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King Crimson - In The Court Of The Crimson King [HDCD Japan Papersleeve IECP-10003] (1969/2005)

Genre: Progressive Rock

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In the Court of the Crimson King (an observation by King Crimson) is the 1969 debut album by the British progressive rock group King Crimson. The album reached 3 on the British charts. The album is certified gold in the United States. The album is generally viewed as one of the strongest of the progressive rock genre, where blues-oriented rock was mixed together with jazz and European symphonic elements. In his 1997 book Rocking the Classics, critic/musicologist Edward Macan notes that In the Court of the Crimson King "may be the most influential progressive rock album ever released." The Who's Pete Townshend was quoted as calling the album "an uncanny masterpiece". The album was remastered and re-released on vinyl and CD several times during the 1980s and 1990s. The original stereo master tapes were finally located in a Virgin Records storage vault in 2003, leading to a much improved remastered CD version released in 2004.

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The most recent CD version (described as the "Original Master Edition", DGM0501) was released in 2004 on Robert Fripp's Discipline Global Mobile label. This release has greatly improved sound over previous CD editions. Previous CDs released by Polydor and EG Records used copies several generations removed from the original stereo master causing a lack of clarity and excessive tape hiss. The stereo master tapes were finally rediscovered in the archives of Virgin Records in 2003 after they had been misplaced for over 30 years. 24 bit mastering was also utilized to enhance the sound. This latest edition also has a twelve-page booklet that includes pictures and press clippings from the period. - wikipedia

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This reissue of King Crimson's debut, In the Court of the Crimson King (1969), renders all previous pressings obsolete. In the late '90s, Robert Fripp remastered the entire Crimson catalog for inclusion in a 30th anniversary edition. Nowhere was the upgrade more deserved (or necessary) than on this rock & roll cornerstone. Initially, King Crimson consisted of Robert Fripp (guitar), Ian McDonald (reeds/woodwind/vibes/keyboards/Mellotron/vocals), Greg Lake (bass/vocals), Michael Giles (drums/percussion/vocals), and Peter Sinfield (words/illuminations). As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent — a sort of thinking man's Pink Floyd. Fripp demonstrates his innate aptitude for contrasts and the value of silence within a performance, even as far back as "21st Century Schizoid Man." The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. Juxtaposed with that electric intensity is the ethereal noir ballad "I Talk to the Wind." The delicate vocal harmonies and McDonald's achingly poignant flute solo and melodic counterpoint remain unmatched on an emotive level. The surreal and opaque lyrics are likewise an insight to Peter Sinfield's masterful wordplay, which graced their next three releases. The original A-side concludes with the powerful sonic imagery of "Epitaph." The haunting Mellotron wails, and Fripp's acoustic — as well as electric — guitar counterpoints give the introduction an almost sacred feel, adding measurably to the overall sinister mood. Giles' percussion work provides a pungent kick during the kettle drum intro and to the aggressive palpitation-inducing rhythm in the chorus. "Moonchild" is an eerie love song that is creepy, bordering on uncomfortable. The melody is agile and ageless, while the instrumentation wafts like the wind through bare trees. Developing out of the song is an extended improvisation that dissolves into a non-structured section of free jazz, with brief guitar lines running parallel throughout. The title track, "In the Court of the Crimson King," completes the disc with another beautifully bombastic song. Here again, the foreboding featured in Sinfield's lyrics is instrumentally matched by the contrasting verbosity in the chorus and the delicate nature of the verses and concluding solos. Of course, this thumbnail appraisal pales in comparison to experiencing the actual recording. Thanks to Fripp and company's laborious efforts, this 30th anniversary edition sports sound as majestic as it has ever been within the digital domain. Frankly, the HDCD playback compatibility even bests the warmth and timbre of an original 1-A vinyl pressing. This is especially critical during the quieter passages throughout "Moonchild" and "I Talk to the Wind." Initial releases were housed in a limited-edition gatefold replica of the original LP packaging and were accompanied by an oversized 12-page memorabilia booklet with photos and press clippings from the era. - by Lindsay Planer

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Tracklist:

Side one

1. "21st Century Schizoid Man" (Fripp, McDonald, Lake, Giles, Sinfield) – 7:21

* "Mirrors"

2. "I Talk to the Wind" (McDonald, Sinfield) – 6:05

3. "Epitaph" (Fripp, McDonald, Lake, Giles, Sinfield) – 8:47

* "March for No Reason"

* "Tomorrow and Tomorrow"

Side two

1. "Moonchild" (Fripp, McDonald, Lake, Giles, Sinfield) – 12:13

* "The Dream"

* "The Illusion"

2. "The Court of the Crimson King" (McDonald, Sinfield) – 9:25

* "The Return of the Fire Witch"

* "The Dance of the Puppets"

* Robert Fripp – guitar

* Ian McDonald – flute, clarinet, saxophone, vibes, keyboards, mellotron, vocals

* Greg Lake – bass guitar, lead vocals

* Michael Giles – drums, percussion, vocals

* Peter Sinfield – lyrics, illumination

* Barry Godber – cover illustrations

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