The face of progressive music

"Enter the landscape of your mind, a world so strange
and unknown that it seems untouched".

When KING CRIMSON's debut ‘’In The Court Of The Crimson King’’ was released in 1969, it was a fundamental "wind of change" for the whole face of rock music history. It marked the beginning of a mysterious new musical genre henceforth called ‘’progressive rock" or "art rock’’. The entire album featured a strong structure offering various stylistic tendacies… psychedelic with classical symphonic arrangements & an avant-garde approach, free-jazz sensibility, DONOVAN-ish folk rock with medieval atmospheres, and a cacophony of apocalyptic heavy metal. Lyrically, the album is deep, with psychedelic sci-fi lyrics rivalled at the time only by Syd Barrett (PINK FLOYD). This really didn’t exist on many records; it was something that most people had ever heard before.

KING CRIMSON
"In The Court Of The Crimson King"
- October 1969 -

If these are the elements that began the history of progressive rock, then October 10, 1969 is the date that marks the true beginning of the progressive rock movement, as KING CRIMSON's "In The Court..." smashed to pieces virtually every standard and norm of rock, in as "MONSTRUOUS" a fashion as the hallucinogenic face on its cover (which was painted by 23-year-old English artist Barry Godber in 1969; Godber died of a heat attack the following year). This face, in many facets, describes the innovation, sound and intensity of this album.

This laid the blueprint for all progressive rock bands to follow. After all, at this point, most Progressive bands weren’t really progressive at all yet; The MOODY BLUES were still playing edgy British pop; PINK FLOYD was leading the way in space progressive rock & very cosmic music; JETHRO TULL was still performing their own brand of mutant blues; GENESIS was still in their British-pop phase and essentially a bunch of four schoolboys learning their trade; and YES was still searching for their direction pieces.

This album planted the roots in the genesis of progressive rock for other major names like PINK FLOYD, YES, GENESIS, JETHRO TULL, GENTLE GIANT, and VAN DER GRAAF GENERATOR. The influence of KING CRIMSON has been cited by a plethora of artists ranging from MARILLION to ANGLAGARD and Steven Wilson (PORCUPINE TREE) to OPETH. As you see, ‘’In The Court Of The Crimson King’’ is there in the Olympus where all THE most important progressive albums stay, historically and musically. More than essential..!

The instrumental architecture and marvelous baroque lyrics were a culmination of a concerted effort by the band members :
o the complex drumlines of Michael Giles (of GILES, GILES and FRIPP fame);
o the melodic bass playing and the crystal voice of Greg Lake (future ELP frontman);
o the ferocious guitar playing of Robert Fripp (arguably the leader of the Progressive Rock movement);
o the assorted quasi-classical woodwind and brass (flutes & saxophone) and screaming keyboards of Ian McDonald (co-founder of FOREIGNER & multi-instrumentalist);
o plus Pete Sinfield’s Tolkien inspired lyrics.

In short, you can hear a five extended tracks (the shortest being about six minutes and the longest about twelve) by four young British musicians. This is an absolute monster (with the EXTREMELY HIDEOUS face plastered across the front cover) of A PIECE OF ART!

Label: Polydor Records 2344 093
(W. German Import)

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

Track Listing:
Side 1
1. 1st Century Schizoid Man (7:20) *****
2. I Talk to the Wind (6:05) ****
3. Epitaph (8:47) *****

Side 2
1. Moonchild (12:11) ***
2. The Court of the Crimson King (9:22)*****

***** masterpiece **** excellent *** good

VIDEO:
click on
In The Court...