IN THE COURT OF THE CRIMSON KING

In The Court Of The Crimson King - the album that is widely accepted as that which started the whole progressive rock era - is as great as the reputation that precedes it, but it is not without fault. On the entire album, the band indulges themselves in their own brand of sonic doodling, most of which is satisfying: The airy flutes "I Talk To The Wind", the heavy riffs on "21st Century Schizoid Man", a little bit more here, a little bit more there and a little bit more in between - basically doodlings scattered around the entire album as King Crimson likes it to be.

The only problem for me though is when the sonic dabbling becomes excessive, as one point in the album proves. For the last 9 to 10 minutes of track #4 - Moonchild - the band engages in what I'd like to describe as "a weak and uninspired jam, which just happened to be recorded." It's a little bit of this and that, which really amounts to not much. What makes it stand out even, is that it's sandwiched between what are arguably the best moments on the album: The first 2 and a half minutes of that same song (a somberly beautiful piece of work), and the fifth and last song: The grand, majestic, eponymous finale.

However, with the exception of that questionable 9 minutes or so, the album is a five star album, which lives up to its reputation. ITCOTKC, as it is fondly abbreviated, is an essential album, which is able to condense a multitude of genres and styles: the intensity of heavy metal, the complexity of math rock, and the improvisational jazzy manner in which the music just grabs you and takes control. As the title tracks says "the yellow jester does not play, but gently pulls the strings" and I say we all become puppets once this record hits our ears.

The music never stops, never bores and will not let you go. It varies in emotion with confusion, sadness, fright and eventual majesty. You can bet that there is a surprise waiting at every corner In The Court of the Crimson King.