This reissue of King Crimson's debut, In the Court of the Crimson King (1969), renders all previous pressings obsolete. In the late '90s, 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 & roll cornerstone. Initially, King Crimson ...
King Crimson fell apart once more, seemingly for the last time, as David Cross walked 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, ...
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 ...
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 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 ...
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 ...
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 ...
The most obscure of the original King Crimson's LPs and the last to get reissued on CD, Earthbound is an anomaly in the group's output. Recorded along the final tour of the Robert Fripp/Boz Burrell/Ian Wallace/Mel Collins lineup in the late winter of 1972, the album was always notorious for its abysmal sound and for showcasing a band that was in ...
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 ...
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 ...
USA (1974) is a single-disc concert package documenting King Crimson during the quartet's most concurrent swing through North America. As with its predecessor, USA was also issued as a sonic cenotaph of the concurrently defunct Krim. So insistent that the band would not be resurrected, Robert Fripp at the time concluded the LP's liner notes with ...
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 ...
After three years and four albums, the '80s incarnation of King Crimson, featuring Adrian Belew (guitar/vocals/drums), Bill Bruford (drums/percussion), Robert Fripp (guitar) and Tony Levin (bass/stick/synth/vocal) wrapped up their initial collaborative efforts at the conclusion of their 1984 North American tour. Absent Lovers (1998) presents the ...
King Crimson is a decidedly unwieldy band. Spanning more than 35 years (as of this writing) and at least seven distinct lineups, and complicated by the studio vs. live dichotomy (not to mention no hits to speak of), this is a band that almost refuses to be anthologized. Anything less than a box set doesn't really do the band justice, but anything ...
King Crimson, one of the few first-generation progressive rock bands to remain nearly consistent in the quality of their output throughout their career, fall flat with The ConstruKction of Light, the band's 12th studio album. Unable to shed the weight of their oft-brilliant history, the most promising moments of ConstruKction are crushed ...
It may not be in the same form but at the very least it is available again. In 1992, Robert Fripp, in association with Caroline Records, released The Great Deceiver (Live 1973-1974). It was a lavish four-CD box, packaged in a long box with an amazing book that exceeded all previous efforts to document their live offerings. In contrast, the ...
It may not be in the same form but at the very least it is available again. In 1992, Robert Fripp, in association with Caroline Records, released The Great Deceiver (Live 1973-1974). It was a lavish four-CD box, packaged in a long box with an amazing book that exceeded all previous efforts to document their live offerings. In contrast, the ...
It appears that just when you thought the folks at Discipline Global Mobile had re-released every single King Crimson track in as many configurations as possible, they surprise you with another compilation: 2005's The 21st Century Guide to King Crimson, Vol. 2: 1981-2003. Following in the footsteps of 2004's The 21st Century Guide to King Crimson, ...
Adding to the already dizzying array of King Crimson live material is this second volume of the Collectable King Crimson, which hosts two gigs from 1981 in a double-disc set. The two discs vary in sound quality, but in terms of performance they are both fiery, exuberant and frequently stunning. Disc one has been retrieved from a cassette bootleg ...
The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew ...
After the six-man King Crimson disbanded in the spring of 1997, Adrian Belew (guitar/drums), Bill Bruford (percussion/drums), Robert Fripp (guitar), Trey Gunn (Warr guitar), Tony Levin (bass), and Pat Mastelotto (percussion/drums) agreed to splinter into a series of sequential ProjeKcts. These subgroups provided active research and development of ...
This two-disc archival set includes live performances from the short-lived incipient 1969 incarnation of King Crimson. After months of arduous sonic restoration -- or what Robert Fripp (guitar) refers to as "necromancy" -- the results are well worth the painstaking processes involved. The first volume contains material from three different sources ...
The Night Watch is a terrific live album capturing the third incarnation of King Crimson -- featuring Robert Fripp, John Wetton, Bill Bruford, and David Cross -- at the Amsterdam Covertgebouw on November 23, 1973. Some Crimson fans consider this lineup to be the most musically adept in the band's history, and the dense, yet dexterous, playing will ...
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 ...
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