This Day in Music History: King Crimson/Lizard (12/11)

Lizard is the third studio album by the British band King Crimson. It was the second recorded by a transitional line-up of the group that never had the opportunity to perform live, following In the Wake of Poseidon. This is the only album by the band to feature bassist and vocalist Gordon Haskell and drummer Andy McCulloch as official members of the band.

Haskell was previously a classmate of Fripp's at Queen Elizabeth's grammar school, the pair having subsequently played together in the local band, The League of Gentlemen. Haskell later contributed vocals to the King Crimson track "Cadence and Cascade" on In the Wake of Poseidon, after Greg Lake left the band to join Emerson, Lake & Palmer. In a desperate turn to maintain a personnel in the band, Fripp asked Haskell to become an official member of King Crimson for the recording of Lizard. 

Another supporting musician on In the Wake of Poseidon, saxophonist/flautist Mel Collins was also asked to become a full-time member of this line-up, as was drummer Andy McCulloch, who replaced Michael Giles. The group was then augmented with session musicians, including another In the Wake of Poseidon alumnus – the noted jazz pianist Keith Tippett – together with Yes vocalist Jon Anderson (!), and brass/woodwind players Robin Miller, Mark Charig, and Nick Evans.

Due to the album's penchant for a more jazz-inflected sound in comparison to many of the band's other works, in addition to the idiosyncratic nature of many of its tracks, responses towards the album have been varied since its release. Allmusic's Bruce Eder, comparing Lizard to its two predecessors, described the songs saying "[they] are longer and have extensive developmental sections, reminiscent of classical music". He also deemed that Jon Anderson's presence on "Prince Rupert Awakes" made the album stronger. He finished his review saying that "At the time of its release, some critics praised Lizard for finally breaking with the formula and structure that shaped the two preceding albums, but overall it's an acquired taste."

Music critic Robert Christgau rated the album a B−, saying that the "jazziness" of the album projected a "certain cerebral majesty" but criticized Peter Sinfield's lyrics, qualifying them as "overwrought". Bingo.

Robert Fripp has himself been very critical of the album, calling it "unlistenable". I mostly agree. Aside from the Jon Anderson parts this album is annoying. I guess I haven't acquired the taste yet.

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