'King Crimson' are a musical group founded by guitarist
Robert Fripp, and drummer
Michael Giles in
1969. Their style has typically been categorized as
progressive rock, although it also has diverse influences from
jazz,
classical,
experimental,
psychedelic,
New Wave,
heavy metal,
gamelan and
folk music. Although King Crimson has garnered little
radio or
music video airplay, they have a devoted
following.
[1] Their debut album, ''
In the Court of the Crimson King'', is widely regarded as a landmark in the history of the progressive rock genre. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists.
[2]
In the late 1960s, the band were very influential in popularising a previously unexplored
mellotron rock style. Throughout the early 1970s, their membership fluctuated with forays into jazz and funk, before becoming a more stable unit in the mid 1970s, developing an
improvisational sound influenced by heavy metal before the band's breakup. The band reformed in the early 1980s for three years, with a New Wave and gamelan-influenced sound, before breaking up again for around a decade. The 1990s saw King Crimson aspects of their 1980s and 1970s sound, which has continued into the 2000s, during which time several splinter groups of King Crimson known as "
ProjeKcts" appeared.
Though its membership has fluctuated considerably throughout its existence, the band continues to
perform and
record music. The only constant member of King Crimson has been Fripp, who has arranged several disparate line-ups of King Crimson, often working in different
genres. However, he has stated that he does not necessarily consider himself the band's leader, describing King Crimson as "a way of doing things",
[3] and noting that he never originally intended to be seen as the head of the group.
[ ]
History
1960s
In August 1967,
Michael Giles, a drummer, and his brother and bassist, Peter, put out an advertisement for a singing organist.
[4] Robert Fripp, a guitarist who did not sing, responded. The trio of
Giles, Giles and Fripp was formed. They recorded one album together, ''The Cheerful Insanity of Giles, Giles and Fripp''.
[ Fripp said of the encounter: "The Giles Brothers were looking for a singing organist. I was a non-singing guitar player. After 30 days of recording and playing with them I asked if I got the job or not — joking like, you know? And Michael Giles rolled a cigarette and said, very slowly, 'Well, let's not be in too much of a hurry to commit ourselves, shall we?' I still don't know if I ever got the job."[5]]
The initial band was changing, however, as their debut record had not been particularly successful, even being eschewed by Keith Moon of The Who in a magazine review.[ Fripp had seen the band 1-2-3 (later known as Clouds) at the Marquee, which inspired some of Crimson's penchant for classical melodies and jazz-like improvisation.[6] The first musician to be added to their new line-up was the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald had been writing songs with lyricist Peter Sinfield who also joined the new group, in a band called Infinity, which briefly included Fairport Convention singer Judy Dyble.][ McDonald had said to Peter in 1968 of his band Creation: "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?" One of the first songs McDonald and Sinfield wrote together was "In the Court of the Crimson King".[7] Fripp's childhood friend, singer-guitarist Greg Lake, was recruited by the others, and replaced Peter Giles on bass, also singing for the band.][ Thus, the first incarnation of the band was "conceived" on November 30, 1968 and first rehearsed on January 13, 1969.][ Shortly afterward they purchased a mellotron and began using it to create an original orchestral rock sound.]
The name King Crimson was coined by lyricist Peter Sinfield as a synonym for Beelzebub, prince of demons. According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim".[8] However, the original name is understood to be from ba'al zebul, "Lord of the High Place". (The name was later popularly corrupted to ba'al zevel, "Lord of the Dungheap", and ba'al zevuv, "Lord of the Flies", because the god's statue was constantly covered in blood.)[9]
King Crimson made their live debut on April 9, 1969,[ and made a breakthrough by playing the free concert in Hyde Park, London, staged by The Rolling Stones in July 1969 before 650,000 people.][ The first King Crimson album, ''In the Court of the Crimson King'' was released in October on EG Records, described by Fripp as "an instant smash" and "New York's acid album of 1970", despite the fact that Fripp and Giles claim that the band never used psychedelic drugs.][ The album received public compliments from Pete Townshend, guitarist with The Who, who called the album "an uncanny masterpiece."[10] The sound of the album has been described as setting the "aural antecedent" for alternative rock and grunge, whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel,[11] and this album is also credited with starting the entire progressive rock movement that was popular in the early 1970s.[12] ]
After playing shows in England, the band embarked on a tour of the United States, performing alongside many contemporary popular musicians and musical groups, and "astounding audiences and critics" with their original sound.[ Personal tensions within the band eventually reached a limit, however, and the original line-up played their last show together on December 16, 1969.][ Ian McDonald and Michael Giles left King Crimson to pursue solo work, recording the McDonald and Giles studio album in 1970. McDonald went on to be a founding member of Foreigner in 1976.[13]]
1970s
King Crimson's line-up fluctuated greatly during the years immediately following the breakup of the original band. The remaining trio of Fripp, Sinfield, and Lake, persevered for a short while, releasing the single ''Cat Food/Groon'' in early 1970.[ During this time, material was being developed for King Crimson's second album, ''In the Wake of Poseidon'', often seen as being very similar to the band's debut album.][ Woodwind player Mel Collins took part in the recording sessions, singer Gordon Haskell took vocals on one song, and bassist Peter Giles of Giles, Giles & Fripp appeared on several tracks.[14] Elton John was considered as a singer for the album.[15] Lake departed in early 1970 to form Emerson, Lake & Palmer, leaving King Crimson without a vocalist until Gordon Haskell joined the group. Haskell took over singing, in addition to playing bass for the band's third album, ''Lizard'',][ which had heavy jazz and classical influences and is described as being an "acquired taste".][ Andy McCulloch played drums for the album, with Jon Anderson of Yes performing vocals on one song.][ Haskell and McCulloch left King Crimson before ''Lizard'' was released, however.]
Drummer Ian Wallace and vocalist Boz Burrell were selected for the new band,[ among others who were unsuccessful, including Brian Ferry and Rick Kemp.][ Fripp decided to teach Burrell, who was only a singer and did not play an instrument, to play bass.][ King Crimson undertook their first tour since 1969 in early 1971 with the new line-up, and that year the band released a new album, ''Islands'', which is noted for its heavy Mellotron sound.][ At the end of that year, King Crimson parted ways with long-time member and lyricist Peter Sinfield,][ who then reunited with Greg Lake in becoming the primary lyricist for Emerson, Lake & Palmer.[16] The remaining members undertook a tour of the United States the following year, with the intention of disbanding afterwards.][ Recordings from this tour were later released as the ''Earthbound'' live album,][ noted and criticised for its bootleg-level sound quality and a sound close in style to funk, with scat singing on the improvised pieces.[17][18] Shortly after the ''Earthbound'' tour, Collins, Wallace and Burrell left King Crimson to form a band called Snape, with British blues guitarist Alexis Korner.][ Burrell would later become the bassist of Bad Company.]
Once again, Fripp began the task of looking for new members. These included improvising percussionist Jamie Muir;[ vocalist and bassist John Wetton, formerly of the band Family and a college acquaintance of Fripp;[19] violin, viola and keyboard player David Cross;][ and drummer Bill Bruford,][ who had chosen to leave the commercially successful Yes for the comparatively unstable and unpredictable King Crimson.[20] With Sinfield gone, the band recruited a new lyricist, Wetton's friend Richard Palmer-James.]
Rehearsals and touring began in late 1972 and the album ''Larks' Tongues in Aspic'' was released early the next year.[[21] The album was noted for its revolutionary sound (exemplified by such pieces as the title track in its two parts), which was a significant change from what King Crimson had done before,][ and had influences from the heavy metal sound that was in its infancy.[22] Muir left the group in early 1973 following an on-stage injury and joined a Buddhist monastery in Scotland.][[23] During the lengthy tour that followed, the remaining members began assembling material for their next album, ''Starless and Bible Black'', released in January 1974,][[24] earning them a positive ''Rolling Stone'' review.[25] Most of the album was recorded from live performances,][ although in many respects it was treated as just another studio album with the live factor dismissed.]
During the band's 1974 tour of Europe and America, David Cross left the group after a performance in Central Park in New York,[ and left the remaining trio to record a new album, ''Red''.][ The record included guest appearances by musicians from previous albums: Robin Miller on oboe; Marc Charig on cornet; former King Crimson member Mel Collins on soprano saxophone; David Cross on the live track "Providence"; and Ian McDonald, from the original incarnation of the band, guested on alto saxophone.[26] ''Red'' has been described as "an impressive achievement" for a group about to disband,[27] with "intensely dynamic" musical chemistry between the band members that resulted in a record "aggressive and loud enough to strip the wallpaper off your living room wall".[28]][ Article ] McDonald had plans to rejoin as a full-time member of King Crimson while Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the "world was coming to an end".[ The ''Red'' line-up never toured, and two months before the album's release Fripp announced that King Crimson had "ceased to exist" and was "completely over for ever and ever",][ Article ][ and the group disbanded on September 25, 1974.][ However, a posthumous live album documenting this version of King Crimson's final tour of the United States was released in 1975 to critical acclaim;][ ''USA'' reviewers calling it "a must" for fans of the band and "insanity you're better off having".][ Article ][ Article ] However, technical issues with some of the original tapes rendered some of David Cross' violin parts inaudible when mixed in 1974, so Eddie Jobson was brought in to provide studio overdubs of violin and keyboards. Further edits were also necessary to allow for the time limitations of a single vinyl album.[29]
1980s
Early in 1981, Fripp considered forming a new group, with no intention of reforming King Crimson;[ however, a step that led to this was contacting Bill Bruford to ask if he wanted to join the new band.][ Bruford agreed and the pair recruited Tony Levin, who had been a session musician for John Lennon and Yoko Ono,[30] Peter Gabriel, and others.[31] Besides being a bass player, Levin brought a new sound with the use of the Chapman Stick, described as an "utterly original style" created by "one of New York City's most sought-after studio musicians".][ Why Robert Fripp Resurrected King Crimson ] Fripp also contacted guitarist Adrian Belew, who was on tour with Talking Heads and had previously worked with David Bowie and Frank Zappa.[32] Fripp had never been in a band with another guitarist before so the decision to seek a second guitarist was indicative of Fripp's desire to create a sound unlike previous incarnations of King Crimson.[ Belew, who also became the band's singer and lyricist, joined following his tour with Talking Heads. The four played live in the first half of 1981 using the name Discipline,][ Disicipline. Her Majesty's ] supported by The Lounge Lizards.[ Fripp for Discipline ]
By October 1981, the band had begun using the name King Crimson.[ The group released a trilogy of albums: ''Discipline'' in 1981, ''Beat'' in 1982, and ''Three of a Perfect Pair'' in 1984. ''Beat'' marked the first King Crimson album to have been recorded with the exact same band members as the album preceding it,][ Article ] was the first King Crimson album not to have been produced by a member of the group,[ and was named for the beat generation and its writings.][ Article ] This theme was reflected in the music with song titles such as "Neal and Jack and Me" and "The Howler", with Belew even being asked by Fripp to read Keroauc's novel ''On the Road''.
This version of King Crimson bore some resemblance to New Wave music,[33] which can be attributed in part to the work of both Belew and Fripp with Talking Heads and David Bowie, Levin's work with Peter Gabriel, and Fripp's solo album ''Exposure'' and side project League of Gentlemen. With this new band, described as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts",[ After ''Three of a Perfect Pair'', King Crimson disbanded for around a decade, during which time Fripp formed the record label Discipline Global Mobile for King Crimson and related projects,[34] besides starting the Guitar Craft music school in 1985.]
1990s and 2000s
King Crimson reformed as a sextet in 1994, after numerous possible line-ups were considered, consisting of the 1980s band, but with Chapman stick player Trey Gunn and drummer Pat Mastelotto added.[35] This "double trio" formation released the EP ''VROOOM'' in 1994, followed by the studio album ''THRAK'' in 1995, and the challenging avantgarde live album ''THRaKaTTaK'' in 1996.[36] The new King Crimson sound featured elements of the interlocking guitars on ''Discipline'' and the heavy rock feel of ''Red''.[ The album ''THRAK'' was described as having "jazz-scented rock structures, characterised by noisy, angular, exquisite guitar interplay" and an "athletic, ever-inventive rhythm section",][ Article ] whilst being in tune with the sound of alternative rock musicians in the mid-1990s.[ THRAK ] However, the grandiose project of having a King Crimson with six band members did not last for long.
In the late 1990s, Discipline Global Mobile began to feature not only the works of King Crimson, but also of side projects. ProjeKcts One, Two, Three, and Four, each a splinter group (a "fraKctalisation", according to Fripp) of King Crimson. They released various recordings, demonstrating the improvisational musical highwire act that the constituent musicians are able to produce.[ These recordings, similar to the ''THRaKaTTaK'' album, have been described as "frequently astonishing" but lacking in melody, and are thus difficult for the casual listener.][ The DGM record company also founded the King Crimson Collector's Club in 1998, a service that regularly releases live recordings from concerts throughout the band's career, which are now available for download online.[37]]
By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson, leaving to work with Earthworks and Peter Gabriel/Seal respectively.[ Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album ''The ConstruKction of Light'' (2000),][ accompanied by the album ''Heaven and Earth'' released under the name ProjeKct X in the same year.[38] ''The ConstruKction of Light'' was criticised for lacking new ideas,[39] while ''Heaven and Earth'' was also criticised.][ The band toured around this time, and played shows opening for the band Tool in 2001,][ Tool Stretch Out And Slow Down In Show With King Crimson Bond, Laura ] during which their lead singer Maynard James Keenan humourously commented: "For me, being on stage with King
Crimson is like Lenny Kravitz playing with Led Zeppelin, or
Britney Spears onstage with Debbie Gibson."
The band continued their activity throughout the decade. In 2002 the EP ''Happy With What You Have to Be Happy With'' was released, [40] and in 2003 the studio album ''The Power to Believe'' came out with the band touring in support of it.[41] In late November 2003, Trey Gunn announced his departure from the band. Levin would become the active bassist of King Crimson again, with the subsequent line-up consisting of Fripp, Belew, Mastelotto and Levin.[42] The new ProjeKct Six, consisting only of Fripp and Belew, toured in 2006 playing shows in the United States and Japan.[43] However, one of these shows was postponed due to the sudden death of Adrian Belew's longtime friend and engineer, Ken Latchney.[44] ProjeKct Six was eventually launched as a live performing unit, touring the U.S. in the fall of 2006, opening for Porcupine Tree.
The 2000s also saw the reunion of former King Crimson members from the band's first four albums, the 21st Century Schizoid Band, who toured playing material from the band's early period.[45] Of note, former member Boz Burrell died on September 21, 2006 following a heart attack,[46] and five months later, former member Ian Wallace died of esophageal cancer on February 22, 2007.[47]
King Crimson has set a definite date for rehealsals in 2008, though the date itself has not been released. [48]
Music
Fripp has described King Crimson as "a way of doing things",
Influences
The music of King Crimson was initially grounded to some extent in the rock of the 1960s, especially the acid rock and psychedelic rock movements, as the band played Donovan's "Get Thy Bearings",[ However, unlike the rock bands that had come before them, King Crimson largely stripped away the blues-based foundations of rock music and replaced these with influences from classical composers. The first incarnation of King Crimson played the ''Mars'' section of Gustav Holst's suite ''The Planets'' as a regular part of their live set,][ and the influence of Béla Bartók has also been noted by Fripp.[49] As a result of this influence, ''In the Court of the Crimson King'' is frequently viewed as the nominal starting point of the symphonic rock or progressive rock movements.][ King Crimson's music from 1981 onwards also shows an influence of gamelan music,][ as well as late 20th century classical composers such as Philip Glass,[50] Steve Reich,[51] and Terry Riley.[52]]
King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. Bands such as Genesis and Yes were influenced by the band's initial style of symphonic mellotron rock,[ while more recently Tool are widely held to have been heavily influenced by King Crimson,][[53][54] with their vocalist Maynard James Keenan even joking that "now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson".[55] Also, Nirvana are also known to have been influenced by King Crimson as a result of Kurt Cobain having mentioned the importance of the ''Red'' album to him.][[56][57] The band Porcupine Tree is influenced by King Crimson,][ and as with Tool, King Crimson (in the form of ProjeKct Six) has been the support band at their shows.]
Musical themes
Some of King Crimson's albums are noted for sounding very similar to one another, whilst others are known for sounding vastly different. This is because while the group constantly creates new sounds and new pieces,[58] several themes have remained constant from the earliest versions of the band to the present.
The most obvious of these themes is composition by the use of a gradually building rhythmic motif.[59] The Holst ''Mars'' that the first King Crimson played is a clear example of this, with its complex pulse in 5/4 time over which strings and winds, or mellotron in the case of King Crimson, play a skirling melody above. This piece evolved into ''The Devil's Triangle'', based on variations of the central theme of ''Mars'', split into three parts which were increasingly removed from the original ''Mars,'' on the ''In the Wake of Poseidon'' album. It was followed by many other forms, from ''The Talking Drum'' in 1973 (on ''Larks' Tongues in Aspic''), ''Industry'' in 1984 (on ''Three of a Perfect Pair'') all the way to ''Dangerous Curves'' in 2003 (on ''The Power to Believe'').[60]
A second recurring theme is an instrumental piece, often embedded as a break in a song, in which the band plays a passage of considerable rhythmic and polyrhythmic complexity.[61] One of King Crimson's best-known songs, ''21st Century Schizoid Man'', is an early example. The series of pieces collectively titled ''Larks' Tongues in Aspic'', as well as pieces of similar intent, such as "THRAK" and "Level Five", go deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, yet through polyrhythmic synchronisation all 'finish' together. These polyrhythms are abundant in the band's 1980s work, which contained gamelan-like rhythmic layers and continual staccato patterns overlaying each other.
Other themes harder to document clearly include the composition of difficult passages for individual instruments (especially Fripp's guitar, notably during "Fracture" on ''Starless and Bible Black'');[ pieces with a loud, aggressive sound not unlike heavy metal music, and the juxtaposition of ornate tunes and ballads with unusual, often dissonant noises.]
Improvisation
From the beginning, King Crimson performances featured improvisations. These improvisations can be embedded into loosely-composed pieces such as "Moonchild" or "THRAK", and even "very structured pieces",[62] but most of the band's performances over the years have included at least one stand-alone improvisation where the band simply started playing and took the music wherever it went, sometimes including passages of restrained silence (as with Bill Bruford's contribution to the improvised ''Trio''). The earliest example of an unambiguously improvising King Crimson on record is the spacious, oft-criticised extended middle-section of "Moonchild" from ''In the Court of the Crimson King'',[63][64] in which the composed parts act as to the improvisation.
What differentiates King Crimson's approach from most other jazz and rock groups is that Crimson's improvisation avoids the notion of one soloist at a time taking centre stage while the rest of the band lays back and plays along with established rhythm and chord changes. Rather, King Crimson improvisation is a group affair, a kind of organic music-making process in which each member of the band is able to make creative decisions and contributions as the music is being played. Individual soloing is largely eschewed; each musician is to listen to each other and to the group sound, to be able to react creatively within the group dynamic. David Cross described the process in this manner: "We're so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second. Then you react to his statement, usually in a different way than they would expect. It's the improvisation that makes the group amazing for me. You know, taking chances. There is no format really in which we fall into. We discover things while improvising and if they're really basically good ideas we try and work them in as new numbers, all the while keeping the improvisation thing alive and continually expanding."[ With this approach, Fripp stresses the "magic" metaphor; to him, when group improvisation of this sort really clicks, it is white magic.]
Unlike most rock improvisation or jamming, these sessions are rarely jazz or blues-based.[65] They vary so much in sound that King Crimson has been able to release several albums consisting entirely of improvised music, such as the ''THRaKaTTaK'' album. Occasionally, particular improvised pieces will be performed in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases (the most recent example being ''Power to Believe III'', which originally existed as the stage improvisation ''Deception of the Thrush,'' a piece played onstage for a long time before appearing on record).[66]
Membership
King Crimson has had 17 musicians pass through its ranks as full band members; there are many others who have collaborated with the band at various points in lyric-writing, the studio and in live performance. Most of the musicians who have been members of King Crimson have had notable musical careers outside the band, to the extent that it has been calculated that there are over a thousand releases on which members and former members of King Crimson appear.[67]
Current band
Robert Fripp, guitarist and occasional mellotron player, is the only member to have been in King Crimson from the beginning. He is often seen as the band leader or "Crimson King",[ although when the band formed in 1969 this was not planned. Fripp is the only band member appearing on all of the albums ''In the Court of the Crimson King'', ''Islands'', ''Larks' Tongues in Aspic'', and ''The Power to Believe'' (Peter Sinfield is excluded as he was not a musician as such), making King Crimson a band with only one constant member three times over. Fripp has also had a prolific career as a session musician, has recorded several solo albums—three of them in collaboration with Brian Eno— and has created his own New Standard Tuning for guitar.]
Adrian Belew has been the band's guitarist and singer since 1981. Fripp considered replacing him with David Sylvian in the early 1990s, but Sylvian declined the offer.[ As with Fripp, Belew has worked as a session and live musician since the 1970s, and has had a successful solo career. He tours with his new band, the Adrian Belew Trio, which features a brother and sister backing him on drums and bass respectively.]
Tony Levin has been the band's bass and Chapman stick player since 1981, except for a stint away from King Crimson between 1999 and 2003, when he was replaced by Trey Gunn. Levin has been recognised as a member of the band since 2003, yet he has not worked with King Crimson since then. He is a prolific session musician and live player, and has worked with many artists, including Peter Gabriel.
Pat Mastelotto has been King Crimson's drummer since 1994, initially forming part of the "double trio", with Bill Bruford joining him on drums. He was the drummer for the 1980s pop rock band Mr. Mister, and is a well-known session musician.
Former members
Greg Lake was King Crimson's first frontman, playing bass and singing lead vocals for their debut in 1969 and doing the vocals on the second album ''In the Wake of Poseidon'' in 1970 whilst in transition to forming the trio Emerson, Lake & Palmer (ELP) with former The Nice keyboardist Keith Emerson and Atomic Rooster drummer Carl Palmer.
Michael Giles was King Crimson's original drummer, dating back to the days of Giles, Giles & Fripp. After leaving King Crimson in 1970 he recorded the McDonald and Giles solo album with Ian McDonald and left the music industry to spend time with his wife.[ He was a member of the King Crimson alumnus group 21st Century Schizoid Band in 2002 before being replaced in that band by Ian Wallace.]
Ian McDonald was the band's original multi-instrumentalist, playing saxophone, flute and mellotron before departing with Michael Giles in 1970 to record the McDonald and Giles album. He re-appeared in King Crimson in 1974 and intended to rejoin the band as a full member but did not get the opportunity to do so given Fripp's decision to split the group. He became a founding member of the band Foreigner in 1976, and recorded a solo album in 1998 before joining the 21st Century Schizoid Band in 2002.
Peter Sinfield was the band's original lyricist and also provided the lighting to their stage show. He left in 1971 during the band's tour to promote the ''Islands'' album following a dispute with Fripp and became the lyricist with Emerson, Lake & Palmer and recorded a solo album, ''Still'', in 1973. Since then, he has gone on to write lyrics for other artists including Celine Dion.
Mel Collins was Ian McDonald's initial replacement, playing the same three instruments as him on ''In the Wake of Poseidon'', ''Lizard'' and ''Islands'' before re-appearing as a session musician on the ''Red'' album. He has been a member of other bands such as Camel and has done other session work, including the saxophone solo on The Rolling Stones' #1 hit "Miss You",[68] and in 2002 joined the 21st Century Schizoid Band.
Gordon Haskell played bass and provided vocals on the ''Lizard'' album in 1970, after guesting on vocals for the track ''Cadence and Cascade'' from ''In the Wake of Poseidon''. Reportedly, he did not like the style of music the band were playing during the recording of that album and found Sinfield's lyrics pretentious and nonsensical, making him utter a laugh at the end of ''Indoor Games''. Haskell had a long dispute with Fripp over royalties from his time in the band.[ He has recorded several albums as a solo artist and had a #2 chart hit single in late 2001 in the UK.[69]]
Andy McCulloch was Michael Giles' initial replacement, having worked with Manfred Mann, but, as with Haskell, he only played on the ''Lizard'' album for King Crimson. He worked with a number of other artists throughout the 1970s such as Greenslade, Fields, and Anthony Phillips, but has not been active as a musician since then.
Boz Burrell played bass and sang on the ''Islands'' album in 1971 and during the ''Earthbound'' tour of 1972. He came into King Crimson as a singer only but Fripp taught him how to play bass. He joined the band Bad Company soon afterwards and found success with them. He died in 2006.
Ian Wallace was the band's third drummer, appearing on ''Islands'' and performing during the ''Earthbound'' tour. Wallace recorded with many artists including Bob Dylan before his death in 2007.
John Wetton was King Crimson's bassist and vocalist between 1972 and 1974, an alumnus of the groups Mogul Thrash and Family. After King Crimson, he played in Roxy Music, Uriah Heep, U.K., Wishbone Ash and found success as the lead singer and bassist of 1980s arena rock band Asia. A solo career ensued and he later reunited with the original Asia in 2006.[70] He has also done much work as a session musician.
Jamie Muir played percussion for King Crimson on the ''Larks' Tongues in Aspic'' album released in 1973, playing live with them briefly around this time. He left the band before the album was released to join a Scottish monastery. Muir returned to music in 1981 to record an album with Derek Bailey and is now a painter.
Bill Bruford was King Crimson's drummer from 1972 to 1998. He left the band Yes to join King Crimson, citing a desire not to repeat ''Close To The Edge'', as well as to expand his musical vocabulary and move into jazz-oriented improvisational music. He has participated in other projects during periods of King Crimson's inactivity such as U.K., his own short-lived project Bruford, a Yes reunion, and currently plays with his jazz band Earthworks.
David Cross played violin, viola, flute, mellotron and electric piano between 1972 and 1974 for King Crimson, leaving prior to the ''Red'' recording sessions. He has recorded three solo albums since and currently lectures in music at a London university.
Richard Palmer-James was responsible for King Crimson's lyrics between 1972 and 1974, although did not accompany the band on tour. As a long-time friend of John Wetton the two have collaborated on musical projects outside of King Crimson.
Trey Gunn played Warr guitars and Chapman stick for King Crimson between 1994 and 2003, acting as part of the "double trio" formation opposite Tony Levin. The youngest former member of King Crimson, Gunn is an alumnus of Fripp's Guitar Craft school. He left King Crimson in 2003 following the tour for ''The Power to Believe''.
Additional and guest musicians
Peter Giles, brother of Michael Giles and a member of Giles, Giles & Fripp, played bass on King Crimson's second album ''In the Wake of Poseidon'', whilst Greg Lake only did vocals on the album. The band's jazz-influenced sound on the albums ''Lizard'' and ''Islands'' is largely the responsibility of the guest musicians who played with them around this time. They included Keith Tippett on piano, Mark Charig on cornet, Robin Miller on oboe, Nick Evans on trombone, Harry Miller on double bass, and Paulina Lucas on vocals, some of whom were working with musicians in the Canterbury scene around the same time. Jon Anderson of the band Yes was also responsible for some of the vocals on the title track of the ''Lizard'' album. During 1974 King Crimson were assisted by Eddie Jobson on violin and electric piano, overdubbing some tracks on the ''USA'' album. Some of the musicians who played with the band on ''Lizard'' re-surfaced to contribute to the ''Red'' album. Whilst not a performing musician, Adrian Belew's then-wife Margaret wrote the lyrics to the song "Two Hands" from the ''Beat'' album in 1982.
Discography
Main articles: King Crimson discography
Studio albums
★ ''In the Court of the Crimson King'' (October 1969); US #28 UK #3 Gold
★ ''In the Wake of Poseidon'' (May 1970); US #31 UK #4
★ ''Lizard'' (December 1970); US #113 UK #29
★ ''Islands'' (December 1971); US #76 UK #30
★ ''Larks' Tongues in Aspic'' (April 1973); US #61 UK #20
★ ''Starless and Bible Black'' (June 1974); US #64 UK #28
★ ''Red'' (October 1974); US #66
★ ''Discipline'' (1981); US #45
★ ''Beat'' (1982); US #52
★ ''Three of a Perfect Pair'' (1984); US #58 UK #30
★ ''THRAK'' (1995); US #83
★ ''The ConstruKction of Light'' (2000)
★ ''The Power to Believe'' (2003); US #150
References
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3. Robert Fripp - From Crimson King to Crafty Master, , Eric, Tamm, Progressive Ears (progressiveears.com), ,
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6. The Illustrated History of Rock Music, , Jeremy, Pascall, Golden Books Publishing, , Retrieved on 2007-09-04.
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54. From My Perspective - Tool Concert
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58. King Crimson rolls out royal experiment music
59. Rhythm at the heart of the expanded King Crimson
60. King Crimson a study in contrasts
61. Don't miss this one from Cat Stevens: 'Majikat' is pure magic
62. Interview: Talking with the experimental guitarist of King Crimson Purcell, Kevin
63. ''In the Court of the Crimson King'' review
64. CD Reviews: Pop CD of the Week
65. A different shade of King Crimson: red hot
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External links
★ Discipline Global Mobile Live
★ Elephant Talk
★ Krimson News
★ ProjeKction
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