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In the Court of the Crimson King

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King Crimson 9/14/1999

Review

The group's definitive album, and one of the most daring debut albums ever recorded by anybody. At the time, it blew all of the progressive/psychedelic competition (the Moody Blues, the Nice, etc.) out of the running, although it was almost too good for the band's own good -- it took King Crimson nearly four years to come up with a record as strong or concise. Ian McDonald's Mellotron is the dominant instrument, along with his saxes and Fripp's guitar, making this a somewhat different-sounding record from everything else they ever did. And even though that Mellotron sound is muted and toned down compared to their concert work of the era (e.g., Epitaph), it is still fierce and overpowering, on an album highlighted by strong songwriting (most of it filled with dark and doom-laden visions), the strongest singing of Greg Lake's entire career, and Fripp's guitar playing that strangely mixed elegant classical, Hendrix-like rock explosions, and jazz noodling. Lineup changes commenced immediately upon the album's release, and Fripp would ultimately be the only survivor on later King Crimson records. ~ Bruce Eder
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  1. # Track Artist Length
  2. 1 21st Century Schizoid Man/Mirrors King Crimson 7:23
  3. 2 I Talk to the Wind King Crimson 6:5
  4. 3 Epitaph/March for No Reason/Tomorrow and Tomorrow King Crimson 8:46
  5. 4 Moonchild/The Dream/The Illusion King Crimson 12:12
  6. 5 The Court of the Crimson King/The Return of the Fire Witch/The Dance of the King Crimson 9:23

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