The Court of the Crimson King: Now in Session

I can remember that day well. It was January, freezing cold and gray. I went to Music Millennium looking for a particular album. When I found it and saw that bizarre cover staring back at me, I knew a life-long devotion was in the works. In my hands I held the initial induction to the legendary world of prog rock and King Crimson. The first album "In the Court of the Crimson King" was a landmark discovery for me. I bought it because Greg Lake was in this band. As it turned out, I thought that Crimson was probably one of the most astonishing acts of all time. "Epitaph" and "21st Century Schizoid Man" were pure classics overheated with energy and reverberating from ghostly cobwebbed hallways. The splendid cover art by Barry Godber was the topping on the cake.

"I Talk to the Wind" was an awesome piece not only for its tranquil pace and fine musicianship, but for the fact that a song like that could follow the mania of "Schizoid Man". The vocal harmonies of Greg Lake on this song were delicate and angelic, a trademark that would see him through EL&P. "Moonchild" was great, but my feeling was, and still is, is that they'd run out of gas on the overly long and boring filler section. Little did I know that I'd entered Frippland, an obscure galaxy in the constellation Prog. Finally, to apply a fine veneer of finesse to an already perfect LP, came "In the Court of the Crimson King." One of my favorite impressions of King Crimson was the feeling that nobody was the front man. Each member was like a player in an orchestra, no one contributor any more important than the next.

When "In the Wake of Poseidon" was released, I gobbled it like candy. The title track remains probably my favorite Crimson tune to this day. It was dramatic, beautiful, and perfectly rendered to vinyl. For me, this was Crimson's finest hour. The album came packaged in beautiful, medieval-esque cover art perfectly rendered to suit the mood of this work. "Cat Food" was another interesting piece, and I could easily sense Greg Lake's departure from the cover lineup as he added only vocals to this album. "Pictures of a City" was a great opener. Its middle section was like a fast-chase James Bond type of segue that was masterfully performed. "Cadence and Cascade" seemed to me a sincere attempt to re-create "I Talk to the Wind", especially since it followed a rocker like "Pictures." Actually, this entire album is an exact replica--formula-wise, to their first.

Upon the release of "Lizard", a truly unique LP was accompanied by a dazzling medieval cover painting that precluded the oddness of the LP itself. I saw a Lake-less Crimson, but still an entirely disciplined band.I truly felt that Greg Lake contributed so much to Crimson, but he was by no means, the heart and soul of the band. To truly appreciate King Crimson, thou must be willing to accept the influences of Robert Fripp, and let his unique guidance squire thee to worlds unknown. "Lizard" was an odd release, but still a gem. In fact, I think it's one of the finest, and most definitive prog albums ever. It soon became apparent that there was absolutely no limits to King Crimson. Whatever they tried, they mastered.