King Crimson Red

Panegyric proudly present the 50th anniversary edition of the King Crimson classic album Red. Features completely new Dolby Atmos, 5. 1 DTS-HD Master Audio Surround & Stereo mixes by Steven Wilson taking the music to new levels of clarity & power. 'Red' was one of the earliest mixes undertaken by Steven Wilson in 2009 & King Crimson was the first of a number of classic band's & artists to be mixed by Steven so it's entirely appropriate that he return, some 15 years later, to take the album into the Dolby Atmos era.

The CD features the original album, plus three extra tracks (stunning pre-overdub trio versions of Red & Fallen Angel and the full version of Providence).
King Crimson fell apart once more, seemingly for the last time, as David Cross walked away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past - Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened)…

Released in December 1970, King Crimson's third studio album, Lizard, is often viewed as an outlier in the pioneering British prog outfit's nearly half-century discography. It's not easily grouped with 1969's stunning In the Court of the Crimson King debut and 1970 follow-up In the Wake of Poseidon, and along with 1971's Islands it's considered a transitional release on the band's path toward the relative stability of the Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974) trilogy. Plus, the Lizard sessions were difficult and the core group lineup acrimoniously collapsed immediately afterward, as bandleader/guitarist Robert Fripp, with lyricist Peter Sinfield, continued brave efforts to save King Crimson from disintegrating as the group's lengthy history was just getting underway…

Retailing at around $90 for less than three hours of music, this Japanese import seems designed to test the most die-hard King Crimson fan. That's not the half of it, because the truth is, it's also a very good set, up to a point. The most notable element here is the presence of the first decent body of concert work by the early 1972 lineup of Boz Burrell-Mel Collins-Ian Wallace, which was the band that most fans ever got to see, among all of the early incarnations of the group. Add on the presence of a killer early performance by the John Wetton-Bill Bruford band, and one of the earlier extant shows of the group's original lineup, from the Marquee Club, and the package seems unbeatable - and pretty much, it is. Disc one contains a July 1969 Marquee Club show, made off of an audience tape…

A 2019 addition to the popular Tour Box series, originally created for concert venue sales on King Crimson’s 2019 European tour. As with previous releases in the series, the full variety of King Crimson’s music is presented over 2 CDs with extracts from rehearsals, new live recordings, elements from studio recordings, full tracks, alternate takes and finished recordings from 1969-2018.

Retailing at around $90 for less than three hours of music, this Japanese import seems designed to test the most die-hard King Crimson fan. That's not the half of it, because the truth is, it's also a very good set, up to a point. The most notable element here is the presence of the first decent body of concert work by the early 1972 lineup of Boz Burrell-Mel Collins-Ian Wallace, which was the band that most fans ever got to see, among all of the early incarnations of the group. Add on the presence of a killer early performance by the John Wetton-Bill Bruford band, and one of the earlier extant shows of the group's original lineup, from the Marquee Club, and the package seems unbeatable - and pretty much, it is. Disc one contains a July 1969 Marquee Club show, made off of an audience tape…

King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album - largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") - is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure - and played even better than before - still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut…

The CD features a new stereo mix plus bonus tracks including the ultra-rare (performed once only) Guts on My Side.
Starless and Bible Black is even more powerful and daring than its predecessor, Larks' Tongues in Aspic, with jarring tempo shifts, explosive guitar riffs, and soaring, elegant, and delicate violin and Mellotron parts scattered throughout its 41 minutes, often all in the same songs. The album was on the outer fringes of accessible progressive rock, with enough musical ideas explored to make Starless and Bible Black more than background for tripping the way Emerson, Lake & Palmer's albums were. "The Night Watch," a song about a Rembrandt painting, was, incredibly, a single release, although it was much more representative of the sound that Crimson was abandoning than where it was going in 1973-1974…