Track Listing

1. 21st Century Schizoid Man
2. I Talk To The Wind
3. Epitaph
4. Moonchild
5. In The Court Of The Crimson King

Product Details

• Amazon Sales Rank: #1856 in Music
• Released on: 2004-11-15
• Number of discs: 1
• Dimensions: .20 pounds

CD Description
KC's debut album introduced to the world a group that threwvarious '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 howto 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.

Customer Reviews

a true classic
I bought this album when it was first released simply because I thought the cover was so brilliant - 1969 was quite a simple time really!!!

However 36 years on I still listen to it on a regular basis and still remain surprised by how far ahead of its time it was. It is very easy to criticise the lyrics listening to the album in 2005 but in 1969 they were quite acceptable (if a little odd). Musically, however, it remains an album of the highest quality; although it has to be said that the self-indulgence of 'Moonchild' drags a little. The power of 21st CSM still shines through today and this is then followed by a total contrast in 'I Talk to the Wind' with some beautiful flute playing from Ian McDonald. 'Epitaph' has always been my personal favourite and rewards frequent listening. The title track is perhaps a touch over long but remains a joy to listen to. I am sure somebody listening to this album for the first time today would not find the whole album a treat but there is plenty there for everyone and as for me - it can take me back 35 years in an instant!!!

Actually 5000 STARS
"In the Court of the Crimson King" is the outstanding example of the late 60's, early 70's progressive rock, although it is not really quite like the other contenders such as Yes, ELP, Floyd etc. It stands out because of the orchestral feel to the music - with the serious use of the Mellotron, and flutes over the HUGE riffing noises from the rhythm section.
The only band to come close was Van Der Graaf Generator with "The least we can do is wave to each other".
As with all music of that era, you either love it (like me) or hate it (like everybody else!) - so, track by track...
1. "21st Century Schizoid Man" - WOW. The ultimate screaming polemic against all forms of pollution. Legend has it that KC were booked as a Soul band by mistake, and played this track to a startled audience of gentle groovers. Nasty!
2. "I Talk To The Wind" - gentle flutes and beautiful poetry, before the onslaught continues...
3. "Epitaph" - magnificent orchestral sounds, but with dynamic rock backing. Powerful and dramatic - play it LOUD!
4. "Moonchild" - one for the hippies... sort of free-jazz-ish.
5. "The Court Of The Crimson" - and what you've all been waiting for. The one and only. The ultimate. The awe-inspiring. The tear-jerking. The spine-tingling. The utterly utterly gloriously perfect "Court of the Crimson King".

And the cover (at least on the original LP) was quite amazing - a blood-red moon-faced planetary giant - some dark-side of Gaea perhaps.

Very Important Album
When people talk about the roots of progressive rock, this album is usually one of the main contenders. Listening to this album now, I can honestly say I enjoy other King Crimson albums more, and other progressive rock albums for that matter. But the fact that this album was created in the late 60's, experimenting with the now classic styles of progressive rock, and while other giants in the genre were just getting started, makes this a monumental and definitive album.

The original line-up of Robert Fripp(guitar), Greg Lake (bass, vocals), Ian McDonald (keyboard, synths), Michael Giles (drums), and Peter Sinfield (lyrics) was a short-lived one, but one that created their best album until the legendary power trio (Fripp, Wetton and Brufford) stunned the progressive scene in 74 with "Red". Coincidentally this album starts in a similar vein to "Red", with the frenetic "21st Century Schizoid Man" setting the album off with a fast and powerful start. The song combines some harsh vocals and a timeless, classic Fripp riff to kick things off. This is ensued by a stunning and overtly technical jazz-fusion middle section, which leads back to the main motif and riff. It is an outstanding opener, and the most fluid, immediate song KC would make for years.

The rest of the album is significantly more relaxed, creating a heavy vibe of sadness and melancholy. This is probably best shown with the classic ballad "Epitaph", a superb and lush outing that is both texturally beautiful and thematically unsettling. This is due to the profound and touching lyrics dealing with the ease and excess of misguidance and ignorance, sung with great passion and a deal of desperation from Lake. Musically the song has a heavy dosage of strings and dramatic timpani rolls to build up a brooding piece.

"I Talk To The Wind", which comes in before "Epitaph", is a very calming piece, slowly washing over with some gentle flute playing, vocal harmonies and some splashy ride cymbals, it is a nice song, and acts as a good contrast to the album's opening flurry. "Moonchild" seems a little pointless to me, and the only weak song. It starts decent enough, and feels like it will continue in the same vein as the two pervious ballads. But then Fripp and the gang seem to want to push the idea of the music being experimental, of a higher `art', as they experiment with various instruments for a good twelve minutes. It is essentially `noodling', and makes for a rather dull and unmemorable song.

After the only weak song, the album closes in fine style with the dreamy, ethereal choruses of the title track. This song has always been one of my favourite KC tracks. It really is a masterpiece of a ballad, combining quiet and understated verses with big, lush choruses, packed with strings and eerie vocal harmonies that send shivers down my spine. A perfect ending to one of rocks most influential and important albums.