In The Court of The Crimson King

your DVD player has a DTS output. My 2 year old DVD player does NOT have a DTS output. The only other way to hear the 5.1 mix, is if you have a DVD AUDIO PLAYER. However, at least the STEREO REMIXED version is on the DVD, and plays on ANY DVD player. For some, this might be a VERY GOOD reason just to buy the CD version, and save a few dollars. But we all replace our DVD players, and I am sure that in a few years, the DTS audio standard, will be more widely available. I just wish I knew this, before I bought this edition. HOWEVER, there's so many reasons to buy this new 40th anniversity edition, that even if you own this title on VINYL, and on CD, I would still recommend it.For the first time EVER, Fripp and Steve Wilson (The leader of PORCUPINE TREE) used the multitrack 8 track masters, to produce a remixed album that simply sounds remarkable. Even the 24 bit remastering done in 1999, was made from a production master, because the original master tape (the 2 track mixdown tape, mixed directly from the 8 track multitrack) had been lost for decades. Thankfully, the 8 track master tape, and sub-mix tapes (for the drums, keyboards and such) were recently discovered. Robert Fripp and Steve Wilson took these master multitracks, and sub-mix tapes, moved them to digital, synched them together, and using musical necromancy, brought the audio quality firmly into the 21st century. Three generations of tape transfers, including the inherent tape hiss, have been scrubbed clean. For King Crimson fans, its comparable to the cleaning of the Sistine Chapel. First the two band leaders first produced a NEW STEREO MIX based on the original 1969 mix, and from there, Steve Wilson worked on the 5.1 surround mix. The improvment is miraculous. Michael Giles' drumming, which had always sounded like he was playing on cardboard boxes, sounds like DRUMS for the first time. Also, you can hear Fripp's acoustic guitar arpeggios, where previously they had been covered over by mellotron work. And the audio clarity of Greg Lake's vocals shine like angels. I played the new stereo mix on the DVD, next to the 1999 24 bit remastered version of the album, and fell over. The biggest improvements, include the bass sound, which is more punchy, and clear, and the drums, which FINALLY sound like DRUMS. Overall the new mix is much warmer, and vastly more clear, more precise. Also, FRIPP turned up his guitar parts in many places, which were priviously buried. OKAY, that's the GOOD NEWS FIRST, now comes the BAD NEWS!For starters, FRIPP removed his 3 minute guitar solo from MOONCHILD. Hey, its not the first time he chopped that song up. When Fripp released the BEST OF KC box set FRAME BY FRAME, he reduced MOONCHILD down to 2:26 minutes. BUT, not to worry, Steve Wilson put a new remix of the original 12 minute long MOONCHILD right at the end of the album, so you can program your CD player to have the original MOONCHILD song where it belongs. ALso, this new remix was suppose to be based on the ORIGINAL 1969 MIX. BUT...its not. Lots of changes were made, many having to do with stereo imaging and panning effects. In 1969, the SINE QUA NON of "psychedelic stereo effects" included panning voices, or drum parts, guitar parts, or whatever between the two stereo speakers. 40 years later, those panning effects sound dated at best, or at worst ruin the music when overused. On MOONCHILD, the 1969 mix begins with Greg Lake singing out of the left channel, then in the midst of the first verse, his voice moves to the right channel. Now, Greg Lake sings from the middle of the virtual soundstage, which is standard for modern audio mixes. However, other bits of wierdness were maintained, like Michael Gile's cymbals, which quickly move from left to right channel. Except for MOONCHILD, there are no other drastic edits, nor were songs lenghtened. I'm hearing piano parts, previously buried underneath the mellotron. Fripp's guitar parts, especially his acoustic work, have increased in volumn too. But what if you want to make up your own mind, about the best mix? Dont worry. The complete, original 1969 mix, unaltered and unexpulged, is included.SO LETS GET TO THE GOODIES!!! Absolutely NO studio outtakes have EVER surfaced from the sessions for this first KING CRIMSON album, except for an instrumental studio run thru of SKITZOID MAN, only available on the Collectors Club edition of LIVE AT HYDE PARK. Now, there are so many versions of unreleased run thrus, remixes, alternate solos, instrumentals, that the DVD even includes THE ALTERNATE COURT OF CRIMSON KING as a bonus offering. Altogether, you get a instrumental version of SKITZOID MAN, a studio run thru of I TALK TO THE WIND, an alternate version of EPITAPH, take 1 of MOONCHILD, and take 3 of COURT OF CRIMSON KING. Add to this, the extra tracks on the CD, including a beautiful, tender rendition of I TALK TO THE WIND, with Fripp on acoustic guitar, and Ian playing Flute, sans vocals. The alternate mix of I TALK TO THE WIND has completely different solos, at least as good as the "offical" version. Aditionally, there's an instrumental version of EPITAPH, thats most welcome. Finallly, there's something called "WIND SESSIONS". ITs just a few seconds of ambient wind sounds, with a few remarks by the band. It's useless, except for its comic value.The other "SPECIAL INCLUSION" on the DVD, is one minute of KING CRIMSON playing during the "HYDE PARK" show. The set is better with it than without. This is one of the best CD/DVD 5.1 remix sets that have EVER come out for any band. Starting with ten never before heard studio outtakes, add vastly improved sound on the 2009 stereo and 5.1 REMIXES, and the entire album with the original mix, and a peak of the original CRIMSON band performing live at their first major gig. Even the color on the gatefold album cover, has been restored to same colors of the original Vinyl LP pressings. Included is an informative, beautiful booklet, with a short history of how the band got together, lots of photos, a reproduction of the album's inner gatefold art with lyrics, and a complete explanation of how FRIPP and STEVE WILSON created this new edition of ITCOTCK, from those newly discovered multitrack masters. Who should buy this? It depends, on how much of a fan you are. If you have all the band's music, or if ITCOTKC is your favorite album, then definately buy this edition, even if you cant play the DTS 5.1 AUDIO MATERIAL yet. Or, if you have the money, and you cant get enough of ANYTHING by Fripp, I'd recommend the expanded CD-DVD boxset due out soon. It has lots of extras, including a MONO version of the album on CD, a VINYL version transferred to CD, live songs from the HYDE PARK show, and lots more studio outtakes. If you just want a CLEAN, BEAUTIFUL STEREO REMIX of the original album, with only 5 studio outtakes, and no surround mixes, just buy the single CD version that's to be released. Only YOU know your own fan level. Even tho I cant access that surround mix, I'm in heaven. During the instrumental versions, I'm singing along, and playing the alternate mixes, and studio run thrus. Its like falling in love with the album all over again. If you are only going to buy ONE of these 40th anniversery editions, THIS IS THE ONE. Robert Fripp has been throwing out new versions of this band for 40 years now, and yet, this will ALWAYS be the seminal album, not only for this band, but also for the entire PROG ROCK movement. To this day bands like FIERY FURNACES, PORCUPINE TREE, DECEMBERISTS, and many others, follow in the footsteps first laid down by this album four decades ago. This is timeless music, sonically perfected by huge strides in digital audio technology, and the recent discoveries of the long lost multitrack master tapes. ESSENCIAL PURCHASE.

Love the 5.1 mix. Prefer the DTS version. Would love to have everything I own in 5.1. I wouldn't leave my sound room. Right now, I have to settle for David Crosby, Ringo Starr, and the Beatles. (just talking about CDs redone in DVD)21st Centruy Schzoid Man: After the intro, the song explodes! Chords go through each channel separately. Sounds so good. Love Greg Lake's voice in the center channel--matches the mood of the song (if not the title). Micheal Giles's drumming is superb. I prefer it to Bill Bruford's playing. Actually, they're both the same kind of drummer: jazz drummer playing with a rock band. Giles would be at home with any jazz band (his work on "I Talk to the Wind" is so tasteful). I think Giles is just a bit braver with his fills and patterns. And the middle? So tight! You couldn't squeeze a 64th note in among those breaks!I Talk to the Wind: That gorgeous flute! Lake singing harmony with himself. The bass is perfectly balanced. Lake is so talented on this and the acoustic. If you listen to the guitar solos, you'll hear a forerunner of Lake playing solos for ELP. I really enjoy being surrounded by music (real 5.1 not the processed stuff one can get from good receivers). Already mentioned: Giles's wonderful jazz drums with the 16th notes on the cymbals stronger than I've heard them before. Fripp's guitar coming through the center channel, usually reserved for vocals, is a vocal line in itself. The fade out abruptly ends and begins again. Hope this isn't a recording mistake.Epitaph: Again, Fripp's guitar is in the center channel. This sounds exactly like some Lake solos with ELP. Giles provides a funeral march beat and tempo. The acoustic guitar shines in the middle (again, repeated in later ELP recordings by Greg Lake). Such a wonderful tone on Fripp's guitar. When he's not playing atonal guitar licks, he's really a maestro on the guitar. The mellotron swells in the background, with all channels full of the great sound. Almost too much to take in. The middle part goes into the dirge again, with loud toms accenting the marching funeral procession. Sinfield's lyrics still resonate today. What a poet!"I fear tomorrow, I'll be crying" crescendo's into a strong ending, with Giles's tympani. Then a fade out. Lovely.Moonchild/The Dream/and the Illusion: The sound begins in the left rear speaker, then moves to the front. Lake's vocals are gorgeous. Curiously, he has no vibratto at this stage. In later ELP (and solo LP), he develops (or begins to use) the vibratto. The whole beginning has a mysterious feel with Fripp's acoustic in the background. Great lyrics. Never really enjoyed the free-form ending, though it begins with little niceties: guitar, little percussion fills (cymbal work, little drumming fills), lovely little guitar chords. Then it goes into a collection of little noises. I know there are those who love this, but like Chicago's free form, I want the song to begin!The Court of the Crimson King: Giles's intro , so recognizable now. The song is still gorgeous. Mellotron in the rear speakers. The acoustic playing those strange chords. Such an evil sound (and I mean that in a good way: it matches the song). The keys come through louder than I remember, but still sounding great. Giles's fills are so inventive. He has the rudiments down to perfection. Lake's bass (sound's like a fishing joke) is softer on this song. Still there but not as dominant. Fripp's playing in the center speaker with the flute taking the rear speakers again. What a glorious mix! Mellotron joins the mix, and Giles's cymbal work comes (again) like a jazz drummer). The "Court" sound is regal with the background voices announcing the King. More tympani from Giles. A false ending. Giles fills in with cymbal work. Then the wonderful idea of the keyboards sounding like a puppet show background (the underlying notes sounding offbeat but still coming out even with the keys). Now Lake's bass is in full throttle as Giles leads the group back in with another inventive fill. Love his work with the snare and cymbals on one of the fills particularly. The vacuum ending! Magnificent!You have GOT to hear this on a good sound system! Haven't heard the rest. Just wanted to get this down before I forgot it. Maybe more later...

Awesome remix job by Steve Wilson. His remixes are hit or miss. Did great work on Tull, but didn't add much to Yes who were always mixed exquisitely . Chicago II was a decent remix, but again, nothing that stands outs. But this one is a home run, he really brought this old recording to life.The opening track is a monster, or course, and really sounds huge in surround. The rest, which are mostly quietly powerful tracks, sound amazingly detailed. There's nothing like getting the first generation tapes and doing a mix down using modern recording techniques. A good surround would've been impossible without the basic tracks available to mix down from.Only complaint I have is that for some reason my DVD doesn't have the Lossless audio available. Not sure if it's a problem with my Sony BD player, (it's new too), or some other problem. I find it hard to believe it was removed from the DVD on purpose, but I guess it's possible.However, I can't really tell the difference in lossless tracks anyway, and the DTS surround is amazing and is now, for me, the only way to hear this recording.4 stars for the lack of the MLP Lossless tracks, whatever the reason.

Mucho me han molestado las mezclas de Giles Martin para los últimos 5.1 de The Beatles. Me arriesgué con esta edición y debo admitir que el trabajo de Steven Wilson es sencillamente genial. Además los tracks extras del cd no tienen desperdicio. Compra obligada si eres fan.

Sehr gut

A estreia do King Crimson é uma experiência necessária para todos que se interessam por rock progressivo. É um dos maiores álbuns da história do rock, tendo apenas um ônus: a qualidade de gravação original. Nesta versão de 40 anos, a remasterização inclusa e também uma mixagem surround tratam de corrigir este problema. Com a adição de faixas bônus e um vídeo ao vivo, esta edição é o lançamento definitivo do disco.

Reading the notes one would expect one 5.1 mix (MLP or DTS) and 2 stereo mixes (2004 or 2009). First the good news: the 5.1 mixes are good - with the MLP lossless version being better than the DTS version, of course. The 5.1 MLP version is stunning - apart from the fact that we only get the 12 minute version of Moonchild - and no edited version ;-(However, the stereo versions are not what one would expect. The following two versions sound the same:2009 MLP 96/24 and PCM 48/24One would think that they would be higher quality versions of the 2009 CD - but they are not - and generally they are worse than the 2009 44.1/16 CD! They have been mixed differently - and they sound like quick down mixes of the 5.1 version - with little effort. There is also audible distortion at the beginning of I Talk To The Wind - sigh ...In addition, there is the 2004 stereo version in PCM 96/24. This version is good. So, there are 3 different stereo mixes - most disconcerting. After repeated listening, I suggest that you can ignore the stereo 2009 mixes on the DVD-A. Just listen to the CD for stereo and the DVD-A for the 5.1 mix. Quite disappointing. 5 stars for the music and 2 stars for the "high quality" stereo versions ...

Trabalho fantástico de remasterização. A qualidade do áudio lossless do DVD-A está primorosa, esta obra prima merecia. Indispensável para quem curte rock progressivo.