KING CRIMSON

"Earthbound" is a live album release by UK progressive rock act King Crimson. The album was released through Island Records in June 1972. It bridges the gap between King Crimson´s fourth- and fifth full-length studio albums "Islands" (December 1971) and "Larks' Tongues in Aspic" (March 1973). Recorded through a mixer directly to cassette tape "Earthbound" is a relatively lo-fi recording, and is sometimes described as a bootleg sounding live recording. The band wisely realised that, and upon release offered the album at a budget price. The reasoning being that it didn´t cost them much to record, so the fans shouldn´t have to pay much to listen to it.

Personally I´ve heard bootlegs which sound both better and much worse than "Earthbound", but it´s arguably not a particularly well sounding release. Opening with a loud, heavy, and noisy version of "21st Century Schizoid Man" King Crimson are on to a messy and untight start. "Peoria" is a 7:30 minutes long blues rock jam, which sounds almost nothing like what you´d expect King Crimson to sound. "Sailor's Tale" appears on a shorter version than the studio version found on "Islands" and it sounds uninspired and muddy. "Earthbound" is a blues jazzy improvised jam and again sounds nothing like you´d expect King Crimson to sound. Scat vocals and all from Boz Burrell.

The closing track is a 15:30 minutes long version of "Groon". A track which first appeared on the B-side to the "Cat Food" single in 1970. It´s an improvised jazz jam track...needless to say it again sounds nothing like what you´d expect King Crimson to sound like, and upon conclusion "Earthbound" isn´t a good quality live release from King Crimson. Not only is the recording quality sub par, but the band perform music here which isn´t at all in line with their studio output. Had I gone to see King Crimson on this tour I would have been extremely disappointed. A 2.5 star (50%) rating is warranted.

(Originally posted on Metal Music Archives).

It's only talk. This sums up King Crimson in the 1980's. Fripp decided to reconstitute the group in the era of the new wave. He had just performed with the League of Gentlemen which was successful but not completely satisfying to his artistic soul. KC is the soul of his mantle. He formed the band and shaped it for more than a decade when this record was released. It was a break with the past in this format. It was guitar music that was more subliminal and repetitive. Adrain was the essential element in this group as he had the ideas and motifs which shaped the music and led to a trilogy of albums during this era. King Crimson has never actually been disbanded, as they always tend to regroup after a hiatus. With the modern day we have the band BEAT which is a cover band and has two original members. They are now commercial as evidenced by their ticket prices.

No One Beats Those Sheltering Skies

The long tour for Discipline hasn't ended yet, but the band finds time to pause and finish recording Beat. Beat is a collection of previously rejected songs from the Discipline sessions, along with a few new compositions, including the standout track "Heartbeat," a song by Adrian Belew that deserves a record of its own.

King Crimson continues their Discipline tour, now incorporating Beat as part of an all-in-one experience. In 1982, the band?Fripp, Belew, Bruford, and Levin?sounds better than ever, especially during the summer leg of their European tour in Fréjus on the French Côte d'Azur. On those warm summer days, with the fresh coastal winds, King Crimson delivered a memorable concert.

Sheltering Skies Live 1982

This live record captures one of those cool evenings on the French coast, where the band sounded both relaxed and at their peak. From the opening track, "Thela Hun Ginjeet," to the final track, "The Sheltering Sky," they evoke the unique atmosphere of a French summer night. The band seemed comfortable and confident, and the audience's enthusiastic reaction to each song underscored the special energy of the evening.

King Crimson closed that European night with a beautiful performance, capturing the essence of their prime in the eighties.

THRAKATTAK

'80s Aftermath After recording Three of a Perfect Pair, King Crimson disbanded once again (their previous disbandment was in 1974). This break was ultimately for the good of the band, as each member needed time to explore their own skills and musical tastes, gaining insights that could enrich any potential future reunion. However, there was no set date or schedule for this.

Robert Fripp felt stagnant with the '80s King Crimson experiments. In fact, their last effort, Three of a Perfect Pair, felt more like a stagnant continuation than a groundbreaking creation. Discipline was the standout, while the rest were good but not great?and he knew it. Although he felt out of sync, he admitted that his guitar playing sounded, in his own words, "old and out of fashion."

The rest of the band also faced a crossroads, uncertain about approaching the end of the '80s without King Crimson. But in the end, everything flowed as it was meant to.

Adrian Belew benefited the most from this hiatus, as he was at his creative peak, producing acclaimed records and engaging in several projects. Fans and critics alike hailed him as the heir to the new King Crimson sound, though some critics blamed him for the band's more commercial direction.

Bill Bruford reconnected with his former Yes bandmates, forming Anderson, Bruford, Wakeman, and Howe from 1988 to 1991. This collaboration culminated in The Union Tour, a major world tour with Yes.

Tony Levin stayed busy, collaborating with Peter Gabriel on the highly successful So (1986) and later recording Us (1992). From 1987 to 1993, he toured almost continuously with Gabriel's band.

The New Guys

Pat Mastelotto's band, Mr. Mister, split in 1990. Three years later, he began a long musical partnership with King Crimson's guitar genius, Robert Fripp, performing live with Fripp and David Sylvian in 1994.

Trey Gunn first worked with Fripp on Toyah's 1991 record, though they had originally met at a Warr guitar show in the late '80s. Fripp wanted to work with him, and the Toyah record provided the opportunity. Gunn later joined the California Guitar Trio.

At that point, there was no indication of a new King Crimson project. The timing wasn't right, and in 1992, the idea of a reunion seemed far from reality.

Inner Revolution

Inner Revolution, Adrian Belew's sixth solo album, was released in 1992. The album is a collection of 1960s-inspired pop songs. Alongside his signature guitar, Belew played bass guitar, drums, and occasional keyboards. This record marked Belew's transition from experimental sounds to a more mainstream approach, leaning closer to The Beatles' 1966 sound than to King Crimson.

After hearing Inner Revolution, Robert Fripp felt that a reunion of King Crimson's '80s lineup would be challenging. Each member was engaged in projects that diverged significantly from the King Crimson sound. Belew, Fripp's most prominent "alumnus," was gaining recognition with his solo work.

Jean the Birdman

Fripp embarked on a new project beyond the California Guitar Trio, collaborating with David Sylvian on The First Day. For this project, Fripp brought in Trey Gunn on Warr guitar. Working with Sylvian and the band was revitalizing for Fripp, leading him to wonder, "What if I reformed King Crimson with Sylvian and this lineup?" However, Sylvian, a wise musician and a great person, declined, saying that this was not meant to be King Crimson's new direction.

Despite this, Jean the Birdman, one of the great hits ever written by Fripp was from the Fripp-Sylvian sessions. Fripp later recruited two musicians from his time with Sylvian?Pat Mastelotto drums and Trey Gunn bass?to join future projects.

VROOOM VROOOM

At the end of 1994, Robert Fripp and the "new guys," Mastelotto and Gunn, jammed in a studio. The band sounded great, and it was time to let go of their shyness and use the King Crimson name again. News of their jamming made it into the papers, and soon, everything started moving. They were joined by Adrian Belew in Woodstock, New York. Their work was a fusion of the Red era, the alternative scene ruling the music market, Belew's solo work, and Fripp's collaboration with Sylvian, blended with their '80s sound. This unique style would become known as THRAK.

Meanwhile, the other members, Levin and Bruford, waited at Peter Gabriel's studio in London. Soon, the complete King Crimson lineup continued rehearsals in London with the "double trio" setup?two guitars, two basses, and two drums.

A sudden and precise impact moved from intention to direction and commitment, in service of an aim. Known as THRAK.

THRAK may not be a masterpiece, but it's the most "King Crimson" record in history. All the band's principles are present: innovation, heaviness, prog, avant-garde, pop, jazz, evolution, and a touch of madness. This is King Crimson's greatest incarnation?six musicians playing and experimenting. The record may not be flawless, but the live performances were astonishing, showcasing a level of artistry that few bands can even attempt.

THRAK sounds more like a Beatles record than an alternative one, but it includes those elements too. To put it simply, THRAK mixes all these styles. If you think there are elements of Soundgarden, Tool, Tears For Fears, or heavy industrial, you're right?you can find something for everyone. It's a great record but also a difficult one; everything is here, all that you want to listen to, all that you want to think about. This period of the band was extremely bold, so good and so King Crimson. This was a great period for the band, and I truly enjoyed it.

The De'Construkction Of King Crimson

With longtime members Bill Bruford and Tony Levin gone, King Crimson's sound took a shift. Robert Fripp, Adrian Belew, Pat Mastelotto, and Trey Gunn tried to bring back their 1980s vibe, but without Bruford and Levin, the music often feels overly technical. Belew's usually energetic vocals seem muted here, which adds to the album's disconnected feel.

The Construkction of Light by King Crimson showcases the band's impressive skill, but it can come across as cold and mechanical, making it harder to connect with. While the intricate guitar work, solos, and intense drumming highlight the musicians' technical abilities, the album's lack of warmth often leaves listeners feeling distanced.

The album opens with "ProzaKc Blues," a heavy, bluesy track with gritty vocals that make it stand out. Its slick riff and loose vibe give it a strong groove, making it one of the more approachable songs on the record. Next is the title track, "The Construkction of Light (Parts 1 & 2)," featuring the band's signature interlocking guitar style, where Belew and Fripp trade intricate notes. Although technically impressive, it can feel cold and detached, more focused on precision than connection.

Then, "Into the Frying Pan" offers a mix of relaxed verses and heavier riffs. Belew's vocals here add some warmth, allowing the music to loosen up a bit. This track gives listeners a moment to enjoy the energy instead of just technicality, briefly capturing a balance the album often lacks. However, this doesn't last long. "FraKctured," a dense, nine-minute track inspired by "Fracture" from Starless and Bible Black, quickly shifts back into overly technical territory. Despite its complexity, it feels exhausting and emotionally distant, emphasizing the album's main flaw: a focus on technicality over feeling.

"The World's My Oyster Soup Kitchen Floor Wax Museum" brings some humor, with playful lyrics and odd wordplay from Belew, creating a lighter, more experimental tone. Still, it may feel disjointed to some listeners. Then comes "Larks' Tongues in Aspic ? Part IV," an intense instrumental piece with interlocking guitars and complex rhythms reminiscent of previous "Larks'" tracks. However, it can feel repetitive and lacks the depth of earlier installments.

"Coda: I Have a Dream" changes the tone with darker lyrics from Belew addressing world crises, offering a rare reflective moment. Yet, this introspective shift can feel out of place compared to the album's complex, instrumental focus. Finally, the album closes with "Heaven and Earth," blending calm ambiance with powerful middle sections before gently fading out. This track's mix of atmosphere and intensity hints at what the album could have achieved if it focused more on emotion.

Overall, The Construkction of Light doesn't tarnish King Crimson's legacy, but it stands as one of their more challenging works?impressive yet distant. While tracks like "ProzaKc Blues," "Into the Frying Pan," and "Heaven and Earth" show the band's potential for balance, much of the album prioritizes technical skill over emotional depth, despite that this is a King Crimson record listening as it entirely is a tiring exercise and can leave you exhausted.

The Power Of King Crimson

Like an acquiring taste with the time I start to understand and admire The Power To Believe, this is the last studio released by King Crimson.

After serving as the opening act for Tool in 2001, King Crimson honed their four-member lineup, leading to the creation of their second album in this format. The Power to Believe was preceded by two EPs, Level Five (2001) and Happy With What You Have to Be Happy With (2002), which offered glimpses into the album's development. Fripp referred to the album as "the culmination of three years of Crimsonising." While Level Five featured live recordings of two tracks that would be included in the full album, Happy With What You Have to Be Happy With was a limited studio release that showcased alternate versions of songs destined for the new album, reminiscent of the transition from 1994's VROOOM to 1995's THRAK.

Initially named Nuovo Metal, The Power to Believe embraced the bold and occasionally industrial sound explored in King Crimson's prior release, 2000's The Construktion of Light, with critics praising its heavier feel. Like its predecessor, The Power to Believe was created with the band operating as a four-piece.

The album takes its name from "The Power to Believe," a four-part suite that flows throughout the work. This phrase first appeared in the track "All Her Love Is Mine" from Adrian Belew's 1996 solo project Op Zop Too Wah. The album's second track, "Level Five," serves as the fifth and final segment of the "Larks' Tongues in Aspic" suite, which began with the first two parts on the 1973 album of the same name. Level Five" was so intense it could easily be confused with the sounds of Tool, Ministry, Nine Inch Nails. The introductory segment of "Facts of Life" includes a sample from "The Outer Darkness II: Perimeter I," taken from Fripp's 1998 album The Gates of Paradise.

The Power to Believe is notable, even more than in their earlier psychedelic prog rock days. The album juxtaposes heavy, unsettling sections with serene interludes, leading some to conclude that In a time of war. While the band retains its signature magic, others feel it lacks the potency of their earlier works. Nevertheless, The Power to Believe has been hailed as King Crimson's best release since 1981's Discipline, though it may fall short when compared to the band's foundational albums.

Looking at it retrospectively, King Crimson virtually had the impossible task of following-up what is arguably the most difficult album to ever follow up, in the face of 'In the Court of the Crimson King', and whatever the follow-up would have been, it should have been destined to fail, right? Yet, the album that came after, despite being an overall difficult listen, is a courageous offering by a band that was having some internal turmoil at the time, and was looking for the definition of its musical path. And 'In the Wake of Poseidon' is rightfully seen by many as a worthy successor of their debut album, even if it dares to follow what could be considered as its template, in terms of the album structure, or the musical direction.

The album nevertheless does not fail to deliver in terms of power, ingenuity, and experimentation, revealing the band members' neat dynamic and mastery of a variety of styles, with an important aspect of the album being the increased emphasis on the counteraction between silent and loud, exemplified perfectly by the musical theme of 'Peace' framing the album, and the longer pieces and their leaning to the tropes of 'Court'. 'Pictures of a City' might be the obvious continuation of the sound King Crimson shocked the world with in 1969, yet in a slightly more streamlined sense, while 'Cadence and Cascade' is a poignant peace of acoustic music from the band, harshly in contrast with the manic fiasco that is the 11-minute instrumental 'The Devil's Triangle', the strongest stylistic divergence from the debut album, and the piece that would eventually indicate a possible future direction for the band. 'Cat Food' stands as a highlight at the same time, with its chaotic expressionism, counteracting perhaps the Mellotron-ridden soundscapes of the 8-minute-long title track.

With this in mind, 'In the Wake of Poseidon' is an album of opposites, a worthy successor of 'Court', even if less innovative and influential; The daring but strange album cover is another aspect of the album that makes it even more valuable in the eyes (and ears) of today's listener, together with the album being a generally intriguing listen.

It's impossible for me to explain how great this album is. It was one of the greatest back then, and it's still one of the greatest today. The amount of technical precision, complexity, and creativity in the music and lyrics makes this a timeless classic in the progressive rock genre. I'm pretty sure most people have listened to it and know about it, but for those who don't know, this was the first real progressive rock album. From the jazz chaos, proto metal, and anti- war explosion of the first song, 21st Century Schizoid Man, to the absolute haunting beauty of the almost symphonic sounding Epitaph, every song on this album is a masterpiece in its own right. I highly recommend it to anyone who hasn't yet, as it is one of the most important albums in the genre. I would go more in depth with the album, but everything I need to say about the album has already been said, and I don't want to just accidentally copy another reviewer on this site. With that being said, this would definitely be a 5/5.

So, I'll say I'm at 2.5 on this. I owned the LP at one point, but mainly played 21st Century Schizoid Man. As time went by I also got to know Epitaph and the title track. I don't know I Talk to the Wind or Moonchild very well, though I am certain I have heard them before. Now, this album is often referred to as the "First Prog Album," but I have questions. I personally think prog started by 1967, possibly even sooner. But certainly, Sgt. Pepper, Days of Future Passed, Piper at the Gates of Dawn qualify as (at least proto-) prog. And Zappa put out Freak Out! In 1966. Regardless of all of that, there is no question of the album's impact on the burgeoning prog-rock scene and it's certainly a game changer in terms of the level of playing on it. Without further ado, let's dig into what is doubtless one of the most important early prog albums of the era.

Track 1 - 21st Century Schizoid Man (Including Mirrors)

Wow, what a punch in the face this opening track is! Even today, 55 years later, it packs a wallop! I can only imagine how people reacted in 1969. (I was alive but still in diapers when it came out, and wasn't really aware of it until the mid-to-late 80s). I believe that I actually heard April Wine's cover of it first (outstanding, if you've never heard it), and In the Wake of Poseidon was the first KC album I ever owned. Enough background, play the song! OK, here we go?

After nearly 30 seconds of odd sound effects, that opening riff comes at you like a ton of bricks! Then Greg Lake's vocals come in with the ominous effect on the voice before we have another round of the intro riff, and a second verse. After one more repeat of the opening riff, the band is literally revving up for what comes next, with an accelerando of a three note pattern. Then bang! At around the 2 minute mark, we have an aural onslaught like nothing most listeners at the time had ever heard before. Chaotic sounding, yet precision playing. Michael Giles drumming is underrated, as he and Greg Lake on the bass hold it all together. The band is playing a fast jazzy riff. Robert Fripp's manic guitar playing takes over at around 2:45 with a sustained, somewhat dissonant guitar solo. Following Fripp's solo, woodwind man/multi-instrumentalist, Ian MacDonald, blows a free jazz solo, while Fripp degenerates into feedback. Giles & Lake subtly bring the band back together at around 4:15 with a descending bass line. At 4:24 the jazzy riff comes back. If you think it's been an insane ride up to this point, "you ain't heard nothin' yet!" At 4:38, they, on a dime, launch into some of the most impossibly precise complicated musical phrases ever recorded. I have to admit, that even though I have had a transcription of it before, I never had the patience to try to get it down. To call this expert level playing is an understatement. Fripp and MacDonald are in complete unison with each other while Lake & Giles are spot-on accurate on the rhythm (Lake is playing root notes of the phrases). I have heard this countless times and am still blown away by it. They have dynamic level shifts and staccato segments. The playing is simply stunning, even though the section is under a minute long, it is unforgettable. Then at around 5:20 Giles plays a tasty drum fill that brings the band back to the jazzy riff that began at around 2 minutes. Lake is walking all over his bass like a madman. At around 5:45, they play a repeating phrase that'll almost make you think the record is stuck for a brief moment which brings them back to the opening riff. Lake sings another verse, and the riff comes back one final time, before they return to the 3 note accelerando from earlier, but this time play it until it loses control. They have a false ending then have one last bit of chaos before the song ends. I need to catch my breath.

Track 2 - I Talk to the Wind

Apparently the band needed to catch their breath as well, as the next song falls into the "and now for something completely different" category. As mentioned, I don't know this one as well, but I do know it is a quieter, more peaceful song. It begins with overdubbed, high-pitched, harmony flute lines from Ian MacDonald, with subtle accompaniment from the others. Lake, with harmony vocals from MacDonald enters at around 13 seconds. This one seems to be a bit of poetic lyricism from an official band-member Pete Sinfield. He is credited with providing "lyrics and illumination" (gotta love the 60s!). Here are the lyrics from the first verse and chorus:

Said the straight man to the late man

Where have you been?

I've been here and I've been there

And I've been in between

I talk to the wind

My words are all carried away

I talk to the wind

The wind does not hear

The wind cannot hear

It reminds me a bit of Christina Rosetti's famous poem "Who Has Seen the Wind?" This song is very mellow and relaxed, especially following the onslaught of 21st Century Schizoid Man. MacDonald takes a flute solo beginning at 2:53, followed by a mellow guitar solo from Fripp. Lake's vocals are smooth and soothing, and MacDonald does a nice job on the harmonies. After a false ending, MacDonald plays another flute solo. Giles plays nice drum fills throughout, despite the mellowness of the song. This one immediately segues into?

Track 3 - Epitaph

This one has two sections as follows:

- a. March for No Reason

- b. Tomorrow and Tomorrow

While this one is also a slow track, it is quite different from its predecessor. A dramatic timpani roll sets the stage and ominous minor key mellotron orchestration comes in (played by Fripp). This one, to my ears, takes inspiration, at least in sound and mood, from the Moody Blues' Nights in White Satin. After a dramatic introduction, lake begins singing, almost inaudibly at around 40 second in, and the accompaniment is very subtle, with primarily bass & drums until around 1:09, when the dynamic level increases a notch and Fripp strums a big acoustic guitar chord. Subtle mellotron creeps back in, and then they hit the chorus and play a syncopated chord on the second beat of each measure. The rhythm becomes steadier at around 2 minutes while lake repeats the phrase "I fear tomorrow I'll be crying," three times. Fripp takes a short, mellow guitar before the next verse begins at around 2:30. Things begin to change at around 3:45 with a big mellotron crescendo that leads to an acoustic guitar led instrumental section. MacDonald has several wind instruments overdubbed, while the band plays a pattern where there is a subtle downbeat on the 1st beat of each 4-4 measure, then a drum accent on the 2nd beat, and an acoustic strum on the third beat that sustains. To me the effect is like cannons being fired. Mellotron chords, Lake's bass, and MacDonald's aforementioned instrumentation round out the sound. A drum fill at 5:15 brings the rhythm back to being steady and the next verse is sung. Lake's singing is wonderfully expressive. The 1-2-3? rhythm pattern returns in the accompaniment. "I fear tomorrow I'll be crying?" is repeated numerous times as the vocals fade out and the instrumentation continues in an orchestral manner before fading out a minute or so later. An epically dramatic song to round-out side one.

Track 4 - Moonchild

This one also has two sections as follows.

- a. The Dream

- b. The Illusion

This is the other track that I don't know very well from this album, even though it is the longest one, at a little over 12 minutes in length. It begins in a bit of a mournful tone to my ears. Lake begins singing after a brief introduction. He has an effect on his voice again. I like how Giles plays cymbals that match the rhythm of his singing. Fripp plays subtle, jazzy guitar chords, as well as feedback sounds. Following 2 verses, at around 2:30 quiet, sustained notes pause the rhythmic motion of the song, setting up for something to happen. What, I don't know, or at least I don't remember. Apparently, the opening 2 and a half minutes are, part A-The Dream, while the remaining 11 and a half minutes are a free form instrumental composition by the band (Part B- The Illusion). They are certainly in no hurry to get anywhere. Giles joins the quiet music at around 4:30 with some soft random drum fills. I think there is a bit of John Cage influence here, as it seems to be random "chance" music (whatever happens, happens). MacDonald eventually joins in with random vibraphone tinkling. Thus far (8:30) the song is still very quiet, despite the random musical phrases from the band. I have not noticed Lake's bass in this improv. It seems to be mainly Fripp, MacDonald & Giles. This one is not so much my "cup of tea." (I understand now why I have forgotten all about this track.) I like more solid arrangements, which we get in abundance on the next track.

Track 5 - The Court of the Crimson King

This one also has two sections as follows:

- a. The Return of the Fire Witch

- b. The Dance of the Puppets

While I love 21st Century Schizoid Man, and enjoy Epitaph, I think this is my favorite track from this album. Curiously, both Prog Archives and Wikipedia list the song as being 9:22, while iTunes says it's 10:02. Not sure why the player says it's 40 seconds longer; we shall see.

I love the intro of this one, a simple drum lead-in ushers in big mellotron sounds with a steady rhythm section underneath it. It is a very stately and majestic melody, indeed. However at 30 seconds in, everything drops out and Lake begins singing, with arpeggiated acoustic guitar accompaniment. Bass and flute join on the third phrase and the music crescendos until the title line "for the Court of the Crimson King!" is sung and the introduction theme returns in all of its glory. (all of this is in the first minute of the song. Another verse follows, this time with Giles playing snare rolls and drum fills. The intro theme returns again. But at around 2:20, four sharply strummed acoustic guitar chords take us into an instrumental section, with Giles' cymbal work, Lake's bass, and staccato organ chords providing motion while variations on the theme play over the top. A drum fill at 2:50 harkens the return of the main theme. Another verse follows at 3:20, this time, a harpsichord enters the mix. Another recapitulation of the main theme returns, this time followed by a quieter flute solo section. Fripp joins in with some mellow guitar bits, Giles tinkles the ride-cymbals, while Lake implies the chord changes in the bass notes. (I feel like I'm back in music-theory classes in college and analyzing a classical piece.) I love how Giles matches MacDonald's flute trill at the end of the segment (5:20). I am also finding this to have an almost rondo form as the "A section?the main theme?keeps returning. However, after the flute feature, it does not. After a brief transition, we have a variation on the verse, THEN the theme returns. This time it repeats a few extra times, building up to a big finish of part A of the song?The Return of the Fire Witch. As the closing chord of that part fades out, Giles returns to his beloved ride-cymbals and taps out a few notes, softly. At around 7:20, mellotron flutes begin to play a variation of the main theme from part A, that reminds me of the intro to The Beatles' Strawberry Fields Forever. This is the start of The Dance of the Puppets portion of the song, part-B. I can almost see dancing marionettes here. But at the 8 minute mark, the main theme returns in a big way. There are variations in instrumentation, but the song ends in a big crescendo at 9:23, according to the time on my iTunes player. Now what about those extra 39 seconds?let's see. It initially seems like there is nothing but silence, but then at about 9:41 there are sounds. Very low pitched. It seems like instrumental sounds, possibly in reverse, yet, almost like a lion grunting, but not quite roaring. According to Wikipedia, it's this?

After the end of The Court of the Crimson King, there is a hidden track run from 9:41 to 10:00 on some pressings.

Well, there we go. Perhaps someone can shed some more light on it for me.

OVERALL IMPRESSIONS:

Well, once again King Crimson makes me have to split my rankings. I love tracks 1, 3, and 5. If the whole album was up to that level, it'd be an easy 5 out of 5 stars for me. But no?Track 2 is just kind of OK for me; I don't hate it, but I don't love it either. However, after the first 2.5 minutes of track 4, Moonchild, I could do without the rest of it. I'm sure someone will tell me they think it's the best bit on the album, and if they do, then good for them. It's just filler for me. So, on the strength of the odd-numbered tracks, and the OK-ness of track 2, I'll only deduct a half a star, and call it a 4.5 out of 5 stars. That puts it on par with Discipline, and just below Red at 4.75 stars. (I gave Larks' Tongues in Aspic a fair-to-middling 3.5 stars, and Lizard, only 2.5, to sum up the KC albums that made the list.) I know that's sacrilege for some, as many consider this album to be the holy grail of prog albums, but that one is up next for me ;)

Clicking 4, but really 4.5!!

I am calling myself a 1.5 here, as I know "One More Red Nightmare," and "Starless" pretty well, but not the others. I quite like both of those, so hopefully it bodes well for the rest of the album. This is KCs 7th studio album, and the only one officially credited to the trio of Robert Fripp, John Wetton & Bill Bruford, although there are guest musicians, including some former KC members. It is also the final KC album of the 70s, as they would disband by the time the album was released. The band would be resurrected in 1981 originally under the name Discipline. See my earlier review of that album. Let's get started!

Track 1 - Red

We begin with the title track. This one kicks right off with some heavy riffage! The trio is really rockin' on this one. This album is often described as KCs heaviest. I can see why based on this track. Things change a bit at around 2:45. There is an uncredited cellist on this part of the track. They kick back into the original groove around 3:50. This is just a great heavy-prog instrumental. I like it!

Track 2 - Fallen Angel

This one begins with some unusual sounds that fade in. I think there are backwards recorded sounds. Wetton sings for the first time, thereafter, and we are in a moderate 4-4. This is very melodic. Then at around 1:50 we get a bit heavier. There are various horn parts under a heavy riff. Big fat bass at 3:10 as a new riff begins, Bruford plays some great drum fills throughout. Another strong track.

Track 3 - One More Red Nightmare

This is probably the track I know best. I love the riff and Bruford's drum fills are fantastic! I love Wetton's vocals as well. There are actual handclaps in the verses. At around 1:50 we move into odd-metered prog-heaven. Fripp has some great layered guitar parts. There is a bit of sax filling out the sound, but not super prominent. The main riff returns at around 4:00. Another verse follows. At around 5 minutes, Fripp plays an arpeggiated guitar pattern, and Wetton plays melodic basslines. There is a sax solo in this section played by former KC man Ian McDonald. GREAT TRACK! One of my favorite KC tunes.

Track 4 - Providence

This one fades in slowly with mellow sounds including violin, but then there is a bit of low-pitched feedback. Upon checking, this is a live improv piece that included David Cross before he was fired from the band. This reminds me of the more experimental, random stuff found on Larks Tongues in Aspic. This is the one that is going to lower my rating. They finally start getting into a groove at around 6 minutes in. Some nice playing in this part, especially from Bruford & Wetton. Fripp is just randomly noodling and getting feedback. This album was shaping up to be really great until this track. Not my cup of tea.

Track 5 - Starless

Obviously, this was originally intended for the previous album Starless & Bible Black, but it wasn't quite ready then. The title was shortened to Starless, due to the fact there is a Title track on the previous album, even though Wetton sings "Starless & Bible Black," in THIS song. This one reminds me of "Epitaph" from In the Court of the Crimson King at the beginning. Loads of mellotron, and a slow plodding tempo. At 4:25, an instrumental section begins with an odd-metered bass riff. Frip joins in with syncopated guitar bits. There are some horn parts, and Bruford comes in with some percussion. Wetton's bass tone is fierce on this album. They lock into a groove just before the 7-minute mark. The riff gets heavier as it goes along with Fripp playing sinister lead parts. Lots of great drumming and percussion from Bill. A new riff takes over around 8:45. Just after 9 minutes, we have a wild, fast tempo instrumental section with sax featured. They mellow it back down at around 10 minutes, then it gets a bit Jazz- fusiony. The mellotron returns a bit after 11 minutes, and the develop a big finish! Great prog!

OVERALL IMPRESSIONS:

If it weren't for "Providence" this could be a candidate for my favorite KC album. Thankfully that one even came together towards the end of it. They are really rockin' some heavy prog here. I'll give it 4.75 out of 5 stars. Would have been a 5 were it not for Providence.

Clicking 5, but really 4.75, 4 is too low.