Lizard

Rating

Album: Lizard
#	Song Title		Time
1)	Cirkus (Including Entry of the Chameleons)	More Info...	0:06
2)	Indoor Games	More Info...	0:05
3)	Happy Family	More Info...	0:04
4)	Lady of the Dancing Water	More Info...	0:02
5)	Lizard: Prince Ruperts Awakes/Bolero - The Peacock's Tale/The Battle of Glass Tears/Last Skirmish/Prince Rupert's Lament/Big Top	More Info...	0:23

Album: Lizard
#	Song Title		Time
1)	Cirkus (Including Entry of the Chameleons)	More Info...	0:06
2)	Indoor Games	More Info...	0:05
3)	Happy Family	More Info...	0:04
4)	Lady of the Dancing Water	More Info...	0:02
5)	Lizard: Prince Ruperts Awakes/Bolero - The Peacock's Tale/The Battle of Glass Tears/Last Skirmish/Prince Rupert's Lament/Big Top	More Info...	0:23

Performer Notes

King Crimson: Gordon Haskell (vocals, bass); Robert Fripp (guitar, Mellotron, electric keyboards); Mel Collins (flute, saxophone); Andy McCulloch (drums); Peter Sinfield.
Additional personnel: Jon Anderson (vocals); Robin Miller (oboe); Mark Charig (cornet); Nick Evans (trombone); Kevin Tippet (piano).
LIZARD can be seen as the third album in the trilogy that makes up Crimson's first phase, which began with IN THE COURT OF THE CRIMSON KING. The musical and lyrical concepts are more complex than on the first two albums, the arrangements more elaborate. Pete Sinfield's lyrics, already full of surreal mystical imagery, changed by turns more inaccessible and slightly psychedelic. Horns play a much larger role on LIZARD, the horn section injecting some punch into the production, and Mel Collins' flute and sax emerging as an important solo voice.
Things turn slightly harsher on tracks like "Indoor Games," a catalogue of people's private indiscretions, and "Happy Family" an allegory obviously about the then-current breakup of the Beatles. As always, there's a beautiful ballad ("Lady of the Dancing Water," singer Gordon Haskell's finest moment) included amidst all the uproar. Crimson's peers Yes are even represented, as Jon Anderson makes a guest vocal appearance on the title cut, a throwback to the semi-mythical lyric approach of KC's debut.

Professional Reviews

Q (5/00, p.129) - 4 stars out of 5 - "...A dense, fiendish jazz/rock soup..."

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