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In the Court of the Crimson King
仕様 | 価格 | 新品 | 中古品 |
CD, 2000/5/12
"もう一度試してください。" | 1枚組 |
—
| ¥5,000 | ¥770 |
CD, インポート, 1997/1/20
"もう一度試してください。" | インポート |
—
| ¥6,519 | ¥959 |
CD, 1970/1/31
"もう一度試してください。" | 1枚組 |
—
| — | ¥449 |
CD, 1999/10/15
"もう一度試してください。" | 1枚組 |
—
| — | ¥820 |
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対象商品: In the Court of the Crimson King
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もう一度お試しください
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
1 | 21 St Century Schizoid Man |
2 | I Talk to the Wind |
3 | Epitaph Including March for No Reason & Tomorrow & Tomorrow |
4 | Moonchild Including the Dream & the Illusion |
5 | In the Court of the Crimson King Including the Return of the Fire Witch and the |
商品の説明
内容紹介
Remastered edition of King Crimson's seminal album IN THE COURT OF THE CRIMSON KING.
Product Description
King Crimson, In the Court of the Crimson King
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 12.29 x 14.3 x 1.09 cm; 98.09 g
- メーカー : Discipline Us
- EAN : 0633367050120, 0735084623653
- 商品モデル番号 : 2313953
- オリジナル盤発売日 : 2005
- 時間 : 43 分
- レーベル : Discipline Us
- ASIN : B00065MDRW
- 原産国 : アメリカ合衆国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 18,777位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 2,886位ロック (ミュージック)
- - 3,203位輸入盤
- カスタマーレビュー:
イメージ付きのレビュー
5 星
UK(EMI SWINDONプレス)盤とオランダ盤は雲泥の差です。
【In The Court Of The Crimson King・King Crimson】 私はオランダ盤を持っています。ある日You Tubeでレコード再生のを聞き、オランダ盤は「全く異な物」だと判りました。 例えば2曲目の始め頃-グレッグ レイクのヴォーカルと一緒にピアノの低音が左から「バンー」「バンー」とYou Tubeからはとても心地良く入って来るのが、オランダ盤は意識して聞いていても、ほとんど聞こえません。 そこでUK盤を購入しました。UK盤は、意識して聞いていれば、ヴォーカルを活かす為に要れているのだなと解ります。 画像を添付致します。紫色がかなり利いていて、不気味さが一層引き立ちます。
フィードバックをお寄せいただきありがとうございます
申し訳ありませんが、エラーが発生しました
申し訳ありませんが、レビューを読み込めませんでした
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2023年10月9日に日本でレビュー済み
Amazonで購入
また聴いていない音楽ファンは聴くべき作品
2022年3月9日に日本でレビュー済み
Amazonで購入
【In The Court Of The Crimson King・King Crimson】
私はオランダ盤を持っています。ある日You Tubeでレコード再生のを聞き、オランダ盤は「全く異な物」だと判りました。
例えば2曲目の始め頃-グレッグ レイクのヴォーカルと一緒にピアノの低音が左から「バンー」「バンー」とYou Tubeからはとても心地良く入って来るのが、オランダ盤は意識して聞いていても、ほとんど聞こえません。
そこでUK盤を購入しました。UK盤は、意識して聞いていれば、ヴォーカルを活かす為に要れているのだなと解ります。
画像を添付致します。紫色がかなり利いていて、不気味さが一層引き立ちます。
私はオランダ盤を持っています。ある日You Tubeでレコード再生のを聞き、オランダ盤は「全く異な物」だと判りました。
例えば2曲目の始め頃-グレッグ レイクのヴォーカルと一緒にピアノの低音が左から「バンー」「バンー」とYou Tubeからはとても心地良く入って来るのが、オランダ盤は意識して聞いていても、ほとんど聞こえません。
そこでUK盤を購入しました。UK盤は、意識して聞いていれば、ヴォーカルを活かす為に要れているのだなと解ります。
画像を添付致します。紫色がかなり利いていて、不気味さが一層引き立ちます。
【In The Court Of The Crimson King・King Crimson】
私はオランダ盤を持っています。ある日You Tubeでレコード再生のを聞き、オランダ盤は「全く異な物」だと判りました。
例えば2曲目の始め頃-グレッグ レイクのヴォーカルと一緒にピアノの低音が左から「バンー」「バンー」とYou Tubeからはとても心地良く入って来るのが、オランダ盤は意識して聞いていても、ほとんど聞こえません。
そこでUK盤を購入しました。UK盤は、意識して聞いていれば、ヴォーカルを活かす為に要れているのだなと解ります。
画像を添付致します。紫色がかなり利いていて、不気味さが一層引き立ちます。
私はオランダ盤を持っています。ある日You Tubeでレコード再生のを聞き、オランダ盤は「全く異な物」だと判りました。
例えば2曲目の始め頃-グレッグ レイクのヴォーカルと一緒にピアノの低音が左から「バンー」「バンー」とYou Tubeからはとても心地良く入って来るのが、オランダ盤は意識して聞いていても、ほとんど聞こえません。
そこでUK盤を購入しました。UK盤は、意識して聞いていれば、ヴォーカルを活かす為に要れているのだなと解ります。
画像を添付致します。紫色がかなり利いていて、不気味さが一層引き立ちます。
このレビューの画像
2021年3月30日に日本でレビュー済み
Amazonで購入
i put this cd on my cd player, after few minutes later im start to crying
2021年12月23日に日本でレビュー済み
Amazonで購入
アナログレコードも所有してますが、オリジナルと比較しても音質等全く変わりありませんCDなので繰り返し聞く場合手軽でとても良いと思います。
2020年9月8日に日本でレビュー済み
Amazonで購入
いわずとしれたあのアビー・ロードを抜いたアルバム、ボーカルはE.L.P Asia のベース。金髪碧眼カッコいい
ロバートヒィリップが全力なの伝わります。
ロバートヒィリップが全力なの伝わります。
2012年6月8日に日本でレビュー済み
Amazonで購入
紛失されていた(倉庫で眠っていた)マスターテープが見つかり、当時のデータからリマスタリングしたのがこの音源だそうです。LPから30周年のCDまでほとんどの音源がそのバックアップテープを元にマスタリング、またはカッティングされていたということです。バックアップテープの音(バックアップといっても69年の話ですから劣化はあったでしょう)に慣れ親しんだ私どもは2005年このCDに吹っ飛んだのでした。発売された年には複数の古レコードコレクター誌に登場して、世界的に話題になったものです。
確かにその後DVDaudio In the Court of the Crimson King: 40th Anniversary Series が発売されています。ただしあれはあれ、これはこれです。(あちらはミックスも違います。)30周年盤までしかもっていない人は絶対買いです、音が違いますから。いやもちろん、これがダサいと思う人はスルーです。
以上マスターテープの事故に基づく35年ぶりの快挙の話でした。7年前の話ですが。
21st Century Schizoid Man (Including Mirrors) 7:24
I Talk To The Wind 6:05
Epitaph Including March For No Reason And Tomorrow And Tomorrow 8:48
Moonchild Including The Dream And The Illusion 12:13
The Court Of The Crimson King (Including The Return Of The Fire Witch And The Dance Of The Puppets) 9:23
確かにその後DVDaudio In the Court of the Crimson King: 40th Anniversary Series が発売されています。ただしあれはあれ、これはこれです。(あちらはミックスも違います。)30周年盤までしかもっていない人は絶対買いです、音が違いますから。いやもちろん、これがダサいと思う人はスルーです。
以上マスターテープの事故に基づく35年ぶりの快挙の話でした。7年前の話ですが。
21st Century Schizoid Man (Including Mirrors) 7:24
I Talk To The Wind 6:05
Epitaph Including March For No Reason And Tomorrow And Tomorrow 8:48
Moonchild Including The Dream And The Illusion 12:13
The Court Of The Crimson King (Including The Return Of The Fire Witch And The Dance Of The Puppets) 9:23
他の国からのトップレビュー
OMAR ZEFERINO RIVERA
5つ星のうち5.0
Leyenda
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Excelente álbum dios prepara u a botella de vino para que lo escuches
Steffen Trommler
5つ星のうち5.0
Super Kauf
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Sehr gute Qualität
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Un disco senza tempo, piacevole e dalle mille sfumature.
Album che non può mancare in nessuna collezione!
Album che non può mancare in nessuna collezione!
"legslarry"
5つ星のうち5.0
Neurosurgeons Scream for More
2018年8月9日にカナダでレビュー済みAmazonで購入
King Crimson burst onto the prog scene with In the Court of the Crimson King in 1969. Bands sharing a bill with them early on refused to follow them as they "sound like a bleeming orchestra, how do you follow that". Indeed how does one follow up on such an iconic groundbreaking album. Viewed as the pinnacle Prog album while prog was in its infancy, some might suggest Robert Fripp has been trying in vain to follow up on it's success for close to 50 years. (thank God he's tried) The carnage from the album saw singer and bassist Greg Lake leave to form ELP, Ian Mcdonald, after hanging in for a few albums, went on to a more subdued avenue for creative release by forming the band Foreigner. The madness in the lyrics were the brainchild of Pete Sinfeld, who by all accounts is a nice chap, but arguably failed to repeat the splendor of the initial albums lyrical offering. Needless to say this is an essential album to have in any self respecting prog aficionado's collection.
Sharpphoto
5つ星のうち5.0
a timeless masterpiece in early progressive rock
2006年12月19日にアメリカ合衆国でレビュー済みAmazonで購入
Blending elements of several forms of music, including classical, jazz, and folk, four young British musicians banded together in 1969 as King Crimson and recorded a five-song masterpiece. Looking back in time to the year when this album was released, it has oftentimes been said that King Crimson's first album, "In the Court of the Crimson King", was a milestone in rock music history that marked the beginning of a new branch in rock music henceforth called, "progressive or art rock." However, it would be amiss to claim here that this group had accomplished this feat all alone. There were a number of other prominent rock groups at the time such as The Moody Blues and Deep Purple who were likewise experimenting along the same lines. Both of these groups had also been strongly influenced by classical music, and The Moody Blues, in particular, released two groundbreaking albums that same year. These two albums, "On the Threshold of a Dream" and "To Our Children's Children", were phenomenal in their own right. Like King Crimson, The Moody Blues prominently used a relatively new instrument at that time called, the mellotron. In addition, certain harsh and heavy passages from this album by King Crimson have, at times, been credited as being a strong influence in the formation, and early development, of yet another form, or branch, of rock music, namely, "heavy metal." And now, and most fortunately, King Crimson's debut album, "In the Court of the Crimson King", has, once again, been remastered using the latest advances in digital technology for future generations to appreciate and enjoy.
The early stages of this group's formation saw three friends, Robert Fripp, Michael Giles, and Peter Giles, enter the studio and record a number of songs together under the name of "Giles, Giles, and Fripp." Robert Fripp was a versatile guitarist with the ability to play a wide range of styles. Along the way, they were joined by Ian McDonald, a multi-instrumentalist, who played various woodwind instruments and who also played a number of different keyboards, including the mellotron. When one of the Giles brothers left the band, he was soon replaced with Greg Lake on bass and vocals. With the final addition of Peter Sinfield as lyricist, the group was formed. The year was late 1968.
The album's strong appeal, no doubt, lay in the group's prominent use of the mellotron. Without its use, the album would certainly not have reached masterpiece status. This instrument (actually, an amalgam of prerecorded tapes) replaced the diverse sounds of an entire philharmonic orchestra. Rock groups had already been experimenting, and recording, with the mellotron for sometime, ever since the Summer of Love. The Rolling Stones, for one, first began to use the mellotron in 1967 when they were writing songs for their upcoming album, "For Their Satanic Majesties Request." The Rolling Stones, too, had a talented multi-instrumentalist in Brian Jones. During the psychedelic era, musicians from various groups, ranging from David Bowie to Pink Floyd, took an interest in, and a quick liking to, the mellotron, especially with its outworldly sounds. However, the Stones soon returned to their R&B roots, abandoning further experimentation in that direction with the mellotron. The Moody Blues, on the other hand, who had previously employed the full services of the London Philharmonic Orchestra, found the mellotron to be a suitable replacement for the orchestra, and they soon integrated the new instrument into their recordings (and also into their upcoming touring plans.) Mike Pinder of The Moody Blues became quite proficient with its use.
The Rolling Stones did not forget their brief experimentation with the mellotron, and their affection towards it. And when it came time to introduce to the public, especially their fans, their new line-up in the summer of 1969, featuring guitarist extraordinaire Mick Taylor, at a free concert in London's Hyde Park, they invited King Crimson to precede them on stage. It was a great honor. The group's unconventional approach to rock music that day blew away the crowd. Needless to say, these Stone's fans knew that they had just experienced something very special musically, something new and refreshing. It had been the public debut of King Crimson!
The end for King Crimson's stellar initial line-up was nonetheless near. While on tour in North America to support the release of their debut album, tensions within the band became apparent. Giles and McDonald declared that they planned to leave the band at the conclusion of the tour and record together. Their ensuing album entitled, "McDonald and Giles", unsurprisingly had much of the same feel as King Crimson's debut album. It is worth a listen. Greg Lake soon thereafter left the band, too, to form the supergroup, Emerson, Lake, and Palmer, with Keith Emerson on keyboards (formerly with the band, The Nice) and Carl Palmer on drums (formerly with Atomic Rooster.) This band's popularity, especially with fans of progressive rock, soon eclipsed the popularity of King Crimson. Before he left King Crimson, however, Greg Lake began work with the remaining members of the band on several tracks for the band's second album, "In the Wake of Poseidon." Further down the line, Ian McDonald founded another prominent group in the mid-1970's. This band, Foreigner, with time, made its own significant contribution to rock music history, too.
The early stages of this group's formation saw three friends, Robert Fripp, Michael Giles, and Peter Giles, enter the studio and record a number of songs together under the name of "Giles, Giles, and Fripp." Robert Fripp was a versatile guitarist with the ability to play a wide range of styles. Along the way, they were joined by Ian McDonald, a multi-instrumentalist, who played various woodwind instruments and who also played a number of different keyboards, including the mellotron. When one of the Giles brothers left the band, he was soon replaced with Greg Lake on bass and vocals. With the final addition of Peter Sinfield as lyricist, the group was formed. The year was late 1968.
The album's strong appeal, no doubt, lay in the group's prominent use of the mellotron. Without its use, the album would certainly not have reached masterpiece status. This instrument (actually, an amalgam of prerecorded tapes) replaced the diverse sounds of an entire philharmonic orchestra. Rock groups had already been experimenting, and recording, with the mellotron for sometime, ever since the Summer of Love. The Rolling Stones, for one, first began to use the mellotron in 1967 when they were writing songs for their upcoming album, "For Their Satanic Majesties Request." The Rolling Stones, too, had a talented multi-instrumentalist in Brian Jones. During the psychedelic era, musicians from various groups, ranging from David Bowie to Pink Floyd, took an interest in, and a quick liking to, the mellotron, especially with its outworldly sounds. However, the Stones soon returned to their R&B roots, abandoning further experimentation in that direction with the mellotron. The Moody Blues, on the other hand, who had previously employed the full services of the London Philharmonic Orchestra, found the mellotron to be a suitable replacement for the orchestra, and they soon integrated the new instrument into their recordings (and also into their upcoming touring plans.) Mike Pinder of The Moody Blues became quite proficient with its use.
The Rolling Stones did not forget their brief experimentation with the mellotron, and their affection towards it. And when it came time to introduce to the public, especially their fans, their new line-up in the summer of 1969, featuring guitarist extraordinaire Mick Taylor, at a free concert in London's Hyde Park, they invited King Crimson to precede them on stage. It was a great honor. The group's unconventional approach to rock music that day blew away the crowd. Needless to say, these Stone's fans knew that they had just experienced something very special musically, something new and refreshing. It had been the public debut of King Crimson!
The end for King Crimson's stellar initial line-up was nonetheless near. While on tour in North America to support the release of their debut album, tensions within the band became apparent. Giles and McDonald declared that they planned to leave the band at the conclusion of the tour and record together. Their ensuing album entitled, "McDonald and Giles", unsurprisingly had much of the same feel as King Crimson's debut album. It is worth a listen. Greg Lake soon thereafter left the band, too, to form the supergroup, Emerson, Lake, and Palmer, with Keith Emerson on keyboards (formerly with the band, The Nice) and Carl Palmer on drums (formerly with Atomic Rooster.) This band's popularity, especially with fans of progressive rock, soon eclipsed the popularity of King Crimson. Before he left King Crimson, however, Greg Lake began work with the remaining members of the band on several tracks for the band's second album, "In the Wake of Poseidon." Further down the line, Ian McDonald founded another prominent group in the mid-1970's. This band, Foreigner, with time, made its own significant contribution to rock music history, too.