If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities; the absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era.
King Crimson originally grew out of the remnants of an unsuccessful trio called Giles, Giles & Fripp. Michael Giles (drums, vocals), Peter Giles (bass, vocals), and Robert Fripp (guitar) had begun working together in late 1967 after playing in a variety of bands: Fripp's resume included tenures with the League of Gentlemen and the Majestic Dance Orchestra, while the Giles brothers had played with Trendsetters, Ltd. After signing to Deram, the trio recorded their debut single, "One in a Million," and began cutting a follow-up album, The Cheerful Insanity of Giles, Giles & Fripp, during the summer of 1968.
Even as the album was in the works, however, the group's lineup was changing: ex-Infinity singers/guitarists Ian McDonald and Peter Sinfield joined late in 1968, and Julie Dyble, who had passed through the first Fairport Convention lineup, signed on briefly as a singer. This lineup recorded demos of "I Talk to the Wind" and "Under the Sky, " but soon dissolved: Peter Giles exited the scene in November of 1968, and Fripp's childhood friend, vocalist/bassist Greg Lake, joined two days later. The new roster of Fripp, Lake, McDonald, and Michael Giles -- with satellite member Sinfield writing their lyrics and later running their light show, among other functions -- officially became King Crimson on January 13, 1969, deriving the name from Sinfield's lyrics for the song "Court of the Crimson King."
In July of 1969, the group debuted in front of 650,000 people at a free concert in London's Hyde Park on a bill with the Rolling Stones; later that month King Crimson ultimately recorded and produced their first album. In the Court of the Crimson King was one of the most challenging albums of the entire fledgling progressive rock movement, but somehow it caught the public's collective ear at the right moment and hit number five in England in November of 1969 -- four months later, the album climbed to number 28 on the American charts. Ironically, at the peak of the LP's success the original band broke up: McDonald and Giles were becoming increasingly unhappy with the music's direction, as well as the strain of touring. By November they decided to leave -- Fripp was so shaken that he even offered to exit if they would stay. The original group played their last show in December 1969; Greg Lake, having joined the group last, was uncomfortable with the idea of staying on with two replacement members, and had also been approached by Keith Emerson of the Nice about the possibility of forming a new group. He soon decided to leave Crimson as well, but agreed to stay long enough to record vocals for the next album.
Whether there would even be a next album was debatable for a time after Fripp was offered the chance to replace Peter Banks in Yes. Finally, a new single ("Catfood") and album (In the Wake of Poseidon) were recorded early in 1970: essentially a Fripp-dominated retake of In the Court of the Crimson King, Lake sang on all but one of the songs, Fripp played the Mellotron as well as all of the guitars, and a new singer, Fripp's boyhood friend Gordon Haskell, debuted on "Cadence and Cascade." Fripp spent the month of August rehearsing a new King Crimson lineup, consisting of himself, Haskell (bass, vocals), saxman/flautist Mel Collins (who had played on Poseidon), and Andy McCullough (drums). This group, augmented by pianist Keith Tippett, guest vocalist Jon Anderson of Yes, and oboist/English horn virtuoso Marc Charig, recorded the next Crimson album, Lizard, in the fall of 1970, but Haskell and McCullough both walked out soon after it was finished; with Fripp busy putting a new band together, Peter Sinfield took over the final production chores.
In December of 1970, Ian Wallace joined on drums, and after auditioning several aspiring singers including Bryan Ferry, Fripp chose Boz Burrell as the group's new vocalist. The latest Crimson lineup of Fripp, Burrell, Collins, and Wallace emerged on-stage in April of 1971, and for the next year, King Crimson was a going concern, playing gigs across the globe. The only casualty during the remainder of the year was Sinfield, who split in December after Fripp asked him to leave. Their new album, Islands, got to number 30 in England, and number 76 in America; the band might've succeeded had it lasted for another album to make its case, but in April of 1972, this latest lineup broke up after Wallace, Collins, and Burrell moved as a trio to join Alexis Korner in a band called Snape. (Burrell later became the bassist with Bad Company.)
It seemed as though King Crimson had finally come to an end. Then, in July of 1972, Fripp put together a new band consisting of ex-Yes drummer Bill Bruford, ex-Family member John Wetton on bass and vocals, David Cross on violin and Mellotron, and Jamie Muir on percussion. Sinfield's successor as lyricist was Richard Palmer-James, who was otherwise invisible in the lineup. This group recorded their debut album, Larks' Tongues in Aspic, and made their debut in Frankfurt in October of 1972. Muir was out of the lineup by early 1973, but as a quartet the band toured England, Europe and America while Larks' Tongues made it all the way to the Top 20 in England. In January of 1974, King Crimson cut a new album, Starless and Bible Black, thus becoming the first lineup to remain intact for more than one American tour and more than one album (discounting the departed Muir).
Alas, by July of 1974 even this long-lasting King Crimson lineup had begun to splinter. This time Cross was the one to exit, following a performance in New York. With King Crimson reduced to a trio of Fripp, Wetton, and Bruford, one more album, Red, was completed that summer with help from Cross and former members Mel Collins and Ian McDonald (who had gone on to fame and fortune as the co-founder of the arena rock band Foreigner). Fripp disbanded the group on September 25, 1974, seemingly for the last time. Wetton later passed through the lineup of Uriah Heep before going on to international success as the lead singer of Asia, while Cross later turned up on the Mellotron multi-artist showcase album The Rime of the Ancient Sampler.
In June of 1975, eleven months after their last public concert, a live album called USA was issued, followed four years later by Fripp's first solo album, Exposure. Finally, in April of 1981, Fripp formed a new group called Discipline with Bruford, bassist Tony Levin, and guitarist/singer Adrian Belew. By the time their album was released in October of that year, the group's name had been changed to King Crimson (the album was still titled Discipline, however). This band, with a herky-jerky sound completely different from any of the other lineups to use that name, toured and recorded regularly over the years, which included full-length video productions; they splintered after two more albums, 1982's Beat and 1984's Three of a Perfect Pair.
King Crimson remained silent for about a decade, as compilations and vintage live performances continued to trickle out (including the box sets Frame by Frame, which mostly covered classic studio material, and The Great Deceiver, which featured live performances from 1973-74). Finally, in 1994, Fripp reunited with the Discipline-era lineup, augmenting the group with drummer/percussionist Pat Mastelotto and bassist/guitarist/Chapman Stick player Trey Gunn. The EP VROOOM appeared late that year, setting the stage for a full-fledged comeback with 1995's Thrak. The album earned generally good reviews and re-established Crimson as a viable touring concern, although it took until 2000 for the band to come up with a new studio album (ConstruKction of Light) amidst a continuing stream of archive-clearing collections. In the five years between Thrak and ConstruKction of Light, the members of Crimson often fragmented the band into experimental subgroups dubbed ProjeKcts. The idea was to mix things up a bit and generate fresh musical ideas prior to the forthcoming album; in the meantime, drummer Bill Bruford and bassist Tony Levin left the band. Culled from the supporting European tour, the live box Heavy ConstruKction was released later in 2000. For the band's 30th anniversary, Fripp commissioned the remastering of the first 15 years' catalog, featuring remastered sound, and original album art. ~ Bruce Eder,
King Crimson originally grew out of the remnants of an unsuccessful trio called Giles, Giles & Fripp. Michael Giles (drums, vocals), Peter Giles (bass, vocals), and Robert Fripp (guitar) had begun working together in late 1967 after playing in a variety of bands: Fripp's resume included tenures with the League of Gentlemen and the Majestic Dance Orchestra, while the Giles brothers had played with Trendsetters, Ltd. After signing to Deram, the trio recorded their debut single, "One in a Million," and began cutting a follow-up album, The Cheerful Insanity of Giles, Giles & Fripp, during the summer of 1968.
Even as the album was in the works, however, the group's lineup was changing: ex-Infinity singers/guitarists Ian McDonald and Peter Sinfield joined late in 1968, and Julie Dyble, who had passed through the first Fairport Convention lineup, signed on briefly as a singer. This lineup recorded demos of "I Talk to the Wind" and "Under the Sky, " but soon dissolved: Peter Giles exited the scene in November of 1968, and Fripp's childhood friend, vocalist/bassist Greg Lake, joined two days later. The new roster of Fripp, Lake, McDonald, and Michael Giles -- with satellite member Sinfield writing their lyrics and later running their light show, among other functions -- officially became King Crimson on January 13, 1969, deriving the name from Sinfield's lyrics for the song "Court of the Crimson King."
In July of 1969, the group debuted in front of 650,000 people at a free concert in London's Hyde Park on a bill with the Rolling Stones; later that month King Crimson ultimately recorded and produced their first album. In the Court of the Crimson King was one of the most challenging albums of the entire fledgling progressive rock movement, but somehow it caught the public's collective ear at the right moment and hit number five in England in November of 1969 -- four months later, the album climbed to number 28 on the American charts. Ironically, at the peak of the LP's success the original band broke up: McDonald and Giles were becoming increasingly unhappy with the music's direction, as well as the strain of touring. By November they decided to leave -- Fripp was so shaken that he even offered to exit if they would stay. The original group played their last show in December 1969; Greg Lake, having joined the group last, was uncomfortable with the idea of staying on with two replacement members, and had also been approached by Keith Emerson of the Nice about the possibility of forming a new group. He soon decided to leave Crimson as well, but agreed to stay long enough to record vocals for the next album.
Whether there would even be a next album was debatable for a time after Fripp was offered the chance to replace Peter Banks in Yes. Finally, a new single ("Catfood") and album (In the Wake of Poseidon) were recorded early in 1970: essentially a Fripp-dominated retake of In the Court of the Crimson King, Lake sang on all but one of the songs, Fripp played the Mellotron as well as all of the guitars, and a new singer, Fripp's boyhood friend Gordon Haskell, debuted on "Cadence and Cascade." Fripp spent the month of August rehearsing a new King Crimson lineup, consisting of himself, Haskell (bass, vocals), saxman/flautist Mel Collins (who had played on Poseidon), and Andy McCullough (drums). This group, augmented by pianist Keith Tippett, guest vocalist Jon Anderson of Yes, and oboist/English horn virtuoso Marc Charig, recorded the next Crimson album, Lizard, in the fall of 1970, but Haskell and McCullough both walked out soon after it was finished; with Fripp busy putting a new band together, Peter Sinfield took over the final production chores.
In December of 1970, Ian Wallace joined on drums, and after auditioning several aspiring singers including Bryan Ferry, Fripp chose Boz Burrell as the group's new vocalist. The latest Crimson lineup of Fripp, Burrell, Collins, and Wallace emerged on-stage in April of 1971, and for the next year, King Crimson was a going concern, playing gigs across the globe. The only casualty during the remainder of the year was Sinfield, who split in December after Fripp asked him to leave. Their new album, Islands, got to number 30 in England, and number 76 in America; the band might've succeeded had it lasted for another album to make its case, but in April of 1972, this latest lineup broke up after Wallace, Collins, and Burrell moved as a trio to join Alexis Korner in a band called Snape. (Burrell later became the bassist with Bad Company.)
It seemed as though King Crimson had finally come to an end. Then, in July of 1972, Fripp put together a new band consisting of ex-Yes drummer Bill Bruford, ex-Family member John Wetton on bass and vocals, David Cross on violin and Mellotron, and Jamie Muir on percussion. Sinfield's successor as lyricist was Richard Palmer-James, who was otherwise invisible in the lineup. This group recorded their debut album, Larks' Tongues in Aspic, and made their debut in Frankfurt in October of 1972. Muir was out of the lineup by early 1973, but as a quartet the band toured England, Europe and America while Larks' Tongues made it all the way to the Top 20 in England. In January of 1974, King Crimson cut a new album, Starless and Bible Black, thus becoming the first lineup to remain intact for more than one American tour and more than one album (discounting the departed Muir).
Alas, by July of 1974 even this long-lasting King Crimson lineup had begun to splinter. This time Cross was the one to exit, following a performance in New York. With King Crimson reduced to a trio of Fripp, Wetton, and Bruford, one more album, Red, was completed that summer with help from Cross and former members Mel Collins and Ian McDonald (who had gone on to fame and fortune as the co-founder of the arena rock band Foreigner). Fripp disbanded the group on September 25, 1974, seemingly for the last time. Wetton later passed through the lineup of Uriah Heep before going on to international success as the lead singer of Asia, while Cross later turned up on the Mellotron multi-artist showcase album The Rime of the Ancient Sampler.
In June of 1975, eleven months after their last public concert, a live album called USA was issued, followed four years later by Fripp's first solo album, Exposure. Finally, in April of 1981, Fripp formed a new group called Discipline with Bruford, bassist Tony Levin, and guitarist/singer Adrian Belew. By the time their album was released in October of that year, the group's name had been changed to King Crimson (the album was still titled Discipline, however). This band, with a herky-jerky sound completely different from any of the other lineups to use that name, toured and recorded regularly over the years, which included full-length video productions; they splintered after two more albums, 1982's Beat and 1984's Three of a Perfect Pair.
King Crimson remained silent for about a decade, as compilations and vintage live performances continued to trickle out (including the box sets Frame by Frame, which mostly covered classic studio material, and The Great Deceiver, which featured live performances from 1973-74). Finally, in 1994, Fripp reunited with the Discipline-era lineup, augmenting the group with drummer/percussionist Pat Mastelotto and bassist/guitarist/Chapman Stick player Trey Gunn. The EP VROOOM appeared late that year, setting the stage for a full-fledged comeback with 1995's Thrak. The album earned generally good reviews and re-established Crimson as a viable touring concern, although it took until 2000 for the band to come up with a new studio album (ConstruKction of Light) amidst a continuing stream of archive-clearing collections. In the five years between Thrak and ConstruKction of Light, the members of Crimson often fragmented the band into experimental subgroups dubbed ProjeKcts. The idea was to mix things up a bit and generate fresh musical ideas prior to the forthcoming album; in the meantime, drummer Bill Bruford and bassist Tony Levin left the band. Culled from the supporting European tour, the live box Heavy ConstruKction was released later in 2000. For the band's 30th anniversary, Fripp commissioned the remastering of the first 15 years' catalog, featuring remastered sound, and original album art. ~ Bruce Eder,
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コメント(11)
Album: In the Court of the Crimson King
Artist: King Crimson
Released: 1969
1. 21st Century Schizoid Man (Including Mirrors)
2. I Talk to the Wind
3. Epitaph Including March for No Reason and Tomorrow and Tomorrow
4. Moonchild (Including The Dream and The Illusion)
5. Court of the Crimson King Including the Return of the Fire Witch and th
This reissue of King Crimson's debut, In The Court Of The Crimson King (1969), renders all previous pressings obsolete. In the late 1990s, Robert Fripp remastered the entire Crimson catalog for inclusion in a 30th Anniversary edition. Nowhere was the upgrade more deserved (or necessary) than on this rock and roll cornerstone. Initially, the King Crimson consisted of Robert Fripp (guitar), Ian McDonald (reeds/woodwind/vibes/keyboards/Mellotron/vocals), Greg Lake (bass/vocals), Michael Giles (drums/percussion/vocals), and Peter Sinfield (words/illuminations). As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent -- a sort of thinking man's Pink Floyd. Fripp demonstrates his innate aptitude for contrasts, and the value of silence within a performance, even as far back as "21st Century Schizoid Man." The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. Juxtaposed with that electric intensity is the ethereal noir ballad "I Talk To The Wind." The delicate vocal harmonies, and McDonald's achingly poignant flute solo and melodic counterpoint remain unmatched on an emotive level. The surreal and opaque lyrics are likewise an insight to Peter Sinfield's masterful wordplay, which graced their next three releases. The original A-side concludes with the powerful sonic imagery of "Epitaph." The haunting Mellotron wails, and Fripp's acoustic -- as well as electric -- guitar counterpoints give the introduction an almost sacred feel, adding measurably to the overall sinister mood. Giles percussion work provides a pungent kick during the kettle drum intro, and to the aggressive palpitation-inducing rhythm in the chorus. "Moonchild" is an eerie love song that is creepy, bordering on uncomfortable. The melody is agile and ageless, while the instrumentation wafts like the wind through bare trees. Developing out of the song is an extended improvisation that dissolves into a non-structured section of free jazz, with brief guitar lines running parallel throughout. The title track, "In The Court Of The Crimson King," completes the disc with another beautifully bombastic song. Here again, the foreboding featured in Sinfield's lyrics are instrumentally matched by the contrasting verbosity in the chorus, and the delicate nature of the verses and concluding solos. Of course, this thumbnail appraisal pales in comparison to experiencing the actual recording. Thanks to Fripp and company's laborious efforts, this 30th Anniversary edition sports sound as majestic as it has ever been within the digital domain. Frankly, the HDCD playback compatibility even bests the warmth and timbre of an original 1-A vinyl pressing. This is especially critical during the quieter passages throughout "Moonchild," and "I Talk To The Wind." Initial releases were housed in a limited-edition gatefold replica of the original LP packaging, and were accompanied by an oversized 12-page memorabilia booklet with photos and press clippings from the era. ~ Lindsay Planer,
Artist: King Crimson
Released: 1969
1. 21st Century Schizoid Man (Including Mirrors)
2. I Talk to the Wind
3. Epitaph Including March for No Reason and Tomorrow and Tomorrow
4. Moonchild (Including The Dream and The Illusion)
5. Court of the Crimson King Including the Return of the Fire Witch and th
This reissue of King Crimson's debut, In The Court Of The Crimson King (1969), renders all previous pressings obsolete. In the late 1990s, Robert Fripp remastered the entire Crimson catalog for inclusion in a 30th Anniversary edition. Nowhere was the upgrade more deserved (or necessary) than on this rock and roll cornerstone. Initially, the King Crimson consisted of Robert Fripp (guitar), Ian McDonald (reeds/woodwind/vibes/keyboards/Mellotron/vocals), Greg Lake (bass/vocals), Michael Giles (drums/percussion/vocals), and Peter Sinfield (words/illuminations). As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent -- a sort of thinking man's Pink Floyd. Fripp demonstrates his innate aptitude for contrasts, and the value of silence within a performance, even as far back as "21st Century Schizoid Man." The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. Juxtaposed with that electric intensity is the ethereal noir ballad "I Talk To The Wind." The delicate vocal harmonies, and McDonald's achingly poignant flute solo and melodic counterpoint remain unmatched on an emotive level. The surreal and opaque lyrics are likewise an insight to Peter Sinfield's masterful wordplay, which graced their next three releases. The original A-side concludes with the powerful sonic imagery of "Epitaph." The haunting Mellotron wails, and Fripp's acoustic -- as well as electric -- guitar counterpoints give the introduction an almost sacred feel, adding measurably to the overall sinister mood. Giles percussion work provides a pungent kick during the kettle drum intro, and to the aggressive palpitation-inducing rhythm in the chorus. "Moonchild" is an eerie love song that is creepy, bordering on uncomfortable. The melody is agile and ageless, while the instrumentation wafts like the wind through bare trees. Developing out of the song is an extended improvisation that dissolves into a non-structured section of free jazz, with brief guitar lines running parallel throughout. The title track, "In The Court Of The Crimson King," completes the disc with another beautifully bombastic song. Here again, the foreboding featured in Sinfield's lyrics are instrumentally matched by the contrasting verbosity in the chorus, and the delicate nature of the verses and concluding solos. Of course, this thumbnail appraisal pales in comparison to experiencing the actual recording. Thanks to Fripp and company's laborious efforts, this 30th Anniversary edition sports sound as majestic as it has ever been within the digital domain. Frankly, the HDCD playback compatibility even bests the warmth and timbre of an original 1-A vinyl pressing. This is especially critical during the quieter passages throughout "Moonchild," and "I Talk To The Wind." Initial releases were housed in a limited-edition gatefold replica of the original LP packaging, and were accompanied by an oversized 12-page memorabilia booklet with photos and press clippings from the era. ~ Lindsay Planer,
Album: In the Wake of Poseidon
Artist: King Crimson
Released: 1970
1. Peace-A Beginning
2. Pictures of a City
3. Cadence and Cascade
4. In the Wake of Poseidon [Including Libra's Theme] 5. Peace - A Theme
6. Cat Food
7. Devil's Triangle
8. Peace-An End
King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album -- largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") -- is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure -- and played even better than before -- still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut. "The Devil's Triangle," which is essentially an unauthorized adaptation of "Mars, Bringer of War" from Gustav Holst's The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. In March of 2000, Caroline and Virgin released a 24-bit digitally remastered job that puts the two Mellotrons, Michael Giles' drums, Peter Giles' bass, and even Fripp's acoustic guitar and Keith Tippett's acoustic piano practically in the lap of the listener. ~ Bruce Eder,
Artist: King Crimson
Released: 1970
1. Peace-A Beginning
2. Pictures of a City
3. Cadence and Cascade
4. In the Wake of Poseidon [Including Libra's Theme] 5. Peace - A Theme
6. Cat Food
7. Devil's Triangle
8. Peace-An End
King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album -- largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") -- is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure -- and played even better than before -- still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut. "The Devil's Triangle," which is essentially an unauthorized adaptation of "Mars, Bringer of War" from Gustav Holst's The Planets, was later used in an eerie Bermuda Triangle documentary of the same name. In March of 2000, Caroline and Virgin released a 24-bit digitally remastered job that puts the two Mellotrons, Michael Giles' drums, Peter Giles' bass, and even Fripp's acoustic guitar and Keith Tippett's acoustic piano practically in the lap of the listener. ~ Bruce Eder,
Album: Lizard
Artist: King Crimson
Released: 1970
1. Peace-A Beginning
2. Pictures of a City
3. Cadence and Cascade
4. In the Wake of Poseidon [Including Libra's Theme] 5. Peace - A Theme
6. Cat Food
7. Devil's Triangle
8. Peace-An End
Lizard is very consciously jazz-oriented -- the influence of Miles Davis (particularly Sketches of Spain) being especially prominent -- and very progressive, even compared with the two preceding albums. The pieces are longer and have extensive developmental sections, reminiscent of classical music, and the lyrics are more ornate, while the subject matter is more exotic and rarified -- epic, Ragnarok-like battles between good and evil that run cyclically. The doom-laden mood of the first two albums is just as strong, except that the music is prettier; the only thing missing is a sense of humor. Jon Anderson of Yes guests on one key number, "Prince Rupert Awakes" (which vocalist/bassist Gordon Haskell never completed), and the album is stronger for his presence. 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. ~ Bruce Eder,
Artist: King Crimson
Released: 1970
1. Peace-A Beginning
2. Pictures of a City
3. Cadence and Cascade
4. In the Wake of Poseidon [Including Libra's Theme] 5. Peace - A Theme
6. Cat Food
7. Devil's Triangle
8. Peace-An End
Lizard is very consciously jazz-oriented -- the influence of Miles Davis (particularly Sketches of Spain) being especially prominent -- and very progressive, even compared with the two preceding albums. The pieces are longer and have extensive developmental sections, reminiscent of classical music, and the lyrics are more ornate, while the subject matter is more exotic and rarified -- epic, Ragnarok-like battles between good and evil that run cyclically. The doom-laden mood of the first two albums is just as strong, except that the music is prettier; the only thing missing is a sense of humor. Jon Anderson of Yes guests on one key number, "Prince Rupert Awakes" (which vocalist/bassist Gordon Haskell never completed), and the album is stronger for his presence. 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. ~ Bruce Eder,
Album: Islands
Artist: King Crimson
Released: 1971
1. Formentera Lady
2. Sailor's Tale
3. Letters
4. Ladies of the Road
5. Prelude: Song of the Gulls
6. Islands
The weakest Crimson studio album from their first era is only a real disappointment in relation to the extraordinarily high quality of the group's earlier efforts. The songs are somewhat uneven and draw from three years of inspiration. "The Letter" is an adaptation of "Drop In," a group composition that was featured in the early set of the original Crimson lineup from 1969, while "Song of the Gulls" goes back to the pre-King Crimson trio of Giles, Giles & Fripp for its source ("Suite No. 1"). There are also a few surprises, such as the Beatles-like harmonies on the raunchy "Ladies of the Road" and the extraordinary interweaving of electric guitar and Mellotron by Robert Fripp on "A Sailor's Tale, which is one of the highlights of the early- to mid-period group's output. Some of the music overstays its welcome -- several of the six tracks are extended too far, out of the need to fill up an LP -- but the virtuosity of the band picks up most of the slack on the composition side: Collins' saxes and Wallace's drums keep things much more than interesting in tandem with Fripp's guitar and Mellotron, and guest vocalist Paulina Lucas' keening accompaniment carries parts of "Formentera Lady" that might otherwise have dragged. After an unfotunate history of mediocre pressings, Virgin Records released a 24-bit digitally remastered CD that captured the original intact in March of 2000 . ~ Bruce Eder,
Artist: King Crimson
Released: 1971
1. Formentera Lady
2. Sailor's Tale
3. Letters
4. Ladies of the Road
5. Prelude: Song of the Gulls
6. Islands
The weakest Crimson studio album from their first era is only a real disappointment in relation to the extraordinarily high quality of the group's earlier efforts. The songs are somewhat uneven and draw from three years of inspiration. "The Letter" is an adaptation of "Drop In," a group composition that was featured in the early set of the original Crimson lineup from 1969, while "Song of the Gulls" goes back to the pre-King Crimson trio of Giles, Giles & Fripp for its source ("Suite No. 1"). There are also a few surprises, such as the Beatles-like harmonies on the raunchy "Ladies of the Road" and the extraordinary interweaving of electric guitar and Mellotron by Robert Fripp on "A Sailor's Tale, which is one of the highlights of the early- to mid-period group's output. Some of the music overstays its welcome -- several of the six tracks are extended too far, out of the need to fill up an LP -- but the virtuosity of the band picks up most of the slack on the composition side: Collins' saxes and Wallace's drums keep things much more than interesting in tandem with Fripp's guitar and Mellotron, and guest vocalist Paulina Lucas' keening accompaniment carries parts of "Formentera Lady" that might otherwise have dragged. After an unfotunate history of mediocre pressings, Virgin Records released a 24-bit digitally remastered CD that captured the original intact in March of 2000 . ~ Bruce Eder,
Album: Larks' Tongues in Aspic
Artist: King Crimson
Released: 1973
1. Larks' Tongues in Aspic, Pt. 1
2. Book of Saturday
3. Exiles
4. Easy Money
5. Talking Drum
6. Larks' Tongues in Aspic, Pt. II
King Crimson reborn yet again -- the newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering (yet melodic) bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes. The remastered edition, which appeared in the summer of 2000 in Europe and slightly later in America, features beautifully remastered sound -- among other advantages, it moves the finger cymbals opening the first section of the title track into sharp focus, with minimal hiss or noise to obscure them, exposes the multiple percussion instruments used on the opening of "Easy Money," and gives far more clarity to "The Talking Drum." This version is superior to any prior CD release of Larks' Tongues in Aspic, and contains a booklet reprinting period press clippings, session information, and production background on the album. ~ Bruce Eder,
Artist: King Crimson
Released: 1973
1. Larks' Tongues in Aspic, Pt. 1
2. Book of Saturday
3. Exiles
4. Easy Money
5. Talking Drum
6. Larks' Tongues in Aspic, Pt. II
King Crimson reborn yet again -- the newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering (yet melodic) bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes. The remastered edition, which appeared in the summer of 2000 in Europe and slightly later in America, features beautifully remastered sound -- among other advantages, it moves the finger cymbals opening the first section of the title track into sharp focus, with minimal hiss or noise to obscure them, exposes the multiple percussion instruments used on the opening of "Easy Money," and gives far more clarity to "The Talking Drum." This version is superior to any prior CD release of Larks' Tongues in Aspic, and contains a booklet reprinting period press clippings, session information, and production background on the album. ~ Bruce Eder,
Album: Starless and Bible Black
Artist: King Crimson
Released: 1974
1. Great Deceiver
2. Lament
3. We'll Let You Know
4. Night Watch
5. Trio
6. Mincer
7. Starless and Bible Black
8. Fracture
Starless and Bible Black is even more powerful and daring than its predecessor, Larks' Tongues in Aspic, with jarring tempo shifts, explosive guitar riffs, and soaring, elegant, and delicate violin and Mellotron parts scattered throughout its 41 minutes, often all in the same songs. The album was on the outer fringes of accessible progressive rock, with enough musical ideas explored to make Starless and Bible Black more than background for tripping the way Emerson, Lake & Palmer's albums were used. "The Night Watch," a song about a Rembrandt painting, was, incredibly, a single release, although it was much more representative of the sound that Crimson was abandoning than where it was going in 1973-1974. More to that point were the contents of side two of the original LP, a pair of instrumentals that threw the group's hardest sounds right in the face of the listener, and gained some converts in the process. This album was remastered again for CD in the summer of 2000, in significantly improved sound that brought out the details (and surprising lyricism) of much of the material in far greater detail. The booklet included with the remastered version is not as impressive as some of the rest of the series entries in terms of information, but has great photos. ~ Bruce Eder,
Artist: King Crimson
Released: 1974
1. Great Deceiver
2. Lament
3. We'll Let You Know
4. Night Watch
5. Trio
6. Mincer
7. Starless and Bible Black
8. Fracture
Starless and Bible Black is even more powerful and daring than its predecessor, Larks' Tongues in Aspic, with jarring tempo shifts, explosive guitar riffs, and soaring, elegant, and delicate violin and Mellotron parts scattered throughout its 41 minutes, often all in the same songs. The album was on the outer fringes of accessible progressive rock, with enough musical ideas explored to make Starless and Bible Black more than background for tripping the way Emerson, Lake & Palmer's albums were used. "The Night Watch," a song about a Rembrandt painting, was, incredibly, a single release, although it was much more representative of the sound that Crimson was abandoning than where it was going in 1973-1974. More to that point were the contents of side two of the original LP, a pair of instrumentals that threw the group's hardest sounds right in the face of the listener, and gained some converts in the process. This album was remastered again for CD in the summer of 2000, in significantly improved sound that brought out the details (and surprising lyricism) of much of the material in far greater detail. The booklet included with the remastered version is not as impressive as some of the rest of the series entries in terms of information, but has great photos. ~ Bruce Eder,
Album: Red
Artist: King Crimson
Released: 1974
1. Red
2. Fallen Angel
3. One More Red Nightmare
4. Providence
5. Starless
King Crimson falls apart once more, seemingly for the last time, as David Cross walks away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past -- Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album -- including "Starless," a cousin to the prior album's title track -- and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors. Red was reissued on CD in the summer of 2000 in a remastered edition that features killer sound and an excellent booklet, containing a good account of the circumstances surrounding the recording of this album. ~ Bruce Eder,
Artist: King Crimson
Released: 1974
1. Red
2. Fallen Angel
3. One More Red Nightmare
4. Providence
5. Starless
King Crimson falls apart once more, seemingly for the last time, as David Cross walks away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past -- Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album -- including "Starless," a cousin to the prior album's title track -- and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors. Red was reissued on CD in the summer of 2000 in a remastered edition that features killer sound and an excellent booklet, containing a good account of the circumstances surrounding the recording of this album. ~ Bruce Eder,
Album: Discipline
Artist: King Crimson
Released: 1981
1. Elephant Talk
2. Frame by Frame
3. Matte Kudasai
4. Indiscipline
5. Thela Hun Ginjeet
6. Sheltering Sky
7. Discipline
When King Crimson leader Robert Fripp decided to assemble a new version of the band in the early '80s, prog rock fans rejoiced, and most new wave fans frowned. But after hearing this new unit's first release, 1981's Discipline, all the elements that made other arty new wave rockers (i.e., Talking Heads, Pere Ubu, the Police, etc.) successful were evident. Combining the futuristic guitar of Adrian Belew with the textured guitar of Fripp doesn't sound like it would work on paper, but the pairing of these two originals worked out magically. Rounding out the quartet was bass wizard Tony Levin and ex-Yes drummer Bill Bruford. Belew's vocals fit the music perfectly, sounding like David Byrne at his most paranoid at times (the funk track "Thela Hun Ginjeet"). Some other highlights include Tony Levin's "stick" (a strange bass-like instrument)-driven opener "Elephant Talk," the atmospheric "The Sheltering Sky," and the heavy rocker "Indiscipline." Many Crimson fans consider this album one of their best, right up there with In the Court of the Crimson King. It's easy to understand why after you hear the inspired performances by this hungry new version of the band. ~ Greg Prato
Artist: King Crimson
Released: 1981
1. Elephant Talk
2. Frame by Frame
3. Matte Kudasai
4. Indiscipline
5. Thela Hun Ginjeet
6. Sheltering Sky
7. Discipline
When King Crimson leader Robert Fripp decided to assemble a new version of the band in the early '80s, prog rock fans rejoiced, and most new wave fans frowned. But after hearing this new unit's first release, 1981's Discipline, all the elements that made other arty new wave rockers (i.e., Talking Heads, Pere Ubu, the Police, etc.) successful were evident. Combining the futuristic guitar of Adrian Belew with the textured guitar of Fripp doesn't sound like it would work on paper, but the pairing of these two originals worked out magically. Rounding out the quartet was bass wizard Tony Levin and ex-Yes drummer Bill Bruford. Belew's vocals fit the music perfectly, sounding like David Byrne at his most paranoid at times (the funk track "Thela Hun Ginjeet"). Some other highlights include Tony Levin's "stick" (a strange bass-like instrument)-driven opener "Elephant Talk," the atmospheric "The Sheltering Sky," and the heavy rocker "Indiscipline." Many Crimson fans consider this album one of their best, right up there with In the Court of the Crimson King. It's easy to understand why after you hear the inspired performances by this hungry new version of the band. ~ Greg Prato
Album: Beat
Artist: King Crimson
Released: 1982
1. Neal and Jack and Me
2. Heartbeat
3. Sartori in Tangier
4. Waiting Man
5. Neurotica
6. Two Hands
7. Howler
8. Requiem
Beat is not as good as its predecessor (1981's Discipline), but it's not too shabby, either. The '80s version of King Crimson (Robert Fripp, guitar; Adrian Belew, vocals/guitar; Tony Levin, bass; and Bill Bruford, drums) retains the then-modern new wave sound introduced on Discipline. The band's performances are still inspired, but the songwriting isn't as catchy or strong. The moody love song "Heartbeat" has become a concert favorite for the band, and contains a Jimi Hendrix-like backward guitar solo. Other worthwhile tracks include "Waiting Man," which features world music sounds (thanks to some stunning bass/percussion interplay), and "Neurotica" does an excellent job of painting an unwavering picture of a large U.S. city, with its jerky rhythms and tense vocals. With lots of different guitar textures, bass explorations, and uncommon drum rhythms present, King Crimson's Beat will automatically appeal to other musicians. But since they're fantastic songwriters as well, you don't have to be a virtuoso to feel the passion of their music. ~ Greg Prato,
Artist: King Crimson
Released: 1982
1. Neal and Jack and Me
2. Heartbeat
3. Sartori in Tangier
4. Waiting Man
5. Neurotica
6. Two Hands
7. Howler
8. Requiem
Beat is not as good as its predecessor (1981's Discipline), but it's not too shabby, either. The '80s version of King Crimson (Robert Fripp, guitar; Adrian Belew, vocals/guitar; Tony Levin, bass; and Bill Bruford, drums) retains the then-modern new wave sound introduced on Discipline. The band's performances are still inspired, but the songwriting isn't as catchy or strong. The moody love song "Heartbeat" has become a concert favorite for the band, and contains a Jimi Hendrix-like backward guitar solo. Other worthwhile tracks include "Waiting Man," which features world music sounds (thanks to some stunning bass/percussion interplay), and "Neurotica" does an excellent job of painting an unwavering picture of a large U.S. city, with its jerky rhythms and tense vocals. With lots of different guitar textures, bass explorations, and uncommon drum rhythms present, King Crimson's Beat will automatically appeal to other musicians. But since they're fantastic songwriters as well, you don't have to be a virtuoso to feel the passion of their music. ~ Greg Prato,
Album: Three of a Perfect Pair
Artist: King Crimson
Released: 1984
1. Three of a Perfect Pair Preview Purchase
2. Model Man Preview Purchase
3. Sleepless Preview Purchase
4. Man With an Open Heart Preview Purchase
5. Nuages (That Which Passes, Passes Like Clouds) Preview Purchase
6. Industry Preview Purchase
7. Dig Me Preview Purchase
8. No Warning Preview Purchase
9. Larks' Tongues in Aspic, Pt. III
Upon its release in 1984, Three of a Perfect Pair caused some unrest among fans of King Crimson. Most of their audience felt that the band had made a conscious and obvious decision to try to break through to a more mainstream pop audience. But in hindsight, this is hardly the case; it sounds unlike anything that was out at the time. Like 1982's Beat, Three of a Perfect Pair doesn't quite meet the high standards set by 1981's Discipline, but does contain a few Crimson treats. The opening title track contains an unrelenting groove that never seems to let up, while "Sleepless" starts off with Tony Levin laying down some funky bass until Adrian Belew's trademark paranoid vocals kick in and assure the listener that "it's alright to feel a little fear." Also included are the seven-minute instrumental soundscape "Industry" and the cautionary tale of a "Model Man." This would prove to be the new King Crimson's last release for nearly ten years; the group disbanded soon after as its members concentrated on solo careers and other projects, until a mid-'90s reunion brought them all back together.
Artist: King Crimson
Released: 1984
1. Three of a Perfect Pair Preview Purchase
2. Model Man Preview Purchase
3. Sleepless Preview Purchase
4. Man With an Open Heart Preview Purchase
5. Nuages (That Which Passes, Passes Like Clouds) Preview Purchase
6. Industry Preview Purchase
7. Dig Me Preview Purchase
8. No Warning Preview Purchase
9. Larks' Tongues in Aspic, Pt. III
Upon its release in 1984, Three of a Perfect Pair caused some unrest among fans of King Crimson. Most of their audience felt that the band had made a conscious and obvious decision to try to break through to a more mainstream pop audience. But in hindsight, this is hardly the case; it sounds unlike anything that was out at the time. Like 1982's Beat, Three of a Perfect Pair doesn't quite meet the high standards set by 1981's Discipline, but does contain a few Crimson treats. The opening title track contains an unrelenting groove that never seems to let up, while "Sleepless" starts off with Tony Levin laying down some funky bass until Adrian Belew's trademark paranoid vocals kick in and assure the listener that "it's alright to feel a little fear." Also included are the seven-minute instrumental soundscape "Industry" and the cautionary tale of a "Model Man." This would prove to be the new King Crimson's last release for nearly ten years; the group disbanded soon after as its members concentrated on solo careers and other projects, until a mid-'90s reunion brought them all back together.
Album: THRAK
Artist: King Crimson
Released: 1995
1. Vrooom
2. Coda: Marine 475
3. Dinosaur
4. Walking on Air
5. B'boom
6. Thrak
7. Inner Garden, Pt. 1
8. People
9. Radio I
10. One Time
11. Radio II
12. Inner Garden, Pt. 2
13. Sex Sleep Eat Drink Dream
14. Vrooom Vrooom
15. Vrooom Vrooom: Coda
The only progressive rock band from the '60s to be making new, vital, progressive music in the '90s, King Crimson returned from a ten-year exile in 1995 with THRAK, their first album since 1984's 3 of a Perfect Pair. As with the '80s band, guitarist/ringleader Robert Fripp recruited singer/guitarist Adrian Belew, bassist Tony Levin, and drummer Bill Bruford for this incarnation of his classic band. However, he added to this familiar quartet two new members: Chapman Stick player Trey Gunn and ex-Mr. Mister drummer Pat Mastelotto. Effectively, Fripp created a "double trio," and the six musicians combine their instruments in extremely unique ways. The mix is very dense, overpoweringly so at times, but careful listens will reveal that each musician has his own place in each song; the denseness of the sound is by design, not the accidental result of too many cooks in the kitchen. Sometimes, as in "THRAK," the two trios are set against each other, in some sort of musical faux combat. In others, they just combine their respective sounds to massive effect. On "Dinosaur," perhaps the strongest track on the record, Mastelotto and Bruford set up an ominous tom-tom groove that supports an even more ominous guitar figure. The vocal, the musings of a long-dead sauropod, are vintage Belew, just as the freaky, falling-down-the-stairs solo in the middle is vintage Fripp. Other high points include the drum duet "B'Boom" and the two Belew/Fripp "Inner Garden" pieces. Allusions to earlier Crimson abounds, such as the form of "VROOM," for example, which is suspiciously reminiscent of "Red" (from the 1974 album of the same name), or the shout-out to "The Sheltering Sky" (from 1981's Discipline) in "Walking on Air." Thankfully, this never gets annoying, but instead acts as a subtle nudge and a wink to faithful fans. King Crimson came back in a major way with THRAK, and proved that, even in its fourth major incarnation, Fripp and company still had something to say. High-quality prog. ~ Daniel Gioffre
Artist: King Crimson
Released: 1995
1. Vrooom
2. Coda: Marine 475
3. Dinosaur
4. Walking on Air
5. B'boom
6. Thrak
7. Inner Garden, Pt. 1
8. People
9. Radio I
10. One Time
11. Radio II
12. Inner Garden, Pt. 2
13. Sex Sleep Eat Drink Dream
14. Vrooom Vrooom
15. Vrooom Vrooom: Coda
The only progressive rock band from the '60s to be making new, vital, progressive music in the '90s, King Crimson returned from a ten-year exile in 1995 with THRAK, their first album since 1984's 3 of a Perfect Pair. As with the '80s band, guitarist/ringleader Robert Fripp recruited singer/guitarist Adrian Belew, bassist Tony Levin, and drummer Bill Bruford for this incarnation of his classic band. However, he added to this familiar quartet two new members: Chapman Stick player Trey Gunn and ex-Mr. Mister drummer Pat Mastelotto. Effectively, Fripp created a "double trio," and the six musicians combine their instruments in extremely unique ways. The mix is very dense, overpoweringly so at times, but careful listens will reveal that each musician has his own place in each song; the denseness of the sound is by design, not the accidental result of too many cooks in the kitchen. Sometimes, as in "THRAK," the two trios are set against each other, in some sort of musical faux combat. In others, they just combine their respective sounds to massive effect. On "Dinosaur," perhaps the strongest track on the record, Mastelotto and Bruford set up an ominous tom-tom groove that supports an even more ominous guitar figure. The vocal, the musings of a long-dead sauropod, are vintage Belew, just as the freaky, falling-down-the-stairs solo in the middle is vintage Fripp. Other high points include the drum duet "B'Boom" and the two Belew/Fripp "Inner Garden" pieces. Allusions to earlier Crimson abounds, such as the form of "VROOM," for example, which is suspiciously reminiscent of "Red" (from the 1974 album of the same name), or the shout-out to "The Sheltering Sky" (from 1981's Discipline) in "Walking on Air." Thankfully, this never gets annoying, but instead acts as a subtle nudge and a wink to faithful fans. King Crimson came back in a major way with THRAK, and proved that, even in its fourth major incarnation, Fripp and company still had something to say. High-quality prog. ~ Daniel Gioffre
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