In the Court of the Crimson King
|In the Court of the Crimson King|
|Studio album by King Crimson|
|Released||10 October 1969|
|Studio||Wessex Sound Studios, London|
|King Crimson chronology|
|Singles from In the Court of the Crimson King|
In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut album from the English rock band King Crimson, released on 10 October 1969 on Island Records in England and Atlantic Records in America. The album is considered to be one of the first and most influential of the progressive rock genre, where the band largely departed from the blues influences that rock music was founded upon and combined elements of jazz, classical, and symphonic music.
The album reached No. 5 on the UK Albums Chart and No. 28 on the US Billboard 200, where it was certified Gold by the Recording Industry Association of America. The album was reissued several times in the 1980s and 1990s using inferior copies of the master tapes. After the masters were located in 2003, a 40th-anniversary edition of the album was released in 2009 with new stereo and 5.1 surround sound mixes by Steven Wilson.
King Crimson made their live debut on 9 April 1969, and made a breakthrough by playing the Rolling Stones free concert at Hyde Park, London in July 1969, before an estimated 250,000 to 500,000 people.
Initial sessions for the album were held in early 1969 with producer Tony Clarke, most famous for his work with the Moody Blues. After these sessions failed to work out, the group were given permission to produce the album themselves. The album was recorded on a 1" 8-channel recorder at Wessex Sound Studios in London, engineered by Robin Thompson and assisted by Tony Page. In order to achieve the characteristic lush, orchestral sounds on the album, Ian McDonald spent many hours overdubbing layers of Mellotron and various woodwind and reed instruments.
Some time after the album had been completed, however, it was discovered that the stereo master recorder used during the mixdown stage of the album had incorrectly-aligned recording heads. This misalignment resulted in a loss of high frequencies and introduced some unwanted distortion. This is evident in certain parts of the album, particularly on "21st Century Schizoid Man". Consequently, while preparing the first American release for Atlantic Records, a special copy was made from the original 2-track stereo master in an attempt to correct some of these anomalies. (The analog tape copying process usually results in generation loss.) From 1969 to 2003, this second-generation "corrected" copy was the source used in the dubbing of the various sub-masters used for vinyl, cassette and CD releases over the years. The original, "first-generation" stereo masters, however, had been filed away soon after the original 1969 mixdown sessions. These tapes were considered lost until 2003.
Barry Godber (1946–1970), a computer programmer, painted the design for the album cover. Godber died in February 1970 from a heart attack, shortly after the album's release. It was his only album cover; the original painting is now owned by Robert Fripp. Fripp had said about Godber:
Peter brought this painting in and the band loved it. I recently recovered the original from [managing label E.G. Records's] offices because they kept it exposed to bright light, at the risk of ruining it, so I ended up removing it. The face on the outside is the Schizoid Man, and on the inside it's the Crimson King. If you cover the smiling face, the eyes reveal an incredible sadness. What can one add? It reflects the music.
|All About Jazz|||
In the Court of the Crimson King initially received mixed reactions from critics. Robert Christgau called the album "ersatz shit". The review from Rolling Stone was favorable, writing that "[t]hey have combined aspects of many musical forms to create a surreal work of force and originality". The album has since attained a classic status, with AllMusic praising it "[a]s if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock" in its original review by Lindsay Planer, and calling it "definitive" and "daring" in its current review.
In his 1997 book Rocking the Classics, critic and musicologist Edward Macan notes that In the Court of the Crimson King "may be the most influential progressive rock album ever released". The Who's Pete Townshend was quoted as calling the album "an uncanny masterpiece". In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came fourth in its list of "40 Cosmic Rock Albums". The album was named as one of Classic Rock magazine's "50 Albums That Built Prog Rock". In 2014, readers of Rhythm voted it the eighth greatest drumming album in the history of progressive rock. In 2015, Rolling Stone named In the Court of the Crimson King the second greatest progressive rock album of all time, behind Pink Floyd's The Dark Side of the Moon. The album is also featured in the book 1001 Albums You Must Hear Before You Die.
In the Court of the Crimson King was reissued several times in the 1980s and 1990s through Polydor and E.G. Records, with pressings made from copies that were several generations removed from the stereo sub-master tape. This resulted in sub-par audio quality and audible tape hiss. In 1999, Virgin Records released a 30th Anniversary 24-bit remastered edition of the album.
In 2003, the first-generation stereo master tapes were rediscovered in a storage vault. A year later, the album was released on CD with the High Definition Compatible Digital encoding format, described as the "Original Master Edition", on Fripp's Discipline Global Mobile label with improved sound quality compared to previous editions. A 12-page booklet is included. In October 2009, Fripp collaborated with musician and producer Steven Wilson to remix the original 8-track master recordings in a new stereo and 5.1 surround sound mix, released as the album's 40th Anniversary edition. The album was sold as three different packages: a two-CD set with the old and new stereo versions, a CD and DVD set with the new stereo and surround sound mixes, and a six-disc (5 CD/1 DVD) box with all mixes and bonus audio and video tracks.
|1.||"21st Century Schizoid Man (Including Mirrors)"||7:24|
|2.||"I Talk to the Wind"||6:04|
|3.||"Epitaph (Including March for No Reason and Tomorrow and Tomorrow)"||8:49|
|4.||"Moonchild (Including The Dream and The Illusion)"||12:13|
|5.||"The Court of the Crimson King (Including The Return of the Fire Witch and The Dance of the Puppets)"||9:26|
2009 40th Anniversary edition
|1.||"21st Century Schizoid Man" (2009 remix)||7:24|
|2.||"I Talk to the Wind" (2009 remix)||6:00|
|3.||"Epitaph" (2009 remix)||8:52|
|4.||"Moonchild" (Edited version; 2009 remix)||9:02|
|5.||"The Court of the Crimson King" (2009 remix)||9:20|
|6.||"Moonchild" (Full version)||12:13|
|7.||"I Talk to the Wind" (Duo version)||4:54|
|8.||"I Talk to the Wind" (Alternate mix)||6:34|
|9.||"Epitaph" (Backing track)||9:02|
|1.||"21st Century Schizoid Man" (2004 remaster)||7:23|
|2.||"I Talk to the Wind" (2004 remaster)||6:03|
|3.||"Epitaph" (2004 remaster)||8:48|
|4.||"Moonchild" (2004 remaster)||12:12|
|5.||"The Court of the Crimson King" (2004 remaster)||9:25|
|6.||"21st Century Schizoid Man" (Instrumental)||6:46|
|7.||"I Talk to the Wind" (BBC session)||4:40|
|8.||"21st Century Schizoid Man" (BBC session)||7:11|
|9.||"The Court of the Crimson King (Part 1)" (Mono single version)||3:22|
|10.||"The Court of the Crimson King (Part 2)" (Mono single version)||McDonald, Sinfield||4:30|
|Disc three ("The Alternate Album" (1–5) and original pink label UK vinyl transfer (6–10))|
|1.||"21st Century Schizoid Man" (Instrumental trio version)||7:07|
|2.||"I Talk to the Wind" (Studio run-through)||4:20|
|3.||"Epitaph" (Alternate version)||9:27|
|4.||"Moonchild" (Take 1)||2:20|
|5.||"The Court of the Crimson King" (Take 3)||7:14|
|6.||"21st Century Schizoid Man"||7:21|
|7.||"I Talk to the Wind"||6:03|
|10.||"The Court of the Crimson King"||9:22|
|Disc four (Tracks 1–7 recorded live at Hyde Park, London, England, 5 July 1969 and 8–11 live at Fillmore East, New York City, New York, November 1969)|
|1.||"21st Century Schizoid Man"||6:36|
|2.||"The Court of the Crimson King"||6:31|
|3.||"Get Thy Bearings"||Donovan||9:41|
|6.||"Travel Weary Capricorn"||5:37|
|8.||"The Court of the Crimson King"||7:52|
|9.||"A Man, a City"||12:19|
|11.||"21st Century Schizoid Man"||7:56|
|Disc five (US mono radio mixes)|
|1.||"21st Century Schizoid Man"||7:22|
|2.||"I Talk to the Wind"||6:04|
|5.||"The Court of the Crimson King"||9:27|
|6.||"The Court of the Crimson King" (Single edit)||2:19|
- Robert Fripp – electric and acoustic guitars, production
- Michael Giles – drums, percussion, backing vocals, production
- Greg Lake – lead vocals, bass guitar, production
- Ian McDonald – woodwinds (saxophone, flute, clarinet, bass clarinet), keyboards (Mellotron, harpsichord, piano, organ), vibraphone, backing vocals, production
- Peter Sinfield – lyrics, illumination, production
- The original album featured the following credit: "Produced By King Crimson for E.G. Productions – 'David & John'." David Enthoven and John Gaydon were the founders of EG Records, both of whom left the company during the 1970s. CD reissues from the 1980s removed "David & John" – the credit was restored in 1999 at Fripp's insistence.
- Robin Thompson – recording engineer
- Tony Page – assistant engineer
- Barry Godber – cover illustrations
|Canada Top Albums/CDs (RPM)||27|
|UK Albums (OCC)||5|
|US Billboard 200||28|
|Canada (Music Canada)||Platinum||100,000^|
|United Kingdom (BPI)||Gold||100,000^|
|United States (RIAA)||Gold||500,000^|
*sales figures based on certification alone
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