IN THE COURT OF THE CRIMSON KING

Arguably the album that brought progressive rock to the masses, 'In the Court of the Crimson King' is a landmark album. Though I do believe that the album is somewhat overrated in regards to the overall quality of the music, it is still a very strong album. If you look up Progressive Rock in the dictionary, the first thing you are most likely to see is an illustration of a screaming man. The cover of this album is striking and instantly recognisable, it also took drummer Michael Giles twenty or thirty odd years to admit it was good! So how is the music?

The album begins with thirty seconds of low noises (of which always reminds me of a washing machine) and without any warning, explodes! Ian Mcdonalds powerful saxophone doubling Fripp's heavily distorted guitar riff all backed by Michael Giles elaborate drumming, and lead by Greg Lakes distorted vocals. A full on collision of Jazz, Metal, and mayhem, '21st Century Schizoid Man', excellent opener to an album. Furiosly exciting and an instant classic. 'I Talk to the Wind' follows, and shows a much lighter, more melodic side to the band, featuring beautiful vocals and flute from Mcdonald. The song does last a little longer than it should but is still delightful, and something to calm you down after the tour de force of the first track. 'Epitaph' is another strong track, the Mellotron plays a key role in delivering the atmosphere and tension that makes it so enjoyable, a key performance from Greg Lake and excellent lyrics from Pete Sinfield, "The wall on which the prophets wrote, is cracking, at the seams". Wondeful textures and purely symphonic, it was the blue print of the sound that made King Crimson so stunning.

'Moonchild' is easily the weakest track on the album, after two minutes of delicate singing and beautiful melodies the song noodles silently for a full ten minutes before finishing, though the track picks up a slight bit towards the end it does not excuse the pointless 'jamming' that makes the bulk of the track, and was only included due to lack of original material. The title track closes the album and again features excellent Mellotron and nice acoustic guitar, the haunting vocals are also stunning. Though the song does drag a bit and may have been stretched to fill out the album, it is still a great track.

A great place to start your King Crimson collection, but don't be surprised if you find later albums far more enjoyable and worthwhile. Groundbreaking and innovative, just not perfect.