1,001 Albums Project #10: “In The Court of the Crimson King” by King Crimson (1969)
Bonus Album Recommendation: “Fantastic Planet” by Failure (1996)
Listening to this album was my introduction to King Crimson. All I really knew about them beforehand was that they were generally categorized under the “progressive rock” genre. Because of this, I was prepared to hear something akin to the band “Rush”: lots of odd-time signatures, loud guitars, and complicated/rapid/angular song structures. My expectations were quickly dashed.
Despite the aggressive (and instantly recognizable) opening riff of “21st Century Schitzoid Man”, the album as a whole is actually quite delicate, mysterious, and introspective. About half-way through the album, I started to wonder in disbelief at why King Crimson is considered prog rock at all?
Turns out that I probably had a skewed understanding of “prog rock” to begin with… I guess that’s what happens when you erroneously assign and define an entire genre as Rush’s catalogue.
Google defines “progressive rock” thusly:
These characteristics much more closely match this album. In particular, descriptors such as: long track lengths with extended instrumental sections, and classical influences certainly apply to In the Court of The Crimson King.
From where I sit now, King Crimson represents not what prog rock has become, but rather the fundamental combination of elements and the spearheading execution of their integration, which significantly influenced and/or altered the course of the genre.
Ultimately though, the whole “genre” point becomes moot when you learn that the band themselves are well-documented as consistently (and vocally) distancing themselves from the “progressive rock” genre. Buuut then again, the band’s lyricist Peter Sinfield, when interviewed about the band’s creative process, was quoted as saying:
“If it sounded at all popular, it was out. So it had to be complicated, it had to be more expansive chords, it had to have strange influences. If it sounded, like, too simple, we’d make it more complicated, we’d play it in 7/8 or 5/8, just to show off” — Peter Sinfield
So I’m not quite sure where that leaves us…
What I Liked About the Album
Album Cover
Before listening, I could not help but behold the epic album artwork:
This was supposedly a painting created by a relatively unknown artist, who died just months after the album was released. It was his only album cover. It perfectly matches and compliments the album/band name, as well as the music.
An altered version of this artwork recently surfaced (as a meme) on the heels of the viral dumpster fire that was the live-action Sonic the Hedgehog movie trailer, which was ultimately changed.
Music / Listening Experience
I love how dynamic this record is; there’s a little bit of everything — both stylistically, and instrumentally. I read a blurb from an old review that addressed the unique creative approach King Crimson took with In the Court of the Crimson King. I am roughly paraphrasing, but it said something along these lines:
“…the incorporation of antiquated sounds somehow results in something modern and fresh.”
Incorporated Styles: Rock, Jazz, Experimental, Classical
Instruments: (besides typical rock outfit):saxophone, flute, clarinet, bass clarinet, Mellotron, harpsichord, piano, organ vibraphone, and full orchestra
Lyrics
As impressive as the instrumental work of King Crimson is in this debut, I actually found the lyrical work of Peter Sinfield to be equally, if not more impressive! The lyrics were richly poetic, invoking vivid imagery, featuring clever word play (without over-utilizing it), and cohesively telling a story with each track. Because of all of this, my one major complaint with the album was that I wish the vocals were mixed higher! Here are some of my favorite lyrical passages in the album:
Confusion will be my epitaph / As I crawl a cracked and broken path / If we make it we can all sit back and laugh / But I fear tomorrow I’ll be crying
The gardener plants an evergreen / Whilst trampling on a flower / I chase the wind of a prism ship / To taste the sweet and sour
Cool Moments
- “I Talk to the Wind” is a drop-dead GORGEOUS song from beginning to end. Definitely a new favorite.
- I enjoyed and appreciated the seamless segues between the songs, giving the album great continuity.
- The drumming was stupendous. The drums themselves sounded dry, yet unique. I especially liked the mallet work on slower songs.
- “Moonchild” features a lengthy experimental free-improv section, which I was fascinated by. I was probably better prepared for these unconventional sounds after listening to Captain Beefheart’s Trout Mask Replica (writeup here) — it makes me wish that experimental music was a bigger part of modern prog!
Fun Fact
King Crimson opened for the Rolling Stones! In 1969! That crowd was probably like “whaaaaaat?”
Would I Listen To This Album Again?
Yes! I experienced a high “repeat listenability” quality. After listening through the album three consecutive times, I found each listening experience more enjoyable than the last. As lengthy as the tracks were, they never felt long or dragged out at all.
Bonus Album Recommendation:
A tragically under-appreciated album (and band) of the 90s, Fantastic Planet compares to In the Court of the Crimson King in its attention to sonic details, and its impressive musicianship & songwriting (“The Nurse Who Loved Me” hit me in a similar way “I Talked to the Wind” did)
The guitar effects featured in this album are mind-blowing and still sound futuristic 23 years later.
Next Album on the Docket from the Book: “1,001 Albums You Must Hear Before You Die”:
