King Crimson
In The Court Of The Crimson King
EG
EGCD 1
(1969)
Recording Date
August 1969
Rock/Pop
CD, 5
Tracks, 43:50
Length
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01 |
21st Century Schizoid Man (Including "Mirrors") |
Greg Lake; Ian McDonald; Michael Giles; Peter Sinfield; Robert Fripp |
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07:20 |
02 |
I Talk To The Wind |
Ian McDonald; Peter Sinfield |
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06:05 |
03 |
Epitaph (Including "March For No Reason" and "Tomorrow And Tomorrow") |
Greg Lake; Ian McDonald; Michael Giles; Peter Sinfield; Robert Fripp |
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09:47 |
04 |
Moonchild (Including "The Dream" and "The Illusion") |
Greg Lake; Ian McDonald; Michael Giles; Peter Sinfield; Robert Fripp |
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11:13 |
05 |
The Court Of The Crimson King (Including "The Return Of The Fire Witch" and "The Dance Of The Puppets") |
Ian McDonald; Peter Sinfield |
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09:25 |
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Packaging |
Jewel Case |
Spars |
AAD |
Sound |
Stereo |
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Guitar |
Robert Fripp |
Woodwinds |
Ian McDonald |
Bass |
Greg Lake |
Drums |
Michael Giles |
Words |
Peter Sinfield |
Musician |
King Crimson |
Producer |
King Crimson |
Engineer |
Robin Thompson |
Cover by |
Barry Godber |
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Index |
#
1772 |
Owner |
Dave |
Tags |
Prog Rock, Symphonic Rock |
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The group's definitive album, and one of the most daring debut albums ever recorded by anybody. At the time, it blew all of the progressive/psychedelic competition (the Moody Blues, the Nice, etc.) out of the running, although it was almost too good for the band's own good -- it took them nearly four years to come up with a record as strong or concise. Ian McDonald's Mellotron is the dominant instrument, along with his saxes and Fripp's guitar, making this a somewhat different-sounding record from everything else they ever did. And even though that Mellotron sound is muted and toned down compared to their concert work of the era (see Epitaph, below), it is still fierce and overpowering -- coupled with some strong songwriting, most of it filled with dark and doom-laden visions, the strongest singing of Greg Lake's entire career, and Fripp's guitar playing (a strange mix of elegant classic, Hendrix-like rock explosions, and jazz noodling), the mix was overpowering. Fripp would be the only survivor on their subsequent records. . -- Bruce Eder (allmusic.com)
The plus is because Peter Townshend likes it. This can also be said of The Crazy World of Arthur Brown. Beware the forthcoming hype--this is ersatz shit. D+ -- Robert Christgau