In The Court Of The Crimson King

Hello, Red Screamy Man, my old friend… You’ve certainly got a reputation, haven’t ya? The “first progressive rock record”, the “greatest prog album of all time”, a “game changer”, “an album everyone should own on vinyl”…so on and so forth. Here’s thing…You are good, no one’s denying that. You were more or less the first and ushered in a new era. I’m just not sure that makes you immune from criticism, though. Good news first, “21st Century Schizoid Man”: an absolute classic. 53 years on, it’s still an undeniable heavy-duty tune. Great, great, great. Now, “I Talk to the Wind”…I get it, gotta calm down the chaos after the sonic assault of “Schizoid Man”. 6 minutes, though? A little excessive, right? Even in a genre known for excess, this one feels like a bit much and kind sucks the energy out the room after a blistering first track. (Red Screamy Man tries to interject and defend himself) Now hold on, this is for your own good. You’ve been coasting on your reputation for too long and sometimes we need to hear the truth, even if it’s uncomfortable. And besides, you haven’t even heard everything I had to say… “Epitaph”…another classic. An absolutely gorgeous song and easy front runner for greatest Mellotron performance ever committed to tape. Yeah, it’s 2 and half minutes longer than “I Talk to the Wind”, but it does a lot in that time frame, where “Wind” just kind of rehashes the same musical ideas and tacks on a flute solo as an outro. Epitaph is dynamic, it flourishes, has swells of emotion…takes you on journey. See? It’s not all bad. You’ve done some wonderful things here. That said…“Moonchild”. Bro, not sure why you have the tendency to suck the life out of the proceedings right after you strike gold. This thing starts off like a trip to the Renaissance Fair and then devolves into minimalistic free jazz tedium. Again, too damn long and honestly, you’re starting to wear out your welcome at this point. I think even you realize that, because what do you follow it up with? “In the Court of the Crimson King”, which borrows some of the heaviness from “Schizoid Man”, inserts the spacey Mellotron soundscapes of “Epitaph” and makes for a fitting finale, even if it ends…weirdly. Well done. More good than bad, Red Screamy Man. A commendable effort, indeed. We both know you were the template and templates get improved upon and fine tuned…You walked so Lark’s Tongues in Aspic and Red could run. There’s nothing wrong with that. In fact, you’re the perfect gateway to King Crimson, but you’re not the be-all-end-all of the discography or even the genre and certainly not beyond reproach. Ok, sorry we had to hash that out…are we cool? (Red Screamy Man nods in agreement, but is unable to remove the screamy look from his face) Cool…good talk, bud. Seriously…“Epitaph” is amazing. You’ve got a lot to be proud of.

A progressive rock landmark. Influenced so many things that came later, including Yes, The Moody Blues, Pink Floyd, Genesis, ELP, and many more. I never realized before that Yes pretty much stole the riff from 21st Century Schizoid Man for their song Heart of the Sunrise. Amazing debut album, it's like King Crimson emerged fully formed and mature. Classic. 5 stars.

YES. YES. YES. How have I gone my whole life without knowing about this album? This album is testament to how valuable this project can be. By doing this, I discovered a 5/5 album and a gateway to a piece of music history I once never knew.

2/14/2022 Today's Album: "In The Court of the Crimson King" by King Crimson - Finally, I am able to talk about an album from this generator that I know very well and can review top to bottom with ease. This album is incredible. This album defined what would become essential parts of 70s psychedelic rock, progressive rock, noise rock, and art rock. The production is top notch and the choice to split the music into 5 tracks makes listening to it an incredibly deep, yet digestibly experience. The first song, 21st Century Schizoid Man is one of the best openers to any album ever. The blaring saxophones, the blasted out vocals, the booming bass and top notch drumming make this track feel incredibly powerful and chaotic. There's many time switches, screeching saxophone solos, and dizzyingly polyrhythmic drumming. The band keep incredible co-ordination while having random pauses, impacts, and entrances in a way I haven't seen perfected again until Black Midi. The horns, bass, guitar, and drums play off each other so well and the vocals all throughout the track ranting about the terrible condition of this hypothetical 21st century man match the manic and unpredictable tone of the instruments perfectly. It's hard to tell when the track is going to end because of how noisy and scattered all of the instruments get. I Talk to the Wind follows this track up in an almost unexplainable way. It is such a calm and beautiful track that it gives the listener musical whiplash. The vocals are so smooth and dazed, lamenting the condition of the world and the way the vocalist simply talks to themselves and the wind around them. There are clarinets and flutes in the mix that add to the flowing and sedated nature of the track. The flute solo about halfway through the song followed by the pedaled guitar just sounds so pristine and clear they're memorizing. The outro solo from the flute is even more technically impressive and leaves the track off on such a groovy and impressive note. There is then a huge drumroll transition into perhaps the best track on the record, Epitaph. From the hypnotic guitar riff to the drowning bass and snappy snare hits, this album puts the listener into this cage as it drags you through the universe it creates. The singer illustrates a terrible dystopian environment that one might compare to today. The chorus on this song is powerful, insightful, and incredibly saddening. There is just an incredible weight to this song that leaves such an impact after what was such a laid back song in I Talk To The Wind. The whole album feels like it's set in this "world of the crimson king" which just so happens to be medieval Europe. There's instruments like harpsicord that add to this effect. Moonchild follows this epic piece with a haunting and atmospheric track called Moonchild. The lyrics are incredibly well mixed and produced, telling of this moonchild that yearns for a sun-child and dreams in the shadows of a willow. Each song feels like it holds lore to this mysterious land and this song just hugs your ears while doing so. There's a wailing guitar that accompanies drowning synth chords and cymbal clashes until the album completely tapers off into nothing. The 10 following minutes of this 12 minute track contain some of the wildest improv percussion and it really just needs to be listened to to believe. The 10 minutes of psychedelic ambiance is completely smashed with the intro of the final track, In the Court of the Crimson King. This song is the perfect finisher to the album, leaving it on a similarly noisy and chaotic note as it began and with many ending fake outs too! It's a great track to end off this absolutely incredible album. I have to end this off short due to text limits, but please listen to this album. It's something that has to be experienced and in the 3 years I've been listening to it, it hasn't gotten old. Score: 10/10 Period. Highlights: 21st Century Schizoid Man, I Talk To The Wind, Epitaph, Moonchild, ITCOTCK

"In the court of the Crimson AHHHHHHHH AHHHHH AHH AHHH! AHH AHH AHHHHHHH!" So damn good. I was lost during some of the quiet free-form jazz shit, but I am here for all of the rest. And one of the best pieces of album art of all time!

Psychedelic rock and progressive rock are always kind of hit or miss, and this album is no different. There were a lot of places where I felt like I was just getting impatient for something interesting to happen and other places where I was wowed by what I just heard. No doubt this was influential and I think this might get better on repeated listens but on this listen it was just a little above average overall. 3.5 stars

"Confusion will be my epitaph." A central line of the album, I defy you to think of anything more succinctly pompous. The reference to death, the deliberate ambiguity, the fact that the band hasn't realised the lyric makes balls-all sense: this album wants to be taken seriously, but there is nothing whatsoever that makes the listener contemplate (fuck the standard claims that cannabis opens up this album; that's no better than saying the album sounds better when you're drunk). Is there a more pernicious album in the canon? This is the album that invented prog rock, after all. Prog rock, my dear sugarplums, is the worst music genre of all. Prog rock is a perversion of all of rock's wonders. The smuggest, most conceited genre, prog rock bands wilfully failed to clock that their music was completely empty, that for all their virtuosity and Tolkien references (a children's author, for fuck's sake!), they had nothing to say at all. Every Roger Waters era Pink Floyd album has no deep message other than, "it's grim up north". Do you need further proof than the title of Yes' Tales of Topographic Oceans? I'll give it to you: Tales of Topographic Oceans was supposedly based on a series of Hindu texts, yet when pressed, the band admitted that they'd never evn read them. Or how about literally any lyric from Emerson, Lake and Palmer (Greg Lake was the guitarist and vocalist on ITCOTCK, and recycled the line "Confusion with be my epitaph" for their cyborg armadillo concept album Tarkus (yes, cyborg armadillo))? By the by, if you rearrange ITCOTCK, you get TIT COCK. As far as I can gauge, TIT COCK doesn't have an overarching concept. That is, I can't discern a central theme, even though the men involved (and it is only men) may claim that the album outlined the gulf between man in the hypothetical state of nature and man in the hyperthetical modern world of concrete and electricity. Horrifically, as I typed that, I realised that some trainspotters will assert that as the authentic reading of TIT COCK. Do you not comprehend that you can read anything into any old cryptic claptrap? Did you think "I Talk to the Wind" was a sagacious insight of a guru at one with Arcadia? If you're talking, you're technically talking to the wind except if you're in space. Hitler giving his speeches at the Nuremberg Rally was talking to the wind. And that inprovised section of Moonchild (a title condensed to utter painfulness) isn't improvisation, it's just hitting instruments at random. All this would be tolerable if the album had a sense of fun, a sense of theatricality, a sense of camp. But no, this is a serious contrivance, a work purporting to reveal the depths of humanity. But this album lacks the gravity for me to truly hate it, but instead I dismiss it like a wasp landing on my forearm. To give a contrast, I went and listened to Joy Division's Closer, an album I take seriously. I felt my eyes moisten during the third track. TIT COCK only made me mock. It shouldn't be a scream on the cover, it should be a boo. 21st Century Schizoid Man is one of Tony Blair's favourite songs.

screamy man screamed and I screamed wittem

Fuck you if you think Frank Zappa is better or weirder than King Crimson. This album is basically perfect. Normies should not even begin to consider thinking about attempting to try listening to this without the proper headgear. All necessary precautions must be taken, not to be limited to the usage of thick wall padding, a straitjacket. This album is legally and medically considered a highly effective (if extremely unsafe) method of boosting one's IQ to beyond normal human range. Severe volume is recommended for maximum dilation of the third through fifth eyes and/or other sensory organs. Do not attempt while primitively confined to any arbitrary set of three dimensions; alternately, if confined to less than the necessary number of dimensions: use quickly, far too much, and in any way not recommended. Seriously, this is some heavy-duty shit, man

Yes, that sounded like they just invented prog rock.

'I Talk To The Wind' is right. This is farting around, plain and simple. They put in a lot of work in place of inspiration, but for what? A seven and a half minute opener with half a hook to show for it. And they don't get any closer than that in the subsequent 36 tedious as fuck minutes.

Even in albums I enjoy, there's always one or two songs that just don't live up to the rest of the album. In The Court of The Crimson King is an exception. It's an album where I genuinely cannot pick my favourite song (Sure, there's only 5 on the tracklist but they're divided into parts so technically there's more). Even the improv part of Moonchild, which fans tend to dislike and which I found boring at first listen, is amazing once it transitions to the title track, and I can't imagine the album without it. That's really one of the many strengths of ITCOTCK: each new song part ends up complimenting the last one. The majority of the album is actually quieter and more peaceful than 21st Century Schizoid Man and the title track might make one think; it starts off with the angry but anthemic first song, then becomes more mellow and introspective, gradually building up to the climactic final track. That's not to say any of the 3 tracks in the middle are in any way worse; they're just as perfect as the opener and closer. I'd like to point out the absolutely fantastic instrumental work on this album (just like all future King Crimson albums, of course). Michael Giles' drumming carries the entire album and the whole thing would be significantly lesser if the band had a less talented drummer. Ian McDonald's (rip) flute parts are simply perfect too. In conclusion, listen to this album. Or I will find you.

A real pinch in the hourglass for the genre; all the influences and fledgling prog ideas beforehand really came together into this album, and no prog rock can look back without tracing some roots to it. A true influence, and a true masterpiece.

Superb, sounds like a real anachronism coming out at the time it did. King Crimson often sounded more expansive, grown-up and frankly more sinister than their peers - probably because they were. Nice to see a band that was (kind of) from my hometown represented on here!

My feelings on prog are well known. I am not, generally, a fan. Too clever clogs, widdly-widdly, pretentious, ridiculous time wasting, and not nearly rock and roll enough. I do, however, make an exception for King Crimson, largely because they rock hard. I have a number of albums from across the breadth of their career, although I have never become a devotee (i.e., I have never been even mildly tempted to buy any of their encyclopaedic and hideously expensive box sets). If ever you were going to identify the ground zero for prog rock, it really would have to be In the Court of the Crimson King. But let's not hold the subsequent sins of others against it. I was turned onto this record, especially 21st Century Schizoid Man, by some uni mates in the early 90s who had an instrumental jazz rock band (Trout Fishing in Quebec, check them out here: https://www.youtube.com/watch?v=iEeU3rFSO6c You can hear the King Crimson influence). I still think 21st Century Schizoid Man is the bomb. It excites me every time I hear it. If all prog was this good, I would listen to prog (but it isn't, so I don't). Observations: - I am sure that that Fripp and MacDonald are playing each other's solos. The guitar solo sounds like a sax solo, and vice versa. - The fast start-stop section is awesome. As my drummer son pointed out, the timing is not precise. They were playing that tight in the room together, because they could. If you listen to the live recoding on Earthbound, you can hear that they could replicate that on stage, too. A testimony to Robert Fripp's band discipline. - This is the first evidence of Robert Fripp's propensity to play at right angles to what any other guitar player ever would. His note choice is consistently weird, but I love it. I will listen to him play on anything. (I particularly like the album he did with David Sylvian in the early 90s. And the Bowie records. And the Eno records. And Talking Heads and Blondie and Peter Gabriel and hundreds of other records). The title track is majestic, and memorably featured in Children of Men (2006). The use of mellotron has never been bettered. Really, all the pastoral stuff in the middle of those two tracks are dull with a tendency to go widdly-widdly on occasion. Personally, I could live without everything but 21st Century and the title track. But those two tracks alone rate 4 stars.

Ah the classic r/vinyljerk album cover. Love it. I've listened to this before but never really paying as much attention to it as I should've Only know 21st Century Dude and the Court of the Crimson King. Leggooooooo No one man should have all that POWER! What an awesome sample. 21st Century Schizoid Man rules. Just some finger-lickin' jams. I have gained such a respect for my favorite of the woodwinds, ze flute (thanks Stu Mac). Dude fucking kills it on this track with it. Epitaph would be a great song to use in a film. Thinking Tarantino. Fun fact Space Jam got its name from Moonchild. Wiggly is the word I'd use. I really like that every song seems to have a different instrument that sticks out. Saw Claypool Lennon Delirium cover The Court of the Crimson King and have been in love with this song since. That fucking flute and the drums are so fucking good. This is some baller ass prog rock. I'll be back

21st Century Schizoid Man gets this an automatic 5 star. Amazing song, great album.

Nunca había escuchado nada de King Crimson y vaya que es un viaje. Disco de 1969, es la pura psicodelia progresiva. Arreglos complejos, van de 0 a 100 y de 100 a 0 una y otra vez. Epitaph fue mi favorita del disco, lúgubre y grandiosa. Desafortunadamente después de disfrutarla tanto viene Moonchild y si fue tortuoso bajarle de revoluciones tanto durante tanto tiempo, pero en general es un discazo. Songs: Epitaph, 21st Century Schizoid Man

Una obra mestra atemporal. Cinc petites joies d'orfebreria tan ben engastades que no es desgasten per més escoltes que es facin. Quina millor manera d'acabar el 2021 que escoltant un álbum 5 estrelles!

I really wanted to hate this Album, but it was pretty neat. Apart from the middle part, where they forgot to stop the recording and we got like 10 minutes of random noises.

this was a lot I think I liked it? not at first, but it really grew on me

Screamy red man album. This one is the stuff of legends, it's up there with Dark Side of the Moon as the album that your pretentious music nerd friend won't shut up about. Memed to oblivion, but I haven't heard it in full yet, so let's see if it's worth the hype. Of course, it's got "21st Century Schizoid Man," infamously sampled by Kanye West on "Power." That's a cool song, sounds nothing like "Power," which is why sampling is so fun. A few other great tracks on here too. I'm into this prog stuff, I'm not entirely sure if I like this album or Larks Tongues in Aspic more, but safe to say I'm a fan of these guys. That said, I also don't see this as "best album ever" by any stretch, so it doesn't quite live up to the pedestal in the way Dark Side of the Moon absolutely did. But it's still a great ride, and knowing this is one that I'm sure would grow on me too, I'll give it the half-star bump. Glad we finally got this! Favorite tracks: 21st Century Schizoid Man, Moonchild, The Court of the Crimson King. Album art: Screamy red man. This poor guy looks like he just noticed the door of the room he's being wheeled into is labeled the "Penis Explosion Chamber." 100% iconic, no notes. 4.5/5

This is a classic album that aptly represents the times. Always worth and end-to-end listen.

I've been on Reddit long enough to see endless memes about the Red Screamy Man, but I had never listened to it until now. It is a pretty good album but I will continue to laugh at the memes about it.

No. 61/1001 21st Century Schizoid Man 2/5 I Talk To The Wind 4/5 Epitaph 4/5 Moonchild 2/5 The Court Of The Crimson King 4/5 Average: 3,2 Epitaph and the title track are really good, other Songs are too out there for me. Adding evidence to the discovery I made on the Taylor Swift album: I'm a basic bitch

Overwrought and outdated. I was never a big fan of prog-rock, even when it was current and I was young. Always felt like a bunch of young men being way too introverted for their own good. There are some fun tunes but ultimately I just can't get on board.

I just couldn’t get behind this album. I don’t know how this is talked about on level with Dark Side of the Moon.

Probably my favorite prog album of all time. What an incredibly dark atmosphere.

It’s a great album

Outstanding musicianship 4.6

Amazing album. I’ve listened to it before and enjoyed returning to it. Played it twice at work yesterday. Moonchild does run too long for me, but the first half is great. Standouts: Everything.

I've tried listening to prog rock in the past and I didn't really care for it. Pink Floyd is kinda bad, I didn't care for Rush (kinda annoying), and didn't hate Yes' album (with Roundabout) but wasn't feeling it. My fault for making assumptions in the limited box that is a genre, but I digress. Track reviews (my favourite segment): I'm not writing the names lmao figure it out. 1. Starts off with an incredible riff, then starts popping off Baccano OP style, then hits you with the Risk of Rain 2 beats, then overloads your circuits, then transitions back to Baccano, edges you for a minute, then builds up back to the main riff again. You always think it's going to pop off, then it never does, making it go ballistic when they finally pop off. All the while throughout the tonal shifts, there is an underlying progression that grounds the song. It's barely controlled chaos, but controlled nonetheless. Really makes you *feel* like a 21st Century Shizoid Man. 2. Big monster vibes here. I never watched the anime but I've heard the ending. The way I see it is, the most insane thing happens then a tonally clashing songs plays as a stark contrast. This is what this feels like compared to track 1. Maybe some persona vibes as well?? Guilty gear even a bit???? Not my favourite song, but fits in well, and you know what it is pretty good. Quite pleasant. 3. The VLR vibes holy man. So immediately significant and ig imposing. Seems to be telling the tale of senseless violence for reasons unknown to those fighting and maybe even those demanding violence. A tale as old as time, and this song takes a personal approach detailing the suffering of man. "The wall on which the prophets wrote / Is cracking at the seams" is such an amazing line. In other words, the foundation of their beliefs and hopes for the future are being fundamentally disintegrated and (in the context of the song) there is no ideological recourse, just confusion ("confusion will be my epitaph"). I could probably keep going but the point is that this song is actually amazing. 4. The beginning of Moonchild is somber, beautiful, and tragic. Not sure what the lyrics mean but my best and only guess is that she's waiting for someone to come home (from war) but "the sun" will never rise again hence why they are a moonchild. The next 6 minutes is some quiet, fleeting, and ultimately abstract instrumentation. I think it's mysterious and interesting but falls into the category of "good for the album as a piece of art but not as good for normal listening. To its credit, the album is so generally good and cohesive that it works for me more than most, which it really needs because this is so long. The next 90 seconds is more of the same but a bit more musically pronounced. The final 90 seconds is even more pronounced. 5. Not too sure on the meaning of the lyrics, but they seem to be an extension of some of the themes from Epitaph contextualized in this world King Crimson have created. Better worldbuilding than Arcane season 2 :speak:. I didn't have too much to say about this song, but that doesn't mean it is worse, in fact it's amazing. --- This album is literally peak fiction and it's just music :sob:. The huge one in Moonchild aside, there are a lot of "art" moments but actually not really because they are still really good somehow since the songs support such a strong atmosphere or something like that. p.s. since I forgot to mention: some of the lyricism and even sometimes the tone of voice reminds me of black sabbath if it wasn't ass, pretentious, or "random." p.p.s. definitely listen to this album with mostly full attention, it's worth it. Not sure if I'll regret this and think it's a bit lower later, but I think this is the first 5/5 album. Super cohesive and it goes absolutely ballistic. No misses either (more or less) which is a big factor. I listened to it twice before rating it. Not checking over this so hopefully the review is good.

what else was it going to be?

This was great. I hadn't heard of King Crimson before, but I like ELP and this was wonderful. I would've listened to it twice but I ran out of time in the day. Five stars.

Excellent. I had a bit of an issue with 'Moonchild' sounding too improv and ill thought out, but everything around that moment was cohesive, well executed, and overall excellent. 'I Talk to the Wind' was my fave, but 'The Court of the Crimson King' was also an amazing track. I can see myself listening to this again easily.

9.5/10 Progressive Rock/Art Rock. 1969. I Talk To The Wind 21st Century Schizoid Man (Including "Mirrors") The Court Of The Crimson King Epitaph (Including "March For No Reason" and "Tomorrow And Tomorrow") Moonlight

## In The Court Of The Crimson King: An In-Depth Review **Introduction** Released on October 10, 1969, *In The Court of the Crimson King* is the debut album by the English progressive rock band King Crimson. Widely regarded as a landmark in the genre, it encapsulates a blend of rock, jazz, and classical influences, characterized by its complex compositions and profound lyrical themes. This review will explore the album's music, production quality, thematic depth, and its lasting influence while also discussing its pros and cons. ## Music King Crimson's musical approach in *In The Court of the Crimson King* is marked by intricate arrangements and a diverse instrumentation that includes electric guitars, mellotron, flutes, and drums. The album consists of five tracks that showcase a range of styles and emotions: - **21st Century Schizoid Man**: This opening track is a chaotic fusion of heavy guitar riffs and jazz-inspired rhythms. Its lyrics critique war and political corruption, encapsulating the anger and disillusionment of the era. The song features powerful vocal delivery from Greg Lake, complemented by Robert Fripp's searing guitar work. - **I Talk to the Wind**: A softer piece that contrasts with the opener, this song features ethereal flute melodies and contemplative lyrics reflecting doubt and introspection. It showcases King Crimson's ability to create atmospheric soundscapes. - **Epitaph**: Considered one of the album's highlights, "Epitaph" combines melancholic lyrics with lush mellotron arrangements. It addresses themes of existential despair and societal collapse, resonating deeply with listeners. - **Moonchild**: This track is notable for its experimental nature. It begins with a gentle melody before transitioning into an improvisational section that can feel disjointed. While some listeners appreciate its avant-garde qualities, others find it less engaging. - **The Court of the Crimson King**: The closing title track is grandiose and theatrical. It weaves together various musical motifs and features an anthemic chorus that encapsulates the album's overarching themes of power and societal manipulation. Overall, King Crimson's musicianship shines throughout the album. The interplay between instruments creates a rich tapestry of sound that remains captivating even decades after its release. ## Lyrics The lyrics of *In The Court of the Crimson King*, primarily penned by Peter Sinfield, are notable for their poetic abstraction and social commentary. They reflect the tumultuous spirit of the late 1960s: - **Themes**: The album tackles issues such as war, alienation, and existential dread. For instance, "21st Century Schizoid Man" vividly depicts the horrors of conflict with lines like “Blood rack barbed wire / Politicians’ funeral pyre,” which resonate with anti-war sentiments. - **Imagery**: Sinfield’s lyrics are rich in imagery and metaphor. In "Epitaph," he paints a bleak picture of humanity’s future with haunting lines that evoke feelings of hopelessness. - **Abstractness**: While some tracks feature direct political commentary, others embrace more abstract themes. This duality allows listeners to interpret the songs in personal ways, contributing to their enduring appeal. ## Production The production quality of *In The Court of the Crimson King* was groundbreaking for its time. Engineered by Pete Sinfield and Robert Fripp, it utilized innovative techniques to enhance the listening experience: - **Instrumentation**: The use of mellotron was particularly significant; it added a symphonic quality to tracks like "Epitaph" and "The Court of the Crimson King." This instrument became synonymous with progressive rock. - **Layering**: The album features complex layering of sounds that create depth. Each instrument occupies its own sonic space, allowing for clarity even in dense arrangements. - **Mixing Techniques**: The panning effects used in tracks like "Moonchild" provide an immersive experience that draws listeners into the music. This attention to detail in production set a standard for future progressive rock albums. ## Themes The thematic content of *In The Court of the Crimson King* reflects both personal and societal concerns: - **Existentialism**: Many songs delve into existential questions about life’s meaning amidst chaos. "Epitaph" serves as a poignant exploration of despair in an uncertain world. - **Critique of Authority**: Tracks like "21st Century Schizoid Man" offer sharp critiques of political figures and systems. This theme resonates strongly in today's socio-political climate. - **Isolation vs. Connection**: Throughout the album, there is a tension between feelings of isolation (as expressed in "I Talk to the Wind") and a longing for connection (as seen in "The Court of the Crimson King"). This duality reflects universal human experiences. ## Influence *In The Court of the Crimson King* has had an indelible impact on music history: - **Pioneering Progressive Rock**: Often cited as one of the first true progressive rock albums, it laid the groundwork for countless bands that followed. Its fusion of genres influenced artists across various musical landscapes. - **Cultural Significance**: The album captures the zeitgeist of the late 1960s counterculture movement. Its themes remain relevant today, reflecting ongoing societal issues such as war and political disillusionment. - **Legacy**: Many contemporary artists cite King Crimson as a major influence on their work. The album’s innovative approach to composition continues to inspire musicians seeking to push creative boundaries. ## Pros and Cons ### Pros - **Musicianship**: Exceptional instrumental performances from all band members highlight their technical prowess. - **Lyrical Depth**: Thought-provoking lyrics that engage listeners on multiple levels enhance emotional resonance. - **Innovative Production**: Groundbreaking use of technology in production creates a rich auditory experience. - **Cultural Relevance**: Themes remain pertinent decades after release, allowing new generations to connect with its messages. ### Cons - **Experimental Nature**: Some tracks (particularly "Moonchild") may alienate listeners who prefer more conventional song structures. - **Abstract Lyrics**: While many appreciate poetic ambiguity, others may find it difficult to connect with or understand certain lyrical themes. - **Uneven Track Quality**: Opinions may vary on specific songs; while some are universally acclaimed ("21st Century Schizoid Man"), others are viewed as less engaging. ## Conclusion *In The Court of the Crimson King* stands as a monumental achievement in music history, blending intricate musical compositions with profound lyrical themes. Its influence on progressive rock cannot be overstated; it not only shaped a genre but also provided a voice for societal concerns that resonate even today. While it may not appeal to everyone due to its experimental nature and abstract lyrics, its artistic merit is undeniable. Ultimately, this album remains a timeless exploration of human experience through music—a true masterpiece that continues to inspire both artists and listeners alike.

Amazing

On the verge of chaos with 60´s sensibilities lurking to ground the album

Goated prog rock and will always be King Crimson’s best

Awesome Album!!

was in my rotation semi-recently but its never a bad time to listen. much like violator this has never quite hit my Favorite Album instinct but has been a reliably perfect piece of work with nothing else that quite scratches its itch, especially impressive given its such a thorough stylistic almanac of so many ways in which prog would evolve from here...i talk to the wind sounds ripped right from the canterbury scene, moonchild's jam is in the dna of so many avant prog bands, and all the other tracks take up spaces inbetween from theatrics to jazz to metal. they are ofc also just perfectly crafted songs with a sweeping escapist atmosphere u cant find anywhere else. this album deffo didnt Invent prog rock, the moody blues/procol harum/the nice/probably a bunch of other bands had already been confirming that the existence of prog rock or at least something with a similar philosophy was inevitable, but its this album that set down the shape of the genre as something other than a general direction, like how black sabbath's self-titled set down the shape of metal beyond the simple instinct to make rock music heavier and louder. im prob due for a king crimson dive...

Really enjoyed this.

This is what I came for. Exposure to shit I would never listen to otherwise..... One of my fave doves songs is built upon the KC song Moonchild 🤯

Wow, it's mint. The 12 minute song though...

One of my all time favourite albums. Way ahead of its time!

The ultimate in Prog Rock!

cult album of the progenitor of progressive rock. now it is clear what influenced genesis. soft sound of many tracks and their "non-pop" was good

This is probably a prospective five but this album demands to be registered to over and over. It's exciting and interesting.

It's a cosmic mix of the action of The '80s combined with the exploitation films of The '70s, but with modern touches. It's hyperviolence, but it knows what it is. It's a bit Tarantino, definitely a bit Michael Mann. It's sort of a cosmic gumbo. It almost moves to the beat of jazz.

It’s incredible to think this album came out in 1969 - an achievement, in my opinion, greater than the moon landing. The first , third, and final track are just outstanding and obviously have a huge influence on so many great bands. “Blood rack, barbed wire. Politician's funeral pyre. Innocents raped with napalm fire, 21st century schizoid man”

The vocals, the sound, the crisp bass lines. What an amazing album!

Fucking peakkkkkkkk

A fantastic debut record that is amongst one of the greatest albums of the prog rock genre.

King Crimson is one of my favorite bands! This album is a masterpiece, I like it very much! It is really progressive.

Terrific

4.6

Never would have guessed that this proto-metal/prog record came out in 1969. It sounds like something from much later, though I suppose The Beatles had already done "Helter Skelter" and Black Sabbath was already working on their debut at the same time. I've known of King Crimson for decades because of Stephen King's Dark Tower series — one of my favorite series of all time — which incorporates the idea of the Crimson King for its central villain. But I'd never gotten around to listening to them aside from a song or two. This album is pretty trippy. It alternates between high-powered hard rock (21st Century Schizoid Man) and slower jazzy ballads like something The Beatles or Pink Floyd would do (I Talk to the Wind, Moonchild). There are flute and oboe solos on this! A lot of this album feels like a more sophisticated, better executed version of what Led Zeppelin were going for. I've listened to this a few times now. The first couple were more of a background listen while I was doing other things. I found it enjoyable but wanted to do a deeper listen. Really sitting down and listening with headphones and reading the lyrics is a very different experience. It goes from "hey, that's pretty cool" to "whoa, this is something special." I'm not always a huge fan of meandering, noodly prog songs. They often feel overly long and pretentious. But with a concept album about the apocalypse, it kind of has to be ambitious, you know? The big symphonic elements on this album lend an appropriate gravitas to the subject matter about a man feeling disconnected and disillusioned from a society that seems to be crumbling before his eyes. The lyrics are poetic and well done, the narratives managing to feel expansive and epic but claustrophobic and personal at the same time, really putting you in that end-of-the-world mindset. It's very cinematic. The length of some of these songs was off-putting to me at first glance — the shortest song is 6 minutes, with the longest getting over 12. But somehow it never feels overly long. There's always something new and interesting happening, and it's always moving forward rather than just stalling in place so the band can show off their musical chops. The music is organized intentionally to build atmosphere and create a specific mood. It's incredibly cohesive as a concept and an album. And even if each individual track is long, there are only 5 of them, so it doesn't feel like too much. The more I listen to this, the more I like it. It's clear that this was a massively important album that influenced a ton of artists. And it still holds up today. The content matter feels evergreen and the music timeless. 5/5

9/10 Almost flawless. Beautiful instrumentally. Mixes jazz, rock and some classical elements too Favourite Song=21st Century Schizoid Man Least Favourite=Moonchild

Original Prog Rock LP that helped define a music genre! A Band that continued to define Progressive Rock for decades!

Probably the best concert experience I've ever had was seeing King Crimson Discipline tour on Halloween at Carnegie Mellon in 1981. All the students were in costume and the band seemed to eat it up. KC has always meant Halloween music for me ever since. Up until that point, I only knew Court of the Crimson King. I 1st heard it when I was about 9 years old and my brother brought it home from college. Of course I had never heard anything like it. And although there was pre-prog like Sgt Pepper and Pet Sounds, and classical rock like Days of Future Past which preceded it, CotCK is credited with being the 1st prog album because everything about it was an example of full on prog at its peak. And although prog is often discredited in hindsight, in some cases not without good reason, its influence was huge on almost all music that followed. For me, there was enough great music in the prog era that still holds up today; & CotCK is one of the best examples. The power of the opening number 21st Century Schizoid Man is undeniable. It is meant to be heard as loud as your equipment can handle. Talk to the Wind is a nice number to come down with. It incorporates avant guard/free jazz sensibilities that hold your interest even after years of listening. Epitaph is a great number with the apocalyptic message of the times at the front. The line "Knowledge is a deadly friend, if no one sets the rules. The fate of all mankind, I see, is in the hands of fools." still rings true today. ANd you got to love the use of the Mellotron. Moonchild is another experiment into the avant guard and that segues into the wonderful Mellotron driven title track. All together a monster creation and a milestone in the rock pantheon. 5+

10/10 no notes. I love prog and this is the quintessential prog album in my eyes.

(10) ★★★★★

"Moonchild" is too long an plodding, but the rest of the album is fantastic, especially "Epitaph", my beloved! 5 stars

Ive been listening to 21st century schizoid man since i heard it 5 years ago at Zeitgeist. I always thought this was was from a new band.. my mind was blown when I read that this was from 1969. I have a hard time thinking about what it wouldve been like to have experienced the prog rock ideas mixed with early metal before 1970. That mustve been tremendously avant garde I really appreciated Talk To The Wind (duo version) as well

Amazing

I have been aware of this album, like most, due to 21st Century Schizoid Man. The sheer mayhem of its funky riffs and the barrage of saxophones are legendary in their own right. It’s definitely one of the heavier 60’s tracks in existence for sure. Until today, I have never ventured deeper into Screamy McScreamFace’s Venture Through Hell until now. And I have to say this album was absolutely not what I was expected. The album never quite gets as vicious as that first track, becoming somewhat more mellow in some areas. But despite that, it never loses its focus and it never disappoints. I Talk to the Wind is a perfect breather to the previous Schitz Fitz that still keeps a very slight feeling of unease. Epitaph then takes that unease and runs with it through a dystopian soundscape, as it’s subject tries to hold a small hint of optimism, but can’t (If we make it, we can all sit back and laugh. But I fear tomorrow I’ll be crying). Then comes Moonchild, which feels like an apology from the generator for giving me the meandering At Fillmore East and showing me that songs that seem to stretch out past 10-minutes can be bangers. It’s such a weird, bizarre miracle of a song that never overstays its welcome. Then comes the climax with The Court of the Crimson King, a powerful end that brings back some of the chaotic vibes of 21st Century Schizoid Man. I feel progressive rock is a love-it-or-hate-it genre for some and this album is considered essential for its progression (no pun intended). I’m still not sure what I think of prog as a whole, but I what I can say is this is a hell of an album. Favorite track: 21st Century Schizoid Man Other hits: the rest of the album

lovely

This is a great album. Just incredible.

If you put a gun to my head and asked me what the greatest band of all time is, I'd say I have no idea since that's a really subjective thing and also you're being really mean to me right now, but if you then also proceeded to say "pwetty pwease" with big puppy dog eyes, I'd probably cave in and say "King Crimson, I guess.." This is just a completely flawless album. An honest to god masterpiece that does everything right. ...And it's not even their best work! "Red" is somehow like 3x better!

First listen. Been on the list for quite some time now. It was ok.

One of the defining prog rock albums, still sounds amazing today

Very beautiful

Invented a whole genre. Good stuff!

the best of all time

I've listened to this before. Last time I liked Epitaph, and I like it even more this time! Moonchild was my favorite last time. This time I liked Talk to the Wind also. I love the use of strings in this album!

transcends music, hype, legacy, reputation, influence...a work of pure magic and motivation to revisit Crimson's discog now that my ears work 10/10

Good very good album man one of the OG 5 star

Everyone's favourite acronym ITCOTCK makes an appearance. Good lord - the moment 'Epitaph' kicked in I knew this was special. I sat this one out for so long, perhaps assuming it was all just noodling, instead of just partly. I still hate the cover though. That said - it's hilarious how much they've stretched this out to 44 minutes, especially the second side. Torn between a four or five...bonus point for this being from the 60s and therefore its influence.

ok WOAH! -OMGGGGGG THIS IS WHERE THE KANYE WEST SONG COMES FROM "POWER" ??????? ohhhhh i didnt even know that was a sampleeee bro 21st century schizoid mannnnn -talk to the wind lyrics are GOOD - great album 5/5

This has been on my list of classics to check out for ages. I ended up loving it. I have many thoughts on it, but not the capacity to verbalize them right now. Album cover: A+

This album was sweet. I had never heard of King Crimson. Before I'd even started, the album name was appealing to my fantasy sensibilities. The opening song is the sample for Power by Kanye, which is crazy. MBDTF is one of my favorite albums ever, and I'd never thought to look up any of the samples. I foolishly thought he made those himself. The song itself was awesome. So many instruments. "I Talk To The Wind" was a beautiful peaceful song. "Epitaph" was an epic ballad that gave me strong Metallica vibes. I was expecting Hetfield to cut in during the intro. "Moonchild" didn't do much for me. "The Court of the Crimson King" was awesome again. The entire album felt like a journey, and I really liked being on it. I also like the album cover. This is a very unexpected 5 for me. I didn't like Moonchild much, so it won't be a 10/10, but the other songs were impressive. 9/10

One of the biggest masterpieces from the late 1960s in the sea of so many great albums from that era. It had profound influence on many bands that came after them. The production is top notch, it sounds so good even after 55 years...This albums deserves 5 stars no doubt.

Große Kunst! Ein Meilenstein!

this is gr8

classic progressive rock. a beautiful record.

The greatest prog rock album. Maybe ever but at least of its decade.

Amazing jazzy prog rock. I guess it’s not surprising as the genre is progressive rock but this album really sounds ahead of its time to me. Such varied songs and structures. Album cover is iconic too. Maybe I just don’t get it, but that middle section of moonchild kinda just sounded like a bunch of toddlers hitting random instruments for a bit. That is really one of the only negatives of the album for me.

Awesome record. A great recommendation if you're into prod rock. Cant choose a best track because they are all important to telling the story of the Crimson King.

What a monster. I love the proggy excess with the chunky riffs and blasting brass, and I love the pastoral flute-drenched chill out songs. Epitaph is epic enough to theme the third act in a spaghetti western. There is a bit too much bibbly bobby boo in Moonchild, that's certain, but all else is gold. Court of the Crimson King is just fucking magnificent. This is what I wanted from Pink Floyd post-Barrett I think.

I had never listened to this album or any King Crimson jams before today. This was fucking awesome.

One of the best album ever! Every song is a little trip. I wanna vinyl of this album so much.

Okaaay. So we have classic today! This is the proof that it ain't need to fill an album with bunch of songs to be great. In here, we only got 5. 4 classics and 1 weird cousin (moon child it's coo coo). But the album is fantastic!

Beautifully made songs on a beautiful album. Every song is a joy to listen to.

I was vaguely aware that this album was on here and was excited to listen to it for the first time for this list. I expected a really good prog rock album given how basically everyone gushes over it but it somehow still exceeded expectations by being almost anti prog rock. No 15 minutes of fucking around before the good shit, no weird noises really at all just 45 minutes of all killer no filler jazz rock fusion that has the bare bones of prog rock elements. Also blew my mind that the sample from power by Kanye west came from 21 century schizoid man which was also my fav track but the whole thing was great.

I know it’s cliched at this point, but this really is basically perfect. A

Prog rock. I’ve got a lot of nostalgia for this album. Looking at it more objectively, I think it still holds up really well, except for the multiple minutes of near silence in “Moonchild”, broken up by just the slightest of instrumentation. Other than that, one of my favorite albums.

Quel banger !! Renvoyez les pink Floyd chez leur daronne

Buen descubrimiento, muy psicodelico y rockero, suave y cañero

Yeah yeah yeah Moonchild goes on for too long yada yada yada. I don’t care. This album kicks ass. The first time I listened to this was on the school bus during high school. I thought my connection was bad because I thought the final song was backing itself up with how it kind of starts and stops. The drums sound fantastic on here and the vocals are all really great.