KING CRIMSON - LIZARD (1970)

 

As I mentioned before, there is general consensus among King Crimson fans about which four albums are classic and the top-tier albums. (However, I find as there are newer, younger fans coming to King Crimson this is something a little less settled than before.)

But I also indicated that my hypothetical fifth album shifts according to my present mood. For the past few months, it has been this album, Lizard. It is their third album, the follow-up to In the Wake of Poseidon, and the first full lineup change in their recording history.

I've always liked this album. Even when it was much less popular than it is today. I like the medieval folk cover art, its super jazzy compositions, but most importantly, for its epic jam, the title track, Lizard.

The core lineup for this album is:

Robert Fripp: guitars, mellotron, organ, and devices.
Mel Collins: saxophone, flute.
Gordon Haskell: bass, lead vocal.
Andy McCulloch: drums.
Pete Sinfield: lyrics.

With additional performers listed as:

Keith Tippett: piano.
Robin Miller: oboe, English horn.
Mark Charig: cornet.
Nick Evans: trombone.
Jon Anderson: lead vocal on "Lizard."

The recording and production of this album was tempestuous. Until recently, it was the album that Robert Fripp hated because of the experience. He has since softened his opinion of it and admitted that it is worthy after all. But the experience sundered his lifelong friendship with his mate, Gordon Haskell.

Lyrically, I think, this is Pete Sinfield's best work in the field of psychedelic wordplay. I like very much the first three tracks, but I will admit that they tend to blend together some for me. I like their jazzy vibe, and the lyrics (as I said), but they really feel like one song for me.

Cirkus (6:27) -- Indoor Games (5:37) -- Happy Family (4:22)

Then there's Lady of the Dancing Water (2:47), a sweet pastoral composition.

But for me the prize of this album is its last track, the title track:

Lizard and Bolero (23:25)

The track starts out as an oddly, out-of-joint song about . . . what? Well, there are some Shakespearean references to Polonius and some MND fairies, Prince Rupert, almost middle-eastern references to maybe Persian courts? I dunno. And, yes, Lizards . . . presumably lots of lizards. As with most of the King Crimson corpus to-date, until Larks' Tongues in Aspic, the lyrics really aren't the point.

Musically, there's Jon Anderson's falsetto vocals at which he excels. Some lush orchestration and then, boom . . . the Bolero. Like with Starless, the lyrical section exists to set up the extended instrumental section that follows. 

What we get is a long, jam session with exposition and cyclical development: notable for its instrumentation -- oboe, cornet and trombone accompanied by jangly, jazz piano throughout. It's a composition that, though rather long, you end up wishing it would never end. Superb!

Grade: Definitely like this album. As I said, a strong candidate for fifth album, let me call it as a B+.