KING CRIMSON

With this being a revolutionary album where just about every Prog album is measured, and being over 50 years old it makes it intriging how many perspectives people would have on this album. Of course those of us who are not writing about hearing this album for the first time in 1969 envy those who did. Especially someone like me born in the same year as albums like A Trick of the Tail, 2112, Leftoverture, Romantic Warrior, and grew up during the years of Neo-Prog and Prog Metal. Most people who bought this album either were provoked or freaked out by the front cover or heard 21st Century Schizoid Man somewhere. I remembered that front cover from a reissue of the album and had it memorized or stuck in my head permanently for the rest of my life.

Of course on my very first listen which was just barely passing the 21st century to make reference of 21st Century Schizoid Man the mellotrons sounded very dated. Regardless it still sounded very space age and off the wall. Like a Moody Blues album from outer space even or in lamens terms a lot of early Pink Floyd influence.

21st Century Schizoid Man was the first song I heard from the album and I thought it was really weird. I remember hearing I Talk to the Wind not long after and wondering how in the world these 2 songs could possibly be on the same album. Finally checked it out at the library and bought a copy because it was really everything people said it was and more. The title track and Epitaph had me listening over and over again while I usually skip Moonchild to this day that I just can't wrap my head around.

No argument this is where Proto-Prog ends and everything changes. The Yes Album, Nursery Cryme, Atom Heart Mother, and a flood of albums right after this where everyone is stepping up their game and at least attempting to challenge this album. Maybe I didn't get to experience this album like Dad did. But I can recognize and appreciate it's importance as one of the most important and monumental albums in Prog history.

Yes of course, like everyone else I had this album in my collection when I was 15, if only for the spectacular sleeve. An astonishing start by any measure. But now it makes me wince. Sorry to say but it sounds very dated. Listening 50 years on, It seems to be a logical extension of the Beatles' Sgt Pepper sound. The excessive drumrolls, naive composition and singing... all are firmly based in the sixties. Compare that to the fresh new bands coming to the fore at that time: Yes, Led Zep, (and slightly later, but no less revolutionary) Roxy Music and you can but conclude that professor Robert was not able at that point to clearly see the future. Or perhaps he was not able to gather the best of the bunch together at that point, like "Robert Who?". Of course he did catch up some years later with "Red" and again much later with "Discipline". Two albums which were, according to to my humble opinion the groundlayers of modern math rock. The album art is fantastic of course, a classic. But other bands were already playing on another level at that time (although no yet completely loose of the rambling and untight sixties sound, but they at least got heir act together mucho fast). For more mature listeners I would recommend Red, Discipline and Thrack.

This is my first Review, and it is about my first progressive-rock album i've ever heard.

"In The Court of the Crimson King" is a truly masterpiece indeed, there is nothing to counter that statement, however as first listening for an outsider,not just for progressive-rock but for Music in general it wasn't so pleasuring. The reason is quite simple, the arrangements are too weird and ethereal for a person that is not familiarized with that kind of music, since beforehand i was introduced,of course, to more easy listenable Bands such as : Queen,Led Zeppelin and Deep Purple. But, after a couple auditions, I found myself in love and in a stage of abstinence of the songs presented on the album, because it was incredible addictive so I was driven into another universe that I was never before and started felling that, this album is becoming part of my DNA.

Talking now more about the album itself instead of my experience, my sensation on listening the first track of the album: "21st Century Schizoid Man" just as i said before, it wasn't so pleasuring at the first listening but after a couple ones i just started noticing how incredible it was. The Guitar tones of mister "Robert Fripp" are outstanding such as the vocals of mister "Carl Palmer". This song is so jazzy,menacing and dark and i was loved the sax,flutes presents through the albums in the discography. After that extremely powerful song here it comes "I talk to the Wind", again gorgeous vocals from Greg Lake, the melodies are so "soul touching" I found my self immersed and paying so much attetion on the lyrics such a great song, so flawless. All these adjectives are also applied on "Epitaph". However I think that "Epitaph" touches more, sometimes nowadays almost crying to this song and i think one the reasons why is the addition of many sorts of keyboards but that doesn't disqualify "I Talk to the Wind" because both of them are so perfect to my ears but I do think that "Epitaph" touches me more. And then we have "Moonchild". Such a great tune. It is so mysterious It just go to another universe, you can just fell the lyrics touching on your shoulders and when it enters the ethereal part of the song the time around you just fly you don't even notice how fast it is because you are paying so much attetion to everything to the song that time doesn't even matter. Flawless. so Flawless.

Finally,we have the title track "The Court of the Crimson King" which at the first time it scares my so much because i was lured "Moonchild" and then comes that heavy and menancing sound of clarinets, flutes and the drums punching at your face you just cant relax for a sing moment during this song. This song baits you to think, "ok it is the end" but then comes another section that put you to almost travell into infinite thoughts about what you are listening.

So, this is my first review of this classic album, i love it so much, it is part of my DNA already! I love King Crimson and I love progressive-rock. For time stamples i listened to this album on 2020 during the pandemic, i started my journey in music during this time, i hope me review was fun to read and perhaps gives you another insight of this absolute classic album. (10/10)

King Crimson's "In the Court of the Crimson King" is a masterpiece of progressive rock that deserves a 5-star rating. Released in 1969, the album features an unparalleled combination of technical musicianship, emotive vocals, and poetic lyrics that set a new standard for the genre. Each track is a work of art in itself, showcasing the band's innovative approach to rock music. From the haunting title track to the mesmerizing "Epitaph," the album is a true classic that continues to inspire musicians and music lovers to this day. For anyone looking to explore the depths of progressive rock, "In the Court of the Crimson King" is an absolute must-listen.

The recording of this album didn't go smoothly, so as some masterpiece album that we all know... But this one is not much of a masterpiece. The basic elements of some songs come from the Discipline sessions, and this connection is obvious listening to the album. "Heartbeat" is a Belew number, pretty simple and repetitive. "Sartori in Tangier" brings the unique bass sound of Tony Levin. "Waiting Man" is Buruford's experimentation with a marimba-like rhythm. "Neurotica" has a fury atmosphere that represents well the sound of King Crimson. "Two Hands" is again close to The Discipline album with the drums of Bruford. To me, this album is a natural evolution of the album Discipline and deserves a better rating.

Larks' Tounges In Aspic is the album that truly changed King Crimson. After their quartet of earlier albums, Crimson completely changed their sound from ambient symphonic prog to total eclectic prog metal, mixed in with European classical influences by adding bass guitarist and vocalist John Wetton, violinist and keyboardist David Cross, percussionist Jamie Muir, and drummer Bill Bruford. It is an awesome album and took them into my personal favorite phase of their extensive catalog.

The album opens with "Larks' Tounges in Aspic (Part 1)", the first of a 2-part masterpiece that bookends the album. Beginning with assorted xylophone and noises from Jamie Muir and David Cross, the song is introduced to the main violin build-up which leads into some amazing distorted guitar from Robert Fripp. The song masterfully shifts from some of the most crunchy guitar riffs to some very classical and quiet sections which are the place where Crosses' violin really shines. After an extended violin section from Cross, the main violin build-up is reintroduced with voices in the background which closes out the track.

The second song, "Book Of Saturday" is a nice softer song. There is really beautiful atmospheric guitar work from Fripp, coupled with great vocals from Wetton. The lyrics fit the song well and it is a massive contrast from the prior track. The next song, "Exiles" opens up with some "old crimson" style ambiance. The song has some very rare Fripp acoustic work, along with some utterly beautiful violin and vocal work from Cross and Wetton. Wetton, as per usual, sings the crap out of the song and, his wonderful vocals are a reoccurring theme on the album. At around the 4:30 minute mark, the song shifts into a different progression which features some stunning piano work from Wetton, who plays piano on only this track. To end the track, Fripp plays possibly the softest yet most heartbreaking guitar solo of his career. Definietly an underated highlight off of the album.

The album then takes a turn from more acoustic songs to the powerful yet satirical "Easy Money." The song contains some minor mellotron, harsh lyrics and choir work from Wetton, and absolutely screeching guitars. Bruford's rhythmic work is also very impressive as he seamlessly plays some very complex polyrhythms during the track. The song is one of my favorites off the album. "The Talking Drum" is my least favorite song from the album. It is an extended jam that follows the same mantra of bass and drums for 7 minutes straight, while Fripp and Cross solo over it. The saving grace of the song is when it picks up at the end and Cross' solo really hits some crazy notes, ending the song with screeching violin.

"Larks' Tounges In Aspic (Part 2)" closes the album, as mentioned previously, and is a much more melodic contrast to its' first part. It uses some of the same licks from part 1 but, they are in a different key. It is also about 6 minutes shorter. The entire suite "Larks' Tounges In Aspic" actually stretches onto their future album with Part 3 on "Three of a Perfect Pair" Part 4 on "The ConstruKtion of Light" and "Level 5" on "The Power to Believe." If I had to chose between Parts 1 and 2, I would say Part 2 by a hair is my favorite. The "Larks' Tounges in Aspic" suite combined is my favorite song off of the album.

Overall this is an awesome album that I think really shined a new light on King Crimson. The musicianship is absolutely world class, and it has may different moods. I can't really compare it to much else because it is very distinct. Highly recomended to all prog fans!

A essential for everyone, highly recomended

Review #2

This album is very special to me, as some of the first progressive rock songs I heard are from this album.

ITCOTCK has a very particular sound that I think no later album has.

Now a brief review of all the songs on "In The Court of The Crimson King". The first song "21st Century Schizoid Man" is a powerful introduction to this masterpiece, with a great riff at the beginning, and a strong vocal part, then a very jazzy instrumental begins that ends with the intro riff, the song ends with what It seems to be a crazy improvisation. 9

The second song "I Talk to The Wind" is a beautiful piece with some brilliant moments and my favorite part is the flute solo, this part is magical, also this song is the shortest on the album. 10

The third song "Epitaph" begins with an introduction that could be described as epic, then the atmosphere calms down and the vocals begin. I cannot describe the whole song, it is an experience in itself, but I will say that my favorite part is the instrumental interlude where if I remember correctly, a clarinet was present, a pretty good part for which it is never too late to listen again. 9.5

The fourth song "Moonchild" is a beautiful ballad with somewhat mysterious lyrics, this song is interesting, because after two minutes, a quite calm and atmospheric improvisation begins, which also, in some parts, it seems that the instruments are having a Conversation, I like this song, but I feel that it is a little less good than the others and that it had the potential to be better. 8.5

The fifth and last song "The Court of The Crimson King" begins again, with an epic intro, this song, like "Epitaph" is a masterpiece, which has many memorable moments, but in my opinion, the Best of all is when the song is about to end and an instrument begins that at first is very calm and that ends with the main theme of the song, the first time I heard it, I was simply stunned.

As a final conclusion, I think that everyone who is interested iin the world of progressive Rock should listen to this album, it is unlikely to regret hearing a work like this.

On a scale of 1 to 10, this album is 9.4, so I'll give It five well-deserved stars *****.

No prog group has such a wide range of sounds as King Crimson. I love the softer side of King Crimson. Lizard, Islands: I think these albums are great. I also love Fripp's work with Eno.

To the claim this isn't King Crimson: we have Fripp (mister KC himself), Collins and Levin, Jakszyk and Harrison (KC's most recent long-time KC members). For me, this is King Crimson. I review the group as the next instalment with A Scarcity of Miracles as their prime output.

And what a great output it is. Moving away from their harder sound, showing they have this soft side too.

I consider this to be a 4-star album.

This album is so good!

If anything, it made me understand that underrated albums should be checked as much as popular ones. The Construkction Of Light has King Crimson at their absolute heaviest to date. Guitars have much louder distortion and are constantly playing riffs reminiscent of bands like Tool, or Experimental Metal in general. I guess the heaviness turns off many people, but for me, it works as a fresh breath of air.

The album begins with Prozakc Blues, which features one of the catchiest guitar lines ever. Legitimately love how headbangable it is despite being in an odd time signature. Vocals are pretty ok, not a big fan of them, they sound pretty comical. The Construktion Of Light is a very experimental track that quite reminds me of Red's Providence. It works well after the hard-hitter that comes before it.

Into The Frying Pan is a mix between progressive rock, atonality and blues. It constantly switches between these as the song progresses. Fraktured is a sequel to Starless & Bible Black's Fractured. Therefore it has many ideas and motifs that can be found in the original, but not many however, it's King Crimson after all. The World's My Oyster Soup Chicken is pretty similar to Into The Frying Pan Musically.

The standout of the album, and one of the biggest reasons I'm giving this album four stars instead of three, is Larks' Tongues In Aspic Pt. IV. This song is simply a masterpiece in every way. The syncopating instrumentation present in it is absolutely masterful and a bliss to listen to, Robert Fripp's solo at the middle is dramatic and powerful, combined with the crushing percussion behind it works amazingly. The final movement "I Have A Dream (coda)" is for sure the climax of the album, where the entire band goes insane in a cacophonous yet precise way. The best way I can describe this track is with the name of a Dream Theater album: Systematic Chaos!

I find this album to be underrated, I personally really like it, then again I'm pretty sure the heavy and metallic feel in it can make many people dislike it. For me, it's gotta be Four Stars!

This is a very strong album. Any Crimson fan who likes Larks Tongue in Aspic, Red, Discipline should listen to this one.

The Power to Believe I - The snippets of the power to believe throughout the album give the album coherence. I like it. 9/10

This is Larks' Tongue in Aspic level V. It's an awesome multi-section instrumental reminiscent to the earlier Larks levels (I to IV) 10/10

Eyes Wide Open - This is a strong King Crimson ballad. As it is KC it is far from musically straightforward. 9/10

Fact of Life - A powerful and melodic King Crimson tune. Another example of their fine form on the album. 8/10

The Power to Believe II - This is a track that is very ambient. You'd think this would be the Future Sound of London, not King Crimson. Then we hear some Frippertronics and we know who they are again. Great track though. 9/10

Dangerous Curves- This track has a very slow build-up, again ambient-like. It builds and builds until around the 4- minute mark, when it eases a bit, before the final climax. I like this track a lot. 8.5/10

Happy With What You Have to be Happy With - I love the playing of words on this track. It is a great rocker, KC style. 8/10

The Power to Believe III - this is a track that has a strange mixture of ambience and rock. I love Fripp's guitar, the drums and the bass. 8.5/10

The Power to Believe IV Coda -Atmospheric and ambient closure of the album. Very fitting. 8.5/10

If anything, this album isn't pushing any musical boundaries anymore. As they used to do. Although there is a blend of ambience and KC rock. That. admittedly, is unique.

I struggled with the star rating. KC is about uncovering new ground, not about building upon what they did before. This album is less experimental than the majority of their previous albums. But it is a unique record in their catalogue. And it is a great listen from start to finish with no weak tracks.

This is why I rate it 4 stars. It is an excellent addition to any prog rock music catalogue.