Other than that any differences are unknown without an extensive ‘back to back’ with a later press.
This is so rare to find that it is even omitted from Yuri Grishin’s exhaustive book about the label ! There are known differences between the mixes but unfortunately exact details are not known – If Mr Fripp can enlighten us, it would be very handy !! The biggest clue is that the end of ‘I Talk To The Wind’ almost totally fades out before the opening of ‘Epitaph’ rather than segueing into it. This copy is one of the extremely rare Polydor pressed albums. This, in fact, covers the vast majority of the pink Island label issues of this album. Normally the issues that are found are smooth label with A2 / B4 matrices – i.e. By 1970 Island had switched most of their pressing to EMI who used a smooth label. This has the textured Island labels indicating that it was pressed at a Polydor plant. This is the A2 / B2 Version – Supposedly the REAL first pressing. The A1 / B1 Version apparently has a different track banding to later pressings. This song really sets the tone with the haunting vocals, heavy guitars and a monstrous rhythm section. The album kicks off with the unforgettable 21st Century Schizoid Man, a song (one of many) that features a particularly strange concept. Details about this pressing are shrouded in mystery and even Robert Fripp hasn’t been too forthcoming on the subject … Apparently A1 / B1 matrices do not (officially) exist, rumoured to have been destroyed for one reason or another, but at least one copy has surfaced so obviously not all were. In The Court of the Crimson King features a selection of five extended heavy rock songs, the shortest being six minutes long.
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