At the height of the golden-age of rock the ever more precise demographic tool of genre-fication would have yielded the term “progressive” with or without King Crimson. Oddly enough, the band founded by guitarist Robert Fripp, drummer Michael Giles and lyricist and illuminator (stage lighting) Pete Sinfield, was the foremost progenitor of what would be referred to as progressive rock. An exciting, seemingly open-ended tag at the time, the genre seemed to fade in the mid ‘80s - not readily compatible with the “music” video explosion that sparked the Pepsi Generation.
From “Sock It To Me” to “Just Say No”
Formed during the height of the Woodstock-generation, and later re-forming during the onslaught of the aforementioned Regan Revolution, King Crimson is anything but political in its musical persona. Perhaps this is why the term progressive (or prog, if you’re short on time), like its nit-wit step-cousin alternative (or alt, as they say in a hurry) was/is doomed to be short-lived as marketable genres in turbulent eras. Perhaps during more prosperous, tranquil times the advertisers will decide that there’s a market for alternative-prog, ambient-metal, Christian hip-hop or perhaps even emotional-punk.
King Crimson has been, for more than forty years, through several radical personnel changes and a chameleon-like catalogue of early foundational records, focused on one thing only – music. Launching a generation of the most educated, skilled, and versatile musicians to ever play to the masses KC was the muse for the wave of (mostly British) bands that put the new hybrid into motion. Groups such as Yes, Emerson, Lake & Palmer, Roxy Music, Genesis, David Bowie, UK and the Talking Heads all have direct links into the entity that is King Crimson.
Man Who Wouldn’t Be King
Universally regarded as the leader of the band Robert Fripp has always maintained that KC “is a way of doing things” – with or without him. The name King Crimson was chosen by lyricist and vocalist Pete Sinfield as a synonym for Beelzebub, the Prince of Darkness. Fripp maintains Beelzebub is an anglicized corruption of the Arabic phrase “B’il Sabab”, meaning “the man with an aim.”
The historic first release “In the Court of the Crimson King” was reputedly recorded in a single take. A truly amazing record, unlike anything that came before, “In the Court of...” is a suite of complex, intricately arranged ensemble pieces using revolutionary new electronics – the mellotron and vocoder; both would eventually become commonplace in studios during the 70’s. This was also the recorded debut of Greg Lake, who would contribute to the next album as well, before leaving to join Emerson, Lake & Palmer.
With the release of their second album “In the Wake of the Poseidon” the personnel for the band had splintered. Over the next three years KC appeared to be in a continuous line-up rotation; Fripp being the constant. In 1973 with the release of “Lark’s Tongue in Aspic” the final early-era Crimson had gelled into a quartet: Fripp, John Wetton on bass, David Cross on violin and the once-in-a-lifetime drumming of Bill Bruford who had left behind the mega-arena status of Yes for the darker, riskier terrain of KC. This became the groundbreaking touring unit of the 70’s – any ideas, motifs and primordial rumblings from Sheol that didn’t make it onto the records were aired in the live concerts. DGM records (Fripp’s private recording label) offers a daunting variety of live shows on disc, and for download of tours from the ’72-’74 incarnation; the most compete at this time is the stunning 4-disc set “The Great Deceiver.”
Faster, Sleeker
After a six year hiatus King Crimson reformed for their next incarnation, presenting a startlingly fresh persona. Bruford remained, John Wetton had left for Roxy Music to be replaced by Tony Levin who debuted the Chapman Stick, an eleven stringed, fretless instrument that covers much more range than a standard electric-bass and (in the right hands) is capable of producing a variety of sounds not to be heard elsewhere . The front-man for the new line-up was (and still is) the inimitable Adrian Belew who, the same year he joined KC, was a guest player on the seminal Talking Heads album “Remain in Light.”
With the release of the arguably perfect “Discipline” in 1981 the musical landscape was again forever changed. The concept for the current KC vision unfolded in three parts – “Discipline” followed by “Beat” and finally “Three of a Perfect Pair” in 1983. Live recordings from these tours are also available and highly recommended.
Bigger, Louder
The band again retired, this time for nine years, to come roaring back in 1993 as a double-trio. Belew, Bruford and Levin remained, to be complemented by Trey Gunn on bass and Chapman Stick and Pat Mastelotto on drums. Robert Fripp had by this point begun his own record label, Disciple Records, which eventually blossomed into Discipline Group Music; his fiercely individual approach to music making carried over into rights, marketing and distribution.
The debut album from the double-trio “Thrak”, comes on like an unfathomable whirlwind – a veritable Leviathan of sound. Rather than become retrospective or mellow with age, the King roared. The shows on this tour went well beyond the scope of what typically happens on stage at a rock concert. The edgy new compositions played with virtuosity rare on any stage, screamed to the heights of ferocity, tempered by Adrian Belew’s humor and other-worldly charm. During this period KC assumed a variety of touring units and personas involving some or all of the double-trio referred to as Projekts.
In 2007 the band went through yet another alteration – Bruford had left to pursue his more jazz-oriented project Earthworks, to be replaced by top session player Gavin Harrison, formerly of Porcupine Tree. Trey Gunn had dropped out, leaving Tony Levin to handle the bass and Stick parts on his own – KC is now a quintet.
KC Is A Place
I remember, several years ago, as I was waiting outside, pre-show, here in Chicago - the incorrect, linear-based mind-set I’d brought along with me. The double-trio had been reduced to a quintet; Bill Bruford was gone...My expectations were destroyed within minutes of the band taking the stage. It would seem that nothing gets lost on the King Crimson journey; the sound continues to grow. Two hours later I was convinced that this was the best Crimson show I had ever seen; August 6 (2008) at the Park West is available for download.
The Park West, by the way, is one of Chicago’s premier venues – the only room Fripp and co. will play when they’re in town. This is one of the many rewards of pioneering; retaining rights to original music and its distribution. It’s no small thing for a performer to be able to choose the venues they play, and can often make all the difference in how fans experience the shows.
KC Is A Concept
Despite Fripp’s denial of being the leader and main persona of King Crimson, he’s been the guiding force from the beginning to the present day. However, given the varied, constantly shifting evolution of the band; it begs one to wonder if this isn’t a project that can be carried on indefinitely – a musical entity that’s destined to outlive its founding members and the generations of fans who share a slice of eternity.
And so, contained within the marketing strategies of the past forty years, progressive rock has lived and died: leaving a grandchild as sole beneficiary. The inheritance - music.
Scott Cramer - Scott lives in Chicago and is an insufferable know-it-all on certain topics. He writes fiction (primarily short stories) much of which ...
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