King Crimson
Lizard
[EG]
The Crimson album that inspires the widest variety of opinions is the third, 'Lizard'. Robert Fripp himself hates this album, but I rather like it as a dive into colorfully fantastic realms before the hurtful machinations of the coming Great Deceiver lineup.
Only Fripp and lyricist Peter Sinfield remain from the original band, with an army of guest musicians joining in for a wild, improvisational ride. Sinfield's brightly colorful and detailed cover painting mirrors his lyrics, always interesting and daft, if perhaps getting a bit too artsy now.
The first side of the album is comprised of four songs with distinct personalities. "Cirkus" is a warped song with a heavy chorus riff and Mellotron use similar to the first two albums, but also containing more acoustic guitar picking, horn solos, and Andy McCulloch's fluttering jazz drumming. New frontman Gordon Haskell is not the singer Greg Lake was, and he must deal with Sinfield's imaginatively destructive, tongue twisting lyrics.
"Indoor Games" is a slyly humorous rock song with twisted lyrics about the perils of decadence. The middle of the song is itself decadent, lazily strolling along while giving lots of different instruments a chance to add their little comments.
"Happy Family" is the most jazz-influenced song yet. A shimmering electronic melody frames a long, jamming middle section colored by Keith Tippett's crazed piano clinking. The lyrics indignantly examine the decline of a certain well-known group of men; try to find them in the cover painting...
The first side ends with the brief ballad "Lady of the Dancing Water", a quiet number with gentle acoustic guitar and flute handling most of the work.
The title track is a Yes-style side-length epic. Jon Anderson even contributes his clear, elfin voice to the first subsection, "Prince Rupert Awakes". This may be the highlight of the album, with more elegant Tippett piano supporting the quiet verses, and everyone lending a hand to enhance the wonderfully melodic chorus.
The "Bolero" section carries that melodic momentum forward, using the accompanists in a more forthright way that better suits the essential rock character of the record. It gradually breaks apart into a full-blown jam, with several horns, including a trombone, going at it. The theme smoothly reemerges to close this movement.
"Dawn Song" quietly sets the stage for "Last Skirmish", a heavy, martial segment featuring memorable Mellotron and sax riffing over busy drumming. "Prince Rupert's Lament" is a plaintive and tragic Fripp guitar solo. "Big Top" follows it and ends the album with a brief but friendly circus atmosphere.
'Lizard' is an ambitious and brightly creative, but somewhat immature early fusion of jazz and prog rock. I enjoy most of it even though the band is not operating anywhere near its best.
© 2001 j.s.
Only Fripp and lyricist Peter Sinfield remain from the original band, with an army of guest musicians joining in for a wild, improvisational ride. Sinfield's brightly colorful and detailed cover painting mirrors his lyrics, always interesting and daft, if perhaps getting a bit too artsy now.
The first side of the album is comprised of four songs with distinct personalities. "Cirkus" is a warped song with a heavy chorus riff and Mellotron use similar to the first two albums, but also containing more acoustic guitar picking, horn solos, and Andy McCulloch's fluttering jazz drumming. New frontman Gordon Haskell is not the singer Greg Lake was, and he must deal with Sinfield's imaginatively destructive, tongue twisting lyrics.
"Indoor Games" is a slyly humorous rock song with twisted lyrics about the perils of decadence. The middle of the song is itself decadent, lazily strolling along while giving lots of different instruments a chance to add their little comments.
"Happy Family" is the most jazz-influenced song yet. A shimmering electronic melody frames a long, jamming middle section colored by Keith Tippett's crazed piano clinking. The lyrics indignantly examine the decline of a certain well-known group of men; try to find them in the cover painting...
The first side ends with the brief ballad "Lady of the Dancing Water", a quiet number with gentle acoustic guitar and flute handling most of the work.
The title track is a Yes-style side-length epic. Jon Anderson even contributes his clear, elfin voice to the first subsection, "Prince Rupert Awakes". This may be the highlight of the album, with more elegant Tippett piano supporting the quiet verses, and everyone lending a hand to enhance the wonderfully melodic chorus.
The "Bolero" section carries that melodic momentum forward, using the accompanists in a more forthright way that better suits the essential rock character of the record. It gradually breaks apart into a full-blown jam, with several horns, including a trombone, going at it. The theme smoothly reemerges to close this movement.
"Dawn Song" quietly sets the stage for "Last Skirmish", a heavy, martial segment featuring memorable Mellotron and sax riffing over busy drumming. "Prince Rupert's Lament" is a plaintive and tragic Fripp guitar solo. "Big Top" follows it and ends the album with a brief but friendly circus atmosphere.
'Lizard' is an ambitious and brightly creative, but somewhat immature early fusion of jazz and prog rock. I enjoy most of it even though the band is not operating anywhere near its best.
© 2001 j.s.