For the introductory track “21st Century Schizoid Man” that captures this frantic nature and marching band styled break downs of percussion that is a rage of jazz influence. The horns that blast and melt the audiences’ faces are less heaven-sent and more of a spiritual awakening from within. King Crimson can jam and switch methods of time signature which creates two bookends of tracks throughout the record. These bookends form with both the first track “21st Century Schizoid Man” and the final track “The Court Of The Crimson King” which are the grand opening and finale of the record.
The way that King Crimson is covered by five instrumentalists and writers holds this council of overarching talent on the storyboard. Robert Fripp covers the electric and acoustic guitars, which then forms Michael Giles as the percussion leader and backing vocals. As Greg Lake handles the leading vocals and bass guitar, Ian McDonald is in full
As the three middle pieces “I Talk To The Wind,” “Epitaph,” and “Moonchild” begin to play out before the listener, there is this vibrancy to the tracks that is more underneath the surface and desires a more profound look. These three tracks hold intricacies that are easily missed when going through on a single listen and in The Court Of The Crimson King is a record that will easily demand multiple listens to fully capture every piece of the puzzle. From the storytelling elements to the grand exposure to the frames of the record, In The Court Of The Crimson King is almost overpowering at first glance.
Then as the listener is able to step back in observation, King Crimson reveals this renaissance oil painting of levels upon levels of detail. Time has since pressed on and In The Court Of The Crimson King pushes now 50 years later, somewhere in this mystical land surrounded by an iron hand, the screams of the Schizoid Man can still be heard through those melancholy eyes.