IN THE COURT OF THE CRIMSON KING, 40TH ANNIVERSARY EDITION (5CD'S + DVD)

With hundreds of reviews already published, it is hard to be distinctive. So, I thought some observations about what has been said here and elsewhere is in order.

It has always been known that progressive music demands your attentions to truly be appreciated. This applies to all sub-genres, including New Age (a segment of progressive that has been unfairly blasted as being gentle, without form, without emotion, without substance, fluff or background music). As vizcarra@ms stated, this album and progressive music in general requires "?concentration, focused 100% in listening [to] the whole album". The best prog hits on a cerebral and emotional level. You can't dance to it (normally due to the time signatures). Your energy is being focused on listening to the music, not just hearing it, even if you could dance to it (The League of Gentlemen and KC's Neurotica are examples.)

Criticism abounds that progressive rock is heartless and unemotional. That is certainly an overstatement, applicable to a minor amount of music. IN the case of any genre, the best music moves your soul. Prog also challenges your mind. I cannot imagine a better example of the emotional aspect of prog than Epitaph. The whole album conveys emotion but Epitaph is the standout. Greg Lake's singing is very good and the instrumental work is superb. The Mellotron crescendo follwed by the nimble acoustic guitar work is particularly astounding. (As a sidenote, Greg Lake's singing an excerpt of Epitaph on the live version of Tarkus sends chills down my spine.)

When I first listened to the LP in 1969, I remember turning my head to the speakers, finding a place to sit and was enraptured by the sounds that emanated out.

If you have heard Giles, Giles and Fripp, you would know what a quantum leap this album represents. Gone are the very English pop /psychedelia / humor for serious / end of the world / proto metal crunching (a hint of this on Erudite Eyes). With purported initial sales of only 400, it would stand to reason that something had to change. Rodney Toad is banished for the 21st Century Schizoid Man. What made these individuals go from being just a footnote in the annals of rock to being one of the forerunners of something new, something uncharted in the rock genre? What was the catalyst? Was it technology advancements? Was it confidence in their muse and each other?

As happens in many cases (and as it appears in the case with KC) those involved in the development are unaware of the importance of their work. Providing the milestone for others to follow has a distinct disadvantage of not having many, if any, references to guide the way. Now, the group has become the standard bearer and has shown the way for others (and there have been legions of others) to follow.

Being at the forefront is also fraught with pitfalls and this LP doe have them. Many, many people have mentioned the tepidness of Moonchild ? the wandering (meandering) of the band after the singing ends and the guitar sustain fades away. Maybe that is why Robert Fripp removed it from the track on the Frame by Frame box set. As bapazian scored the track: intro 10/10, random improv 4/10.

Even though the reviews have been for In the Court of the Crimson King, there appears to be a discussion about which version of King Crimson was / is better. Of course this impacts on a person's view as to which KC album is considered the best. I think it may be the hardest to choose by those who started listening to the band from their onset. The choosing is so difficult because each KC period offered something completely different.

You have:

Giles, Giles and Fripp King Crimson (From In the Court of the Crimson King to Islands) King Crimson (From Lark's Tongue in Aspic to USA) King Crimson (From Discipline to Three of a Perfect Pair) King Crimson (Thrak) The ProjeKCts (A bridge between Thrak and the next period) King Crimson (From The Construction of Light to Level 5)

Each period of King Crimson has a masterpiece. It is like comparing apples and oranges as to which masterpiece is better. Why bother? In the Court of the Crimson King is the masterpiece for the first period. There are songs from other albums from that period that are as good as and maybe better than what is on this album. Fripp has stated that Bolero from the Lizard LP is his personal favorite from that period.

This album started the engines of Heavy Metal, Symphonic Rock, Progressive, Art Rock etc. It pointed the way for Italian Progressive Rock. All roads lead to the UK as Mecca for Progressive Music and King Crimson was pointing the way.

I have gotten the most recent incarnation of the album: the monstrous 5 CD + DVD-A set. There can be no complaint about the shear quantity and quality of the music provided, here. I have the Japanese version of the set with the mini-LP sleeves. The sleeves represent two UK pressings, a Canadian pressing, a pressing from Argentina, a US pressing that also contains three Promotional Copy stickers and the Japanese pressing with Obi strip.

The CD's are picture discs and if you align the discs, you get a partial picture of the face on the front of the sleeve. Very nice.

The sound is impeccable. Robert Fripp has always pursued the quality of the sound to be life like and to this end, he has succeeded wonderfully. Is there a different between this version (2009 and 2004) to the 30th Anniversary edition? Yes, indeed. Moonchild has been significantly remixed and the overall sound on both the 2009 and 2004 versions is a markedly improved, but that does not mean the gold disc version is terrible. On the contrary, if one did not have the updated versions, one may not notice any discernable degradation of sound. I have not heard the DVD-A version but from accounts of others, it is a wonder and that Steven Wilson has done a tremendous job.

Is it worth the money? That is a question that I cannot answer for anyone else but me. It is worth the cost for the sound, alone. The DVD-A is not region coded and can play in any region.

The first incarnation of the legendary King Crimson was Robert Fripp (guitar), Ian McDonald (reed, woodwind, vibes, keyboards, mellotron, vocals), Greg Lake (bass, lead vocals), Michael Giles (drums, percussion, vocals) and Peter Sinfield (words and illumination).

With a prolific cover and the music to match, In The Court of The Crimson King (1969) was destined for immortality and I think it's safe to say that the recording has reached that lofty status. To think for a moment that this cornerstone of progressive rock was a debut boggles the mind. Now when you hear it in dazzling 5.1 surround or any other mix you prefer actually, it will most certainly reconfirm how important this work was. They decided to cover all bases on the special 40th Anniversary Edition offering several different audio versions, alternate versions of tracks and video footage along with an enjoyable booklet to accompany this well packaged set. I do not think you will find a better version this great album at this point.

I found once again with this series of releases that the DVD was nothing but full of frustrations and with many issues. I was able to listen to the tracks in 5.1 surround sound at one point but beyond that it gets to where don't want to bother so I ended up listening to the CD several times. Listening to In The Court of The Crimson King time after time is never a problem, just a joy. Greg Lake's voice is distinguishable amongst world class musicians and it always has been. I think people tend to forget that before he became a superstar with his mates in ELP he did a few other things including being a founding member of King Crimson.

"I Talk To The Wind" and "Epitaph" shows how Lake's vocal style and the backing instrumentation echoed the Moody Blues dramatic orchestrated classic sound. In this case familiarity did not breed contempt; in fact the opposite effect took hold and this album received elevated international recognition.

"The Court of the Crimson King" is a majestic and unforgettable amalgam of rock and progressive variations ranging from beautiful flute interludes that stop and jump back into cascading guitars, bass, and keyboards while Lake's significant vocals tell the story, and oh so well. This music and all its trappings took you to places that live in only the mind's eye. Even if you were never one that had a good imagination songs like "The Court of the Crimson King" would allow passage to a wonderland that is normally reserved for preschool children that have yet to be corrupted by outside influences. That kind of innocence and purity is lost all too soon these days. The music found on this outstanding debut challenges the infinite possibilities of the mind. Yes, it is that good and anyone that enjoys progressive rock fused with elements of jazz and classical will appreciate one of the bookends of the progressive rock genre. Even a "21st Century Schizoid Man" could find a place to live inside this music.

4.5/5 Stars

Key Tracks: 21st Century Schizoid Man, The Court of the Crimson King, I Talk to the Wind

Keith "MuzikMan" Hannaleck

The 40th Anniversary of King Crimson's legendary debut album is a tour de force of 5 CDs and 1 DVD and a beautifully designed booklet. The debut album is arguably responsible for prog rock as we know it. Often quoted as the birth of prog rock, the album certainly encompasses all of the characteristics of the genre that we have grown to love: weird, jagged guitar licks, devastating drum time signatures that move outside the standard 4/4 rock signature, keyboards and mellotron pieces that balance the insanity, and all this punctuated by blazing blasts of saxophone that spiral out of control. In other words King Crimson at their best. The influences of Jazz are prominent throughout and the band are so tight the music tends to punch holes within the fabric of the musicscapes. It is easy to understand the impact of this music when one is confronted with the barnstorming power and innovation of "21st Century Schizoid Man" and there are many versions here to indulge in that I can never grow tired of. It is impossible to get through this colossal box set in one sitting but there is a lot here worthy of digesting. Mixed & produced by Steven Wilson, it is definitely a labour of love and it is wonderful to hear these unearthed treasures at last in their undeveloped formats through to the finished product.

Moving straight on to CD 3, one has to listen to the alternative takes of the studio recordings, and this was my first move; it was mesmirising. The trio version instrumental of "21CSM" is stunning, even without Lake's vox. It still exudes raw power and dynamism. "I Talk to the Wind" [studio run-through] is even dreamier without Lake crooning over as is "Epitaph" [alternate version]. The take of "Moonchild" [take 1] is actually better without the weird mid section of kanoodling, it is short and to the point, Lake mixed to the front noticeably.

It is great to hear the band members dialogue at the intro of the pieces, making it feel as though you were right there in the studio with them. "The Court of the Crimson King" [take 3] is totally different, more acoustic and no vocals at all. The acoustic treatment is interesting but I missed the Mellotron here. The flute does sound very nice though, more folk like in atmosphere throughout.

The next portion of CD 3 is the whole album as a de-clicked vinyl transfer of the first Island Records stereo UK pressing run. It is almost as if you can hear the vinyl crackling and this is how it was originally heard before all the remastering and studio fiddling so a nice touch to include it here. I could tell occasionally the differences from the remastered CD that I had heard mostly, especially the intro to "21st Century Schizoid Man", that is louder. The sax solo and Fripp's lead break are squeakier and very shrill which surprised me as I was not that impressed with the brain searing nails down the blackboard effect this had. At this point I will post in here some of my initial thoughts of these tracks as I reviewed them years ago. "21st Century Schizoid Man" has that distinct vocal transposer vox that make Lake sound like some terrible alien machine that is telling mankind where he is going wrong: "Politician's funeral pyre, Innocents raped with Napalm Fire." The feeling of alienation and a barren soundscape are exemplified in the way the song is structured. During the lyrics, a sense of minimalism is produced, then the wall of sound kicks in. The incredible sax and Robert Fripp's screaming guitar complement each other brilliantly throughout the opening half, and then it slows down for a moment before the time signature changes completely and there is an erratic saxophone that locks in and continues while a strange lead guitar howls and reverberates. One of the best things about this section is the way the music seems slightly off kilter, almost out of tune but not quite. There are moments where all instruments cease at once, pause and then begin on cue only to stop again in various rhythm patterns. It is quintessential listening for anyone interested in progressive rock. On this version the ending is as mind melting as the remaster and indeed sounds even more raucous and insane.

Following this maelstrom of sound, the album settles down surprisingly, for where else could it go, into a very melancholy type of song, 'I Talk to the Wind'. This features Ian McDonald's woodwind and the soft vocals of Greg Lake. On this version the vocals are mixed to the front, and it always seemed so safe and tranquil in comparison to the rest of the album, but I guess as a contrast it works well enough. 'Epitath' is a great track that has a symphonic component that is created with a heavy blend of mellotron, keyboards and vibes. The lyrics are thought provoking "the wall on which the prophets write is cracking at the seams, upon the instruments of death the sunlight brightly gleams, when every man is torn apart with nightmares and with dreams..." this is where prog rock got its reputation for thought provoking lyrics. The stanzas are confusing, though enlightening and the lyrics revitalise the music, rather than detract. The two cannot exist without the other and are of equal importance. Peter Sinfield was responsible for some of the most provocative lyrics of the prog movement and he is credited on this album for 'words and illumination' interestingly enough. This version is not too different but some elements jump out more.

'Moonchild' is the longest track, though Fripp trims 3 minutes off which suits me fine. The full version is available elsewhere. If you are into a band as experimental as King Crimson there are going to be moments in their repertoire that will infuriate you. Michael Giles drum patterns are interesting enough but unfortunately, as far as I am concerned, 'Moonchild' is way too indulgent, as more or less a jazz improvisation.

'The Court of The Crimson King' ends the album on a positive high note, although the album cover looks like the Crimson King is slowly being tortured to death. I absolutely cherish this song and it is one of the best prog tracks I have heard. Lake's vocals have never been better, and there are amazing flourishes of sweeping keyboards that send a chill down your spine. The sound goes from intense to very soft in waves and all is complimented by a stirring lyrical content: "The black queen chants the funeral march, the cracked brass bells will ring, to summon back the fire witch in the court of the crimson king."

Okay moving on, the box set has many versions of the classic debut. CD1 (in mini-lp sleeve of UK Island 2nd Pressing) is basically the whole album the way I have heard it many times over the years, though it is a 2009 version that Robert Fripp & Steven Wilson re-mixed from the original multi-track master tapes. There are some interesting new sounds emanating and it is noticeable for those who have heard this album many times. Then this is followed by very intriguing bonus tracks "Moonchild" [full version], the same as the CD remaster, "I Talk to the Wind" [Fripp and McDonald duo version], "I Talk to the Wind" [alternate take], "Epitaph" [backing track], "Wind session" [extracts from the session that produced the intro to "21st Century Schizoid Man"], and all alternative takes from the original studio session. This material is excellent and worth getting hold of outside of all the album versions and remixes.

CD2 (in mini-lp sleeve of Canadian Release with artist's name sticker on the front cover),is the whole album again re-mastered, and transferred from the original 1969 vinyl mix. It is followed by "21st Century Schizoid Man" [early instrumental recording], and BBC Radio 1 sessions of "I Talk to the Wind", from bootleg, and "21st Century Schizoid Man" from a BBC transcription disc]. After this is the "The Court of the Crimson King (Part 1 and 2)" which is the A-side and B-side from the original vinyl single, a broken up expurgated version. It is interesting to hear but not essential in my opinion as it is of questionable quality at times.

CD3 we have already visited but on CD4 (in mini-lp sleeve of Argentina release [name of album printed on the front cover] in original paper stock),there are some real treasures as we have a restored bootleg, recorded live at Hyde Park, London, 5 July 1969, featuring an incredible set with "21st Century Schizoid Man", "The Court of the Crimson King", "Get Thy Bearings", "Epitaph", "Mantra", "Travel Weary Capricorn", and "Mars". It is a bootleg quality sound similar to "Earthbound" but it is fantastic to listen to the Crims during this era. After this is another live set, Live at Fillmore East, New York, November 1969 featuring "The Court of the Crimson King", "A Man A City", "Epitaph", "21st Century Schizoid Man" and again it has drop out sin sound and is archival quality but in its restored state is very listenable, perhaps moreso than other live albums I have heard from this early period. It is great these have been captured for this set and they are the songs really worth returning to once you have become sick and tired of listening to the studio album over and over. Again the live tracks are a genuine drawcard to this box set that all Crimson addicts will gush over.

CD5 (in mini-lp sleeve of US promotional release [with artist's name sticker] in original paper stock, plus three stickers in the sleeve [two, one red and one yellow stating ) "Promotional d/j copy monaural Not For Sale" and the third, orange, stating "Promotional Copy Not For Sale"). This is very raw material of the recording of the album, as it is the mono album mix used for radio promotion only in the USA. As a rarity it is worth hearing and sounds weird without the stereo. At the end of the CD is the edited short version of "The Court of the Crimson King" used as a mono single mix for radio promotion in the USA. This is not a CD I would recommend outside the actual album remaster but again it is interesting in itself.

Finally the piece de resistance is the DVD (in mini-lp sleeve of original Japan release with Rock Age obi strip and original paper stock). Here we have the best sound you can get for this album. The 5.1 Surround Sound mixes available in DTS 5.1 are mixed & produced by Steven Wilson, and of course the sound is out of this world; and it must be played loud. The sound virtually envelops the room and it is very intense. The speakers literally boom with power when the sax solo grinds out during the 2ist solo. Even "Moonchild" sounds incredible here though I am still not a fan. Every instrument blares out strong in this format. Also there is a 24/48 High Resolution Stereo mix of the album, and a 24/48 High Resolution Stereo mix of alternative takes from the original studio session, which is CD3's alternative tracks in even better quality sound. The 24/48 High Resolution Stereo mixes of 2004 re-master, transferred from the original 1969 vinyl mix is here too from CD2. Finally there is some video and it is glorious to see; "21st Century Schizoid Man" from Hyde Park concert 5 July 1969. It is really the same as is seen on the ELP DVD with a bit extra; there was not much filmed back then unfortunately so this is all we can get. In essence the DVD is all you really need to hear the album at its best. Though it does not have the live concerts, perhaps as the quality is so archival.

The packaging is a real drawcard. The packaging is incredible full of innovative sleeve art that merges into one picture and lots of goodies that seal the deal for purchase. You may get sick of seeing the screaming face as it is on display on all the covers including the booklet, even the badges. The book looks similar to the album sleeve including the lyrics. It comes with 2 black and white photos on quality stock paper. The CDs have bits of the screaming face and back cover art work which is a nice touch as they are identified by this quite easily. The CD back covers make up the entire original artwork as much as the front covers make up the screaming face like a jigsaw. The booklet has tons of info on the making of the remaster and snippets of info on the making of the 1969 album. There are some photos but mostly just info and all worth a look while you are cranking the album for the tenth time. It has a diary of events leading up to the album and after, similar to the style in the 2 box sets "21st Century Guide to King Crimson". It has an examination of the Hyde Park concert and all the tour dates are here and a stirring essay about the changes of Prog Rock since the album was released.

In conclusion, the facts remain the facts, this album is the birth of progressive rock. If you like your prog jazzed up with a fusion of heavy mellotron, with saxophone interlaced with jagged guitar rhythms, you have to indulge. This album encompasses all that makes prog rock so enticing, and in a sense it captures all that made King Crimson one of the leading progressive masters, brilliant but flawed geniuses. It is an expensive set to get, though is available in a smaller package with all the alternative takes that may be enough for some listeners. Really the only CDs you need are the Live takes CD and the DVD which features best sound and all the alternative takes. In any case "The Court of The Crimson King ? 40th Anniversary Edition" is one of the most impressive box sets released, it is indulgent but for the interested progger, it is a must, along with the recent Pink Floyd Immersion Box Sets.

I never really knew, did I, what to expect when I first bought this album in the early 90's. How could I have? Up til that point in time I was heavily into jazz-rock, hard rock and folk but never knew, really, what progressive music was all about. This was all due for a mindblowing change.

This album has been reviewed and re-examined over and over again and what remains to be said? Really not all that much. Everything about this album screams the birth of progressive rock and never before, I would like to loudly proclaim, has there been a muscial product of such immense power and might as this one. It remains still the cornerstone of the progressive rock movement and rightly so.

Every aspect of this masterpiece signals prog and acts as the blueprint of an entire genre and it's sub-genres. From the very artwork, which has never been rivalled, to the name of the group and the title of the album and it's songs. Just being named King Crimson is as far as prog goes just as brilliant and unsurpassed as Black Sabbath in the metal world. The cover says it all. Dreamy and thought provoking, just like the music within.

So, having put forth nothing that hasn't already been said about the album itself, what is there to say about this box set? Quite alot. I have been living with this album for so long and it has been a very intense love affair, so I feel this box has so much to offer.

First, there is quite a number of mixes of the original album. There's the mix from 2004, 2009 and even a 5:1 one. That is all very grand and wonderful in itself but the true delight is in the bonus tracks. Listening to the BBC sessions on disc 2 is mindblowing and I find it so amazing to hear these quite different versions.

Secondly, the main reason for getting this box is the live recordings from 1969 (Hyde Park and Fillmore East). Not only do I get the chance to hear the material in a live setting, the year of the album's release but also some tracks rarely heard. "Get thy bearings" is amazing, as is "Travel weary capricorn". The songs "Mars" and "Mantra" is such a delight to listen to aswell. "A man and a city" is amazing to listen to, bearing in mind that it appears on the follow-up the next year. The song hadn't been released yet. That is mindboggling listening experiences all of them.

While a lot of the material in the box are remixes of the original album, along with a de-clicked vinyl transfer (made from one in Robert Fripp's own archive, if that isn't enough to make a grown man cry I do not know), the best pieces are the ones I have previously mentioned. While it may not be truly necessary to listen through all the mixes one have to bow in awe to the brilliance and contents of this box. The brilliance, the unsurpassed brilliance at that, is all too evident and I cannot but hail this as a box as being essential. True, if you are not familiar with this music I suggest you get one of those single CD:s out there. But if you like me adore this piece of progressive history you truly need to acquire this box. It gives this album all the exposure it deserves. Amazing.

Apart from the music there is also a lot of pictures and a very nice booklet to go through. The adding of pins, a couple of photos on high quality paper and a thoughtful design makes it all the more enjoyable.

Easily one of the finest and most essential boxes around.