KING CRIMSON: "Lark's Tongues In Aspic"

Original released on LP Island ILPS 9230

(UK 1973, March 23)

King Crimson reborn yet again - the then-newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time - though some of it actually dated (in embryonic form) back to the tail-end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering yet melodic bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes. (Bruce Eder in AllMusic)

KING CRIMSON: "Lizard"

Original released on LP Island ILPS 9141

(UK 1970, December 11)

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 in AllMusic)

KING CRIMSON: "Islands"

Original released on LP Island ILPS 9175

(UK 1971, December 3)

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 Letters" 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 in AllMusic)

KING CRIMSON: "In The Wake Of Poseidon"

Original released on LP Island ILPS 9127

(UK 1970, May 15)

"In the Wake of Poseidon" is the second studio album by English progressive rock group King Crimson. The album was recorded during instability in the band, with several personnel changes, but repeats the style of their first album, "In the Court of the Crimson King". As with their first album, the mood of "In the Wake of Poseidon" often and quickly changes from serene to chaotic, reflecting the versatile musical aspects of progressive rock. To date the album is their highest-charting in the UK, reaching number 4.

Produced and directed by Robert Fripp & Peter Sinfield for E.G. Records
Recording Date: January-April, 1970, at Wessex Sound Studios, in London
Engineer: Robert Thompson

Release Date: 15 May, 1970
Island ILPS 9127 (UK)
Atlantic SD 8266 (US)

PERSONNEL:

Robert Fripp: Guitar, mellotron and devices
Greg Lake: Vocals
Michael Giles: Drums
Peter Giles: Bass
Keith Tippet: Piano
Mel Collins: Saxes and flute
Gordon Haskell: Vocal on "Cadence and Cascade"
Peter Sinfield: Words

THE LYRICS:

A1. PEACE - A BEGINNING 
       (Fripp/Sinfield)

I am the ocean
Lit by the flame
I am the mountain
Peace is my name

I am the river
Touched by the wind
I am the story
I never end

A2. PICTURES OF A CITY (including 42nd at Treadmill)
       (Fripp/Sinfield)

Concrete cold face cased in steel
Stark, sharp, glass eyed, crack and peel
Bright, light, scream, beam, brake and squeal
Red, whites, green, whites, neon, wheel

Dream, flesh, love, chase, perfumed skin
Greased hand, teeth, hide, tinseled sin
Spice, ice, dance, chance, sickly grin
Pasteboard, time, slot, sweat and spin

Blind stick, blind drunk, cannot see
Mouth dry, tongue tied, cannot speak
Concrete, dream, flesh, broken shell
Lost soul, lost trace, lost in hell

A3. CADENCE AND CASCADE
       (Fripp/Sinfield)

Cadence and Cascade
Kept a man named Jade
Cool in the shade
While his audience played

Purred, whispered, "Spend us too
We only serve for you"

Sliding, mystified
On the wine of the tide
Stared pale-eyed
As his veil fell aside

Sad paper courtesan
They found him just a man

Caravan hotel
Where the sequin spell fell
Custom of the game

Cadence oiled in love
Licked his velvet gloved hand
Cascade kissed his name

Sad paper courtesan
They knew him, just a man

Cadence and Cascade
Cadence and Cascade
Cadence

A4. IN THE WAKE OF POSEIDON (including Libra's Theme)
       (Fripp/Sinfield)

Plato's spawn cold ivy eyes
Snare truth in bone and globe
Harlequins coin pointless games
Sneer jokes in parrot's robe

Two women weep, Dame Scarlet Screen
Sheds sudden theater rain
Whilst dark in dream the Midnight Queen
Knows every human pain

In air, fire, earth and water, world on the scales
Air, fire, earth and water, balance of change
World on the scales on the scales

Bishop's kings spin judgment's blade
Scratch, "Faith", on nameless graves
Harvest hags Hoard ash and sand
Rack rope and chain for slaves

Who fireside fear fermented words
Then rear to spoil the feast
Whilst in the aisle the mad man smiles
To him it matters least

Heroes hands drain stones of blood
To whet the scaling knife
Magi blind with visions light
Net death in dread of life

Their children kneel in Jesus till
They learn the price of nails
Whilst all around our mother earth
Waits balanced on the scales

B1. PEACE - A THEME - instrumental

       (Fripp/Sinfield)

B2. CAT FOOD

       (McDonald/Fripp/Sinfield)

Lady Supermarket with an apple in her basket

Knocks in the manager's door

Grooning to the muzak from a speaker in shoe rack

Lays out her goods on the floor

Everything she's chosen is conveniently frozen

Eat it and come back for more

Lady Window Shopper with a new one in the hopper

Whips up a chemical brew

Croaking to a neighbor while she polishes a saber

Knows how to flavor a stew

Never need to worry with a tin of 'Hurri Curri'

Poisoned especially for you

No use to complain

If you're caught out in the rain

Your mother's quite insane

Cat food, cat food, cat food again

 

No use to complain

If you're caught out in the rain

Your mother's quite insane

Cat food, cat food, cat food again

Lady Yellow Stamper with a fillet in a hamper

Dying to finish the course

Goodies for the table with a fable on the label

Drowning in miracle sauce

Don't think I am that rude if I tell you that it's cat food

Not even fit for a horse

B3. THE DEVIL'S TRIANGLE (including Merday Morn - Hand of Sceiron  - Garden of Worm) - instrumental

       (Fripp/McDonald - Fripp - Fripp)

B4. PEACE - AN END

       (Fripp/Sinfield)

Peace is a word

Of the sea and the wind

Peace is a bird who sings

As you smile

Peace is the love

Of a foe as a friend

Peace is the love you bring

To a child

Searching for me

You look everywhere

Except beside you

 

Searching for you

You look everywhere

But not inside you

Peace is a stream

From the heart of a man

Peace is a man, whose breath

Is the dawn

Peace is a dawn

On a day without end

Peace is the end like death

Of the war

THE ALBUM COVER:

The work is called The 12 Archetypes or The 12 Faces of Humankind. The colour pictures were painted by Tammo De Jongh in 1967. 

The twelve faces in the picture are as follows:

1. The Fool (Fire and Water): The laughing man with a wispy beard.

2. The Actress (Water and Fire): The Egyptian girl with long pearl earrings and many pearl necklaces around her neck, she has tears in her eyes.

3. The Observer (Air and Earth): A scientist type person with round spectacles pushed up above his brow, mostly bald head with white hair at the sides; his left hand is held up to his chin, he looks thoughtful.

4. The Old Woman (Earth and Air): A woman with much wrinkled face wrapped up against the cold.

5. The Warrior (Fire and Earth): A dark and powerful warrior's face in blacks and reds. He wears a steel helmet, broad square face, open mouth with square teeth and a full black beard.

6. The Slave (Earth and Fire): A black African with large gold earrings and a ring through her nose; the lips are full and pink, the eyes half-closed, sultry and sensuous; the expression is warm and friendly.

7. The Child (Water and Air): A picture of innocence; a girl with delicate sweet smile and butterfly shaped bows at each side in her long golden hair; her eyes are large and watery and she has a delicate sweet smile on her mouth. She wears a gold chain, on the end of which is a small golden key.

8. The Patriarch (Air and Water): An old philosopher, with a long face and long white hair and long white beard and moustache; white bushy eyebrows; all around are shapes like flowers or snowflakes; the brow is furrowed upwards from the nose in a fan-like fashion.

9. The Logician (Air and Fire): A scientist or wizard type man with long face, dark hair and long dark beard; he appears to hold a long stick or wand with his right hand and his left is held aloft and surrounded by stars.

10. The Joker (Fire and Air): The picture in bright reds and yellows is of a smiling twinkle-eyed Harlequin with his typical gold-stuccoed, triangular hat.

11. The Enchantress (Water and Earth): A sad girl with watery eyes ; her long dark  hair is blown sideways across her face and brow from right to left.

12. Mother Nature (Earth and Water): Lying asleep in the long grass; their face in silhouette is viewed from the left side and all around are the flowers and butterflies.

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. (Bruce Eder in AllMusic)

KING CRIMSON Debut Album

Original released on LP Island ILPS 9111

(UK 1969, October 10)

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 in AllMusic)