Pros: Entirely experimental, totally original etc... The very doorway to 70's Classic Rock.
Cons: Not easy listening (to whom it may concern).
The Bottom Line: King Crimson's debut LP is a perfectly well-balanced collaboration of Sixties Acid-Rock, chaotic Jazz, and some of the most lulling music ever heard. Very addictive.
Poptart's Full Review: In the Court of the Crimson King by King Crimson
In The Court Of The Crimson King: An Observation by King Crimson [1969]
Featuring:
1. Twenty-first Century Schizoid Man including Mirrors (King Crimson) [7:20] *****
2. I Talk to the Wind (McDonald / Sinfield) [6:05] *****
3. Epitaph including March For No Reason and Tomorrow And Tomorrow (King Crimson) [8:47] *****
4. Moonchild including The Dream and The Illusion (King Crimson) [12:11] *****
5. In The Court of the Crimson King including Return of the Fire Witch and The Dance of the Puppets (McDonald / Sinfield) [9:22] *****
King Crimson is:
Robert Fripp: guitars
Ian McDonald: reeds, woodwind, vibes, keyboards, mellotron, vocals
Greg Lake: bass guitar, lead vocals
Micheal Giles: drums, percussion, vocals
Peter Sinfield: words and illumination
Produced by King Crimson
1969 was quite a transitional year for music. So few bands even had a name for the music they played. It wasn't quite Rock N Roll anymore. Rock N Roll was left to top-notch acts like the Rolling Stones and The Beatles and older genres such as Jazz and folk were a declining empire. '69 was also the year for many British, post-Beatle phenomenas such as Pink Floyd, David Bowie, and possibly the most fictional of them all, King Crimson.
The band was originally conceived in London, 1968 as a long-forgotten trio known as "Giles, Giles and Fripp", by a very young and very brilliant Robert Fripp. Soon after some few satisfied listeners, they were signed to MGM records, and later to Atlantic where they would become King Crimson, Fripp's prize achievement to this day. Of course, new found members Ian McDonald, Greg Lake, and Peter Sinfield are what swept what small chance of failure he had altogether. This was a group of devastating harmony.
"Twenty-first Century Schizoid Man" sets all standards aside and shows no boundary. Hold on tight to this one, it's not an easy ride. The music is composed with as much chaos as it is with intricacy and precision. Every instrument, as well as each single note played is played in impeccable harmony with the next. This track alone, stands as it's own epic odyssey, and clearly enough, will leave you assured as to what others must lie ahead.
Next, we have "I talk To The Wind", surely not quite near as hectic as neither the previous song nor what's to follow, this track should offer just enough time to level your senses before they're toiled beyond oblivion all over again. It's about as faint as "Schizoid Man" was...well, NOT faint, and features an ironically appropriate section of woodwinds, the slightest drumming, and a well- blended mellotron. I've known this song to put me to sleep when I need it the most. "Epitaph" is easily the finest track of all five, not to mention the most recognizable. The lyrics serve as even the most dramatic poetry and the many atmospheres are stunning.
Tack four, "Moonchild" runs a solid 12 minutes, making it the very longest of these 5 muthas. It's divided into about 3 sections, the first one featuring the more conventionally melodic song structure, the second being totally instrumental and just a little more experimental, and by the time I reach the third I begin to question the real essence of the song altogether, all goes quiet except some very few randomly played instruments, say, a guitar and a silly sounding keyboard. I've really grown to appreciate it all, personally, though It's definitely not a song you'd want to play at a party or anything.
Last, we have the long-awaited title track. I consider this the very anthem of King Crimson itself. The lyrics tell an elaborate story of a kingdom focused entirely around the "Crimson King" including pipers, witches, black queens, pattern jugglers, wise men, the whole works, and the music alone makes it all so believable.
This record must have been the very first of my now incredibly vast Art-Rock collection. It's hard to say it even required that much listening to get the hang of. If anything, I'd say not to bother with anything less complicated when exposing yourself to such a genre. Sometimes you have to be all the more confused by something so inspiring before you truly appreciate it.
Up until 1972, when Peter Sinfield unfortunately parted way, King Crimson was blessed with quite an extraordinary lyricist and possibly the greatest lyrics in all its existence. This album particularly, makes that most apparent. Even with as little as five tracks, just about everything on this album makes for a whole one.
This album is easily recommendable to just about every YES fan out there. As an extreme Bowie fan, I myself, appreciate the album for its utter unpredictability and choice of instruments.
In fact, the instruments used in David Bowie's RCA debut "Space Oddity" (also from 1969) sound incredibly similar to those on this album. Ironically, Bowie and Fripp wind up collaborating together on a number of projects down the road, including David's own "Scary Monsters" (RCA, 1980).
Sample lyrics from the song "Epitaph":
Confusion will be my epitaph
As I crawl a cracked and broken path
If we make it we can all sit back and laugh
But I fear tomorrow I'll be crying
Yes I fear tomorrow I'll be crying
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