King Crimson- In The Court Of The Crimson King

King Crimson were an English based Progressive Rock band that formed in London in 1968.  
 
The roots of King Crimson start pre-1969 with the light-weight, pop efforts of Giles, Giles & Fripp. After failing to get any gigs what so ever and receiving a dismal response from anyone who heard them, Pete Giles left. Around the end of 1968 Pete's brother Mike and Robert Fripp conceived King Crimson and added Ian McDonald on reeds, Greg Lake on bass and vocals and lyricist Peter Sinfield, who was McDonald's songwriting partner became the bands fifth member. King Crimson was born.
 
In July of 1969 King Crimson secured a spot on the Rolling Stones free concert in Hyde Park, playing before an estimated 650,000 people. Their use of mellotrons and classical influences electrified the crowd. This spot on the bill was most fortunate for the band.
 
In October of 1969, King Crimson released their debut album called "In The Court of the Crimson King". King Crimson created a dense and moody environment dominated by minor notes & minor chords. King Crimson certainly played with the symphonic arrangement but it was clearly a modern jazz influence that propelled the music. Sweepingly grand and majestic at one moment, only to descend into a discordant climax followed by a pastoral flute. King Crimson rode the gamut of musical emotion and fans loved it. There was always something sinister about their sound. Even during the most serene passages, you are left with the feeling that something dark and foreboding was just around the musical corner.
 
The album artwork is just as sinister as the music here. Painted by Barry Godber, red with fright, the face screaming out from the cover painting, appearing haunted by paranoia and trapped in isolation. The effect is eerie & uneasy, like the sound of the music.
 
Opening track "21st Century Schizoid Man" reveals a hybrid of rock, jazz, blues and classical music. Fluid guitar lines weave through hyper jazz rhythms, while a blaring sax and muffled voice pile on the dread. Finally, at the seven minute mark, the song crashes with the sound of twisted steel. An ugly heap of noise made of earthier stuff: Woods & strings.
 
The song "Epitaph" and the title track prominently feature the mellotron. The band writing specifically for the instrument. Haunting, eerie, mesmerizing, as these tracks take on a much more somber sound and delivery then the opening track. They are two beautifully dark compositions.
 
The albums gentler moments "I Talk to the Wind" and "Moonchild" showcase McDonald's ability as a composer and Fripp's grace and considerable jazz influence as a guitarist, especially in the latter's improvised half. Here the band is both mature & meticulous.
 
King Crimson reaches a new level of perfection, on what Peter Townsend from The Who called at the time "An uncanny masterpiece". The album, arguably the first progressive rock record peaked at Number 5 in the UK, while in the US it broke into the Top 30. King Crimson would then end their first year with a two month tour of the US.
 
To be continued...