IN THE COURT OF THE CRIMSON KING

Arguably the first, and even more controversially the most monumental, progressive rock album of all time, King Crimson's debut album shook the music world in a way bands such as Led Zeppelin and Black Sabbath did around the same time. Landing on the map after a successful performance as a guest of the Rolling Stones at the 1969 Hyde Park Festival in London, King Crimson's eclectic fusion of jazz and psychedelic rock shook the rock scene to its core, creating the genre we know today as progressive rock.

King Crimson, formed in 1968 out of the ashes of the commercially unsuccessful proto-prog trio Giles, Giles, and Fripp, is no stranger to the average progressive rock fan, and in recent years, has seen a sort of a commercial resurgence as the internet allows younger listeners to discover what used to be a gem of obscure rock music. While the band's lineup was subject to constant flux, the one constant in the band's history is Robert Fripp, one of the most influential and underrated guitarists in rock history. However, Fripp is not the only name that stands out in the first generation of King Crimson; for those familiar with ELP, this band is where bassist/vocalist Greg Lake got his real start, and fans of the 80's pop rock band Foreigner may recognize multi-instrumentalist Ian McDonald as well. Flushing out the rest of the band, behind the drums was Michael Giles (his brother Peter would be kicked from the band to make room for Lake), and a dedicated lyricist/stagehand named Peter Sinfield.

Following the critical acclaim of the band's performance at Hyde Park (some footage exists of this performance, but it is very poor quality), interest in the band surged, and subsequently work began on King Crimson's debut studio album, released on the 10th of October 1969 on Island Records, titled "In the Court of the Crimson King". Besides the striking and unique album art, the music on this album was unlike anything heard before it. From the opening bars of the album opener "21st Century Schizoid Man", one can only imagine being awestruck by the maelstrom of sound in 1969, just at the dawn of what we consider "heavy metal". Blaring saxophone contrasts with heavy drums and distorted guitars, which give way to awfully distorted and mechanical vocals speaking lyrics of disillusionment and warfare. Indeed, a couple of the songs on this album were inspired by the political events of the time, namely the Vietnam War, which by this time had become extremely unpopular with the public. The brutal and cold nature of this song is complimented by frantic and dissonant jazz-inspired themes, which are explored in a lengthy middle instrumental where drummer Giles goes to work alongside a saxophone solo by McDonald. As if the initial riff didn't hammer the point down hard enough, it's almost as if when the band reprises it, it somehow gets heavier, making way for one more verse and the conclusion in a haze of noise. This is considered to be one of the most seminal compositions in progressive rock history, and if you haven't heard it yet, I recommend you stop reading and go do so.

Where "21st Century Schizoid Man" is Mr. Hyde, "I Talk to the Wind" is Dr. Jekyll. This is a more eccentric and calm piece, where the saxophone is abandoned in favor of the flute. It echoes more of the conventional yet pretentious proto-prog pop music that Giles, Giles, and Fripp played, and this should be no coincidence as this is a modified composition from that band. The distortion is lifted off of Lake's voice, allowing the listener to appreciate the dreaminess and delicacy of his lower range, augmented by introspective and provocative lyrics. But perhaps the most stunning thing that this composition brings to the table is King Crimson's confidence in switching between fast-paced heavy metal and slower more intricate psychedelic jazz. The innovation does not stop there however, as "Epitaph" follows up with a very emotional and striking performance that is sure to move any listener. It is here that King Crimson would make another pioneering achievement in rock music, utilizing the mellotron keyboard, which would become a staple of progressive rock in the coming years. The instrument is used to create a very baroque and dramatic backdrop to the disillusioned pessimism of Sinfield's lyrics, perfected by the impeccable vocal range of Greg Lake. This composition builds on the sounds made by bands such as the Moody Blues, and applies it in a melodic and gothic framework.

Perhaps the most controversial track on ITCOTCK is the twelve-minute, largely experimental "Moonchild". It begins with a two-minute theme that largely draws upon the melodic softness of "I Talk to the Wind", but after that it delves into a very minimalistic improvisational section. This is usually considered to be the only blemish on the album, and while I don't particularly enjoy this part of the song, I appreciate that the band was confident enough to compose such an abstract piece and include it on this album. In a way, this song serves as a prolonged introduction to the grand finale of the album, the incredibly eclectic title track. This song brings all of the themes and motifs that the listener has encountered so far and brings it together into an incredibly progressive and resonant performance. Perhaps no song better exemplifies the use of the mellotron on this album than it, as it is prevalent in the opening theme as well as the coda. The lyrics are medieval, yet surreal, existing in a separate universe from the dark and pessimistic themes experienced on "Schizoid Man" or "Epitaph", and it gives way to a very hallowing chorus that is sure to get stuck in your head. Just as with much of the rest of the album, the band makes sure to involve itself with heavy experimentation, and radical shifts in tone.

The amount of creativity and innovation would come to a head however, as King Crimson would fracture following the release of this album, with Giles, Lake, and McDonald leaving the band. ITCOTCK's immediate success caught the attention of keyboardist Keith Emerson, who would go on to snatch Lake for his own prog supergroup project ELP. While all three musicians would appear on the band's sophomore effort, they are credited as session musicians, with only Fripp and Sinfield being official members of the band. One could only wonder how much different the world of rock music would be today if Fripp didn't manage to keep the band together through this extremely tumultuous time.

ITCOTCK is one of, if not King Crimson's best works. Composed in a radical and unusual manner with respect to the rest of the music world at the time, it is by all means progressive in nature. As it is considered to be the first progressive rock album, it is most certainly essential and deserving of being in any respectable collection. Pretty much every song is essential to some degree, and I must stress that this is an album that is best consumed as a singular work, as tempting as it may be to split the longer compositions into individual listens. The only minor drawback is the relative blandness of the "Moonchild" instrumental; the only thing blocking this album from receiving a perfect rating.

OVERALL: 4.8/5

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