Notes and Quotes: "Twenty-first Century Schizoid Man"

Cover painting by Barry Godber

The first sounds one hears on this album are of soft and eerie electronic music (possibly imitating the currently popular recording of Henri Pousseur's Trios visages á Liége) to set the dark mood. The satanic message (the Crimson King is satan) is a continuation of the kind of apocalyptic message found in Donovan’s "Hurdy Gurdy Man." Reality is in trouble.

The musicians imitate the free jazz of the era: the tight unison solos, the emphasis on rhythm, and the emphasis on "free" improvisation mark this as an example of the jazz rock that was emerging in the late 60s in American popular music (c.f., Blood, Sweat, and Tears). The middle of the recording, "Mirrors," is a separate jazz performance in a different meter with its own themes and improvisatory solos.

In contrast to the preference for simple recording environments and recordings that we saw with groups like Blind Faith, King Crimson take the other path. They multiple track most of the instruments and mask Greg Lake's voice so much that without the printed text you would probably not know what he was saying. Nevertheless, even with all its sophistication, this recording still has an AABA organization, albeit, dramatically extended.

Schedule

13 April, 2012