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In the Court of the Crimson King Import, Original recording remastered

4.7 out of 5 stars 592 customer reviews

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Audio CD, Import, Original recording remastered, November 22, 2004
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Editorial Reviews

Remastered edition of King Crimson's seminal album IN THE COUT OF THE CRIMSON KING.

Track Listings

Disc: 1

  1. 21st Century Schizoid Man (Including Mirrors)
  2. I Talk To The Wind
  3. Epitaph (Including March For No Reason/Tomorrow And Tomorrow)
  4. Moonchild (Including The Dream/The Illusion)
  5. The Court Of The Crimson Song (Including The Return Of The Fire Witch/The Dance Of The Puppets)


Product Details

  • Audio CD (November 22, 2004)
  • Number of Discs: 1
  • Format: Import, Original recording remastered
  • Label: Discipline Us
  • ASIN: B00065MDRW
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (592 customer reviews)
  • Amazon Best Sellers Rank: #961 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Michael Stack VINE VOICE on March 28, 2005
Format: Audio CD
In the life of any music fans, there are albums that change the way you perceive music-- "In the Court of the Crimson King" was, for me, one of them.

The original King Crimson band-- Robert Fripp (guitar), Ian McDonald (keys, reeds, vocals), Michael Giles (drum kit, backing vocals), Greg Lake (bass, vocals), and Peter Sinfield (lyrics) was a group positioned to do something great-- when Ian McDonald joined Giles, Giles & Fripp (an off kilter pop band and the prototype for King Crimson), and eventually the arrival of vocalist Greg Lake, the band's former pop sensibilities were largely replaced by a neoclassical form and a love for improv. The only resulting document of this group in the studio is this album.

I'm going to briefly jump into the sound before talking about the music-- if you're not interested, skip to the next paragraph. Fripp has remastered the album for what seems like the millionth time-- this time from the original session tapes. The result is stunning-- there's a clarity here not present on previous editions, the production seems to have slightly changed, Lake often sounds like he's singing right in your ear, the vocal harmonies, always for me one of the things that separated this album from similar acheivements (the stunning playing of Fripp and Giles being the other) are clear and distinct. And for an album of dynamic, it has long gone without any clear hearing-- "Moonchild", which often sounded like unfocused tinkling, finally sounds coherent on record. From a sonic standpoint, this is finally the treatment the record deserves.
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Format: Audio CD
"In The Court Of The Crimson King" has always been one of my top ten albums. It started the whole prog rock scene , and has not a single wasted moment on it. I have literally listened to this recording at least once a month for the past 40 years.
So what is so special about this 40th anniversary reissue , and is it worth the $$$$ ?

You get the 2009 Stereo mix by Porcupine Tree genius (and Crimson fan) Steven Wilson
Original Master Edition from 2004
The original mono album mix for US radio promos
The alternate takes mixed for the first time from the original studio recordings
The de-clicked vinyl transfer of the original stereo pressing

PLUS : Live 1969 recordings of key period tracks
The mono single mix of "The Court Of The Crimson King" radio US promo only
10 Bonus track versions of demos , BBC recordings , alternate mixes , duo versions and instrumentals

AND : a DVD which feature MLP lossless 5.1 Surround mix
MLP Lossless Stereo of the 2009 stereo mix , the original master edition from 2004 , the alternate album,
and additional audio content PLUS : Video of "21st Century Schizoid Man"

And the sound is phenomenal (aside from the boot live recordings)

Is it too much material devoted to a single album ? Judge for yourself. I say not. I only know from here on out , it is going to be a BEAR to decide upon which version I will listen too.
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Format: Audio CD
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.
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Format: Audio CD
One of the pioneering works of art-rock, In The Court of the Crimson King is a surreal modernist classic. Crimson's debut album was in fact so good that it almost led to the bands premature demise as it took them nearly 5 years to come up with another album with the same focus or strength. Contrasted with music of the same genre of that era "Court" was unparalleled in its fierceness and songwriting, but it is the albums stunning musicianship that gives the recording its durability.
Greg Lake submits what is likely the strongest vocal performance of his career on an extremely challenging set of songs. Ian McDonald is perfect as the bands jack-of-all-trades. His work on keyboards set the stage for Rick Wakeman and Tony Kaye to follow in the early `70's. Michael Giles drumming is steadier and more appropriate than his later replacement Bill Bruford. Then, of course, there is virtuoso, Robert Fripp. Fripp is the only member of the band to exist in each of the numerous permutations that would carry the band into the early `90's. His unique style and experimentation differentiated King Crimson from the other progressive rock bands of the era. This skilled lineup was not to last though. As this album was peaking at 28 on the US charts Fripp was already rehearsing the new lineup that would record the bands follow-up album, In the Wake of Poseidon. In fact King Crimson was to continuously alter their lineups becoming somewhat of a training ground for the progressive movement. Later incarnations of the band would see members such as John Wetton (UK, Asia), Bill Bruford (Yes, Earthworks), Bryan Ferry (Roxy Music), Boz Burell (Bad Company), Adrien Belew (Talking Heads), Tony Levin (Yes), among many others.
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