KING CRIMSON — In The Wake Of Poseidon (1970) Three Version (1988, Virgin Japan, VJD-28002 | Serie Big Artist Collection) + (1990, RM EG | Virgin Japan – VJCP-2302) + (2010, UK Discipline Global Mobile, KCSP2 | King Crimson 40th Anniversary Series) FLAC (image+.cue), lossless

King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album -- largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") -- is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure -- and played even better than before -- still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut. "The Devil's Triangle," which is essentially an unauthorized adaptation of "Mars, Bringer of War" from Gustav Holst's The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. [In March of 2000, Caroline and Virgin released a 24-bit digitally remastered job that puts the two Mellotrons, Michael Giles' drums, Peter Giles' bass, and even Fripp's acoustic guitar and Keith Tippett's acoustic piano practically in the lap of the listener.] Bruce Eder
Tracklist :
1. Peace - A Beginning (00:49)
Robert Fripp / Peter Sinfield
2. Pictures Of A City (including 42nd At Treadmill) (08:01)
Robert Fripp / Peter Sinfield
3. Cadence And Cascade (04:38)
Robert Fripp / Peter Sinfield
4. In The Wake Of Poseidon (including Libra's Theme) (07:58)
Robert Fripp / Peter Sinfield
5. Peace - A Theme (01:15)
Robert Fripp
6. Cat Food (04:54)
Robert Fripp / Ian McDonald / Peter Sinfield
7. The Devil's Triangle ((i) Merday Morn; (ii) Hand Of Sceiron; (iii) Garden Of Worm) (11:36)
Robert Fripp
8. Peace - An End (01:53)
Robert Fripp / Peter Sinfield
Credits :
Bass – Peter Giles
Drums – Michael Giles
Guitar, Mellotron, Electronics [Devices] – Robert Fripp
Lyrics By, Artwork By [Sleeve Design & Inside Painting] – Peter Sinfield
Piano – Keith Tippet
Producer, Directed By – Peter Sinfield, Robert Fripp
Saxophone, Flute – Mel Collins
Vocals – Greg Lake

KING CRIMSON — Lizard (1970) Two Version (1988, Virgin Japan, VJD-28019 | Serie Big Artist Collection) + (2009, UK, Discipline Global Mobile, KCSP3 | RM | King Crimson 40th Anniversary Series) FLAC (image+.cue), lossless

Released in December 1970, King Crimson's third studio album, Lizard, is often viewed as an outlier in the pioneering British prog outfit's nearly half-century discography. It's not easily grouped with 1969's stunning In the Court of the Crimson King debut and 1970 follow-up In the Wake of Poseidon, and along with 1971's Islands it's considered a transitional release on the band's path toward the relative stability of the Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974) trilogy. Plus, the Lizard sessions were difficult and the core group lineup acrimoniously collapsed immediately afterward, as bandleader/guitarist Robert Fripp, with lyricist Peter Sinfield, continued brave efforts to save King Crimson from disintegrating as the group's lengthy history was just getting underway. Even Fripp himself wasn't a big Lizard fan until he reportedly "heard the Music in the music" when listening to Steven Wilson's 2009 40th anniversary remix. Yet there are plenty of Crimson followers who place Lizard at the very apex of the group's recorded legacy -- and with good reason. Seamlessly blending rock, jazz, and classical in a way that few albums have successfully achieved, Lizard is epic, intimate, cacophonic, and subtle by turn -- and infused with the dark moods first heard when "21st Century Schizoid Man" and "Epitaph" reached listeners' ears the previous year.

Opener "Cirkus" is a cavalcade of menace, with vocalist Gordon Haskell intoning or declaiming Sinfield's phantasmagorical words over a kaleidoscopic musical backdrop, the song's ripping buzzsaw refrain alternating with warped funhouse jazz prominently featuring keyboardist Keith Tippett and saxophonist Mel Collins. "Indoor Games" is comparatively whimsical, with Collins' blurty sax almost comically up-front in the mix and crisp ensemble interplay in the middle section, while the singsongy "Happy Family" finds Sinfield's lyrics obliquely addressing the Beatles' breakup and "Lady of the Dancing Water" revisits the gentle terrain of "I Talk to the Wind" and "Cadence and Cascade." But the side-long multi-part title suite astounds the most. Guest Jon Anderson's choirboy vocals open "Lizard" with a feint toward the light and airy, but Haskell's brassy chorus suggests ritualistic precursors to dark goings-on. The suite then enters its "Bolero" movement, marked by Robin Miller's beautiful oboe and Fripp's swelling Mellotron, with a jazz interlude showcasing Collins, cornetist Mark Charig, trombonist Nick Evans, and a jagged and explosive Tippett, collectively free and even ebullient in their interplay but never fully breaking away from drummer Andy McCulloch's background rat-a-tat snare that foreshadows the howling maelstrom of "The Battle of Glass Tears." After the smoke clears, Fripp's sustained guitar notes cut through the funereal aftermath, dissolving into silence before the swirling "Big Top" coda brings the album full circle, suggesting Lizard's dark journey on an endless loop accelerating into the future. In 2016, lineup changes made it possible to include selections from this album in King Crimson's career-spanning live concerts, and with all the spectacular music on display, more than one audience member could be heard saying, "I came for Lizard." Dave Lynch
Tracklist :
1    Cirkus (Including Entry Of The Chameleons)    6:29
2    Indoor Games    5:40
3    Happy Family    4:24
4    Lady Of The Dancing Water    2:44
    Lizard    (23:23)
5.a    Prince Rupert Awakes
Vocals – Jon Anderson
5.b    Bolero - The Peacock's Tale    
5.c    The Battle Of Glass Tears (Including Dawn Song, Last Skirmish, Prince Rupert's Lament)    
5.d    Big Top    
Credits :
Bass Guitar, Vocals – Gordon Haskell
Cornet – Mark Charig
Drums – Andy McCulloch
Flute, Saxophone [Saxes] – Mel Collins
Guitar, Mellotron, Keyboards [Electric], Electronics [Devices] – Robert Fripp
Oboe, English Horn [Cor Anglais] – Robin Miller
Piano, Electric Piano – Keith Tippet
Producer, Written-By – Peter Sinfield, Robert Fripp
Trombone – Nick Evans
Artwork [Sleeve Conception], Written-By [Words And Pictures] – Peter Sinfield

KING CRIMSON — Islands (1971) Two Version (1988, Virgin Japan – VJD-28020 | Serie Big Artist Collection) + (2010, RM | King Crimson 40th Anniversary Series) FLAC (image+.cue), lossless

The weakest Crimson studio album from their first era is only a real disappointment in relation to the extraordinarily high quality of the group's earlier efforts. The songs are somewhat uneven and draw from three years of inspiration. "The Letter" is an adaptation of "Drop In," a group composition that was featured in the early set of the original Crimson lineup from 1969, while "Song of the Gulls" goes back to the pre-King Crimson trio of Giles, Giles & Fripp for its source ("Suite No. 1"). There are also a few surprises, such as the Beatles-like harmonies on the raunchy "Ladies of the Road" and the extraordinary interweaving of electric guitar and Mellotron by Robert Fripp on "A Sailor's Tale, which is one of the highlights of the early- to mid-period group's output. Some of the music overstays its welcome -- several of the six tracks are extended too far, out of the need to fill up an LP -- but the virtuosity of the band picks up most of the slack on the composition side: Collins' saxes and Wallace's drums keep things much more than interesting in tandem with Fripp's guitar and Mellotron, and guest vocalist Paulina Lucas' keening accompaniment carries parts of "Formentera Lady" that might otherwise have dragged. Bruce Eder
Tracklist :
1. Formentera Lady (10:14)
2. Sailor's Tale (7:21)
3. The Letters (4:26)
4. Ladies Of The Road (5:28)
5. Prelude: Song Of The Gulls (4:14)
6. Islands (11:51)
Credits :
Robert Fripp - Gguitar, Mellotron, Peter's Pedal Harmonium
and sundry implements
Mel Collins - Flute, Bass flute, Saxes and Vocals
Boz Burrell - Bass Guitar, Lead Vocals and Choreography
Ian Wallace - Drums, Percussion and Vocals
Peter Sinfield - Words, Sounds and Visions
With :
Keith Tippet - Piano, Paulina Lucas - Soprano, Robin Miller - Oboe, Mark Charig - Cornet, Harry Miller - String Bass

KING CRIMSON — Red (1981) Four Version (1987, Japan EMI-Toshiba, 32VD-1086) + (1988, Serie Big Artist Collection | Japan, Virgin, VJD-28021) + (1990, RM | Serie The Definitive Edition | Japan, Virgin, VJCP-2307) + (2013, USA | RM | 2CD | Serie King Crimson 40th Anniversary Series) FLAC (image+.cue), lossless

King Crimson fell apart once more, seemingly for the last time, as David Cross walked away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past – Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album – including "Starless," a cousin to the prior album's title track – and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors. Bruce Eder
Tracklist :
1. Red (6:17)
2. Fallen Angel (6:03)
3. One More Red Nightmare (7:10)
4. Providence (8:10)
5. Starless (12:17)
Credits :
Alto Saxophone – Ian McDonald
Bass, Vocals – John Wetton
Cornet – Marc Charig
Guitar, Mellotron – Robert Fripp
Oboe – Robin Miller
Percussion [Percussives] – William Bruford
Soprano Saxophone – Mel Collins
Violin – David Cross