King Crimson In the Court of the Crimson King

Info about King Crimson - In the Court of the Crimson King
Artist King Crimson
Year 1969
Release Date
1. Jan 1969
Type
Studio Album
Play Time 43:46
Added by King Of Loss 13 years ago
Importance Key album
Info
9.1 x70
English/British Technical Experimental Prog Rock in Opposition
Reception
70 users rate this album 7.0 or better, nobody rates it lower. 43 users think it is prog, nobody thinks it is merely related to prog and nobody thinks that it's not prog. show details
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Comment by O666 4 years ago
9.6
Technical Experimental Prog Rock/Jazz
Exact Masterpiece. First "PROGRESSIVE" Album. You can find many styles in this album. The meaning of "Eclectic". I can't talk about this with words more.
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Comment by Time_Signature 12 years ago
9.5
Experimental Prog Rock
No wonder this is considered a prog masterpiece by many. The effective blend of dark rock, jazz, folk, pop and other musical genres is simply a stroke of genious. I wouldn't have any problems with each song being ten or twenty minutes longer.
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Review by OpenMind 12 years ago <Permalink>
9.3
Prog Rock
A classic of early prog rock. The grinding guitars, angular rhythms and unrelenting energy of "21st Century Schizoid Man" still sound fresh today. Indeed they continued to play this live for decades afterwards. "Epitaph" and "The Court of the Crimson King" are also iconic pieces of symphonic rock. The notorious Mellotron synth-orchestra sound takes centre stage here, as it would on countless future prog anthems. Although the underlying music is simple enough, it was their control of dynamics and sound that prevented these pieces from being pure stodge. The drum-rolls and Mellotron swells of "Epitaph" are perfectly-timed. But symphonic rock isn't just about Mellotrons - this track also has a fantastic sinister funeral march section on low woodwinds, courtesy of Ian McDonald.

It's only marred by the rambling of "Moonchild". After starting with a little pastoral acoustic song, this descends into several minutes of aimless stoned-sounding guitar and tuned-percussion twiddles. Peter Sinfield's spaced-out hippy lyrics are also at their most twee and dated here. "I Talk To the Wind" is much more tasteful - a pretty ballad whose flute solo and pastoral colour foreshadowed a lot of early Genesis.
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