六十年代末、七十年代初当"前卫""概念""实验"等口号被喊地震天价响时，King Crimson（KC）是当中最优秀的理论与实践者之一；八十年代九十年代当此类经典乐团解体（ELP）或被主流收编（Yes）时，King Crimson仍路遥知马力般的摇滚着。无论现今摇滚的潮流为何，吾人仍不能否认当年KC所创造或遗留下的概念、技巧、精神正影响着现在想要突破的乐团，而他们的成就也成为后世前卫团体所无法突破的"梦靥"。

六十年代末、七十年代初当"前卫""概念""实验"等口号被喊地震天价响时，King Crimson（KC）是当中最优秀的理论与实践者之一；八十年代九十年代当此类经典乐团解体（ELP）或被主流收编（Yes）时，King Crimson仍路遥知马力般的摇滚着。无论现今摇滚的潮流为何，吾人仍不能否认当年KC所创造或遗留下的概念、技巧、精神正影响着现在想要突破的乐团，而他们的成就也成为后世前卫团体所无法突破的"梦靥"。

Lizard: Prince Rupert Awakes/Bolero - The Peacock's Tale/The Battle of Glass Tears/Big Top

Experimental side projeKct of the 2000 lineup of King Crimson. Recorded during the sessions for the KC album "The ConstruKction Of Light".

Reading the full name of this release – Jakszyk, Fripp And Collins With Levin And Harrison – A Scarcity Of Miracles – A King Crimson ProjeKct – leads to one central and almost unbelievable thought: this must be a new King Crimson album after all these years (the last album was released in 2003). But it is just like Robert Fripp, King Crimson’s mastermind and guitarist, wrote in the album’s liner notes: listening to A Scarcity Of Miracles is “like meeting a close member of the [King Crimson] family for the first time”.This album simply is fantastic. It is unbelievable how the musicians play through the songs in such a seemingly simple manner but actually the songs are very complex.

Released: 23 March 1973
Recorded: January – February 1973 at Command Studios, Piccadilly, Westminster, London, England
Producer: King Crimson
Band Members:
Robert Fripp – guitars, Mellotron, electric piano, devices
John Wetton – bass, vocals, piano on "Exiles"
Bill Bruford – drums, timbales, cowbell, wood block
David Cross – violin, viola, Mellotron, electric piano, flute on "Exiles"
Jamie Muir – percussion, drums, "allsorts" (assorted found items and sundry instruments)
Additional personnel:
Richard Palmer-James – lyrics
Nick Ryan – engineering
Tantra Designs – cover design

In the Wake of Poseidon is the second studio album by English progressive rock group King Crimson, released in May 1970 by Island Records in Europe, Atlantic Records in the United States, Philips Records in Australia, and Vertigo Records in New Zealand. To date the album is their highest-charting in the UK, reaching number 4.

The album was recorded during a period of instability within the band owing to a fluctuating lineup. It follows a musical style and track sequence very similar to their first album, In the Court of the Crimson King. The album was well-received by contemporary critics, who commended the overall execution and production quality as an improvement over that of the band's debut, although later assessments have faulted its heavy reliance on the template established by its predecessor.