

The greatest King Crimson albums, I think, are "Court of", "Larks' tongues", and "Red". Just behind that are "Poseidon", "Starless", and "Lizard".

That makes it an album well worth having.

Laon