Lizard: 40th Anniversary Series

I have always been a fan of King Crimson‘s Lizard. Everything that you have heard about the 5.1 remix that Steve Wilson did with Robert Fripp is true. This beast of a record is mind blowing in 5.1 surround! Where to begin, there is so much to unpack. The listener will discover a treasure trove of sounds had been hiding in the prior mix.Even BIG TOP will get a listener’s attention as it has become a parade of nightmares that starts on the listener’s right, marches through the listener’s skull and then marches off to the listener’s leftI’ve added the picture to my review just in case others have the same problem that I encountered after unwrapping. The slip case consists of a material that is much lighter than the material found on the slip case for In the Court of the Crimson King and the Reconstruction of Light. It was darn near impossible to get the disk set out of the slip case, even when pushing from other end. Eventually I did get it out of the slip case; my wife came up with this great idea of wrapping a ribbon around the digipak and then leaving a couple of pieces out where the disc could be pulled out using the ribbon. I’m sure that eventually there will be enough wear on the cardboard and I won’t need the ribbon any longer. I wonder why they used this flimsy stuff for Lizard. Annoying.

Marty posted a great review, and I would like to add some points. I'm one of those King Crimson fans that was a huge fan years ago (even before CD's), and I'm getting back to them again. What I remember of this album is that it was my least played Crimson album (and I had all of them), with the possible execption of Earthbound, which just sounded crappy - and even Fripp will admit that!My used copy of the Lizard LP was bought around 1987. It has a lovely shiny cover with a horribly scratched record - So scratched I had to add a gram of weight to the needle to overcome a skip in the title track. I made a point to play this old record before I listened to this 5.1 DTS version that arrived in the mail last night. What a huge, huge contrast. On this new DVD you can pick up every instrument's tiny little nuance. And every instument has it's place in the 3D space of your listening room - and sometimes they move about in a natural manor consistant with the orignal stereo recording. Just like DVD-A of "In the Court of the Crimson King", the recording is clear, crisp, and detailed, with no pops, hiss, hum, wow or flutter. Amazing since the tapes used were 40 years old. I have to add that I'm having a hard time believing what I'm hearing - I'm hearing detail and instruments that were completely lost in that old scratchy record of mine. Just for fun, pull down the levels on all but one rear speaker and you will see what I mean.I certantly have a new appreciation for this underdog Crimson album. It really is a great disk - it's like I've discovered it for the first time. I'm seriously impressed with everthing about this re-issue. The sound, especially, but the packaging, booklet, and bonus tracks on the disks are great. The only thing missing is a concert video like Red 5.1 has - of course there may not be one available since this lineup broke up soon after the recording was made.A really top-notch product here. I highly recommend it!

For those who were bludgeoned into submission by "In the Court....", and puzzled by the blandness of "In the Wake...", "Lizard" was even more perplexing when initially released in 1970.Pointy rythms, discordances, (a not yet famous) Jon Anderson's elfin vocals, and strident mellotron, and a perception of discontinuity and stuff being chucked about by some musical poultrgeist!Enter Steven Wilson and digital wizzardry.Robert Fripp's unloved child become a prodigal son.40 years later, I'm gratified that a true afficionado has taken this work and created the most wondrous sonic make-over...every bit as good as the "Aqualung" effort.I agreed with the criticisms of Lizard at the outset, but maintained what some saw as a perverse love of it.Steven Wilson has peered into the soul of this work, finding its true meaning, and made out of the master recordings more than its creator realized was there. A rare feat.The esentially percussive bases are preserved, but less harsh, the mellotron is less strident, and the improved resolution seems to have sharpened the vocals, especially Anderson's, without making them more than they need to be. I suggest the overall sonic balance is vastly improved, and much of what was previously easily missed, now comes forth to more rightful places. So many "I don't remember that" episodes.Now all the instruments sparkle, and the previously difficult "Happy Families", and "Indoor Games" sound more like a good-time had by all. (still don't get the sickly laugh bit, though)"Cirkus", "Lady of the dancing Water" and the title track shine as never before, and "Bolero" has every bit the legitimacy of Ravel's namesake work, in fact, I suggest more genuinely beautiful.This set comes as a CD with very recent remastering bit by bit from Mr Wilson, helpful notes from Mr Fripp, and the DVD several stereo or 5:1 formats for your delectation, . And Wonderment. If you ever shied away from this work..get this, and grock it now.

Uno dei migliori dischi del Progressive Rock. Un vero poema in musica 🎶.La musica come messaggio di vita, accompagnata da sfumature liriche di vario genere musicale, con strumenti classici mescolati divinamente a quelli elettronici che, nella loro fusione, danno una dimensione innovativa al rock standard, che la rende per l'appunto, Progressive insieme a un Complesso in continuo mutamento, Robert Freep a parte, non solo nei componenti, ma soprattutto per il loro sviluppo musicale che li rende unici ed eterni nel mondo della musica contemporanea. Grazie di esserci ancora.......

Beaucoup d'experimentation sur ce troisieme album de King Crimson. Ne ressemble en rien aux deux premiers. Cd plus DVD.

Après deux albums ayant imposé son grand projet, son King Crimson, Robert Fripp fomente un album en forme de rupture, une passionnante intrusion dans un jazz progressif qui n'avait jamais été traité comme ça, Lizard.L'œuvre est imposante, sa construction précise, détaillée, précieuse et emphatique bref, avec Fripp et un line-up largement remanié, qui ne tournera jamais d'ailleurs, c'est à une création unique d'un des fondateurs du rock progressif à laquelle nous avons affaire. Indéniablement, l'influence du jazz modal de Miles Davis (Sketches of Spain en particulier) ou d'un big band progressif "à la Mingus" (The White Saint and the Sinner Lady n'est parfois pas bien loin) se fait largement sentir dans un album qui n'est pas jazz ou prog, et certainement pas fusion, mais bien jazz et prog. Parce qu'il reste des éléments du passé de la formation, via les guitares et le mellotron de Fripp, les textes souvent cryptiques et mystiques de Peter Sinfield, et, plus généralement, un goût pour les constructions périlleuses et surprenantes de ce qu'on ose à peine appeler chanson.Dans les faits, Lizard est une affaire double, composé sur sa face A de quate "petits" titres presque classiques, sur sa face B d'une imposante suite en 4 parties. L'une comme l'autre démontrant l'expertise des arrangements désormais atteinte par Robert et la verve compositionnelle magistralement renouvelée à l'aulne de l'addition des tendances jazzistiques précitées. Certes, on regrettera qu'en lieu et place de Greg Lake, parti joindre ses forces à celles Keith Emerson et Carl Palmer pour le trio que nous connaissons tous, Gordon Askell ne soit pas le vocaliste exactement idéal pour véhiculer les délires textuels de Sinfield, il s'en sort bien cependant mais pas autant qu'on aurait pu le rêver. Certes, encore, on peut regretter l'extrême sérieux de la chose qui aurait probablement gagné en cœur et en chaleur à faire montre de plus d'humour (quoiqu'il est peut-être dans le thème d'ouverture d'Indoor Games, ce supplément). A part ça, c'est une magnifique sélection sans le moindre faux-pas qui nous est offerte avec, en irremplaçable Himalaya, l'imposant Lizard sur lequel la contribution vocale de Jon Anderson (Yes) est tout sauf anecdotique. Une sélection évidemment merveilleusement jouée par des intervenants triés sur le volet, on n'en attendait pas moins de ce grand maniaque de Fripp, où brillent particulièrement, large penchant jazz oblige, le saxophoniste Mel Collins et ses comparses "venteux", une rareté d'emploi chez le Roi Cramoisi où l'instrument fut rarement usité, le piano de Keith Tippett. Une sélection déjà brillamment mise en son à l'époque mais qui gagne encore en précision, en puissance et en nuance sur ce remix du 40ème anniversaire encore une fois accompli par le précieux Steven Wilson qu'on ne remerciera jamais assez des prodiges soniques dont il est capable.Tout ça fait de Lizard, vous l'aurez compris, un album unique dans le répertoire de ce groupe incontournable, unique et recommandé parce que, quelle claque mes aïeux !1. Cirkus 6:272. Indoor Games 5:373. Happy Family 4:224. Lady of the Dancing Water 2:475. Lizard 23:25(a) Prince Rupert Awakes(b) Bolero - The Peacock's Tale(c) The Battle of Glass Tears(i) Dawn Song(ii) Last Skirmish(iii) Prince Rupert's Lament(d) Big TopBonus6. Lady of the Dancing Water (alternate mix) 2:507. Bolero (remix from Frame by Frame) 6:488. Cirkus (studio run-through with guide vocal from original sessions) 6:31Robert Fripp ' guitar, Mellotron, synthesizer, organ, devicesPeter Sinfield ' lyrics, VCS3, picturesMel Collins ' saxophone, fluteGordon Haskell ' bass guitar, vocalsAndy McCulloch ' drums&Keith Tippett ' acoustic and electric pianosRobin Miller ' oboe, cor anglaisMark Charig ' cornetNick Evans ' tromboneJon Anderson ' vocals (track 5)

Review of `Lizard' 40th Anniversary CD plus MLP Lossless 5.1 & DTS digital surround DVD package.***`Lizard' was released in December 1970, King Crimson's 3rd album & a radical departure in style from their previous recordings. It has a very jazz feel and makes liberal use of classical orchestral instrumentation & musical structures. It sold less well than almost all KC's other albums up to 1980, and is often seen as an oddity. However `Lizard' contains some stand-out pieces, and still sounds fresh after 40 years.Gordon Haskell (who made a brief appearance on `Poseidon' singing `Cadence & Cascade') joined the band as full-time bass player/vocalist. Haskell's voice is neither strong nor distinctive, but does a workmanlike job. Andy McCulloch plays drums with a precise & understated soft-jazz style, one of the defining characteristics of the album. Mel Collins again plays woodwind & sax, with Bob Fripp on guitars & Peter Sinfield on VCS synthesizer. Jazz pianist Keith Tippett (who started playing on the band's studio sessions at the beginning of 1970 & contributed to `Cat Food' on `Poseidon') again makes an outstanding contribution; Fripp unfortunately failed to persuade him to join the band full-time. Brass/woodwind players Nick Evans, Robin Miller & Mark Charig act as session musicians to help create the album's unique sound. The outstanding cameo is from Jon Anderson, vocalist & founder-ember of `Yes', who Fripp persuaded to sing `Prince Rupert Awakes' which opens the long `Lizard' suite.The original album:`Cirkus' opens the album, a classic mellotron-dominated Crimson track a la ItCotCK with Sinfield on top lyrical form describing a circus in full swing - with sinister undertones. A pair of light-hearted jazzy tracks `Indoor Games' & `Happy Family' (describing the then-contemporary break-up of the Beatles with the fab four given pseudonyms) follow, then the short `Lady of the Dancing water' with some fine flute work.The stand-out track of the album is the `Lizard' suite which took up the whole second side of the original vinyl release. Jon Anderson sings the opening piece `Prince Rupert Awakes' over a simple piano accompaniment, the song then opening out into one of KC's `big sound' numbers with choral backing. The theme continues in the same key with `Bolero' where the brass players & Tippett take over and stretch-out the piece into a long, fine jazz improvisation, to return finally to the main theme. The suite continues with a battle scene orchestrated in a classical-style (i.e. like Tchaikovsky's 1812 Overture) & its aftermath `Prince Rupert's Lament' with Fripp producing some long, sustained wailing guitar over a slow bass line, and a closer `Big Top' which returns to the `Cirkus' theme.The 40th Anniversary offering:Like other KC releases in this series you get a CD plus audio-only DVD presented in a gatefold sleeve decorated with the distinctive original album cover artwork, images of the album's content presented in the visual style of the Lindisfarne Gospels. A 16-page colour booklet with the song lyrics and story behind the music, written by Bob Fripp and Crimson biographer Sid Smith, completes the package. Fripp mentions that Steven Wilson has `redeemed' the music of `Lizard' and restored it to its original glory.The DVD is once again the star, with the music offered in MLP Lossless 5.1 surround, DTS 5.1 digital surround, MLP Lossless stereo, PCM stereo 2.0, plus the 30th anniversary remaster of the original 1970 stereo mix. The DVD graphics are easy-on-the-eye, the menu simple to navigate, the sound fabulous. The bonus material includes an alternate version of `Lady of the Dancing Water', an excellent `Bolero' & studio run-thru of `Cirkus'.Fripp and Wilson have again done an excellent job in resurrecting this fine and unusual music. `Lizard' is a true oddity and proof that KC were never afraid to experiment, combine different styles & produce something unique & special. This is easily the best version we're likely to see, so buying it should be a no-brainer.

1st review, excuse my unprofessionalism.Why choose this one you ask? the second concert I ever saw was King Crimson (1st was ELP), that concert is listed in KC's 40 year release of "Islands". Bob Fripp announced on a radio review back then that "encores were not meant to be part of a set but as a result of good interaction between audience and band" that show was a rare encore show.It has to be remembered that in those days it was a very different music world...innocence is the best simple description.Music of this type ( I detest the genre label....music is what you love and has nothing to do with the media's labels) is sadly lost in those times, but always remembered and thankfully in the correct way by the engineer of this album Mr Steven Wilson.By re-mastering the KC collection ( I have now purchased the 1st 7 albums up to "Red" in Steven Wilson's 40th Year Anniversary" releases) it has now bought to life the music of those times.This particular release, as in the supplied notes in the book state, have given the opportunity to bring out some of the instrumentation that was all but lost in the original recordings.At this point you may think I do not have an adequate stereo/5.1 system. I do ( Linn LP12/NAIM Hi-Fi & Denon AVR/Kef for the 5.1)From the opening track of "Cirkus" straight through to the final long piece of "Lizard" there is so much detail as a result of these re-masters (whether listened to in stereo or 5.1) you feel as if your listening to a new release.For anyone NOT familiar with the music of King Crimson this album starts, as always, with a what seems a cacophonous sound of "CirKus" (see 21st Century/Pictures of A City/Lark's Tongue I/Great Deceiver/Red), there were styles of music that have admitted owe a lot to the sound of those opening tracks.Then it is sheer musical delight, very light and melodious compared to the opening track and to many of the KC albums (exception being "Islands"). The songs, as all of KC's material was about the music more than the lyrics. That is not to say the lyrics weren't clever and had statements on the time, "Happy Family's" being one of them.In the modern age of short listening attention and an industry (as Bob Fripp himself has stated) run by business people who's priority is profit not the product itself, it is no-doubt very difficult to appreciate pieces of music that in the case of "Lizard" is almost 7 times as long as what is acceptable to modern ears. BUT big BUT, if those modern ears would just listen then they would hear a truly beautiful piece of music.of course to those of us already buried in the sound of those times then all of the above is superfluous, all is meant to say to them is "go out and re-walk down those fantastic musical days" in a sound that was made for them.Here's to seeing more of those old/er albums being re-mastered in 24bit & 5.1 sound, preferably by Mr Steven Wilson as he certainly appears to have a real appreciation of those times.