KING CRIMSON ( COURT OF ... ) ORIG 1969 psych PROG "1841 Broadway" VINYL lp NM-

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KING CRIMSON IN THE COURT  OF THE CRIMSON KING   1969 U.S. ATLANTIC Records LP # SD 8245

The gatefold cover has a spine split the original "1841 Broadway" labels and vinyl          are in NEAR MINT- condition.   1. 21st Century Schizoid Man/Mirrors: 21st Century Schizoid Man / Mirrors 2. I Talk to the Wind
3. Epitaph/March for No Reason/Tomorrow and Tomorrow: Epitaph / March For No Reason / Tomorrow And Tomorrow
4. Moonchild/The Dream/The Illusion: Moonchild / The Dream / The Illusion
5. The Court of the Crimson King/The Return of the Fire Witch/The Dance of the: In The Court of the Crimson King / The Return Of The Fire Witch / The Dance Of The Puppets   King Crimson: Greg Lake (vocals, bass); Robert Fripp (guitar); Ian McDonald (flute, clarinet, saxophone, keyboards, background vocals); Michael Giles (drums).KC's debut album introduced to the world a group that threw various '60s genres into a blender and set the results afire with a blowtorch. One of the pioneers of the progressive rock movement that began in the late '60s and flourished in the early '70s, King Crimson were arguably the most consistently creative bands in the genre. On IN THE COURT they blend wispy, Donovan-ish folk-rock with Wagnerian grandeur, mind-bending psychedelia and even a free jazz sensibility. Greg Lake's vocals are effectively theatrical but more restrained than in his later ELP work. Fripp was just learning how to make mincemeat of a chord progression, but he's alternately lyrical and frenetic as the moment requires.The extended jams on cuts like "Moonchild" are light-footed and inventive, never ponderous, thanks largely to the crisp, jazzy drumming of Michael Giles. "20th Century Schizoid Man'"s bone-crushing ensemble riffs and crazed solos were of a heft unprecedented in rock and roll. Most importantly, the trademark Crimson would stick to throughout their career is shown here; dynamic variations between soft/lyrical and raucous/experimental. This was seen not just between songs but in the drastic dynamic shifts between sections in a single composition.