In The Court Of Robert Fripp.
King Crimson
An Observation by Roger Gibbens
In the summer of 1967 brothers Michael and Peter Giles advertised for a singer/keyboard player to join their soft rock band. Robert Fripp, a non-singing guitarist, auditioned and was asked to join. The mix seemed to work and they recorded a couple of singles for the Deram label before releasing the album “The Cheerful Insanity Of Giles Giles and Fripp”. Neither the singles nor the album troubled the charts and the band introduced multi-instrumentalist Ian McDonald to help enhance their sound. In turn, McDonald brought in his girlfriend, Judy Dyble, whose short-lived life as the bands vocalist lasted just until her relationship with McDonald ended. Fripp was becoming frustrated with both the lack of success and the somewhat simple pop type music the band were playing. His influence became more pronounced when he suggested his friend Greg Lake join the band as singer/guitarist. With Peter Giles also disillusioned he agreed to make way for Lake. Another friend of McDonalds, Pete Sinfield, also joined the band at this time. He was to become an important member designing and operating the impressive light show at gigs and writing all subsequent lyrics. He also named the line up of Ian McDonald, Michael Giles, Robert Fripp, Greg Lake and Pete Sinfield as King Crimson. Beginning rehearsals in January 1969, they made their live debut on the 9th April. By now they had added a mellotron to McDonald’s keyboards. The sound of the mellotron would become the most recognisable element of the prog rock movement that had just arrived on the Rock landscape and for which the band would play a huge part in establishing.
Following a high profile gig as support to the Rolling Stones at their famous Hyde Park free concert in July that year, the buzz around the band was growing and the anticipation over the release of their first album was high. That release came in October 1969. “In The Court Of The Crimson King” proved to be a masterpiece. From the shocking cover artwork which invoked similar anxiety as Munch’s “The Scream” to the experimental, imaginative and exciting music. Drawing on influences as diverse as Rock, Jazz, Classical and Folk, it was performed with a precision and intensity never heard before from a “Rock Band” and the boundaries would forever need to be redrawn. The opening track, the brutal “21st Century Schizoid Man” set the scene with its effect-laden vocals and jazzy time signatures, it announced the true arrival of King Crimson. The gentle second track, “I Talk To The Trees” and the almost ambient “Moonchild” showed a lighter touch but it was the two remaining tracks “Epitaph” and the title track that really created the bespoke style of the album. The surreal lyrics and precise instrumentals are all underpinned by the mighty mellotron and established a sound that was credited with starting the Prog Rock movement and would influence rock music forever. Amazingly, for a debut release, the album entered the chart at No.5 as it took its place among The Beatles, Rolling Stones and Bob Dylan in the UK top ten. Critical acclaim was widespread and commercial success assured.
Following a number of shows in England, the band travelled to America to see how their unique sound would work. Despite growing acclaim and the album reaching the US top 30, creative tensions were surfacing. Giles and McDonald were becoming unhappy at the increasingly complex music and Fripp quickly established himself as the spokesman and leader of the band. Despite offering to quit the band himself, both Giles and McDonald had made up their minds and the last date this line up played was on the 16th December 1969. This proved to be an enormous blow for the band and it is probable this resulted in the momentum stalling. They were never to have such critical nor commercial success again. In early 1970 Greg Lake left to join Emerson Lake and Palmer and with no other musicians remaining, Sinfield began playing synthesizers in support of the guitarist. Fripp had turned down the chance to end King Crimson and join other established bands (Yes was one) and encouraged by the record company to record a follow up album, he enlisted the help of past and future band members who along with guest musicians all rallied together to produce “In The Wake Of Posiedon”. This eagerly awaited follow up reached number 4 in the UK charts but the critics were restrained in their praise. To many, the album was little short of a copy; almost track for track, of the debut. While some fans and critics were happy with the “safe” format, many had hoped for a further leap into the unknown. One track, however, was adventurously different. CatFood, an ambitious single release, heavily featured the piano of jazz musician Keith Tippett and would prove to be a precursor to the direction King Crimson would adopt.
It now became important to put together a working band and Fripp and Sinfield set about recruiting. Gordon Haskell, who had sung and played bass on “Posiedon” was persuaded to join full-time along with drummer Andy McCulloch and Mel Collins who played Sax and Flute. This line up recorded the next album, “Lizard”, released in late 1970. Anyone expecting a retreat to any past formula would have been greatly surprised. Containing Sinfield’s most “out there” set of lyrics and enlisting the help of a number of respected jazz musicians, including, again, Tippett, it was most experimental, leaning on one side towards avant-garde jazz, and on the other, classical chamber music. Its one moment of mainstream was the guest vocals on “Prince Rupert Awakes” from Yes’s Jon Anderson. This was not to everyone’s liking, particularly Haskell’s who saw his role in the band being eroded and was unhappy at the direction the music was heading. He left, along with McCulloch upon the release. Still able to chart and still successful as a touring band, Fripp and Sinfield’s enthusiasm for the band continued. In what was becoming an ever-regular occurrence, they once again began to audition for new band members. In came Ian Wallace on drums and Boz Burrell on vocals and bass (after lessons from Fripp!) This line up toured and went into the studio to record “Islands” in 1971. A strange mix of an album, in most places it has a softer feel to their previous releases. Again using a variety of top-notch jazz musicians, the playing is technically perfect but lacks some of the dynamic edge associated with past efforts. There are some gorgeous passages of music showing great restraint and some effective playing but rarely does it all come together as a whole band. Out of place in the lighter ambience was “Ladies Of The Road” a rockier song that was more in keeping with their live sound. This was the most accessible track with vocals and harmonies comparable to the Beatles. The most serious threat to the bands existence became apparent during the recording of “Islands”. Pete Sinfield , Fripp’s longest and closest ally, had become weary of all the changes and was becoming opposed to Fripp’s ideas and the band’s sound. Their relationship soured and rather than listen to his long time partner, Fripp ousted Sinfield after their latest tour. Fripp now had total control over King Crimson and the music he wanted played. Seeing no future in this autocratic stance and no opportunity to contribute with any compositions, the rest of the band acrimoniously left. Despite this, they were persuaded to reform to fulfil their touring commitments. A live album of this tour was recorded and released as “Earthbound” in 1972. Badly recorded and indulgent it signalled the end of yet another incarnation. Fripp had already begun recruiting his new band complete with a new musical direction. The new line up would mark a huge departure from any previous incarnation. For the first time no saxophone or woodwind would feature and improvisation was to be actively encouraged. By now Fripp had recruited percussionist Jamie Muir to play along side drummer Bill Bruford who left prog superstars Yes. John Wetton, after years of courting from Fripp, joined on bass and vocals with violinist and keyboard player David Cross completing the line up. In Sinfield’s absense, Fripp turned to Wetton’s friend Richard Palmer-James for lyrics who, in true Crimson style, sent his words by post. Following a period of successful rehearsal, a new album “Larks Tongue In Aspic” was released in early 1973. With only Fripp remaining from the original band, this was the opportunity to escape from the clutches of the debut. Inevitably the ever-changing line up continued when Muir left (it was reported that he had joined a Tibetan monastery) and Bruford took over all percussion. This album and the release of “Starless And Bible Black” the following year seemed to put the band back on track. Both reached the top 30 in the UK and contained strong songs littered with melodies but with enough experimentation to satisfy their cult following. Live, they bombarded the crowd with a heavy metal noise. Trouble was only a while away however, and David Cross, increasingly frustrated at having his violin and keyboards drowned out, was voted out of the band in 1974. The remaining three went into the studio to commence work on the next album “Red”. At this time, Fripp was having his own spiritual crisis and left much of the studio work to Wetton and Bruford as he retreated further and further into himself. Remarkably, the album proved itself to be one of the strongest releases ever covering most aspects of the bands career from out and out prog to jazz, rock to metal. Together and more accessible than many, it featured the last contribution from David Cross and had contributions from Mel Collins and Ian McDonald who was considering a return to the band. Fripp however, still in a state of spiritual flux, was having none of it. Shortly before the album’s release, he announced that the band had “ceased to exist” and that the band were “completely over for ever and ever” and so in September 1975 that appeared to be that. A live album, “USA” was issued as a final statement. Considerably better than their last live recording, it contained some great performances and was a treasured memento for all the fans. As the band scattered to all corners of the rock world, Fripp’s idea of becoming a priest was soon forgotten.
He moved to New York and his collaborations with the likes of Brian Eno, where he would further develop the tape loop system of “Frippertronics” Talking Heads, and Blondie would help him become respected by the mainstream. His guest appearances on albums and on stage with David Bowie and Peter Gabriel would further enhance his reputation. A solo album followed in 1979 “Exposure” was a melting pot of all things Fripp, with experimental electronics all over it. Many guest artists appeared on the album (Phil Collins, Eno, Gabriel, Daryl Hall, Peter Hammill, David Byrne) and on next years release “God Save The Queen/Under Heavy Manners” which drew in New Wave and Funk rhythms to sit along side the “Frippertronics” Always busy, he formed a low key band with New Wave artists Barry Andrews and Sara Lee called “The League Of Gentlemen” recording one instrumental album and touring for most of 1980. After splitting the band, Fripp was soon on the look out to recruit members for his next project, which he wanted to be more commercially successful. His first recruit was old favourite Bill Bruford. Next came the surprising addition of guitarist Adrian Belew, who had worked with Zappa, Bowie and Talking Heads. He would also be the bands lyricist. The final recruit was bassist Tony Levin who Fripp considered the best bassist in the world. Naming the band “Discipline” they returned back to England to rehearse and write making their debut in April 1981. In October they took the decision to rename themselves King Crimson. Very unlike any previous incarnation, this really was progressive music, but not easily identified as such. With a second guitarist in the band, Fripp was able to concentrate on his complex guitar runs while Belew used every range of electronic effects available including backward loops, animal and industrial sounds and synthesisers. Levin innovative use of the Chapman Stick, a guitar which had both treble and bass range further added to the original sound which Bruford played a cymbal free drum kit. Disappointingly, for long-term fans, the mellotron had been put out to grass and new technology took its place. This line up released three albums. “Discipline” in 1981 was the first. It is hard to consider that this not a debut album from a new band rather than the tenth one, so different is the sound. Well received, the tracks were tightly constructed with many new wave and post punk influences. “Beat” came next the following year. Loosely based on writings of the Beat Poets, it has a lighter feel than the previous album and contains a couple of ballads. Interestingly, this was the first King Crimson album that was recorded with the same line up as the previous one. Rhett Davis took on the production duties being the first outside producer used by the band. By the time “Three Of A Perfect Pair” was released in March 1984, the usual tensions had become apparent once more and Crimson was once again at melt down. The only way recording could take place was to have the album structured with one side satisfying the poppier and more melodic side of the band while the other was heavily experimental.
Now a favourite of the critics, the band was respected for the original music they created but despite the acclaim, the band agreed to disband, fairly amicably for once and it would be ten years before the name of King Crimson would be heard of again. A live album featuring this line-ups last concert was released in 1998 entitled “Absent Lovers-Live In Montreal” Fripp once again throw himself into work. He formed the “Guitar Craft” music school in 1985 taking in performance and composition for acoustic guitar, coupled with discipline and lifestyle. A number of students at the school would become collaborators with Fripp in the future. A number of projects were taken on during this time. The acoustic based “League Of Crafty Guitarist”, “Sunday All Over The World” with wife Toyah Willcox, “Robert Fripp String Quintet” and work with former “Japan vocalist David Sylvian. In addition Fripp launched his own label DMG which would give him back the control over future releases and enable a series of rare recordings to be made available via the King Crimson Collector’s Club. By 1994, with encouragement from Belew, Fripp decided it was time to re form King Crimson. Going through the usual selection process resulted in Belew and Levin returning with Trey Gunn on Chapman Stick, Pat Mastelottto on drums and the surprise re recruitment of Bill Bruford, also on drums. Fripp later explained that he required the sound of two trios’ for this latest version of the band. In the ten years since the last band, digital had taken over and the band exploited this. Frippertronics made way for Soundscapes while the other instruments were filtered through MIDI software. Following rehearsals, a EP was released at the end of 1994 titled “Vrooom”. The band made their debut in Argentina in 1995, recording and releasing the concert as “B’Boom” Their next studio release was the well-received “Thrak” in 1995 which mixed up the usual elements of jazz, funk and this time some industrial sounds all underpinned by some savage guitar interplay from the two guitarists. Electronic swirls were also prominent. This album also marked the brief return of the mellotron. Following this, a live album “Thrakattak” was put out. An uncompromising blast of improvised extracts from gigs, this one was for dedicated fans only. Realising that the two-trio approach was both expensive and unwieldy, Fripp split the band into small units called “ProjeKcts which Fripp hoped would enable the band to work on different compositions before bringing these together as Crimson. There were four separate “ProjeKct’s” of which both Fripp and Gunn were included in all. Tours and recordings were carried out which were described as lacking in melody. At this point, Bruford had lost confidence in the direction the band were heading and was unable to influence either a new direction or a moderating of the existing one. ProjeKet One was his last involvement with the band and he was soon to leave for the last time. The “ProjeKct’s” still continue and allows all the band members to carry on trying out new material in the absence of any “official” Crimson framework. With Bruford now gone for good and Tony Levin deciding to depart the band due to other commitments, the four remaining members continued. Once again they took the opportunity to change their approach. With the experience gained from the “ProjecKcts”, all the band made slight adjustments to their playing or instrumentation. Gunn now played a more conventional bass while Mastelotto’s percussion was routed more through electronics. Refreshed and ready to go, “ConstrucKCtion Of Light” became the next King Crimson release in 2000. Having a heavy, driving Industrial Metal sound may have realised the bands new direction but, for pretty much the first time, critical disapproval was heard. Containing another instalment of “Lark’s Tongues In Aspic” and a reworking of a 1973 track “Fracture”, they were accused of lacking ideas. In addition to this album, a sister album was released at the same time. “Heaven And Earth” was put out under the name “ProjeKct X” While the “ConstrucKCtion” album was very much the work of Fripp and Belew, this sister work was mostly conceived and driven by Mastelottowas and Gunn. Following a tour, “Heavy ConstrucKCtion” a live triple album came out. Containing few structured tracks, the album was mostly a assault of brutal guitar and percussion electronic improvisations. The continued blasting wall of noise approach that the band had used over the recent years seemed to weary them and the next two releases adopted a quieter and more structured work. “Level Five” (2001) and “Happy With What You Have To Be Happy With” (2002) were both Ep’s. and contained more dynamics and variation. They led into the next full album in 2003 titled “The Power To Believe” Once again reworked tracks littered the album but a attempt to vary styles and with more diverse lyrics and instrumentation did prove to be successful. In keeping with tradition, a live album “EleKtrik. Live In Japan” was released following a successful tour. In November 2003, Trey Gunn left and Tony Levin re-joined but a quiet time ensured with no touring or recordings.
A new line up was announced in 2007 with second drummer Gavin Harrison joining. With the bands 40th anniversary approaching the band played a few gigs. No new material was heard but many new arrangements from the back catalogue were performed. A download only release of a Chicago 2008 concert was made available through Fripp’s label. And that is the last to be heard from the band to date.
Throughout the bands forty years, they have been at the forefront of true “progressive” music. In the 1960’s when the transient music scene was moving away from three minute pop and evolving into extended psychedelia, Crimson embraced with open arms the opportunities this offered. The new mood of acceptance, along with the introduction of revolutionary equipment, allowed bands to push the boundaries and Crimson pushed the hardest pulling in various styles of sounds rarely heard in the sanitised world of pop. They leave a legacy of almost unparallel influence. They are considered to be the founders of “Prog Rock” and shaped the later “Artrock” movement and although from a different geographical area, are included within the influential “Canterbury Rock” scene. From day one their influence spread. Genesis, Yes and ELP were all great admirers of the early line ups while later day metal bands such as Iron Maiden have name checked the band. Contemporary prog bands Rush, Porcupine Tree and Mars Volta also cite the band and Industrial Metal innovators Tool and Nine Inch Nails have been compared to Crimson at their most ferocious. With over 40 years in existence, and with so many break ups, the band has hosted an alarming number of members. Among the best known are Greg Lake, who went on to form ELP and to have a perennial Christmas hit single. Ian McDonald who joined AOR giants Foreigner. Gordon Haskell gained enormous success with the single “How Wonderful You Are” and the album “Harry’s Bar” which both went to number 2 in the charts. Boz Burrell joined superstars Bad Company. Ian Wallace played with The Bonzo Dog Band and toured with Bob Dylan. John Wetton went on to play in UK and had great success with Asia that continues to this day. Bill Bruford formed Earthworks and has retired from live performances. His biography was published this year. And finally Pete Sinfield, who went on to work with ELP and supply lyrics for Italian band PFM. He then surprisingly went into the pop field and, with Andy Hill wrote hits for Bucks Fizz, Leo Sayer and Celine Dion! He also co wrote “I Believe In Father Christmas” with former Crimson Greg Lake. Although Fripp would always claim that the band was run as a democracy, it was evident from the very start that he was the prime mover for the bands direction. It was his vision that drove the band and also caused the dramas. Always an exceptional guitarist, he was voted at number 42 in a Rolling Stone poll of the greatest ever guitarist’s in 2003.His work away from Crimson for the likes of David Bowie prove him to be innovative and inspiring. Throughout their career, major success has just eluded them. Most of the reason for this was self-inflicted. At almost every stage of their career they won universal critical acclaim. The critics admired their approach and the risks they took. By never towing the record company line nor playing the type of music that would have ensured success, Crimson always remained on the very edge. When things became comfortable, Fripp would split the band or head off on a musical tangent that would alienate and exasperate both fans and label chiefs. But this is what their long-suffering fans want. Never predicable, you must work at the music to get anything out of it. And surely, is this not what all music should require?
