not so much for the logic, though, and not so much for the challenge or the thrill of creating it either. I did get a bit schizoid while trying to
figure it out. This is no less than one of my favourite album covers.
No. 95, Rate Your Music, The 100 Greatest Albums of All Time; No. 193, The Virgin All-Time Album Top 1000.
No. 9, Music Radar, The 50 Greatest Album Covers of All Time; No. 62, Rolling Stone, The 100 Greatest Album Covers.
Album cover design from a painting by Barry Godber. Album produced by King Crimson. Island 1969.
all of the progressive/psychedelic competition 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 (Robert) 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, 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 for All Music
(A) 21st Century Schizoid Man: Mirrors/I Talk to the Wind/Epitaph: March for No Reason, Tomorrow and Tomorrow
(B) Moonchild: I. The Deam, II. The Illusion/The Court of the Crimson King: The Return of the Fire Witch, The Dance of the Puppets
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