Discipline

Discipline

Editorial Reviews
Product Description
Debut album from the Norwegian post black metal four piece Cadaver Inc. Formed by original Cadaver guitarist Anders Odden. Guests on record also include Fenriz from Darkthrone (vocals on Rapture) and Faust from Emperor, whose spoken word vocals were recorded from prison. 11 tracks. 2001 release.

Tracks:

21st Century Schizoid Man (Including Mirrors)
I Talk To The Wind
Epitaph (Including March For No Reason/Tomorrow And Tomorrow)
Moonchild (Including The Dream/The Illusion)
The Court Of The Crimson Song (Including The Return Of The Fire Witch/The Dance Of The Puppets)

Customer Reviews:

"I've Been Here And I've Been There/ And I've Been In Between".......2007-07-20

One can only imagine what it was like to hear King Crimson's debut album back in 1969 (unless you're at least 38 years old, I guess. Okay, I probably I could have picked a better sentence to start this review. Moving on...). In the Court of the Crimson King was a bold, dramatic statement, an uncomprimising record that seamlessly combined hard rock (in the 60s sense of the word. Think Blue Cheer and Cream) with psychedelia and elements of jazz and high-minded poetic grandeur. The eye-popping cover art and suite-style song structures sealed the deal, and a new style of music was born: Progressive rock. Indeed, just about every act that has ever been labled "prog," from Pink Floyd to Yes to Jethro Tull and onward through the likes of Radiohead and the Mars Volta can trace the basis of their sound back to the 'Crim's first record. Robert Fripp's slashing guitar chords and nimble melodies bridged the gap between hevy metal and art rock (before either style was really a full-fledged genre, Black Sabbath and the Velvets notwithstanding), while multi-instrumentalist Ian McDonald gave the music a jazzy, textured complexity, weather he was playing the flute, the vibes, or the mellotron, and Greg Lake's vocals were quintessential prog: Technically acomplished, dramatic, and high-minded. Michael Giles' drumming picked up where Fripp's guitar left off, spanning the (not all that wide) space between rock and jazz. Topping the whole shebang off were Peter Sinfield's lyrics, which were abstract and poetic in the extreme, a set of textures and images rather than coherent statements.

But you probably want to know if the music's good. Well, here's the deal: No matter how good a progressive rock band is (and believe me, King Crimson were very, very good), they (pretty much) inevitably succumb to a few pitfalls. The most common is pretention. On this particular record, the most obvious victim of that malady is "Epitaph." The song's eight minutes don't produce a single memorable melody, and Sinfield's lyrics are obtuse in the extreme. They amble through a series of references to men being "torn apart/ with nightmares and with dreames" and "the iron gates of fate" without producing a single good line. It doesn't help that Lake seems to think he's singing scripture, stuffing each sylable with forced drama and unreasonably present passion. The song does have a sort of lumbering majesty (created, pretty much, by sheer force of will), but it's far from a classic. And its typically bloated length insures that it'll overstay its welcome. And then there's the notorious "Moonchild," which features a ten-minute instrumental "freak-out" section, the only truly interesting aspect of which is its odd quietness. Otherwise, it's every bit as overblown and indulgent as the very worst of 60s sound "experiments."

Otheer than that, though, this is a really great listen. My personal favorite track is the achingly beautiful "I Talk To The Wind," a haunting dreamscape with some of Sinfield's most poignant lyrics. The chorus shows off the subtleties of Lake's considerable voice, as he twists his vocal chords over and around the words, enunciating them with an uncanny grace and power. Good stuff. In a similar vein, the first two minutes or so of "Moonchild" (pre freak-out) are a gorgeous accoustic rumination, full of imagery and joyous sound. Of course, there's also the eternal "21st Century Schizoid Man," which foreshadows Rush, only without the nerdiness. Fripp's brutal, slashing bar chords fuse with McDonald's white-hot trumpet and Giles' thundering drums to form the ideal bed for one of Lake's most uncharacteristic and awesome vocal performances ever. He spits pure venom, snarling the lyrics (a rush of fiery, apocalyptic imagery) with menace and boundless energy. The song then breaks off into an awesome intrumental section, which sees Fripp and McDonald spitting melodies at eachother. It's a lava-spewing jam that dazzles the listener with its polymelodic ferocity, its shape shifting intensity. Crank it up, dude. And then there's the title track, which closes the proceedings with a burst of endearing bombasm (that is almost certainly not a word, but I can't think of a noun form of "bombastic") and shape-shifting insanity.

So, the end result is one of the coolest debuts of the sixties, a fantastic rock album, an introduction to some really gifted musicians, and the Rosetta Stone of prog. Neat!

Whimsical Progresive Rock.......2007-07-17

The debut album of King Crimson is one of their finest (though not their best; see Red if you want their top recording). This is the only Crimson album that features Greg Lake (of Emerson, Lake, and Palmer fame) on lead vocals. Although there are only five tracks, each one is rather lengthy and showcases the hallmarks of progressive rock as a whole.

My favorite two tracks are 21st Century Schizoid Man and The Court of the Crimson King, the first and last tracks respectively. Both are epic progressive songs, and are essential for any progressive rock fan; well worth the price of admission for this album.

Back in the day.......2007-06-28

I had a fairly adequate stereo which was centered on a Thorens transcription turntable with an excellent stylus. It always cheered me up to hear this album played at moderate to somewhat loud volume levels. I won't get into the progressive rock chicken and egg debate, for I also appreciate many of the other groups mentioned but KC has a very special place in my hierarchy of rock bands. They made several other good recordings, again duly noted in several reviews but I always have liked this one the best.

For those who have not heard this I would suggest attempting to hear part of it at least prior to buying as I realize this particular genre of rock can be considered an acquired taste.

Sophisticated progressive rock!.......2007-06-24

I knew this album of course before buying it, but it really amazes you when you listen to the whole thing song by song in your home stereo.

Let me join in the chorus of praise for this album, one of the greatest prog rock albums ever...........2007-06-12

This is arguably one of the greatest debuts in rock history (alongside The Velvet Underground and Nico). It is an almost perfect album, a feat that doesn't happen very often. Every song is so beautifully written, crafted, sequenced, and performed by some of the greatest musicians the rock world has ever heard or seen. The starter, 21st Century Schizoid Man, is amazingly intricate. It's one of the best songs from Crimson's library, and the middle section is blistering in its intensity. The quieter songs (just about the rest of the album) are so mellow, moving, and haunting, with lyrics (courtesy of prog rock's greatest lyricist, Pete Sinfield) that still hold up today. There are only 5 songs on the album (all running epic length), but they're pretty much perfect. The only one that gives me a slight problem is Moonchild. The last 10 minutes of the song (after a beautiful introduction) are kind of aimless. But then, maybe a few more listens, and the song will finally kick in. This is one of my favorite albums ever.

Average customer rating:

The most authentic form of Progressive Rock
I first heard this on vinyl.
Crying for an Angel Dying
Music worth the challenge
Red Rocks!

Red 30th Anniversary Edition Remastered
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Larks Tongues in Aspic - 30th Anniversary Edition Remastered
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In the Court of the Crimson King
Discipline
In the Wake of Poseidon

ASIN: B00065MDSQ
Release Date: 2004-11-22

Tracks:

Red
Fallen Angel
One More Red Nightmare
Providence
Starless

Customer Reviews:

The most authentic form of Progressive Rock.......2007-07-16

For lots of fans this album is considered "the best" of King Crimson. Although I am a little cautious while calling "the best"; something for sure, this is the most authentic progressive rock music. You can taste the most original progressive rock embodied in rhythm, form, harmony, and melody. That is unbelievable that the album was released in 1974 (Let me double check!). Let's give them five stars as they paved the way for the bands that day by day, elevate the concept of creativity in rock music: Dream Theater, Porcupine Tree, Spock's beard, The Flower Kings, Tool, and...

I first heard this on vinyl........2007-07-13

King Crimson made good records throughout the late 60's and through the 70's. This is their best record in my opinion. Buy it, you won't be disappointed.

Crying for an Angel Dying.......2007-07-01

King Crimson's IN THE COURT OF THE CRIMSON KING (1969) and RED (1974) share some similarities. Both contain only five tracks. Both kick off with a furious aural assault ("21st Century Schizoid Man" and "Red", respectively). Both end with an extended, dramatic epic ("In the Court of the Crimson King", "Starless"). Both contain an interesting but ultimately rather pointless jam (most of "Moonchild", "Providence"). And both mark pivotal moments in the band's history. For while IN THE COURT OF THE CRIMSON KING was the group's debut and kick-started the progressive rock movement, RED was their final album before guitarist and bandleader Robert Fripp suspended King Crimson indefinitely (or until 1981 anyway).

But for what similarities there are between the two albums, the King Crimson of RED is very different from the King Crimson that had debuted only five years earlier. Only Fripp remained from the original lineup, joined by bassist/vocalist John Wetton (later of Asia) and drummer extraordinaire Bill Bruford (formerly of Yes) and augmented by familiar players Ian McDonald (sax), David Cross (violin), and Mel Collins (sax). Where that earlier band reveled in lush, melancholic Mellotron soundscapes, this incarnation was leaner, meaner, pounding out angular, metallic riffs and attacking their material with the ferocity of a much less "sophisticated" outfit. The first vinyl side ("Red", "Fallen Angel", "One More Red Nightmare") is irreproachable, and the aforementioned "Starless" is amazing, magnificently building tension from a moody COURT-like beginning through a Spartan, jagged middle into a positively vicious climax that renews the opening theme with symphonic accuity. Only the overlong improvisation "Providence" - and the band's complete lack of a sense of humour, which can be very important when it comes to self-conscious, overblown prog rock - holds RED back from true greatness. But even in imperfect form, there's much to enjoy from King Crimson's last hurrah before a seven-year hiatus that would result in a fundamental change in the band's sound and direction.

Music worth the challenge.......2007-06-23

King Crimson's "Red" is an album that does require a few plays to grow on you. But it eventually scores a hit and captivates you. My only possible quibble with the album is the somewhat meandering "Providence" and the instrumental break in "Starless" that, had I been in the editing room at the time, would have reduced it by a minute or three.

The highlight of the album for me is the layered guitar work on "Fallen Angel." The closing song "Starless" is fantastic (again, if they had only cut that plodding guitar riff in the middle of the song short).

If you are into progressive rock and enjoy music that is challenging, give this one a try.

Red Rocks!.......2007-05-14

Truly one of the best prog rock albums and certainly one of the best prog rock bands of all time. Bruford, Fripp and Wetton set a level that current bands are still trying to attain. Sounds fresh after all of these years. This band has influenced more musicians than most people realize.

Larks Tongues in Aspic - 30th Anniversary Edition Remastered

Average customer rating:

The Third Crimson Album You Should Buy
one of the best album of the band.
Overrated album
King Crimson regroups with renewed energy - and lots of it
I just can't get enough!!

Larks Tongues in Aspic - 30th Anniversary Edition Remastered
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Red 30th Anniversary Edition Remastered
Starless and Bible Black - 30th Anniversary Edition Remastered
In the Court of the Crimson King
In the Wake of Poseidon
Discipline

ASIN: B00065MDSG
Release Date: 2004-12-20

Tracks:

Larks' Tongues In Aspic, Part One
Book Of Saturday
Exiles
Easy Money
The Talking Drum
Larks' Tongues In Aspic, Part Two

Customer Reviews:

The Third Crimson Album You Should Buy.......2007-07-17

Larks Tongues in Aspic is the third King Crimson album you should buy (Red and In the Court of the Crimson King should be your first and second purchase, in that order). This album features the classic Crimson tune "Easy Money," as well as the two part "Larks Tongues in Aspic." Like most Crimson albums, each track is rather lengthy, with the exception of the short (2:56) "Book of Saturdays." This can only be a good thing, since there's more music to love. I highly recommend this album for any progressive rock fan, or for anyone exploring the King Crimson experience.

one of the best album of the band........2007-06-02

This is the only band of the story of rock who do more and more, and every work is different, new, interesting, you will never listen an old album, this band is ever new!

Overrated album.......2007-05-10

I am goin' against everybody here, I just don't like this cd and I gave it to a friend of mine. The title track (part II) is the only one that I can listen too, but not too often. Sorry everybody, but I can't rate it as a five stars album just because everybody did.

King Crimson regroups with renewed energy - and lots of it.......2007-03-24

Although perhaps a bit biased, I really like the three albums the band released following In the Court of the Crimson King (1969); even though a lot of folks feel that the quality dipped a bit. However, I think most people can agree that with Lark's Tongues in Aspic (1973), the band found renewed energy. This album also marked a point where the band started exploring some of the heaviest music they would release.

The lineup at this point included bandleader Robert Fripp (electric and acoustic guitars; mellotron; and electronic effects); John Wetton (bass guitar and lead voice); Bill Bruford (drums); Jamie Muir (percussion); and David Cross (violin, viola, and mellotron). A lot of critics feel that this was the finest progressive rock lineup ever assembled, and I pretty much agree. The individual performances and ensemble work are breathtaking - these guys were all superb players. Bill Bruford details throughout why he is one of the top drummers in progressive rock and rock in general (incidentally, Bill Bruford had bailed on Yes right in the middle of their 1972 tour to join King Crimson and play on this album). On the heavier pieces, John Wetton plays his Fender bass with the treble all of the way up and with a slightly distorted tone, making for a very percussive playing style that meshes perfectly with Bruford's playing. During the lighter moments, he contributes some very clean and understated counterpoint and his vocals are also excellent. In addition to the dizzying speed with which he cross-picks, Robert Fripp unleashes a range of sounds on the guitar, sometimes anguished, occasionally mellifluous, but always to the point. In amongst all of this chaos, the delicate and wavering violin of David Cross adds a very nice acoustic element to the music, some of which can be overbearing at times.

The music on this album juxtaposes sections of virtual silence with passages of bone-crushing volume that makes for an interesting study in contrasts. This is most effectively demonstrated on Larks Tongues in Aspic (Pt. I); which is a piece of music that could very easily knock you out of your seat with the louder passages if you concentrate too hard on the quieter sections. The rest of the album features soft, mellotron-soaked songs (Book of Saturday and Exiles); a punchy and aggressive Easy Money; an exercise in percussion-based minimalism (The Talking Drum); and the quite nearly violent Larks' Tongues in Aspic (Pt. II). The musicianship is of course, stellar throughout and the arrangements are exceptionally good.

All in all this is excellent stuff and is very highly recommended. Also recommended from this period of KC is Starless and Bible Black (1974) and Red (1974).

I just can't get enough!!.......2007-02-10

I am listening to it right now. KC doesn't compromise. They are the Wagner of rock.

Buy this and the complete King Crimson catalogue. If you don't like it, one of your grandkids will. Like lots of great music, King Crimson isn't appropriately revered in its time. One day, you'll be able to walk into any bar and there will always be least one Crimhead in the room.

Music is my life. The music I am most passionate about is King Crimson.

KC forever!

Average customer rating:

Culture Clash Club
Underrated even as it is lavished with praise
This CD is the King of King Crimson!
Very well done
yowza

Discipline
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Red 30th Anniversary Edition Remastered
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ASIN: B00064WSNW
Release Date: 2004-11-22

Tracks:

Elephant Talk
Frame by Frame
Matte Kudasai
Indiscipline
Thela Hun Ginjeet
Sheltering Sky
Discipline
Matte Kudasai [Alternative Version][Alternate Take]

Customer Reviews:

Culture Clash Club.......2007-07-21

Some seven years after Robert Fripp declared King Crimson dead post "Red," there was much surprise in the music world when he re-appeared not only with a four-piece rock band, but slapping the name King Crimson upon it. Just to make sure it would get the intellectual ears to ponder it, he gave it the academic and spiritually highbrow moniker "Discipline." Because as anyone worth their prog-rock smarts would tell you, playing good highbrow rock required it.

But what shook a lot of people at the time was how the usually reserved Fripp gave the front mic to Adrian Belew, whose more light-hearted (read "American") persona was so different from Fripp's. Add old KC alum Bill Bruford and US Bass/chapman stick wiz Tony Levin and you had a clash of continents that made for perfect chemistry. Fripp's mathematical guitar "fripperies" balance Belew's animal noises with impeccable beauty and more that a dash of humor. The two cuts to gather the airplay, "Elephant Talk" and "Thela Hun Ginjeet," seemed to favor Belew, who obviously was having a ball barking out the alliterations on "Elephant Talk." Bringing some of his polyrhythmic skills over from sidelining with Talking Heads, Belew brought the rock to Fripp's highbrow.

When the band decided to wax artistic, though, Belew delivered. The lovely "Matte Kudasi" may be one of his finest hours on any album, and the lyric to "Indiscipline" captured the love/hate relationship an artist can have with his words. The final, title track is also terrific fusion rock, the instrumental work that is positively electric. Levin's work on this song in particular and the album overall, probably brought the inventor of The Chapman Stick a whole new clutch of devotees.

Fripp may have looked on the new King Crimson as an academic exercise (the new liner notes are often unintentionally funny in their seriousness), but these four virtuosos under Fripp's strict hand held together to make some brilliant music. "Discipline" is best thought of as the high water mark in a trio that includes "Beat" and "Three of a Perfect Pair." By combining some of the ferocity of new wave (there are hints of Talking Heads and The Police among the songs here), proved that the new line-up of Kind Crimson lived up the legacy of its namesake.

Underrated even as it is lavished with praise.......2007-06-20

I know my title makes no sense, but it's true. This album cannot be praised enough. It is a masterwork. It is a new era for the Crim, more new-wavey but still pretty proggish. These songs are excellently written, and are made more so by the players. Robert Fripp and Adrian Belew on the guitar create some of the most excellent shredding in the history of music, with the two's complicated lines interlocking and creating something fantastic. Then there's Tony Levin on bass/stick, playing seemingly simple but probably not so bass/stick lines. They, especially the stick lines, seem to act more as another melody than harmony. And then there is freakin' William Scott Bruford on the drumset. Why is this guy not as appreciated as god-danged Neil Peart? Peart is way too flashy and far too mechanical to be as praised as he is. I'm being a hypocrite here, because there is no way in heck I'm as good a drummer as Peart. But jeez, Bruford is so much better. The guy has such a unique style and keeps up with this very complex playing with absolute ease and finesse, but instead of playing fills the whole way through like a certain Canadian, he GROOVES and it is EXCELLENT.
Sorry to get off on a rant there. I love Rush, I even like Peart's playing generally. Let's move on.
Concerning the album, a song that is good, or even a song that is great would be a total dud on this album. That's how awesome it truly is. "Elephant Talk" is a great opener, with lyrics that are mainly synonyms for the word talk, with weird elephantesque guitar noises and a cool stick melody being what makes the song better than it already was.
"Frame by Frame"...wow. Fripp's incredibly fast run-up-the-fretboard-and-back-and-not-break-a-sweat guitar riff is simply the epitome of sweetness and the more melodic part of the song (e.g., the verses) is stunning and beautiful.
"Matte Kudasai" is a lovely ballad with a beautiful slide guitar sound that is a recurring theme and Belew's drifting, pleasant voice singing lyrics such as "She sleeps in a chair/in her sad/America". I'm not a fan of soft, ballad-type songs, but this is done quite well.
"Indiscipline" sounds totally unhinged, with Belew ranting about "it" and equally wild music popping up after each verse. Crazy fun.
"Thela Hun Ginjeet" is another fairly unhinged song, but it is not as wild as "Indiscipline", for sure. Rather, it grooves and comes back to a recurring, fairly nonsensical (at least, it seems) chorus when it is not recounting an absolutely bizarre and somewhat creepy narrative that seems to be about some sort of videotape.
"The Sheltering Sky" is a beautiful and interesting instrumental that is a little overlong. I dig it, though.
Now we come to the title track. "Discipline" is another instrumental, but is far more awesome than "The Sheltering Sky". In fact, it makes "TSS" look like a huge turd floating in gross brown water in a disgusting toilet with the lid up in a dingy gas station/truck stop. It has incredibly awesome, nearly orgasmic overlapping guitar parts that, along with the really cool bass-and-drums groove, creates a totally out-of-this-world whole. Even though it is fairly minimalistic and five minutes long, it doesn't last long enough.
The bonus track, the alternate take of "Matte Kudasai" is good, because you can't really ruin a song like that. But it is almost the same as the previous version. Kind of a waste.
In summary, 500000000000000000000000000000 stars. Perfect. What music should sound like.

This CD is the King of King Crimson!.......2007-06-08

This is such an awesome CD full of interesting sounds and rhythms! I had it years ago when it came out and had it stolen. Lately I kept thinking about it and decided to purchase the new remastered CD. It's just as good as ever! In fact I think I appreciate the work and the quality of the recording even more now.

Tony Levin's bass is phenomenal! Sometimes it's interesting just following his bass playing. Outstanding! Whether he's with Crimson or with Peter Gabriel he's fantastic. Definitely one of the best bass players I know of along with Chris Squire. And talk about guitar work. Fripp and Belew do some outstanding, very interesting work here. Kind of Al Di Meola on acid. Bill Bruford is excellent! I read a review where someone apparently doesn't think much of Bruford. I've seen him perform in a couple of different groups like Genesis and Yes and he's alway been able to flow with a progressive band well. He provides a great foundation for the music here.

Highly recommended if you are in to strange music and progressive rock styles. My favorite King Crimson CD. I don't know if this is classified as progressive rock but whatever it is, I like it a lot! One to crank up! Sometimes I take it out and play little games like looking at it and then not looking at it, just to see if I still like it. I DO!

Very well done.......2007-05-12

First, I am not a fan of the band, but this cd brings new ideas and explores new sounds and textures. I saw the concert from the second row and it reminds me good times from the early 80's.

yowza.......2007-03-26

I am not a huge Crimson fan. I heard this album first when I was 18, an impressionable age to be sure. I know Court of the Crimson King, Red, Thrak, etc., but for my money, this is the best line up and best album by Crimson. Adrian Belew, fresh from tours with Zappa and the Talking Heads, infuses the band with polyrythmic intensity and Afro-Brazilian beats. To be sure, his voice is high and an acquired taste. Tony Levin (Peter Gabriel, California Guitar Trio, etc.) holds down a nasty, stick infused bottom while Bill Bruford (Yes, XTC, etc.) provides amazing, frenetic fills. This group has the chops to compete with guitarist Robert Fripp and the result is some incredible, moody music. The opener, Elephant Talk, is a funny, funky dance beat of a song (and I don't associate Crimson with funny, but I think Belew brings some much needed levity to this album in counterpoint to lead guitarist Robert Fripp's pretentiousnes). Frame By Frame follows with hypnotic duelling guitars and soaring vocals - a real mind bender. Matte Kudasai is a pretty ballad with wailing seagull guitars; and if you purchase the newest edition, you get two versions of the song. Indiscipline is a mad, head-splitting romp (though it doesn't make your ears bleed like the double trio Crimson). Thela Hun Ginjeet (still covered by Primus/Les Claypool) is a rollicking, bouncy joy. The final two tracks, Sheltering Sky and Discipline, are very strong. You will either love or leave this disc, but it likely depends on your age and exposure to Crimson. For me, I would rate Discipline in the top 100 of all time for pop album releases.

Average customer rating:

This is a lot tastier than "Cat Food"
Come on now, this CD rules
Impressive followup, though strangely familiar
In The Court Of the Crimson King Part II
Fripp takes over the Captains wheel and mans the Mellotron duties as well

In the Wake of Poseidon
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

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Pop Rock | Pop | Styles | Music
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In the Court of the Crimson King
Lizard
Larks Tongues in Aspic - 30th Anniversary Edition Remastered
Islands
Red 30th Anniversary Edition Remastered

ASIN: B00064WSN2
Release Date: 2004-12-20

Tracks:

Peace-A Beginning
Pictures of a City
Cadence and Cascade
In the Wake of Poseidon
Peace - A Theme
Cat Food
Devil's Triangle: Merday Morn/Hand of Sceiron/Garden of Worm
Peace - An End
Cat Food [Single Version][Edit]
Groon [Single B Side]

Album Description

2004 reissue of the progressive rock act's 1970 album adds two bonus tracks, 'Cat Food' (single version) & 'Groon' (Cat Food B-side). On the DGM label

Album Description

2004 reissue of the progressive rock act's 1970 album adds two bonus tracks, 'Cat Food' (single version) & 'Groon' (Cat Food B-side). Discipline label.

Customer Reviews:

This is a lot tastier than "Cat Food".......2007-06-18

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

"In the Wake of Poseidon" King Crimson's second and superlative effort will never get the credit it deserves because from the day it was released it has only been compared to the debut Crimson recording. Since the first King Crimson album is one of the finest records ever, it immediately put an albatross around the follow-up.

If you listen to "In the Wake of Poseidon" and judge it not against the initial Crimson offering but on its own merits, the results were tremendous (Under the most difficult of circumstances).

Ian McDonald had exited and his unique approach to the mellotron would have to be replaced. Greg Lake the voice of the group would leave shortly and soon create legendary music under the name ELP.

Robert Fripp took on the Herculean task of not only playing guitar for the sessions but mellotron as well. The result saw a blending of the instruments in a scholarly fashion.

"Peace- A Beginning" is a haunting opening to the festivities. It comes out of nowhere and is perplexing in its short structure (Fifty seconds).

"Pictures Of A City" goes the opposite direction. It is eight minutes of Robert Fripp's musical intensity. He is the professor leading his students.

"Cadence And Cascade" is a work of beauty. The acoustic guitar and vocals work as if they were one. Do not let the preconceived notions of Gordon Haskell not being Greg Lake (Obviously) diminish the results. Gordon would sing on this song only.

The title track has Greg Lake's voice full of power and passion. It could cut through titanium and still be gentle when needed. This will grab your attention on the first listening.

"Peace- A Theme" slows things down for a bit over a minute but also gives you a false sense of security for what is next.

"Cat Food" pulls out the kitchen sink and everything else is its way. Ironically, in a truncated form this was the single from the album!

"The Devils Triangle" is the longest piece on the album. The drums sound as if you are attending a marching bands rehearsal as the other instruments improvise through an impressive journey of diverse sounds.

"Peace- An End" A short vocal dominated tune would signal the end of a time tested treasure and another chapter in the saga we call King Crimson.

If you get the edition with the bonus tracks you can enjoy the single version of "Cat Food" and the B side "Groon."

Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

Come on now, this CD rules.......2007-05-17

Okay, this may be similar to their debut album In the Court of the Crimson King, but it is longer and just as good. It has a great variety of tracks from soft and moody (Cadence and Cascade) to funky (Pictures of a City) to just plain fun (Cat Food). This is an essential buy for King Crimson fans.

Impressive followup, though strangely familiar.......2007-04-21

The common complaint about this album is that it is an almost song-for-song clone of the band's debut, "In The Court Of The Crimson King." To make things worse, the band has already begun to fragment and lineup changes had already begun before the disk was completed. However, this is still a great album. "Pictures Of A City" may not have the collective group feel of "21st Century Schizoid Man," but it's just as agressive and has some excellent guitar work. "Cadence And Cascade" is just as pretty as "I Talk To The Wind," and "Cat Food" has a great jazz-rock feel with wild piano work by Keith Tippet. Some songs even do better on this album than the debut's counterparts they are modelled after: I much prefer the title track over 1969's "Epitaph," and "The Devil's Triangle" is a nicer look at the band's improvisational style than the free form ending of "Moonchild." The mellotron work on this album is very nice. King Crimson records are some of the most well-produced albums ever made and I can certainly recommend this one.

In The Court Of the Crimson King Part II.......2007-03-21

This album is very similiar to their first album 'In The Court Of The Crimson King.' Robert Fripp wanted to and did prove that he could have written the first album, on his own.

Fripp takes over the Captains wheel and mans the Mellotron duties as well .......2007-02-06

1. Peace-A Beginning - Already out of the band, Lake does a favor and sings beautifully here and on this album. IMO Lake, McDonald and Giles should have taken a break instead of breaking up after 1 album and tour.
2. Pictures of a City - 21st Century Schitziod Man Part. 2
3. Cadence and Cascade - Not a good track sung by the (embarrased to have been in Crimso) Gordon Haskell
4. In the Wake of Poseidon - Epitath part 2, Melotron by Fripp
5. Peace - A Theme - Forgettable Guitar theme
6. Cat Food - OK, but well its just OK
7. Devil's Triangle: Merday Morn/Hand of Sceiron/Garden of Worm - Here we go, the deep sea set to a nightmare of music, thats a compliment. THis would of fit nice on the debut instead of the long improv jam
8. Peace - An End - Goodbye Greg Lake

Average customer rating:

A great and extremely experimental Crimson album
great listen
Stake A Lizard by The Throat
My Favorate K.C. Album
A great album

Lizard
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Islands
In the Wake of Poseidon
Larks Tongues in Aspic - 30th Anniversary Edition Remastered
In the Court of the Crimson King
Starless and Bible Black - 30th Anniversary Edition Remastered

ASIN: B00065MDS6
Release Date: 2004-12-20

Tracks:

Cirkus (Including Entry of the Chameleons)
Indoor Games
Happy Family
Lady of the Dancing Water
Lizard: Prince Rupert Awakes/Bolero-The Peacock's Tale/The Battle ...

Album Description

2004 reissue of the band's 1970 album. Discipline.

Customer Reviews:

A great and extremely experimental Crimson album.......2007-04-19

This 1970 release was created in-between the brilliant 1969 debut (In the Court of the Crimson King) and the staggering virtuosity and general "wildness" of the 1973-1975 incarnation of King Crimson (Larks Tongues in Aspic; Starless and Bible Black, and Red). Although some fans and critics regard Lizard as a weaker album (and even hard to "get into"), I personally feel that the music is excellent and shows a great deal of compositional sophistication (classical influences figure prominently). Pete Sinfield even turned the heat up on his lyrics and they are very elaborate and complex on Lizard. Come to think of it, the album stands among some of my favorite King Crimson albums.

The core lineup on Lizard included: Robert Fripp (acoustic and electric guitars, mellotron, electric keyboards & devices); Mel Collins (flute & saxophones); Gordon Haskell (bass guitar & vocals); Andy McCulloch (drums and percussion); and Peter Sinfield (words & pictures; VCS3 synthesizer). Additional musicians include: Robin Miller (oboe & cor anglais); Mark Charig (cornet); Nick Evans (trombone); Keith Tippet (piano & electric piano); and finally Jon Anderson of Yes fame (vocals on "Prince Rupert Awakes"). In terms of musicianship, Robert Fripp and excellent drummer Andy McCulloch are the true standouts here, although the supporting brass and woodwind players turn in some excellent ensemble work (especially on the track Bolero). Bassist/vocalist Gordon Haskell (who was apparently a fan of soul and Motown music) was either reluctant (or unable) to embrace the complex material on Lizard and it shows in his bass playing, which is fairly weak throughout (his vocals may be an acquired taste for some - although I like them a lot). Following the release of the Lizard album, Haskell left the band (along with McCulloch).

The five tracks on the album range in length from 2'47" (the delicate Lady of the Dancing water) to the massive (23'15"), seven-part Lizard suite, which would prove to be the largest piece that the band would ever compose. Musically, Lizard presents a nice mixture of symphonic prog, the avant-garde, and even some highly experimental, jazz-inflected moments here and there (apparently a Miles Davis influence), although it is extremely odd-sounding and angular jazz. Pieces that are good examples of the avant-garde aspects include Happy Family, which features Tippetts' insane pounding on the piano. Although there are some hectic and aggressive moments on the album, in large part it is quiet and even reflective at points. Lady of the Dancing Water is the most soft and pastoral piece on the album, and features some excellent flute playing by Mel Collins.

Other personal favorites include Cirkus (love the mellotron), Indoor Games, and the huge Lizard suite. The suite opens with the very delicate and pastoral Prince Rupert Awakes movement and features the high pitched and soft vocals of Jon Anderson. His vocals work perfectly with this track. Bolero (the second movement in the Lizard suite) is another favorite and is a virtual showcase for supporting musicians Tippett, Miller, Charig, and Evans. The Lizard suite goes through a number of twists and turns, ranging from the delicate to the all out instrumental chaos of The Battle of Glass Tears/Last Skirmish. The piece closes some 23 minutes later with Big Top, which consists of carnival music, sped up and otherwise distorted (very creepy sounding stuff).

All in all this is a very progressive and challenging album by King Crimson and is a personal favorite from the 1970 -1972 period. Very highly recommended along with the 1969 debut, Larks Tongues in Aspic (1973), and Red (1974).

great listen.......2007-04-10

The reason King Crimson's Lizard album is so great is simple- from beginning to end, the album is filled with little creative musical bits. From "cirkus" all the way to the end of the 23-minute epic, this album contains hidden musical journeys in the background of the music, behind the lead singer. Little entertaining bits of piano, drums, mellotron and other instruments playing throughout the entire album in the background, and many people who dismiss this album don't even notice what's going on back there. It ends up making the whole album feel very jazzy and intense.

I also don't get all the complaints about the lead singers voice. He's not a gifted singer, but he's nowhere near the worst out there. You might even say his voice can be quite pretty and believable during certain parts.

For someone like me who likes music that's WAY out there, this is certainly a very comfortable listen for me. Little bits of creativity are just bursting all OVER the place. Great album.

Stake A Lizard by The Throat.......2007-02-06

Best track here is Lizard: Prince Rupert Awakes/Bolero-The Peacock's Tale/The Battle ...
- featuring Yes's Jon Anderson on guest lead vocals. this track is worth the price of admission for Prince Ruperts Lament/Fripps searing guitar solo at the end of the track before the fade out of backwards sped-up mellotron

My Favorate K.C. Album.......2007-01-19

I can't get enough of this cd. Every song is great it will take a few maybe more listens to relise that they are great, but it's worth it.

Track By Track

1."Cirkus" (Robert Fripp, Peter Sinfield) - 6:27 5/5
Amazing song one of there best. Great opener, the mellotron and just the unique vocal style of Gordon is outstanding. Should like this one first listen if you like there first album.

2."Indoor Games" (Fripp, Sinfield) - 5:37 5/5
This song is alot harder to get into. If your into the jazzy stuff you should like this track. The improv is great in the middle. And has a nice little ending to it.=)

3."Happy Family" (Fripp, Sinfield) - 4:22 4.6/5
Fast, "Different" and just sorda confusing but highly recommended. This song depends on how far your willing to branch out because this one is out there but it's very good. Plus it's about the Beatles.

4."Lady of the Dancing Water" (Fripp, Sinfield) - 2:47 5/5
Great little song reminds me of some of there other ballads very good and is somewhat of a breather compared to Happy Family and what is next. And is about a lady obviously, a theme that would come up alot more in Islands.

5."Lizard" (Fripp, Sinfield) - 23:15 6/5
The first part "Prince Rupert Awakes" is probly my favorate song on the album Jon Andersons voice is out of this world. This is a pretty haunting track with some great jazzy playing. And the Mellotron can send chills down your spine if you are blasting this song. Pt.2 "Bolero: The Peacock's Tale" nice little part of the song. Has some great work from the band and Gordon gets the final words of the album "Forming lines of horse and steel By even yards march forward" and Pt.3The Battle of Glass Tears begins which is also outstanding lots of horns and amazing drumming and gets better by the minute. Then after some amazing horn work comes Fripp with not his greatest but some good ole haunting guitar at the end. And at the finale of the album is Bit Top which reminds me of spinning around in a room. It's ok but I wish the album ended with Fripps guitar.
Overall get this album if your into King Crimson and you are into some of the jazz fusion like stuff.

A great album .......2006-12-17

King Crimson's third album Lizard is not quite as consistant as the first two but it's better than the next one. This is a very jazzy sounding album with some celtic and baroque thrown in. The first part of this release is made up of four songs all sung by Gordon Haskell. In fact, this started up with the lineup that finished Poseidon for the most part anyway. While all these songs are great for me it's the second half of the cd that is like nothing else. Back in the days of records this was one of my most played sides. The Lizard side as we all used to call it back then. It starts off very quitely with a guest vocal appearace by Jon Anderson and then moves in to some of the most beautiful music I've ever heard. Several related pieces that have an absolutely beautiful sound and are quite unlike anything you'll hear anywhere else. A wonderful piece. Big Top is very brief but fits in well with the Lizard Suite.

The Condensed 21st Century Guide to King Crimson: 1969-2003

Average customer rating:

Great Introduction for newer fans
It's Impossible
Finally, The Essential KC

The Condensed 21st Century Guide to King Crimson: 1969-2003
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Essential Emerson, Lake & Palmer
The Collectable King Crimson, Vol. 1
In the Court of the Crimson King
There Is A Season
Voyage

ASIN: B000IHY10K
Release Date: 2006-10-23

Tracks:

21st Century Schizoid Man
Epitaph
The Court Of The Crimson King (Abridged)
Cat Food (Single Version)
Cadence And Cascade
Ladies Of The Road
Sailor's Tale (Abridged)
Larks' Tongues In Aspic Part I (Abridged)
Book Of Saturday
Fracture (Abridged)
Starless (Abridged)
Red
Fallen Angel
Elephant Talk
Waiting Man
Power To Believe II
Power To Believe IV

Tracks:

Elephant Talk
Frame By Frame
Matte Kudasai
Discipline
Heartbeat
Waiting Man
Neurotica
Three Of A Perfect Pair
Sleepless (Abridged)
VROOOM
Coda: Marine 475 (Abridged)
Dinosaur (Single Version)
Sex Sleep Eat Drink Dream
The Power To Believe I
Level Five
Eyes Wide Open
Happy With What You Have/To Be Happy With (EP Version Abridged)
The Power To Believe III
The Power To Believe IV

Album Description

Two CDs of digitally remastered masterpieces from King Crimson's many incarnations, all lead by the guitar majesty of Robert Fripp. Spanning the years 1969-2003, this may not hit upon every musical turn that Fripp and the boys have taken, but it certainly tries. 30 tracks including '21st Century Schizoid Man', 'Vroom', 'Epitaph', 'Ladies Of The Road', 'Larks' Tongues In Aspic Pt. 1', 'Heartbeat', 'Discipline' and many more. Panegyric. 2006.

Album Details

Double CD Compilation of 32 Tracks, with Each of the Double CD Running Almost to the Complete 80 Minute Format Capacity, Drawn from a Catalogue Spanning 13 Studio Albums (+ Singles and Mini Albums), Released Between 1969 - 2003, featuring Material Performed by 20 Musicians from Six Line-ups (And a Transitional Line-up), Material Honed, Expanded, Altered, Improvised Upon and Often Recorded at 871 Concerts Given on Three Continents, by One of Rock Music's Longest Running, Consistently Innovative and Enduringly Influential Bands.

Customer Reviews:

Great Introduction for newer fans.......2007-04-22

My Band teacher recently played a couple tracks from his ipod on the stereo at school and ever since I have been hooked on King Crimson like I am on the Beatles, Doors, and Pink Floyd. They are a great band and this two disc compilation is a fantastic compilation of tracks from most of their albums (there are no tracks from the album 'Lizard' on this set). I'd recommend this cd set to anyone looking for something new to listen to than modern rock and other bands, or just anyone who loves music!

It's Impossible.......2006-12-02

I agree with the previous reviewer in that this is the most useful King Crimson compilation ever (at least for non-completists), and that previous collections can be deemed obsolete. This one covers each of the five (that would be my count) distinct phases of the band's career, and the result is a superior introduction or summary for the interested layperson. However, I would contend that there is a fundamental challenge behind the very idea of a King Crimson retrospective, from a handy one- or two-disc package like this, to an elaborate multiple-disc box set. Given the band's highly contorted career, with so many musical philosophies and experimental styles coming and going with seemingly dozens of different group members, not to mention Robert Fripp's open-minded anti-leadership, it is probably impossible to create a truly representative King Crimson retrospective.

Just like the music itself is impossible to categorize or pigeonhole, and because the King Crimson muse has evolved so extensively over the decades, efficient collection becomes nearly impossible too. As mentioned above, this release does contain many of the most "collectible" tracks from all the various phases of the twisted and adventurous King Crimson saga (I'm partial to the John Wetton era myself). But in the attempt at "representativeness," the selections can't help but appear arbitrary and obligatory, with the related problem of abridgement for certain tracks that were deemed useful but too long to cram into the few spare minutes available on these two discs. But of course, anyone interested in the history of progressive rock, from late-60s jazzy orchestrations to modern industrialized walls of sound, must be aware of King Crimson and their heavily challenging (and increasingly influential) music. This compilation gets the job done for the innocent bystander, but save your pennies for all the original albums that you'll want to start buying real soon. [~doomsdayer520~]

Finally, The Essential KC.......2006-11-10

This is simply the best King Crimson compilation album ever, and it renders all previous ones obsolete.

Released to the wide indiference of the public, this album is anyway important for two reasons: it provides the ultimate guide to *all* phases of the band in it's 35-year history, in a reasonably priced package; and, it's bound to become the source of reference for new prog fans seeking the influences of groups like Mastodon, Tool, Mars Volta and such.

Having gems like "Epitaph" (1969), "Sailor's Tale" (1971), "Fracture" (1974), "Frame by Frame" (1981), "Dinosaur" (1995) and "Level Five" (2003) on one album is great, and without having to spend big bucks on boxed sets or collecting the original records.

Another aspect that makes this special is that Crimson is one of the very few bands from its generation to remain consistently influential and innovative; something shown here by the fact that the closing material (from 2003's "The Power to Believe") is some of the stongest.

The artwork is nice (following the template of the "21st Century Guide..." boxed sets) with a booklet covering all lineups, with the usual vintage pics, press clippings and a condensed Fripp narrative. And the sound is excellent too (all tracks are taken from their respective 30th Anniversary Series remasterings).

Many previous KC compilations have featured edits, and this one is no exception, but they're better handled than usual. Only a beginning refrain is cut form "Fracture" while the whole legendary 'motto perpetuo' section is preserved; but on the flipside "In the Court of the Crimson King" has Ian McDonald's beautiful flute solo cut out while the whole rather silly coda is retained. "Larks...I" is heavily edited but still flows very well, but "Starless" is again just the ballad beginning.

Some not-so-surprising abscenses are 'Lizard' and 'ConstruKction of Light' tracks ("Cirkus" would have been nice, but I won't miss TCOL at all). Some truly missed classic are "Larks...II" (maybe because the live versions have always been so superior), "The Great Deceiver", "The Night Watch", "Easy Money", "Exiles", "Indiscipline", "One Time", etc. But even then, there are a lot of tracks to enjoy since both CDs are packed to their limit.

What you won't find here are live tracks, ProjeKct tracks, rare tracks, unreleased stuff, Collectors Club stuff, etc. This compilation is meant purely as a guide through the studio catalog.

If this isn't enough for you, you can follow with the full '21st Century Guide' boxed sets, the 30th Anniversary Series individual releases, the archival live albums, the DGM download store and such; but as a handy collection of essential tracks, this album is unbeatable.-

Starless and Bible Black - 30th Anniversary Edition Remastered

Average customer rating:

An essential representation of this KC lineup
Nice studio tracks and excellent live performances
Another overatted album by King Crimson
no one touches The King
Improvs Improved

Starless and Bible Black - 30th Anniversary Edition Remastered
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Larks Tongues in Aspic - 30th Anniversary Edition Remastered
Red 30th Anniversary Edition Remastered
Lizard
Islands
In the Court of the Crimson King

ASIN: B00064WSNM
Release Date: 2006-01-16

Tracks:

The Great Deceiver
Lament
We'll Let You Know
The Night Watch
Trio
The Mincer
Starless And Bible Black
Fracture

Customer Reviews:

An essential representation of this KC lineup.......2007-07-02

Minor quibbles can be made about every record King Crimson has ever released, unsurprising as their output has been spread over 39 years and numerous lineups. However, the astonishing recordings of Trio and Fracture elevate this to the pantheon; how many bands have, or will ever have, the range and vision required to produce this music? Recommended listening for any musician who wishes to understand the possibilities of improvisation.

Nice studio tracks and excellent live performances.......2007-05-29

This 1974 release by King Crimson presents a nice mixture of studio tracks and live tracks. With respect to the live tracks, We'll Let You Know was a purely improvisational piece taken from a concert held in Glasgow Scotland, while The Mincer (another improvised jam) was recorded in Zurich, Switzerland and overdubbed in the studio. Three tracks including Trio; Fracture; and Starless and Bible Black were recorded at the Concertgebouw in Amsterdam, as was the introduction to The Night Watch (the remainder was recorded in the studio). For those of you that are curious, the complete Amsterdam Concertgebouw concert was released by the band as The Night Watch, which is a fantastic sounding 2-CD document of this powerful lineup live.

The lineup on this album is considered to be the finest Crimson lineup assembled and I do not disagree. The players at this point included David Cross (violin, viola, mellotron); Robert Fripp (electric guitar; mellotron; and devices); John Wetton (electric bass guitar; lead vocals); and the incredible Bill Bruford (drums and percussion). The performances on the live tracks are out of this world and amply demonstrate the power of this group as an improvisational unit of considerable power and imagination. Robert Fripp turns in some excellent performances throughout (his complex, cross-picking technique really shines on the closing track) and seems to favor a heavily distorted tone played at bone-crushing volumes - he is however, capable of some delicate playing as well. John Wetton seems to favor taking the same approach on the bass guitar and his thunderous bass lines rumble throughout - like Fripp, John is also capable of some fairly delicate playing. I was also happy to hear David Cross and his delicate violin/viola parts emerge from the chaos - unfortunately, his playing really took a back seat on the follow-up album Red (1974).

The eight tracks on the album range in length from 3'46 to 11'14" and include a few studio tracks (The Great Deceiver and Lament) and the aforementioned live tracks. Although some of the live tracks generate enough raw electrical power to blow the earth up ten times over, Trio is a very tranquil piece that just features violin, bass guitar, mellotron, and flute. Apparently, Bill Buford felt that Trio was perfect as it was and decided not to add drums during the live performance - in fact, the band appreciated this gesture and gave him a co-credit. The Night Watch is another quiet and mellotron saturated piece that breaks things up nicely. Although the studio tracks are nice and present a wide range in dynamics, it is the crushing volume and avant-garde tendencies of the improvised tracks that really hold my attention.

All in all, this is a good album released during a very creative period for King Crimson along with Lark's Tongues in Aspic (1973) and Red. Although I can't say that I like this album as much as the other two from this period, this is still high quality progressive rock and is recommended along with In the Court of the Crimson King (1969); Lizard (1970); Lark's Tongues in Aspic; and Red.

Another overatted album by King Crimson.......2007-05-10

I just can't listen to this album, I know many of you rate it as a masterpiece, but I don't. The music has no emotion, just as cold as Mr. Fripp can be. I don't fell anything when I am listening to it.
I consider myself as an open mind and I am always ready to discover new things, this album might have been "hot" thirty years ago, but it is very dated in the 21st century ! I gave mine to a friend, giving space in my cd collection for something else.

no one touches The King.......2007-02-26

king crimson is the byfar the greatest & one of the most creative "prog" rock bands to come out of the late 60s/early 70s next to pink floyd & ELP. this album is no less. it doesn't top larks' tongue in aspic or in the court of the crimson king, but it stands next to them, for sure & openly defines this band as a milestone in the more experimental/art rock of the early 70s.

if you are unfamiliar to king crimson's sound, than i'd recommend picking up the latter albums i previously stated. even to this day, king crimson still does not get the recognition they deserve, but in this day in age, maybe it was better that way. they still have countless fans the world around & are one of the most influential rock bands in past 40 years.

long live the crimson king

Improvs Improved.......2007-02-06

They came a long way from the Moonchild improv 5 years prior to the recorded live Fracture & Starless improvs. The improvs are now their strength instead of the weakness. This may be their best

Average customer rating:

Reissue details & differences here
Robert Fripp
The well rounded World of Robert Fripp
Small difference before vs. after
Fantastic, splendid

Exposure
Robert Fripp
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

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Similar Items:

My Life in the Bush of Ghosts
Sacred Songs
The Equatorial Stars
Larks Tongues in Aspic - 30th Anniversary Edition Remastered
Love Cannot Bear

ASIN: B000F3A7LE
Release Date: 2006-06-06

Tracks:

Preface
You Burn Me Up I'm a Cigarette
Breathless
Disengage
North Star
Chicago
NY3
Mary
Exposure
Hen Two
Urban Landscape
I May Not Have Had Enough of Me But I've Had Enough of You
First Inaugural Address to the I.A.C.E. Sherborne House
Water Music I
Here Comes the Flood
Water Music II
Postscript

Tracks:

Preface [Third Edition]
You Burn Me Up I'm a Cigarette [Third Edition]
Breathless [Third Edition]
Disengage II [Third Edition]
North Star [Third Edition]
Chicago [Third Edition]
New York, New York, New York [Third Edition]
Mary [Third Edition]
Esposure [Third Edition]
Hen Two [Third Edition]
Urban Landscape [Third Edition]
I May Not Have Enough of Me But I've Had Enough of You [Third Edition]
First Inaugural Address to the I.A.C.E. Sherborne House [Third Edition]
Water Music I [Third Edition]
Here Comes the Flood [Third Edition]
Water Music II [Third Edition]
Postscript [Third Edition]
Exposure [Alternate Take][*]
Mary [Alternate Take][*]
Disengage [Alternate Take][*]
Chicago [Alternate Take][*]
NY3 [Alternate Take][*]

Album Details

Digitally Remastered Limited Edition Miniaturized Sleeve Replica of Original LP Issued of Fripp's Debut Solo Album. The Set Includes Two CDs Filled with Bonus Tracks and Other Goodies.

Customer Reviews:

Reissue details & differences here.......2007-07-13

Enough has been written about the importance of this album and how it has stood the test of time. It says something about this listener's growth, at least; when I first heard Exposure in high school, I called it the biggest waste of talent on record, given the roster of musicians playing on it yet the distinctly non-Crimson results. But I wasn't ready for punk rock, I suppose, and Fripp was - hence this stellar effort (as I grew to see it within a couple of years!) that fuses New York avant-garde, punk (in spirit if not in yobbish playing), ambient music, and - yes - even a touch of King Crimson (in the devastating Breathless). And I was too young and uninformed to know anything about the struggle between Fripp and RCA record boss Tommy Mottola over Daryl Hall being the main vocalist on the album, with Fripp's loss in this tiny power struggle resulting in Peter Hammill, Terre Roche, and Peter Gabriel sharing the vocal duties.

That said, I'll aim my comments at this reissue. In a nutshell, Fripp does the same thing here that he's done before, producing the same infuriating results: he tampers with the original artifact to reflect his present attitude towards it, instead of just reissuing the recording as first released. I find it as frustrating now as I did when he remixed Exposure in 1985, just the same as with individual discs within the various generations of Crimson reissues, whether earlier, like Islands and Larks' Tongues (where tiny changes produced annoying results) or more recent, like Discipline and Three Of A Perfect Pair (with bonus tracks that marred the spirit of the record in the first case and radically improved it in the second).

The first disc is the original LP mix of Exposure, so that's great; it's now on CD, with all its unique moments restored: the fast fade of Disengage, Terre Roche's dismissive "Hah!" at the end of the title track (which once more ends on "X"), the much longer narrative at the end of Haaden Two (including the wonderfully paradoxical "Both the things weren't true; that's definitely true"), and probably a few more subtle differences I missed the first time around. Putting the various versions side by side, the original mix is thicker and grubbier, but still my favorite. Punk rock, right?

Disc two is where the problems start. Take note - spoiler alert! According to Fripp's typically discursive (but ultimately informative) liner notes, the original idea was to repackage the 1983/85 remix/reissue with the unreleased Daryl Hall vocals as bonus tracks. Of course, Fripp then decided to redo things to "create" a version of the album as he originally mooted it. This mix, therefore, is basically that 1985 version, but with Hall's lead vocals substituting for all the Peter Hammill vocals except I May Not Have Had Enough of Me -- hence Disengage (with almost entirely new lyrics, possibly improvised and basically rubbish) and Chicago -- and for Terre Roche's vocals on Exposure. Peter Gabriel remains as the voice of Flood and Roche as Mary. The Hammill versions as they appeared on the first remix are now shunted to the end as extra tracks, except for his take on Chicago, which is dropped entirely, though you get a separate Daryl Hall vocal version of Mary and a duet of Hammill (fine) and Roche (awful, sorry) on Chicago. The labelling of the 1985 versions as "alternate" is disingenous, to say the least.

So how about those Hall vocals, resurrected after all these years? Frankly, they're not that good. I recognize the punk ethos teeming in the mix and Hall's determined need to shrug off his pop star status and go with the artistic spirit of that remarkable age, and it's well established that Fripp was caught up in it too, which shaped the sessions into this resulting album. But honestly, the tracks aren't comparable to the official release. Chicago works well enough - the blues are the blues, after all, though I still prefer Hammill's menace on the familiar version. And Hammill is simply much better at channeling the fury and edge of 1979; he'd been capable of being a proto-punk screamer (with Bowie and John Lydon on record as endorsing him) well before Hall was even singing Sarah Smile, thus Disengage loses everything in its "new " version. This is not to slight Hall, who's talented, just a bit out of his depth: his take on Mary is fine, though little different in spirit to Roche's, and he does sterling work on the title track -- though still not a patch on Roche's utter nutcase delivery on the original. NY3 (retitled here) is the one real success, but basically it's a different song so can't be compared; it loses its Hells Kitchen found vocal and has proper lyrics sung by Hall over the instrumental track; they're good, and the results are similar in sprit to NY3NY on Hall's Sacred Songs, which put new words to "I May Not Have Had Enough Of Me." It's certainly the high point of fresh Hall material on this record.

My position is this; fans would have been better served if the second disc had been the 1985 remix with the unreleased Hall versions as bonus tracks, but I suppose that's too much the industry way of doing things for Fripp to go along with, and he had a chance to assemble something close to how he envisioned it originally. It's just not as good. Fripp hints at acknowledging that in the liner notes when he observes that Mottola's stubbornness caused him to take the album in a different direction, with the results as we know them, and that fans can reassemble the familiar album through programming regardless. This assertion isn't true, by the way -- that we can put back together the 1985 album he decided not to reissue here -- because he leaves off the 1985 Hammill version of Chicago, which was a different vocal take to the 1979 mix. Instead we get the unreleased duet, which as I've noted is less than successful; Terre Roche tries for her Yoko Ono thing again but this time sounds like she's being strangled on the fade-out. Of course, the irony here is that Fripp was right as much as he was wrong. You get the original version in all its scruffy glory and you can create a version of the 1985 mix if you want (which I've done), but only with the help of an earlier reissue to get what's missing. So there you go!

OK, just a few words on the package. The liner notes are excerpts from his diaries, which explain choices in mixing, etc. but aren't useful for quick reference. The pictures are great, if not always the best quality: newspaper reprints, unused cover concepts, a work-up of some attempted remake of Alphaville with Debbie Harry. The best element is the musician credits; finally, you get a clear list of players for each song. Fans may want to learn that Levin is the bassist throughout (not John Wetton), Phil Collins and Jerry Marrotta drum on a couple of tracks each, and on everything else (Breathless, Disengage, NY3, and I May Not Have Had Enough) is latter-day Mahavishnu Orchestra drummer Narada Michael Walden, which helps explain why Breathless in particular is like some ferocious outtake from Red. And that's Sid McGinniss playing the massive funk riff of Exposure, because Robert just could never do that sort of stuff, could he?

By the way, if you buy the Japanese version, you also get two separate sleeves, just like the LPs (a single one for the 1979 version, a gatefold for 1985), plus a postcard, an OBI, and a Japanese booklet. Very nicely done, in fact.

Another curio fans may want to find, I also have an Italian/Indian (?) re-release of Exposure from 2006 that just preceded the double reissue (VH Records, RFCD 01010202). Its mix is the 1983/85 version and the package is a single-sleeve mini LP, with a redundant booklet that provides in larger type everything on the inner sleeve (also included). Nice for the aging audience who might now wear bifocals. The real gem, though, is a much longer (by nearly 2 minutes!) take on Water Music 2. This is not a merging of 1 and 2, I should stress, but a longer track that show how the familiar version actually fades in about half way though. Nothing radically different, just more loops, but a surprise and a real treat once I figured it out.

Robert Fripp.......2007-06-09

As a teen found Robert Fripp's music so fascinating.

Still remember them and they are good to listen to , but different , maybe a little weird to.

You Burn Me Up I'm a Cigarette is a fast paced good song. Disengage was mesmerizing to me as a teen and Mary was kind of soft and sweet as a love song.

The well rounded World of Robert Fripp.......2006-12-09

What a great compilation. I had read some complaints about the earlier '83 release being remixed and have stuck with the vinyl until now. These discs have the best of all worlds:

'79 original tapes brightened up a bit, but interestingly, not as sonically open as the '83 remix
'83 remix version, which has some negatively noticable differences from the '79 edition:
- "Exposure" remix mutes the rythm section and excises Terry Roche's exclaimation "Hah!" from the end of the song. I guess Robert didn't like the implied triumph over Suffering : )
- "Chicago" has a slightly different vocal take and (again) muted rythm
- "Breathless" alters the Frippertronics and (noticing a trend?) mutes the rythm section. I know RF has long running battles with Rythm musicians, but in these cases I found that less was not more.

All in all, only a few of the songs were "improved" enough for me to prefer the clearer sound of the '83 remix. Beautiful songs that begged for little improvement: "Mary" and "Northstar" are stellar and the umpteenth version of Gabriel's "Here Comes the Flood" has some of the Frippertronics replaced by a flute and is the best version of the song I've heard yet.

The 3rd component of this Exposure release is the inclusion of Daryl Hall's original vocals on several songs and a couple of other unmemorable alternate vocal takes by other artists. Hall's take on the song "Exposure" pales in comparison to the manipulated vocals of the original Roche vocal, and while very good, His version of "Mary" is not quite up to Roche's version.

Finally, there is a fun little booklet with another of Fripp's trademark rants against the horrible state of the music world versus the nirvana that Music 'done the right way' can provide. It's pretty touching, actually, and reminds me a bit of Zappa's heartfelt take that "Music is the Best".

Anyway, if you're at all curious about various forms of music, you'll find quite a few styles represented here: power, beauty, hypnotic, chaotic, paranoid, angry music done right!

Small difference before vs. after .......2006-11-04

Solid and often overlooked work from Fripp. The remixed version is not so vastly different from the original to support reissuance, but is worth a listen for hard core KC and Frippmaniacs, only. Philly Soul meets Frippertronics.

Fantastic, splendid.......2006-09-20

OK. This is really one of ym favourite albums ever. Fripss has never been in better form before or after. From the recordings of found dialogue to the music this is simply mind-blowing. If you also thought it was good before...this is even better. The recording quality is simply among the ebst you will hear for such a thing. This was recorded almost 20 years ago if I am not wrong. It contains songs such as the scorching punky "Light me up I'm a cigarette" to the usual Crimson-like guitar work-outs as well as some very romantic songs...The best track remains Exposure, of course, and wait till you hear the unreleased version of it at the end of the second CD, you will cry with joy. Throw away all your CD's and keep only this one (OK and a few others)

Three of a Perfect Pair: 30th Anniversary

Average customer rating:

Oooh, me likey
Not enough music and too much noise !
they have their cross to share, three of a perfect pair
Wake Up, World!!! This Is Perfect Rock!!!
Underrated!

Three of a Perfect Pair: 30th Anniversary
King Crimson
Manufacturer: Discipline Us
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Beat
Discipline
Larks Tongues in Aspic - 30th Anniversary Edition Remastered
Red 30th Anniversary Edition Remastered
Islands

ASIN: B00064WSO6
Release Date: 2006-03-14

Tracks:

Three of a Perfect Pair
Model Man
Sleepless
Man With an Open Heart
Nuages (That Which Passes, Passes Like Clouds)
Industry
Dig Me
No Warning
Larks' Tongues in Aspic, Pt. III
King Crimson Barber Shop [*]
Industrial Zone A [*]
Industrial Zone B [*]
Sleepless [Tony Levin Mix][*]
Sleepless [Bob Clearmountain Mix][*]
Sleepless [Dance Mix-F. Kevorkian][*]

Customer Reviews:

Oooh, me likey.......2007-07-13

Not as kick-@$$ as "Discipline", but a darn good album nonetheless.

As you probably know by now, this album consists of one part quirky new-wave prog and one part weird industrial soundscapes, plus (on this particular edition) some bonus tracks. The accessible stuff is pretty well done. "Three of A Perfect Pair", "Model Man", "Sleepless", "Man With an Open Heart", all good.

Then, "Nuages", etc., a pretty boring instrumental. Now onto the good stuff.

"Industry", while cool, is too long for a song that just sort of sits there and makes noise. The drums (with all apologies to the god-like Mr. Bruford) are boring and overall the rhythm section plods along to dull soundscapes. "Dig Me" is much better. Cacophonous, nearly free-jazzish music accompanies lyrics about a junked car during the verses and then there is a catchy chorus stuck in between. "No Warning" is like "Dig Me" but without lyrics or a chorus, just cacophonous craziness. "Larks Tongues In Aspic Part III" sounded to me sort of like they blended ideas from the first two parts together and then blended those ideas with their new approach to music to make something quite good, but not as good as the first two installments (you know how sequels are).

Bonus tracks: "The King Crimson Barber Shop" is a funny novelty, "Industrial Zone A" and "B" were probably outtakes from the industrial side and are decent, the "Sleepless" remixes are pretty good.

Overall, a worthwhile purchase. Not as good as "Discipline", same quality as "Beat" (yeah, I liked "Beat" too! Ha-ha!).

Not enough music and too much noise !.......2007-05-12

Just like "Beat", this cd starts strong with the first three tracks but they are followed by experimental sounds goin' nowhere. A big dissapointement. When I buy a cd, I want to hear music, if I want to hear noise, I put a microphone in the dishwasher !

they have their cross to share, three of a perfect pair.......2006-12-21

After the somewhat uneveness of Beat, the band bounced back into top form with this album which is one of the band's best. I find this album to be a perfect mix of songs. From classics like Sleepless and the title track to less known songs like Model Man(another classic by the way). The instrumental tunes like Larks, Tongues In Aspic Part Three are some of the most interesting tunes recorded. I feel that this album has never quite gotten the respect it deserves. The new cd version also has some cool bonus songs. If your getting started or if you have others by the band DON'T MISS THIS.

Wake Up, World!!! This Is Perfect Rock!!!.......2006-06-11

I bemoan a world where rock critics and so-called purists still routinely pass off everything that came after John Wetton in the history of King Crimson. As if the majority of people know the first thing about King Crimson outside of perhaps hearing "21st Century Schizoid Man" and a few other noteworthy tracks from _Court of the Crimson King_, a great moment almost four decades removed and certainly remotely connected to the mastery, emotion, and experimentalism exhibited on _Three of a Perfect Pair_.

I've never really understood why people dismiss Crimson after Belew came in the band. The reason that Belew has led the band twice as long as all its other singers combined is because THIS IS THE BEST LINE-UP!!! _Three of a Perfect Pair_ is a better album than their most famous release, _Crimson King_, and its only rival for best KC release ever is the Belew-led _Discipline_. Don't get me wrong, KC had many a moment before Belew, especially _Islands_, _Lizard_, and a handful of classics from the otherwise bloated _Crimson King_. What they finally got with Belew is a match for Fripp in all the most important departments: songwriting, guitar-playing, and bold spirit. And perhaps their first totally coherent release with _Discipline_. Add the fact that Belew creates harmonies worthy of Yes and writes existentially intriguing lyrics (and doesn't sound like a feathered college boy like John Wetton), and you've got albums that works on more fronts than most anyone else can dream of creating.

_Perfect Pair_ starts in pop nirvana with a quartet of songs that, yes, seem to put the new wave in Crimso (spec. Talking Heads), but have an infectiousness, musical dexterity, and poetic scope that mark them as being all their own. The album nimbly and uncannily switches gears on the second side (yeah, we're going back to LP days, kids), which doesn't contain any lyrics until its third song, "Dig Me," that rare paean to a junked automobile's emotions that despite all odds is able to attain choral transcendence after the pre-NIN industrial grindscape of the verse. An unforgettable rock moment, that, alas, far too few of my compeers can claim to have encountered even in passing. What kind of world do I live in?

One where I alone amongst my friends can know the subtly jagged instrumental interplay between Bruford, Levin, Fripp, and Belew. One where I have yet to hear a song by one of the top ten rock bands ever played on classic rock radio (that band is Crimson). A lonely world made so much more tolerable by the enduring genius displayed on _Three of a Perfect Pair_.

Underrated!.......2006-06-05

The general consensus was that the 80s lineup of King Crimson released one progressive masterpiece (DISCIPLINE), one above average pop album (BEAT) and one album that's half filler (THREE OF A PERFECT PAIR). I'm here to refute that notion and claim that the last chapter of the so-called 80s trilogy is very worthy of praise.

The first half of the album continues the direction that the band took on BEAT... sublime 80s art-pop that's influenced by collaborations by each of the members outside of the group. What I mean is that you can hear the influence of Bowie's SCARY MONSTERS in Fripp's guitar playing, some Peter Gabriel in Levin's rhythm work, and of course the Talking Heads sound in Belew's vocals and guitars. As for Bruford, what else can be said... he had been with the band since way back on LARKS' TONGUES IN ASPIC and he is perhaps the greatest drummer in prog rock.

The second half of the album takes a turn into weirdness, and that's where the appeal lies. BEAT is a fine record, but you could sense the band going through the motions. One of the most attractive things about King Crimson is Fripp's willingess to keep reinventing his sound and trying new things (particularly in the 90s, when the band would fully embrace bold improv experimentation instead of merely flirting with it). Side Two of THREE OF A PERFECT PAIR is the precursor to Krimson's 90s improvisation, and perhaps a successor to Fripp's 70s Eno collaborations. The intriguing soundscapes benefit greatly from Belew's mastery of the guitar (most underrated guitarist ever?) and, of course, Fripp's signature style of playing. "Larks Tongues in Aspic Part III" is a worthy successor to 70s versions.

The CD releases features a third side of music, referred to on the back of the CD case as "The Other Side." The opening piece is an amusing barber shop acappella skit ("We Don't Play 21st Century Schizoid Man!!!"), some instrumental exerpiments, and three remixes of the hit song "Sleepless." Of the three, Tony Levin's version is the best.

I urge fans to revisit this album. It may not quite scale the heights of DISCIPLINE, but it is a vital and underrated entry in King Crimson's vast storied discography.

Music Info:

Music Info

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