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Rock music has the past forty years, and what belongs to the stage of his brilliant rise (late sixties) can be seen in a long time lucid perspective. In this view the album in question deserves to rise to perfect symbol of originality, diversity, and accessibility even in the conceptual complexity of the issues.
By the same token , however, it may be noted that King Crimson has in no way kept the expectations that followed this debut : as in many other cases in the history of rock (but blatantly here ) before the work is superb, followed a career for how interesting can not be held to its height.
The devoted fans will not be allowed to overshadow but here you are writing the Perfect Group that could be, and was, but only for a first album and then immediately go to pieces (temporarily back together for the second work 'In The Wake Of Poseidon') and then reconstitute itself in a thousand other ways around the figure of one of the five original pioneers of the project , guitarist Robert Fripp.
They are wrong about it many forcing the leadership of Fripp on production also in this album, the size of which is precisely due to the interaction between all five of the greatest talents of the group. To say, many do not know or do not take into account that the proverbial riff of '21th Century Schizoid Man', apocalyptic opening of the disc, was borne half by the singer bassist Greg Lake and the other half by the multi-instrumentalist Ian MacDonald, or that the magical 'I Talk to The Wind', so exquisitely in contrast with its flute-like sweetness after the fury schizoid man, it's all in the bag of flour McDonald, who will not play the guitar (with whom he had composed) just because already more than busy with mellotron, saxophones, flutes and pianos ... he is to understand clearly the leader compositional and instrumental onset of King Crimson , much of the guitarist.
And then ... Greg Lake and its strong romantic voice and catchy melodic ideas scattered everywhere, but especially in the two sensational Gothic frescoes 'Epitaph ' and 'In The Court ... ' show the stigmata of true predestined to great commercial success that will come to Soon with Emerson, Lake & Palmer.
So Fripp is a musician from the great technical skills and innovative with a strong personality but far from 'attractive', unable independently to develop that approach that allows the melodic and harmonic music, while 'engaged' to get to a lot of people and then sell hoards of disks.
The 'commercial' King Crimson end up with the second album ' ... Poseidon ', recorded when the horse had already left the barn, and never return. Very strange that people like Ian McDonald and drummer Mike Giles, so bright and safe and full of ideas over the years of his youth, he then had careers completely tasteless. Once again, the union was the strength and the abandonment of the two immediately after the American tour to support the album, closely followed by that of Lake who was convinced to accept the offer of Keith Emerson, he in my opinion a decisive blow to the true magic of Crimson.
Returning to close the disc in question, we can not say anything but good: essential in any progressive collection that claims a minimum of completeness, charming and strong right from the very well known and legendary cover, full of sinister atmospheres and then sweet and also all and two together, absolute showcase for this strange mellotron keyboard prerecorded tapes, a little out of tune and unreliable, with glacial and warm sounds together in their precarious electromechanical.
Work to know, to have, to listen to every now and then.

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