KING CRIMSON: IN THE COURT OF 1ST PRESS PINK TXTR A2/B2

	£		175
	$		232

Said the straight man to the late man: "Where have you been?"

Here is one of the most coveted items among collectors of progressive rock - the true first pressing of 'In the Court of the Crimson King' by King Crimson on pink Island (ILPS- 9111) from 1969.

What makes this pressing so special is that it is the very first 'almost too dynamic to play' issue of this landmark album, featuring the very first mix unique to this original copy. This first pressing offered here is identified by its hallowed A2/B2 matrices (most copies feature 3s and 4s) plus rough textured centres to the labels and a thick heavy slab of first pressing vinyl - in this case a generous 165gm.

The first mix (in full these matrix numbers read A/2 14 and B/2 15) really is an incredible listening experience - the extraordinary Robert Fripp guitar solo on 21st Century Schizoid Man spilling over into a whirligig of wild saxophonic squibbing is quite simply aural fireworks. As Haaken Eric Mathieson states in the April 2010 issue of Record Collector magazine, the A2/B2 issue of In The Court of the Crimson King is "by far the best mix/cutting ever made, when you have the equipment that can handle it" (he states that the A2/B2 "probably had a too dynamic mix for a lot of that time's equipment").

The disc is an easy VG+ (UK Record Collector grading). Under natural light no significant marks or scratches are visible or detectable by touch. There are no pressing defects of any kind and only the usual light surface marks are visible when viewed under harsh halogen lighting. This amazingly 41-year-old disc has been played but respectfully so.

This 165gm first pressing vinyl also lies perfectly flat on the turntable with no warping or dishing whatsoever and plays superbly (see my test play below).

The labels with their rough-textured centres are clean and bright (much pinker than the paler subsequent non-textured issues) with no writing, stickers or other blemishes.

The vulnerable unlaminated original E. J. Day gatefold cover is graded VG- since it displays edgewear, a little ringwear, rubbing along the spine and a minor blemish here and there, all of which is fairly typical for this sleeve. But it is nevertheless a perfectly presentable cover which will more than adequately protect your precious vinyl until that mint sleeve eventually turns up!

Here therefore is a rare and desirable piece of King Crimson history to acquire ... so good luck with your bidding. Any queries - just ask (I shan't broadcast your questions).

But I can't let this album go without one last listen, can I? You see, I was there when it all kicked off ... the word got out in the music press and I came home clutching my copy of the greatest album ever housed in the greatest cover ever. 41 years on and this album still gives you goosepimples. 'In The Court of The Crimson King' introduced King Crimson to the record-buying public as a wheezing fire-breathing monster ... until the monster suddenly woke up with the opening chords of 21st Century Schizoid Man. On this A2/B2 beast the stereo separation of this most dynamic track of all time is utterly precise (no more apparent than on those harsh 'harmonic' chords that cut through "Cat's Foot, Iron Claw .."), soon to be followed by Fripp's majestic one-take guitar solo and then that precision rapid-fire ensemblework underpinned by the machine gun percussion of Michael Giles.

I Talk To The Wind provides a showcase for Ian McDonald's effortless woodwind as it meanders across the channels while Epitaph cranks up proceedings to levels an orchestra would struggle to match thanks to a combination of thunderous mellotron, Michael Giles' whipcrack percussion, saxes, precision guitar and Greg Lake's sublime bass playing and vocals.

Moonchild is a much skipped track but it is a gorgeous gem that opens with a banshee-like eeriness. As the track settles into the sparse instrumental chit-chat of The Dream and The Illusion some background noise is discernible, which is typical for this LP, and following the 'nursery rhyme' conclusion of Moonchild the musicians crank it up once again for the majestic 'In the Court of the Crimson King', the track mellotron was made for. It sounds like a full chorus was assembled in Westminster Abbey for the revered title track, yet there's a lovely musical joke at the end where the main theme is given a piped brick-by-brick deconstruction ... only to be followed by an all-hands-on-deck thunderous reprise, Sgt Pepper style. As in Schizoid Man and Epitaph, there are moments during the title track when the music reaches such intensity, such richness, that - in the late '60s - your average Dansette didn't stand a chance. Did mine? I was there at the time ... and I can't remember.

Now as you can see from the last of my pictures I'm starting to sell off my collection. It's a needs-must sale (to pay for the hire of some scaffolding, would you believe!!!) but there it is … the true collectors among you will immediately see there are some goodies to come.  I'll be adding them as soon as I can …