When
this album was released in 1969, it was
to change the whole face of rock music
as it was then known. In ‘The Court
Of The Crimson King’ by King Crimson
almost single handedly invented what was
to become known as progressive rock, and
with first track '21st Century Schizoid
Man' had a fair hand at putting heavy
metal music on the map.
The strange thing is that 'In The Court
Of The Crimson King' started life as a
bit of a curiosity. I bet that half of
the first lot of people to buy this album
did so due to its cover alone, relying
upon the intuition that anybody who would
put such a face to their music, inevitably
had to have quite some spirit of adventure.
They were - of course - correct.
King Crimson had a very auspicious debut
year. Their first few rehearsals were
held in January; their debut live performance
was at the Speakeasy in London, April
9th, followed by a support slot at the
Rolling Stones free concert in Hyde Park
in July. Their debut album was released
to great critical acclaim in October and
reached # 5 in the British Charts and
# 28 in the American Billboard. This led
to touring America in November and December
prior to splitting up before the end of
the year. (After the American tour McDonald,
Giles, and Lake left Fripp, claiming the
standards he required were impossible
to maintain. Greg Lake was persuaded to
return for the recording of follow-up
album 'In The Wake of Poseidon' (1970),
and McDonald did eventually play with
Crimson again on 'Red' in 1974.) There
is always plenty going on in the Crimson
household.
Today, after over 33 years, King Crimson
is still very active and highly regarded,
producing some of the most creative music
in existence, just as they always have.
Under the collective banner of King Crimson
and always led by main man Robert Fripp,
who is now in his seventieth decade. The
man in black still commands the stage
from his seat at the back of the stage.
Grim faced he plays his guitar one minute
with the violence of an axe, the next
with the gentleness of a feather, but
always with determined concentration.
There have been sixteen studio albums,
every one reaching the upper regions of
the charts all over the world, countless
live albums, and compilations. Twenty
one people have been in the recordings
and live works ranks (not counting guest
musicians). They even had a hit single
with 'Catfood' back in 1970.
As the lineup has changed many have gone
on to more fame and fortune. From the
first lineup vocalist Greg Lake went on
to form super group 'Emerson, Lake and
Palmer'. Ian McDonald was an original
member of ‘Foreigner’, whilst
Mike Giles went on to be one of the most
respected drummers in the session world.
Other groups came and went, but Robert
Fripp just carried on in his own sweet
way, oblivious to anything that does not
concern him, demanding only perfection
from his fellow musicians. During its
lifespan King Crimson has gone from this
lineup, which had vocals with the basic
trio of drums, bass, and guitar, with
additional saxophone, flute, keyboards,
mellotrone, synthesizer, and harmonium,
to today's more basic lineup of vocals
with two guitars, bass, and drums. That’s
quite unusual in itself, as bands usually
add instruments rather than strip them
away.
The album opens up with the brutal '21st
Century Schizoid Man', which was actually
this dogs first introduction to King Crimson,
as this track was released on a compilation
album by Island Records to showcase all
the artists on their roster. This was
an album set called 'Nice Enough To Eat',
containing twelve tracks from various
bands on the label, all for the price
of fourteen shillings and sixpence (about
forty five Baht), just within range of
this at the time 13-year old dog's pocket
money.
After the loud entrance of the ‘Schizoid
Man’ (although it became a bit of
an albatross round the old King Crimson
neck, it was only dusted down and rehashed
as an encore number by Robert Fripp last
year), you are swept away by four more
rock epics. The shortest called 'I Talk
To The Wind' clocks in at just over six
minutes, while 'Moonchild' - with all
its beeps, boops, and whistles still intact
- comes in at a massive 12 minutes. Hardly
surprising then that Crimson was never
really considered a singles band.
Musical standouts, if you had to pick
some from this faultless album, would
have to be (apart from all of Schizoid)
Ian McDonald's flute playing in 'I Talk
To The Wind', Greg Lake's singing in 'Epitaph’,
Ian McDonald's groundbreaking keyboard
work in 'Moonchild', and Robert Fripp's
simply staggering guitar work in final
song 'The Court Of The Crimson King'.
If you think that it is only studio trickery
that lets them play this immaculate music,
think again. The proof is the live album
'Epitaph' recorded on this lineup's tour
of America at the Filmore East. The encore
recording of the band rollicking through
'Mars' from Holzst's ‘Planet Suite’
has to be heard to be believed.
After thirty odd years this album is
still King Crimson's biggest selling album,
a true all time classic. But do not worry,
my friends, old Robert Fripp is still
trying to top it. He nearly succeeded
in his efforts in 2003 with 'The Power
To Believe'. If you have never heard this
album go out and buy it; if you have fond
memories of it from before, I hope this
little epistle will remind you to push
‘Purchase’ when surfing through
www.amazon.com.
Pawed by Mott The Dog
Remastered by Ella Crew
E-mail: review@mott-the-dog.com
