In The Court Of The Crimson King: Original Master Edition (Impor... Cover Art

In The Court Of The Crimson King: Original Master Edition (Import) (CD)

By: King Crimson (Artist)

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Track Listing

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DISC 1 for In The Court Of The Crimson King: Original Master Edition (Import) (CD) Album By King Crimson (Artist)
1   21st Century Schizoid Man / Mirrors
2   I Talk To The Wind
3   Epitaph / March For No Reason / Tomorrow And Tomorrow
4   Moonchild / The Dream / The Illusion
5   In The Court of the Crimson King / The Return Of The Fire Witch / The Dance Of The Puppets
 

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Review

Q (12/99, p.162) - 4 stars out of 5 - "...this 1969 album's manic energy and compressed imagery captures the violent downside of the hippy years...better than almost any other recording from the time..."
Q (Magazine) (p.121) - "From baroque ballads to avant-garde heavy metal, Crimson's debut sounded unlike anything else before or since."

Title Note

Initial pressings featured a limited edition, cardboard-stock gatefold sleeve and unpublished archive photos.

King Crimson: Greg Lake (vocals, bass); Robert Fripp (guitar); Ian McDonald (flute, clarinet, saxophones, keyboards, background vocals); Michael Giles (drums); Peter Sinfield.

Personnel: Ian McDonald (vocals, reeds, woodwinds, Mellotron, keyboards, vibraphone); Greg Lake (vocals, electric bass); Michael Giles (vocals, drums, percussion); Peter Sinfield (spoken vocals); Robert Fripp (guitars).

KC's debut album introduced to the world a group that threw various '60s genres into a blender and set the results afire with a blowtorch. One of the pioneers of the progressive rock movement that began in the late '60s and flourished in the early '70s, King Crimson was arguably the most consistently creative band in the genre. On IN THE COURT they blend wispy, Donovan-ish folk-rock with Wagnerian grandeur, mind-bending heavy rock, and even a free- jazz sensibility. Greg Lake's vocals are effectively theatrical but more restrained than in his later ELP work. Robert Fripp was just learning how to make mincemeat of a chord progression, but he's alternately lyrical and frenetic as the moment requires.

The extended jams on cuts like "Moonchild" are light-footed and inventive, never ponderous, thanks largely to the crisp, jazzy drumming of Michael Giles. "20th Century Schizoid Man"'s bone-crushing ensemble riffs and crazed solos were of a heft unprecedented in rock & roll. Most importantly, the trademark Crimson would stick to throughout their career is shown here--dynamic variations between soft/lyrical and raucous/experimental. This was seen not just between songs but in the drastic dynamic shifts between sections in a single composition.

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