I won't say much, because everything's been said. A thing I don't get is so much people raging after the instrumental part of Moonchild. Being a prog fan is sometimes hard, but this is not harder (well, less hard) to listen than contemporary music or most electro-acoustic music.
It's barely experiemental. A trick, picture yourself what you hear. Most of ELP fans knows what I'm talking about.
Let go your imagination, the jam will be more appreciable. This is a soothing jam, made to dream of what you want; even King Crimson rehearsing in front of you..
..(that's my trick.
..actually, I imagine myself on bass and let Lake sing alone.
.hee hee). Also, Bad Religion (skilled pop-punk band) inspired themselves from this album.
In fact, their guitarist Brett Gurewitz (owner and founder of Epitaph record!) wrote a song called ' 21st Century Digital Boy' (from the Stranger than Fiction album). It's actually a very good song.
Also, try the Moonchild reprise by The Doves on 'The Last Broadcast'. It's neat. If you have some more time, check out the cover done by Steve Hackett on the Tokyo Tapes DVD.
Wetton on bass/vocals, McDonald on flute and keys, Hackett on guitar and Thompson on drums. A real moment. Posted Wednesday, March 24, 2004, 19:38 EST |
Well this album represents the birth of Progressive Rock, even though actually these KING CRIMSON were a "Proto-progressive" band and a bit ingenuous at that time, with a Romantic orientation and such seminal ideas for the "Art-Rock" genre as well (nowadays under this label you find for instance bands such as Don CABARELLO, DJAM KARET and in some circumstances also the most known band from Island SIGUR ROS.
But - apart from these considerations - this surprising debut album contains a couple of stunning jewels such as "In the Court of the Crimson King" and "21st Century Schizoid Man", and also a couple of tepid songs (an exception is represented by the mythical "Epitaph"): for this reason the actual score of this work should be "3 stars and an half"; nevertheless its importance is worth the maximum score. Highly recommended in every kind of discography as an historical document, but from the artistic point of view is not completely essential, as well as the repetitive ballads inside!!
Posted Saturday, April 03, 2004, 11:22 EST |
Many say this is the very first progressive rock album. At least, it is certainly reasonable to believe it is among the first ones! For 1969, this record is outstanding and original.
legendary! There are some mellow delicate tracks like "I talk to the wind": it has relaxing flutes, placid vocals and gentle drums. "21st century schizoid man" has jazzy sax parts, OUTSTANDING fast and complex drums, and a very melodic, present and complex bass.
Fripp's electric guitar is mind troubling, already being bizarre and experimental. The unbelievably fast and loaded end of the track sounds a bit like the fast and free jazz album "Song X" by Pat Metheny. Greg's lead vocals are emotional and passionate.
Fripp uses peaceful guitars, mostly "Moonchild" is catchy and addictive, particularly Greg's voice. Fripp's guitar follows more the rhythm and the melody of this track, despite his electric guitar solos in the background are a bit irritating. One of the best tracks is definitely the last one, "The court of the crimson king", which has full of intensely floating mellotron, heroic backing vocals, soothing flutes, accessible guitar sounds and varied drums.
Near the end, there is an excellent childish part of woodwind Posted Sunday, April 11, 2004, 19:38 EST |
An eye-opening debut if ever there was, there was, there was. That bespectacled musical mage, ROBERT FRIPP, indeed assembled a court of kings for this adventure: MICHAEL GILES, GREG LAKE, IAN MCDONALD, PETER SINFIELD.
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