IN THE COURT OF THE CRIMSON KING

Recognized as the first full progressive rock album. This album is legendary for many reasons. This was a debut album from a recently formed band of musicians that coalesced very quickly. They made an album of innovative, mature and extraordinary original music on their first try as a unit. In a time when guitar music dominated, the guitar added texture and fit into an ensemble and took few leads . The instrumentation and the emotional impact of these songs still resonate. And the man who painted probably the best album cover ever, died shortly after the album was released adding to the mystique. Labeling as the first prog-rock album means that the album is devoid of anything resembling a hit single or sounding conventional in any way. The band is comprised of very skilled musicians. Not just by having great chops bit in creating moods and color. The lyrics take on a more poetic nature and the artwork adorning the album created a life of its own. Also, this album seems to me to be creatively driven by Ian McDonald, a dazzling multi- instrumentalist who surprisingly never succeeded in the prog rock world since this album. He did, however gain success as a member of Foreigner, of all bands. Greg Lake makes his introduction in fine form here. A guitarist who took over the bass duties here with great results. Love that Fender jazz bass sound, It doesn't get any better than this. He has mentioned in interviews that his Fender was the best bass ever made and I don't disagree. But it is his vocals that provide this album with emotion with smooth as silk delivery. Robert Fripp, like I mentioned before, takes few leads but his arpeggiated guitar adds nice texture to this mellotron and woodwind dominated album. Last but certainly not least, Michael Giles. Another one who never succeeded after his stint with KC. This man absolutely deserves major accolades for his performance. Crazy chops and wonderful overplaying (the kind us prog lovers adore) all over this record. Neil Peart of Rush has gushed about this man's prowess in several interviews and with good reason. But it is the textures, the range of moods, the imagery (thanks to Peter Sinfeild's lyrics) and the well executed instrumentation that propel this album. I can only imagine what it must've been like to hear 21st Century Schizoid Man when it first came out in 1969. No wonder the shockwaves can still be felt.

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