King Crimson - In the Court of the Crimson King (1969) (@256)

King Crimson - In the Court of the Crimson King (1969) (@256)

(Review from wikipedia, vintageprog.com)

The initial "Giles, Giles and Fripp" band was changing, as their debut record had not been particularly successful. The first musician to be added to their new line-up was the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald had been writing songs with lyricist Peter Sinfield who also joined the new group. Fripp's childhood friend, singer-guitarist Greg Lake, was recruited, and replaced Peter Giles on bass, also singing for the band. Shortly afterward they purchased a mellotron and began using it to create an original orchestral rock sound. The name King Crimson was coined by lyricist Peter Sinfield as a synonym for Beelzebub, prince of demons. According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim".

No serious progressive rock fan can be without a single King Crimson-album in his collection. While their output not always was the most even one, they were undoubtedly one of the most important and influential progressive rock bands ever. King Crimson's membership has fluctuated considerably throughout their existence. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. He describes King Crimson as "a way of doing things" and notes that he never originally intended to be seen as the head of the group.

"In the Court of the Crimson King" is the definitive debut-album by a progressive rock band and it remains to most as King Crimson's best album ever.

The legendary opener "21st Century Schizoid Man" is a heavy, complex, raw, angry and ultra energetic showcase of angry, sax-driven progressive rock. Greg Lake spits out the lyrics with a distorted effect on his voice to underline the aggression and anger in both the music and lyrics. Peter Sinfield's lyrics may seems weird and hard to understand at first, but most people with a certain degree of fantasy will be able to understand most of his genius metaphors.

The rest of the record is of a much more mellow and symphonic kind, where the mellotron creates an often-sinister carpet of sound that perfectly fits the mood of the music and lyrics. "I Talk to the Wind" is actually one of the "brightest" moments here, with a pleasant and relaxed melody that is beautifully surrounded by the flute. "Epitaph" is far darker and features one of Sinfield's best lyrics ever. Just the mellotron combined with Fripp's mellow guitar-tones on the beginning is enough to make you shiver.

The fantastic title track is simply so beautiful and majestic that it can't be described in words. Nobody had until then used the mellotron in a better, more powerful and symphonic way than this. Everything goes straight to heaven each time the chorus appears. Symphonic progressive rock can impossibly get any better than this.

"In the Court of the Crimson King" is one of progressive rock's most magic moments.

Line-up :
- Robert Fripp / guitar
- Greg Lake / bass guitar, lead vocals
- Ian McDonald / reeds, woodwind, vibes, keyboards, mellotron, vocals
- Michael Giles / drums, percussion, vocals
- Peter Sinfield / words and illumination

Track List :
01. 21st Century Schizoid Man (including Mirrors) - 7:23
02. I Talk To The Wind - 6:06
03. Epitaph (including March For No Reason and Tomorrow And Tomorrow) - 8:48
04. Moonchild (including The Dream and The Illusion) - 12:12
05. The Court Of The Crimson King (including The Return Of The Fire Witch and The Dance Of The Puppets) - 9:23