LIZARD

Yes, I understand in great detail the glory of King Crimson's smashing debut, In the Court of the Crimson King. And yes, I understand how, having thoroughly listened to the album, it would be hard to imagine anything more spectacular. However, I assert with full confidence that Lizard is, in fact, King Crimson (as well as Fripp's) crowning achievement.

I was lucky enough to be introduced to Fripp and his frenzy in the only way I see fit (in retrospect): at the beginning. Similar to my delve into music in general, my relationship with King Crimson eventually led me deeper and deeper into both the minds of the artists and, introspectively, my own mind. I gradually made my way through various other progressive rock bands (Camel, Yes, Gentle Giant, etc.), certainly well-deserving of careful and complete listening, but no album has ever compared to Lizard.

The second album in the four part story developed and written primarily by Fripp and Sinfield, Lizard has a familiar dark, medieval sound; the difference is in the variety of genres the band manages to tie into the loose term that is "progressive rock," as well as the precision and copious style with which these other tastes of music were applied.

The clearest difference between the first and second album is the overwhelming fullness found in Lizard, particularly in the melodic exploration of jazz improvisation sampled in all but one of the tracks. This jazzy flavor was first sampled in the fast and furious title track that aptly launched and propelled King Crimson's debut album, 21st Century Schizoid Man. (I find it right to now include my opinion that this track, although technically accounting for only one-fifth of ITCOTCK, serves as the majority of the entire album's overall appeal to me.)

Throughout the album the multitude of styles, rhythms, time, signatures, and obscure chords/melodies contrast and accent the maturity of the music. This growth is most notably found in the title track, Lizard, where in the portion subtitled "Bolero," a flurry of saxophone and other woodwinds outline a characteristic jazz bass line offered by Gordon Haskell. Fill in the final missing piece with what was for me the most familiar aspect of King Crimson's music (Andy McCulloch's jazz-rock drums), and you have King Crimson in their finest moment.

Simply glorious.