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80s King Crimson
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I prophesy disaster View Drop Down
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Points: 4918 		Post Options Post Options   Thanks (0) Thanks(0)   Quote I prophesy disaster Quote  Post ReplyReply Direct Link To This Post Posted: April 30 2021 at 08:42
Beat was the second King Crimson album I got after In the Court of the Crimson King. I got Beat shortly after it was released because I heard "Heartbeat" on the radio, which I liked in spite of its somewhat '80s pop sound. Two tracks that definitely stand out for me are "Neurotica" and "Sartori in Tangier".
 
Discipline is a fairly recent addition to my collection. I haven't listened to it much, so I can't say too much about it, though I do like "Elephant Talk", which has a very Talking Heads sound to me.
 
 
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I enjoy all three albums from this era, with Discipline being my favorite.
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Also not my favorite KC period (not a fan of Belew's voice)...but Discipline is a good one; Beat and Three Of A Perfect Pair could have been combined with the best tracks to make a single lp.
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Points: 446 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Artik Quote  Post ReplyReply Direct Link To This Post Posted: April 30 2021 at 09:36
For me they were like the only prog "old guard" who came victorius of the 80s trial. Yes and Genesis (and many more) chose disgusting pop as a means of preservation, but KC showed that you don't have to sell out to remain valid and there is always a good time to be creative.  Their colours trilogy was and remains a strong statement. Love them for this. 
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Points: 18868 		Post Options Post Options   Thanks (0) Thanks(0)   Quote AFlowerKingCrimson Quote  Post ReplyReply Direct Link To This Post Posted: April 30 2021 at 10:58
Originally posted by dr wu23 dr wu23 wrote:

Also not my favorite KC period (not a fan of Belew's voice)...but Discipline is a good one; Beat and Three Of A Perfect Pair could have been combined with the best tracks to make a single lp.

Ouch. I think there's only one or two somewhat weak tracks on Beat. TOOAPP doesn't have any imo except for maybe nuages(I never really cared for that one much).


Edited by AFlowerKingCrimson - April 30 2021 at 10:59
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Points: 12808 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Dellinger Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2021 at 21:19
Though I do like many songs from this era, I do like the 70's albums more. Also, I don't actually have any of their 80's studio albums, but I do have a pair of live albums from this era, including all the songs from Discipline within the first of them... but still, for what I have heard, the best versions of the best songs from this 80's albums are the ones played in the 90's by the double trio line-up, so, say, with Vroom Vroom I have just about everything I could want from the 80's songs, as well as from the Thrack album (well, between Vroom Vroom and The Collectable King Crimson vol 3).
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They are ok albums for the period. Fripp took sone guitar lessons from Robin Trower, stole his song 'Bluebird' and made it the template for all future KC ballads. I was not impressed with that as I worship Bob Fripp. Oh well.
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Originally posted by PJMarten PJMarten wrote:

I love the King Crimson catalogue, however, it took me a while to get to their 80's albums (Discipline, Beat, Three of a Perfect Pair). They failed to impress me initially and I worked my way around this decade. Recently though, I gave these albums a more thorough listen and have gained a new appreciation for them. They are truly unique (just like all of King Crimson's albums really) and fun to listen to. Some of my favorite songs are Frame by Frame, Absent Lovers, and Dig Me. What are your thoughts on these albums and what are your favorite songs?

I love 'em. Discipline is a perfect album, not a note or flam or bend out of place.

Beat is the sequel, and, needless to say, essential.

Three of a Perfect Pair is likewise essential: I love "Sleepless," "Industry" and "Nuages."

This shocks some people, but I hold the '80s iteration of King Crimson on par with the albums with Wetton! Belew and Levin were clearly what Bob and Bill needed to get the cart rolling again.
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Originally posted by AFlowerKingCrimson AFlowerKingCrimson wrote:

TOOAPP doesn't have any imo except for maybe nuages(I never really cared for that one much).

!!!! Angry
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Discipline is a game changing album. They'd established a new frame and spent a couple of records redeveloping the ideas and extending some. New song ideas refreshed Crimson. And introduced, me anyway, to the Chapman Stick. Beautiful, energetic, neurotic, controlled chaotic...

Outstanding.

And as for the live stuff....
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Points: 4812 		Post Options Post Options   Thanks (0) Thanks(0)   Quote Rednight Quote  Post ReplyReply Direct Link To This Post Posted: May 10 2021 at 12:10
Originally posted by JD JD wrote:

Excellent albums for an 80's prog release period.
I don't really have a favourite as I view them as a collective work of sorts.

This.
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Originally posted by JD JD wrote:

Excellent albums for an 80's prog release period.
I don't really have a favourite as I view them as a collective work of sorts.

I've always considered these three albums this way, as a collective work, very closed related, and very inventive (for the time), with a new musical direction from the previous era. Not the best, but quite good and interesting, certainly worth listening.
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Points: 8407 		Post Options Post Options   Thanks (0) Thanks(0)   Quote BrufordFreak Quote  Post ReplyReply Direct Link To This Post Posted: May 10 2021 at 17:27
Like others here, the three albums were important and essential to my prog-ness in the glam-techno-crazed 80s. Adrian Belew is a genius but, in my opinion, a little too upbeat and high energy for me and the Crimson style. There is so much on Discipline that is Earth-shatteringly amazing, I feel personally slighted when I read people's reviews/opinions that seem to miss it's innovations. I've even tried to make a case that the extraordinary song "Discipline" should be the theme song for the whole Math Rock thing--anybody who's seen it performed live can attest to the high art concentration that the four individual's performing it had to sustain to pull it off. "Thela Hun Jingeet" is a performance art masterpiece--should be credited with starting the whole podcast thing. "Matte Kudasai" is a genius lovesong fusing Japanese sounds with Western perspective. "The Sheltering Sky" is a master class in spatial reverence. "Elephant Talk" is pure fun--to hear, sing along with, dance to. It's an amazing intro to the sonic genius of Belew's guitar playing. "Frame By Frame" is so shocking for each of its four instrumentalists' displays that you can't help but be thrown off balance--until Adrian and the b vox bring it together. And that ChapmanStick! And last, but not least, the crazed and silly (Belew) but musically (Bruford) brash (Bruford) and daring (Bruford) threads are pure entertainment. 
The other two albums are kind of 2.0 and 2.1 versions of Discipline though each have super high points.
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Hmmmm... Favorite tracks from this period? Well, ALL OF THEM! Really! Well, I'm not a big fan of "Requiem", but it works anyway. These albums are so creative! So unique! Do you know anything like that elsewhere?
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Originally posted by verslibre verslibre wrote:

Originally posted by AFlowerKingCrimson AFlowerKingCrimson wrote:

TOOAPP doesn't have any imo except for maybe nuages(I never really cared for that one much).

!!!! Angry

What now? LOL
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Fripp has always thrived on experimentation, and the "Discipline" period continued that trend.  

"Discipline" was inspired by Bob's period of study of Blavatsky, Bennett and Gurdjieff.   His "Guitar Craft" project was based very much on personal and community discipline - I was bassist for one of his earliest Guitar Craft graduates, Alonzo "Lon" Jones of Tulsa, OK.  There was a lot going on with that music & its presentation this is not apparent unless you knew the man's history. 

In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a

spiritual experience in which “the top of [his] head blew off.” He became a student

of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in

Gloucestershire, and remains a member of the Bennett Foundation to this day. 


When Fripp returned to the music industry, it was with an approach that favored disciplined

and geometric compositions over the jagged improvisation of the earlier period. This

article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his

 work, and his apparent attempts to realize the former’s idea of “objective art” through

his music.  I pay particular attention to the development of Guitar Craft, in which Fripp

applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s

teaching is a little examined scion of the Gurdjieff  lineage, and a case study of discrete

cultural production.




Edited by cstack3 - May 11 2021 at 01:03
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It was a big deal, Crimson back together with new music. We saw this band six times.
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Wow, I never knew "absent lovers" was the name of a song (in this case instrumental so technically not really a song). I just listened to it on youtube and it sounds really good. Beat would have been a better album if this was on there instead of "two hands" or "waiting man."
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Originally posted by cstack3 cstack3 wrote:

Fripp has always thrived on experimentation, and the "Discipline" period continued that trend.  

"Discipline" was inspired by Bob's period of study of Blavatsky, Bennett and Gurdjieff.   His "Guitar Craft" project was based very much on personal and community discipline - I was bassist for one of his earliest Guitar Craft graduates, Alonzo "Lon" Jones of Tulsa, OK.  There was a lot going on with that music & its presentation this is not apparent unless you knew the man's history. 

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">spiritual experience in which “the top of [his] head blew off.” He became a student</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">Gloucestershire, and remains a member of the Bennett Foundation to this day. </span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">
</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><font size="3" face="Times New Roman, Times, serif"><span style="-webkit-font-kerning: none;">When </span>Fripp returned to the music industry, it was with an approach that favored disciplined

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">and geometric compositions over the jagged improvisation of the earlier period. This</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif"> work, and his apparent attempts to realize the former’s idea of “objective art” through</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">his music.  I pay particular attention to the development of Guitar Craft, in which Fripp</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">teaching is a little examined scion of the Gurdjieff  lineage, and a case study of discrete</span>

<p style="margin: 0px; font-stretch: normal; line-height: normal; color: rgb38, 38, 38;"><span style="-webkit-font-kerning: none;"><font size="3" face="Times New Roman, Times, serif">cultural production.</span>






Absolutely fascinating, thanks for sharing!
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