IN THE COURT OF THE CRIMSON KING

How is one to begin a criticism to this plate? A criticism to the plate, of which one can probably say that it is first, which the designation "progressive skirt" - plate really earns, the plate, of which some state that them justified this category at all only as such. That "in The Court OF The Crimson King" volume had an unbelievable influence on the development many, from "genesis" over "Van of the Graaf generator" is unquestionable to "Yes". If a Prog plate earned the designation "classical author", then these: Vision, talent, perfection relating to crafts, outstanding sound, innovation. Also today it is still simply amazingly, like far "Court" sound moderate and kompositorisch ahead its time was - finally one wrote the year 1969 with its appearance only. And with a produced debut the volume from loud Nobodies, which did not have to exhibit a considerable prehistory in the skirt circus. So many category characteristics are here already in front taken: the notorious Mellotron, virtuose instrument old hurry, vielteilige long pieces, fantastic surreale texts, prätentiöse sub-titles, expanded improvisations, contrast of cracking electrical and gently pastoralen places, combination of classical and jazz influences with skirt mode of expression. And too all a mysterious, equally disturbing as fascinating Cover. And disturbing the plate begins: after some seconds more quietly, hardly audible noises breaks the thunderstorm in the form of "21st Century Schizoid one" over the listener inside: cracking a sluggish violent reef with distorted Vocals, then suddenly drive instrument-oldhurry with to date never belonged accurate Unisono Riffing the entire volume, diagonal Soli by guitar and honking Sax, those to be back led to the hard initial part. The "King Crimson" - Song at all, which was identified in such a way with that volume that guitarist swore Robert Fripp sometime to never play him again which it did not keep naturally. And the contrast to the following "I talc ton of The wind" could be hardly larger: gentle flutes, calm singing, dabbing guitar, clarinet company, flowing Schlagzeug, beautiful flute-solo. Afterwards the tendencyful, unbelievably melancholische, nevertheless strong, hymnische "Epitaph" with swelling Mellotron, orchestraler Percussion and mad singing of Greg Lake, which perhaps already delivered the best singing achievement of its long career on this plate. An individual participant out these volumes to lift out is not possible. This plate is thoroughly a "Group Effort". Naturally: the whole plate over inspires Michael Giles' imaginative, playful, but never importunate, always accurate impact things play. Ian McDonalds of Holzbläser arts function in the tasteful company just like in strong and marvelously melodischen Solos and at the Mellotron build it the sound foundation for the majestic compositions. Greg Lake are alike strong and sensitively. Fripp accompanies gentle and rifft violently. But all this happens always embedded and perfectly integrated into the individual pieces. "Moonchild" mutates a spontaneous improvisation in the Studio between McDonald, Fripp and Giles, one of those moments after gentle, like out far far working beginning to a calm, free psychedelischen sound painting, in which - with Fripps words - which music the players took at hand. One moment, which requires of listeners concentration and readiness, but absolutely be worth-worth. The Intimität of the situation, the astonishment of the musicians over own doing provides for it (and that me now nobody which of because of "Genudel in love and indulgentes" walk!). And then the sudden transition to the majestic "to The Court OF The Crimson King", again with strong singing, mad impact things work and absolute goose skin effect in the hymnenartigen Refrain, which at the conclusion with honking key boards and distorted guitar is shifted and just as great as disturbing conclusion forms. Irgendwer said times: "Everyone does not like this plate, but everyone is impressed." That is probably correct. And after this milestone broke also promptly the first, for some only true "King Crimson" - formation, perhaps exhausted by the own creation. Indeed indicated Ian McDonald and Michael Giles as reason for their door the fact that them "King Crimsons" music was too dark too paranoid and that they wanted to make merrier and less dangerous and deflected Fripps offer that he instead of them the volume leave. Thus Fripp resumed the volume over verworrene ways and unsteady years. But as far the influence of this first formation handed, became with appearance of the "Epitaph" - box sets only really clear. It remains saying only one sentence: this plate belongs under all circumstances into a Prog collection, which is to earn this name. 14,95 DM, which one must lay out in good Plattenladen for it, are well invested. And at the latest, since that appeared 24 bit rem aster in the miniature LP Cover, one has really no more excuse not to call it its own. It is not my favourite plate, not even my favourite "King Crimson" - plate, but in all its majesty and innovation also today still another irreplaceable experience.