- With two sides rating a Triple Plus (A+++) or very close to it, this was one of the best copies in our most recent shootout
- We had a wide variety of Islands (Pink and Sunray) and UK Polydor pressings, and if you want to know which of them sounds the best all you have to do is buy this LP!
- At good loud levels the horns blasting away on 21st Century Schizoid Man are guaranteed to blow your mind on this copy
- 5 Stars: “The group’s definitive album, and one of the most daring debut albums ever …. it blew all of the progressive/psychedelic competition out of the running, although it was almost too good for the band’s own good — it took King Crimson nearly four years to come up with a record as strong or concise.”
Over the last five years or so we have been prepping for this shootout by buying and trying lots of different pressings. Right from the start we could hear that no domestic pressing was, or was likely to ever be, remotely competitive with the best Brits.
Most later reissues — domestic or import — were as flat and lifeless as a cassette, although we admit that some were clearly better than others.
The MoFi pressing is one of their best. Unfortunately we have little tolerance for the dynamic compression, overall lifelessness and wonky bass heard on practically every record they ever remastered. One of the reasons your MoFi might not sound wrong to you is that it isn’t really “wrong.” It’s doing most things right, and it probably will beat whatever you can find to throw at it.
But it’s lacking some important qualities, and a listen to one of our Hot Stampers will allow you to hear exactly what you’re not getting when you play an audiophile pressing of In The Court Of The Crimson King, even one as good as MoFi’s.
Side by side the comparison will surely be striking. How much energy, size and power and passion is missing from the record you own? There’s only one way to find out, and it’s by playing a better copy of the album. This one will do nicely.
Size and Space
Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center of the soundfield.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original British pressings of Classic Rock albums.
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience.
21st Century Schizoid Man
I Talk To The Wind
The Court Of The Crimson King