History Music / KingCrimson

22nd Jul '16 1:23:17 AM SinNanna
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* CreepyCircusMusic: The 23 minute epic "Lizard" ends with about 2 minutes of warped, ghostly sounding carnival music following an incredibly heavy jazz section.
14th Jul '16 10:56:49 PM SinNanna
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* DroneOfDread: "Starless and Bible Black" is a particularly unnerving example.
10th Jul '16 1:13:47 PM JamesAustin
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* BerserkButton: Robert Fripp hates (unsolicited) flash photography during concerts (and doesn't feel too hot about bootlegs, either).
** To the point of actually ''stopping'' concerts when it happens and having the roadies [[SeriousBusiness take away the camera]].
** Don't ask him for an autograph either.
*** Specifically, RF believes that such things screw with a musician's ability to perform music in a honorable fashion. If you're "the right person," (who isn't out to sell autographed material, disrupt performances, or ask anything of him so you can brag about it to your buds later), at "the right place," (namely, not at concerts or out of the blue on the street), at "the right time" (when he's prepared to do such things), you may just get lucky.
** Generally, anything to do with the inherently shitty nature of the music business (such as the folding of the record label King Crimson was under due to unsound business practices, ill-designed venues, self-serving promoters, jerkass "fans," and a consistent ignorance of anything KC did after 1974 by the press and the public alike) can cause the soft-spoken Englishman to make [[PrecisionFStrike the word "fuck" REALLY stick more than any DI could hope to achieve]].
*** It took decades, with the discography passing through a few different labels, but Fripp now finally controls the Crimson catalog. Beginning in 2008, each album is being re-issued, with new stereo mixes, bonus material, and a 5.1 surround mix (coordinated by Fripp and produced by Music/StevenWilson of Music/PorcupineTree) on the majority of them. When we say bonus material, by the way, we mean ''a lot'' of bonus material. Some releases have as many as ''twenty discs''.

to:

* BerserkButton: BerserkButton:
**
Robert Fripp hates (unsolicited) flash photography during concerts (and doesn't feel too hot about bootlegs, either).
** To
either), to the point of actually ''stopping'' concerts when it happens and having the roadies [[SeriousBusiness take away the camera]].
**
camera]]. Don't ask him for an autograph either.
***
either. Specifically, RF Fripp believes that such things screw with a musician's ability to perform music in a honorable fashion. If you're "the right person," (who isn't out to sell autographed material, disrupt performances, or ask anything of him so you can brag about it to your buds later), at "the right place," (namely, not at concerts or out of the blue on the street), at "the right time" (when he's prepared to do such things), you may just get lucky.
** Generally, anything to do with the inherently shitty nature of the music business (such as the folding of the record label King Crimson was under due to unsound business practices, ill-designed venues, self-serving promoters, jerkass "fans," and a consistent ignorance of anything KC did after 1974 by the press and the public alike) can cause the soft-spoken Englishman to make [[PrecisionFStrike the word "fuck" REALLY stick more than any DI could hope to achieve]].
***
achieve]]. It took decades, with the discography passing through a few different labels, but Fripp now finally controls the Crimson catalog. Beginning in 2008, each album is being re-issued, with new stereo mixes, bonus material, and a 5.1 surround mix (coordinated by Fripp and produced by Music/StevenWilson of Music/PorcupineTree) on the majority of them. When we say bonus material, by the way, we mean ''a lot'' of bonus material. Some releases have as many as ''twenty discs''.



* CoverVersion: "Get Thy Bearings" by Music/{{Donovan}}, "Mars, the Bringer of War" (from ''The Planets'') by Music/GustavHolst, "Prism" by Pierre Favre, "'Music/{{Heroes}}'" by Music/DavidBowie (note: Fripp played guitar on the original version of this song, and Belew played the song live as a member of Bowie's touring band).

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* CoverVersion: ContinuityNod:
** The lyrics of "The World's My Oyster Soup Kitchen Floor Wax Museum" include references to earlier Crimson songs, in particular "Larks' Tongues in Aspic" ("happy as a lark's tongue in cheek bone china doll") and "Frame by Frame" ("the world's my oyster soup kitchen door frame by frame").
** "Walking on Air" (from 1995) includes the lyric "In between the deep blue sea and the sheltering sky", and one of their instrumentals (from 1981) is titled "The Sheltering Sky" (itself a reference to a novel by Paul Bowles).
** Then there are "[=FraKctured=]", "Larks' Tongues in Aspic Part III", "Larks' Tongues in Aspic Part IV", and "Fearless and Highly Thrakked", whose titles refer to earlier songs/instrumentals.
* CoverVersion:
**
"Get Thy Bearings" by Music/{{Donovan}}, "Mars, the Bringer of War" (from ''The Planets'') by Music/GustavHolst, "Prism" by Pierre Favre, "'Music/{{Heroes}}'" by Music/DavidBowie (note: Fripp played guitar on the original version of this song, and Belew played the song live as a member of Bowie's touring band).



* DarkerAndEdgier: Many albums, notably ''Red''.

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* DarkerAndEdgier: Many albums, notably ''Red''.



* EpicRocking: To a T. The best example from the band's studio work is the twenty-three-minute "Lizard", though they have done so much of this throughout their career that they practically count as the {{Trope Codifier}}s. (If counted as one song, "Larks' Tongues in Aspic" would be even longer, at around thirty-six minutes; however, it was released in four separate parts across three albums).

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* EpicRocking: To a T. EpicRocking:
**
The best example from the band's studio work is the twenty-three-minute "Lizard", though they have done so much of this throughout their career that they practically count as the {{Trope Codifier}}s. (If counted as one song, "Larks' Tongues in Aspic" would be even longer, at around thirty-six minutes; however, it was released in four separate parts across three albums).



* {{Improv}}: From beloved ("Asbury Park", "Trio") to almost universally despised by fans.
** A curious example: [[http://www.youtube.com/watch?v=RxEbFxwed3M "The Deception of the Thrush"]], an improvisation featured on many King Crimson live albums. Each iteration follows the same basic structure, but with wild variations in actual content.
* IntercourseWithYou: Not many of their songs; "Ladies of the Road" is one exception.
** And "Easy Money" from ''Larks' Tongues in Aspic''

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* {{Improv}}: From beloved ("Asbury Park", "Trio") to almost universally despised by fans.
**
fans. A curious example: example is [[http://www.youtube.com/watch?v=RxEbFxwed3M "The Deception of the Thrush"]], an improvisation featured on many King Crimson live albums. Each iteration follows the same basic structure, but with wild variations in actual content.
* IntercourseWithYou: Not many of their songs; two exceptions being "Ladies of the Road" is one exception.
** And
and "Easy Money" from ''Larks' Tongues in Aspic''Aspic''.



* ListSong: "Elephant Talk" lists ways to say talking ("Arguments, agreements, advice, answers...")

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* ListSong: ListSong:
**
"Elephant Talk" lists ways to say talking ("Arguments, agreements, advice, answers...")



** "Coda: Marine 475" (from "VROOOM") lists… ''something''… related to "a Lloyd's insurance syndicate which suffered huge financial losses..."
*** The song alludes to King Crimson's former label, E.G. Records. The two executives who owned the label, Sam Alder and Mark Fenwick, deliberately delayed paying out artists' royalties, instead using the money to invest in a multitude of insurance schemes and real estate deals, most notably with Lloyd's Of London. They also took advantage of Fripp's semi-retirement in the mid-1970's to convince him to sign over the publishing rights of KC's catalog over to E.G. as well (meaning Fripp no longer had any control on how King Crimson music was released or used). Due to a real estate bubble bursting in the late 80s, coupled with a tidal wave of insurance claims made against Lloyd's (claims many thought Lloyd's knew about but deliberately delayed paying, to make it look more attractive to investors) Alder & Fenwick were bankrupted, and couldn't pay its artists what they were owed. So they sold E.G. to Virgin Records, without telling Fripp, and then offered all the label's artists a lump sum settlement (read: bribe), which included a clause to release E.G. for wrong-doing, to avoid them later getting taken to court for mismanagement. Fripp refused to take a pay-off, and took Alder & Fenwick to court. After a really long (and expensive) lawsuit, he managed to get his publishing rights back, and then ultimately control of the entire Crimson catalog, so now that any future releases and re-releases will all be through his own label, Discipline Global Mobile (or licensed by Fripp to other labels for distribution). The entire fiasco (along with his disdain for online distribution, including a well-publicized row with Grooveshark) is in part why he left public performance in 2009.
*** TL;DR: Marine 475 was the name of one of Lloyd's of London's property schemes that E.G. Records execs had bought into with the money they kept from their artists. When Lloyd's became besieged with claims, along with accusations of fraud, it lead to the collapse of the label. [[note]] E.G. stands for David '''E'''nthoven and John '''G'''aydon, the first managers of King Crimson and the founders of the label, who had both left the company by the mid-1970s, long before the scandal began. [[/note]]
*** Epilogue: Fripp, once in control of Crimson's catalog, has overseen an extensive re-release of the band's recordings, including versions created especially for online distribution like iTunes.

to:

** "Coda: Marine 475" (from "VROOOM") lists… ''something''… lists things related to "a Lloyd's insurance syndicate which suffered huge financial losses..."
*** The song alludes
", in allusion to King Crimson's former label, E.G. Records. The Records' management.[[note]]The two executives who owned the label, Sam Alder and Mark Fenwick, deliberately delayed paying out artists' royalties, instead using the money to invest in a multitude of insurance schemes and real estate deals, most notably with Lloyd's Of of London. They also took advantage of Fripp's semi-retirement in the mid-1970's to convince him to sign over the publishing rights of KC's catalog over to E.G. as well (meaning Fripp no longer had any control on how King Crimson music was released or used). Due to a real estate bubble bursting in the late 80s, coupled with a tidal wave of insurance claims made against Lloyd's (claims many thought Lloyd's knew about but deliberately delayed paying, to make it look more attractive to investors) Alder & Fenwick were bankrupted, and couldn't pay its artists what they were owed. So they sold E.G. to Virgin Records, without telling Fripp, and then offered all the label's artists a lump sum settlement (read: bribe), which included a clause to release E.G. for wrong-doing, to avoid them later getting taken to court for mismanagement. Fripp refused to take a pay-off, and took Alder & Fenwick to court. After a really long (and expensive) lawsuit, he managed to get his publishing rights back, and then ultimately control of the entire Crimson catalog, so now that any future releases and re-releases will all be through his own label, Discipline Global Mobile (or licensed by Fripp to other labels for distribution). The entire fiasco (along with his disdain for online distribution, including a well-publicized row with Grooveshark) is in part why he left public performance in 2009. \n*** TL;DR: Marine 475 was the name of one of Lloyd's of London's property schemes that E.G. Records execs had bought into with the money they kept from their artists. When Lloyd's became besieged with claims, along with accusations of fraud, it lead to the collapse of the label. [[note]] E.G. stands for David '''E'''nthoven and John '''G'''aydon, the first managers of King Crimson and the founders of the label, who had both left the company by the mid-1970s, long before the scandal began. [[/note]]\n*** Epilogue: Fripp, once in control of Crimson's catalog, has overseen an extensive re-release of the band's recordings, including versions created especially for online distribution like iTunes. [[/note]]



* MinimalisticCoverArt: ''Earthbound'' has only the band name and album name on a black background. ''Discipline'', ''Beat'', and ''Three of a Perfect Pair'' each have a symbol, the band name, and album name on a solid-color background. ''Red'' just has a picture of the band's lineup at the time (Fripp, Wetton and Bruford), with text and title. ''Larks' Tongues in Aspic'' probably takes the cake, having just a symbol on a stark white background.
** Actually, every single album they've made between 1973 and 2000. These guys don't usually go for DesignStudentsOrgasm.

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* MinimalisticCoverArt: MinimalisticCoverArt:
** Every single album they've made between 1973 and 2000. These guys don't usually go for DesignStudentsOrgasm.
''Earthbound'' has only the band name and album name on a black background. ''Discipline'', ''Beat'', and ''Three of a Perfect Pair'' each have a symbol, the band name, and album name on a solid-color background. ''Red'' just has a picture of the band's lineup at the time (Fripp, Wetton and Bruford), with text and title. ''Larks' Tongues in Aspic'' probably takes the cake, having just a symbol on a stark white background. \n** Actually, every single album they've made between 1973 and 2000. These guys don't usually go for DesignStudentsOrgasm.



* MohsScaleOfRockAndMetalHardness: From 1 to 7, depending on the era and the song. For their time, they probably qualified as an 11 on some songs (particularly "21st Century Schizoid Man", "Larks' Tongues in Aspic, Part Two", and "Red"), though.
** A circa-1975 interview with Robert Fripp mentions the difference in the public's perception of the band, depending on the country: in America, they were seen almost as something one would put on a suit and tie to go see, while they were considered elsewhere to be some kind of killer metal.

to:

* MohsScaleOfRockAndMetalHardness: From 1 to 7, depending on the era and the song. For their time, they probably qualified as an 11 on some songs (particularly "21st Century Schizoid Man", "Larks' Tongues in Aspic, Part Two", and "Red"), though.
**
though. A circa-1975 interview with Robert Fripp mentions the difference in the public's perception of the band, depending on the country: in America, they were seen almost as something one would put on a suit and tie to go see, while they were considered elsewhere to be some kind of killer metal.



* MythologyGag: The lyrics of "The World's My Oyster Soup Kitchen Floor Wax Museum" include references to earlier Crimson songs, in particular "Larks' Tongues in Aspic" ("happy as a lark's tongue in cheek bone china doll") and "Frame by Frame" ("the world's my oyster soup kitchen door frame by frame").
** "Walking on Air" (from 1995) includes the lyric "In between the deep blue sea and the sheltering sky", and one of their instrumentals (from 1981) is titled "The Sheltering Sky" (itself a reference to a novel by Paul Bowles).
** Then there are "[=FraKctured=]", "Larks' Tongues in Aspic Part III", "Larks' Tongues in Aspic Part IV", and "Fearless and Highly Thrakked", whose titles refer to earlier songs/instrumentals.
* NewSoundAlbum: [[IncrediblyLamePun One of the kings]] of this trope.
* TheNotRemix: The "40th Anniversary Series" of album reissues, and two tracks ("Cadence and Cascade" and "Bolero - The Peacock's Tale") on the compilation ''Frame by Frame''.
** While the ''Frame By Frame'' mix of "Cadence and Cascade" was sung by Adrian Belew, yet another version, sung by Greg Lake, was unearthed and appeared on the ''Elements Of King Crimson Tour 2014'' boxset. This version actually pre-dates the one that appeared on ''In The Wake Of Poseidon'' that was sung by Gordon Haskell.
** Coincidentally, the version of "Bolero" that includes the overdubs by Tony Levin from ''Frame By Frame'' appeared again on the 2015 tour box.

to:

* MythologyGag: The lyrics of "The World's My Oyster Soup Kitchen Floor Wax Museum" include references to earlier Crimson songs, in particular "Larks' Tongues in Aspic" ("happy as a lark's tongue in cheek bone china doll") and "Frame by Frame" ("the world's my oyster soup kitchen door frame by frame").
** "Walking on Air" (from 1995) includes the lyric "In between the deep blue sea and the sheltering sky", and one of their instrumentals (from 1981) is titled "The Sheltering Sky" (itself a reference to a novel by Paul Bowles).
** Then there are "[=FraKctured=]", "Larks' Tongues in Aspic Part III", "Larks' Tongues in Aspic Part IV", and "Fearless and Highly Thrakked", whose titles refer to earlier songs/instrumentals.
* NewSoundAlbum: [[IncrediblyLamePun [[{{Pun}} One of the kings]] of this trope.
* TheNotRemix: The "40th Anniversary Series" of album reissues, and two tracks ("Cadence and Cascade" and "Bolero - The Peacock's Tale") on the compilation ''Frame by Frame''.
**
Frame''. While the ''Frame By Frame'' mix of "Cadence and Cascade" was sung by Adrian Belew, yet another version, sung by Greg Lake, was unearthed and appeared on the ''Elements Of King Crimson Tour 2014'' boxset. This version actually pre-dates the one that appeared on ''In The Wake Of Poseidon'' that was sung by Gordon Haskell. \n** Coincidentally, the version of "Bolero" that includes the overdubs by Tony Levin from ''Frame By Frame'' appeared again on the 2015 tour box.



* ScareChord: Several, but the one in "The Devil's Triangle" is particularly jarring.

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* ScareChord: ScareChord:
**
Several, but the one in "The Devil's Triangle" is particularly jarring.



* ShoutOut: Music/TheBeatles, Music/JimiHendrix and ComicStrip/RupertBear are depicted on the cover of ''Lizard''.

to:

* ShoutOut: ShoutOut:
**
Music/TheBeatles, Music/JimiHendrix and ComicStrip/RupertBear are depicted on the cover of ''Lizard''.



** The opening lyrics to "Epitaph" reference Music/SimonAndGarfunkel's "The Sounds of Silence"
*** Or just a [[AsTheGoodBookSays reference]] to Literature/TheBible. Same with the Simon and Garfunkel song.

to:

** The opening lyrics to "Epitaph" are either a reference to Music/SimonAndGarfunkel's "The Sounds of Silence"
*** Or just
Silence" or a [[AsTheGoodBookSays reference]] to Literature/TheBible. Same with the Simon and Garfunkel song.



* SpokenWordInMusic: "Elephant Talk," "Indiscipline," "Thela Hun Ginjeet," "Neurotica," "Dig Me", "Coda: Marine 475"[[note]]only in the studio version, and even there it's almost inaudible in the mix[[/note]]
** "Larks' Tongues in Aspic, Part One", near its end, includes a recording of the play "[[http://www.arts.gla.ac.uk/STELLA/STARN/scotplay/GLASS/glass0.htm Gallowglass]]": "[...] you shall be hanged by the neck upon a gibbet until you are dead", with a ScareChord at the same time as the word "dead".

to:

* SpokenWordInMusic: "Elephant Talk," "Indiscipline," "Thela Hun Ginjeet," "Neurotica," "Dig Me", "Coda: Marine 475"[[note]]only in the studio version, and even there it's almost inaudible in the mix[[/note]]
**
mix[[/note]] "Larks' Tongues in Aspic, Part One", near its end, includes a recording of the play "[[http://www.arts.gla.ac.uk/STELLA/STARN/scotplay/GLASS/glass0.htm Gallowglass]]": "[...] you shall be hanged by the neck upon a gibbet until you are dead", with a ScareChord at the same time as the word "dead".



* SurprisinglyGentleSong: There is often [[OncePerEpisode at least one of these per album]] in their '60s and '70s work. "I Talk to the Wind", "Cadence and Cascade", "Peace - A Theme", "Lady of the Dancing Water", "Prelude: Song of the Gulls", "Islands", "Book of Saturday", "The Night Watch", and "Trio" provide examples for the first six albums (''Red'' arguably does not possess an example). If we're counting Robert Fripp's work outside King Crimson, his collaborations with Music/BrianEno would also count (for Fripp, anyway), as they consist of serene {{ambient}} music that is light-years removed from the chaotic, dissonant prog Fripp was known for at the time.
** "Matte Kudasai" is becoming Crimson's iconic Surprisingly Gentle Song, thanks to cover versions from Kurt Elling and k.d. lang, among other people. From ''Beat'' there's "Two Hands".
* TextlessAlbumCover: ''Music/InTheCourtOfTheCrimsonKing'', ''In the Wake of Poseidon'', ''Islands'', and ''Larks' Tongues in Aspic''.
** Also, the [=ProjeKct=] Two albums ''Space Groove'' and ''Live Groove''.

to:

* SurprisinglyGentleSong: There is often [[OncePerEpisode at least one of these per album]] in their '60s and '70s work. "I Talk to the Wind", "Cadence and Cascade", "Peace - A Theme", "Lady of the Dancing Water", "Prelude: Song of the Gulls", "Islands", "Book of Saturday", "The Night Watch", and "Trio" provide examples for the first six albums (''Red'' arguably does not possess an example). If we're counting Robert Fripp's work outside King Crimson, his collaborations with Music/BrianEno would also count (for Fripp, anyway), as they consist of serene {{ambient}} music that is light-years removed from the chaotic, dissonant prog Fripp was known for at the time.
**
time. "Matte Kudasai" is becoming Crimson's iconic Surprisingly Gentle Song, thanks to cover versions from Kurt Elling and k.d. lang, among other people. From ''Beat'' there's "Two Hands".
* TextlessAlbumCover: ''Music/InTheCourtOfTheCrimsonKing'', ''In the Wake of Poseidon'', ''Islands'', and ''Larks' Tongues in Aspic''.
** Also,
Aspic''. Also the [=ProjeKct=] Two albums ''Space Groove'' and ''Live Groove''.



* TitleConfusion: The last song on ''Red'' is titled "Starless" on the album cover, but Fripp sometimes announced it as "Starless and Bible Black" in concert. The reason for the shortened title apparently was that the previous album, ''Starless and Bible Black'', contained an improvisation titled "Starless and Bible Black", which was completely different from the song "Starless". The confusion is understandable, given that "Starless" actually ''contains the lyrics'' "starless and bible black," whereas "Starless and Bible Black" does ''not'' (being an instrumental). [[MindScrew Whew]].
** This was actually because Wetton wrote "Starless" as the title track for the previous album, but the rest of the band rejected it and went with the improvisation. For "Red," they brought the song back, but since the original title was already taken, they shortened it.

to:

* TitleConfusion: TitleConfusion:
**
The last song on ''Red'' is titled "Starless" on the album cover, but Fripp sometimes announced it as "Starless and Bible Black" in concert. The reason for the shortened title apparently was that the previous album, ''Starless and Bible Black'', contained an improvisation titled "Starless and Bible Black", which was completely different from the song "Starless". The confusion is understandable, given that "Starless" actually ''contains the lyrics'' "starless and bible black," whereas "Starless and Bible Black" does ''not'' (being an instrumental). [[MindScrew Whew]].
**
Whew]]. This was actually because Wetton wrote "Starless" as the title track for the previous album, but the rest of the band rejected it and went with the improvisation. For "Red," they brought the song back, but since the original title was already taken, they shortened it.



* TwelveBarBlues: Even King Crimson has written a twelve-bar blues, in an UncommonTime, to boot. "Cat Food".
** "Matte Kudasai" isn't twelve bars (it's ''five'') but it's blues-inspired and has a shuffle feel.

to:

* TwelveBarBlues: Even King Crimson has written a twelve-bar blues, in an UncommonTime, to boot. "Cat Food".
**
Food". "Matte Kudasai" isn't twelve bars (it's ''five'') but it's blues-inspired and has a shuffle feel.
30th Jun '16 5:27:46 AM fauxtoast
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Added DiffLines:

** While the ''Frame By Frame'' mix of "Cadence and Cascade" was sung by Adrian Belew, yet another version, sung by Greg Lake, was unearthed and appeared on the ''Elements Of King Crimson Tour 2014'' boxset. This version actually pre-dates the one that appeared on ''In The Wake Of Poseidon'' that was sung by Gordon Haskell.
** Coincidentally, the version of "Bolero" that includes the overdubs by Tony Levin from ''Frame By Frame'' appeared again on the 2015 tour box.
23rd Jun '16 12:38:30 PM fauxtoast
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However, in September 2013 [[TenMinuteRetirement he announced the new seven-piece lineup]] (which includes ''three'' drummers) which began touring in 2014. It is being billed as a 'farewell' tour, but if this tour truly ''remains'' the last hurrah is to be seen (and as of early 2016, the line-up is still touring). But, as Fripp recently turned 70 and his dissatisfaction with the current state of the music industry [[http://www.dgmlive.com/about.htm is well documented]], each re-formation or line-up change could someday be the last.

to:

However, in September 2013 [[TenMinuteRetirement he announced the new seven-piece lineup]] (which includes ''three'' drummers) which began touring in 2014. It is being initially was billed by Fripp as a 'farewell' tour, but if this tour truly ''remains'' then the last hurrah is to be seen (and as of early 2016, the seven-piece line-up is still touring). also toured in 2015, and now will be mounting another tour in fall of 2016. But, as Fripp recently turned 70 and his dissatisfaction with the current state of the music industry [[http://www.dgmlive.com/about.htm is well documented]], each re-formation or line-up change could someday be the last.
17th Jun '16 5:18:55 PM CassandraLeo
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The band has released several live albums, the most-well known are arguably ''Earthbound'' (1972) and ''USA'' (1974) from its John Wetton-led early lineup. Fripp also has released ''forty-seven'' King Crimson and [=ProjKct=] live albums between 1998-2016, independently through the ''King Crimson Collector's Club'' series, which was subscription-based at its inception, but of which all are now available individually.

to:

The band has released several live albums, albums; the most-well known are arguably ''Earthbound'' (1972) and ''USA'' (1974) from its John Wetton-led early lineup, while the most loved among fans tend to be ''The Night Watch'' and ''The Great Deceiver'', which document the Wetton-era lineup, and ''Absent Lovers'', which represents the 1980s-era Belew-led lineup. Fripp also has released ''forty-seven'' King Crimson and [=ProjKct=] live albums between 1998-2016, independently through the ''King Crimson Collector's Club'' series, which was subscription-based at its inception, but of which all are now available individually.



*** It took decades, with the discography passing through a few different labels, but Fripp now finally controls the Crimson catalog. Beginning in 2008, each album is being re-issued, with new stereo mixes, bonus material, and a 5.1 surround mix (coordinated by Fripp and produced by Music/StevenWilson of Music/PorcupineTree) on the majority of them.

to:

*** It took decades, with the discography passing through a few different labels, but Fripp now finally controls the Crimson catalog. Beginning in 2008, each album is being re-issued, with new stereo mixes, bonus material, and a 5.1 surround mix (coordinated by Fripp and produced by Music/StevenWilson of Music/PorcupineTree) on the majority of them. When we say bonus material, by the way, we mean ''a lot'' of bonus material. Some releases have as many as ''twenty discs''.



* HiddenTrack: ''Islands'' has one (see StudioChatter below). Several other live recordings also sometimes contain them, though they're usually just speeches by Fripp or one of the other band members.



*** TL;DR: Marine 475 was the name of one of Lloyd's Of London's property schemes, that E.G. Records execs had bought into with the money they kept from their artists. When Lloyd's became besieged with claims, along with accusations of fraud, it lead to the collapse of the label. [[note]] E.G. stands for David '''E'''nthoven and John '''G'''aydon, the first managers of King Crimson and the founders of the label, who had both left the company by the mid-1970s, long before the scandal began. [[/note]]

to:

*** TL;DR: Marine 475 was the name of one of Lloyd's Of of London's property schemes, schemes that E.G. Records execs had bought into with the money they kept from their artists. When Lloyd's became besieged with claims, along with accusations of fraud, it lead to the collapse of the label. [[note]] E.G. stands for David '''E'''nthoven and John '''G'''aydon, the first managers of King Crimson and the founders of the label, who had both left the company by the mid-1970s, long before the scandal began. [[/note]]



* LoudnessWar: Thankfully, completely averted, as Robert Fripp hates modern recording industry practices.

to:

* LoudnessWar: Thankfully, almost always completely averted, as Robert Fripp hates modern recording industry practices.practices. One release that dips into this a slight amount is the second disc of ''Ladies of the Road'', but it's extremely rare for this problem to plague even modern releases of Crimson's music.



** Most of Crimson's archival releases and boxsets released from 1998 onward are done by the same artist, [[http://www.pjcrook.com/ P.J. Crook]]. She also did the artwork for ''A Scarcity of Miracles''.

to:

** Most of Crimson's archival releases and boxsets box sets released from 1998 onward are done by the same artist, [[http://www.pjcrook.com/ P.J. Crook]]. She also did the artwork for ''A Scarcity of Miracles''.



* PostRock: As mentinoed above, "Starless" is sometimes cited as an UrExample for this genre. The lengthy BoleroEffect-laden instrumental passage is a major reason for this.

to:

* PostRock: As mentinoed mentioned above, "Starless" is sometimes cited as an UrExample for this genre. The lengthy BoleroEffect-laden instrumental passage is a major reason for this.



*** Or just a reference to Literature/TheBible. Same with the Simon and Garfunkel song.

to:

*** Or just a reference [[AsTheGoodBookSays reference]] to Literature/TheBible. Same with the Simon and Garfunkel song.



* StudioChatter: Right at the end of the ''Islands'' album, there's a recording of the string and woodwind musicians rehearsing "Prelude: Song of the Gulls".

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* StudioChatter: Right at the end of the ''Islands'' album, there's a recording of the string and woodwind musicians rehearsing "Prelude: Song of the Gulls". Also doubles as a HiddenTrack.



** They do this in their improvs as well; one is called "Shark's Lungs in Lemsip".
* TitleTrack: An unusual case, in that all but one of their studio albums have title tracks (and even the one that doesn't, ''Beat'', has a song called "Heartbeat"). It appears that Robert Fripp finds the inclusion of a title track vitally important. The most amusing example of this is the album ''Starless and Bible Black''--although they had begun writing a song whose chorus included the title phrase, it was eventually rejected from the album, and a live improv was just added in its place and titled "Starless and Bible Black". The originally intended title track made its way onto ''Red'', where it was entitled just "Starless"
* TropeCodifier: For ProgressiveRock in general.

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** They do this in their improvs as well; one is called "Shark's "Sharks' Lungs in Lemsip".
* TitleTrack: An unusual case, in that all but one of their studio albums have title tracks (and even the one that doesn't, ''Beat'', has a song called "Heartbeat"). It appears that Robert Fripp finds the inclusion of a title track vitally important. The most amusing example of this is the album ''Starless and Bible Black''--although they had begun writing a song whose chorus included the title phrase, it was eventually rejected from the album, and a live improv was just added in its place and titled "Starless and Bible Black". The originally intended title track made its way onto ''Red'', where it was entitled just "Starless"
"Starless".
* TropeCodifier: For ProgressiveRock in general. Arguably also for some tendencies of the genre, such as EpicRocking and UncommonTime.
14th Jun '16 5:00:57 AM 06tele
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Added DiffLines:

** They indulged in this so much in their early years that their management advised them to give titles and track listings to the individual sections of their longer songs, the reason being that if you've got a song that's so long it takes up one entire side of an album, the composers only get royalties for one track, but if it consists of four or five tracks gathered into a "suite", they get royalties for each track.
14th Jun '16 4:57:01 AM 06tele
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Added DiffLines:

** "Matte Kudasai" is becoming Crimson's iconic Surprisingly Gentle Song, thanks to cover versions from Kurt Elling and k.d. lang, among other people. From ''Beat'' there's "Two Hands".
26th May '16 10:44:04 AM fauxtoast
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** ''THRAKBOX'', released in 2015, a 17-disc collection of material of the 'double trio' lineup of the mid-1990s.
** Also, starting in 2009, many of the albums have been re-released as 2-disc '40th Anniversary Editions', many with new stereo mixes, rarities, and all featuring newly-produced 5.1 surround mixes.

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** 2015's ''THRAKBOX'', released in 2015, is a 17-disc collection of material of the 'double trio' lineup of the mid-1990s.
** Also, starting In October, 2016, a new box set, ''On and Off The Road 1981-1984'' will be released documenting the Fripp/Belew/Levin/Bruford years.
** Starting
in 2009, many of the studio albums have been began to be re-released as 2-disc '40th Anniversary Editions', many most with new newly-minted stereo mixes, rarities, and all featuring newly-produced 5.1 surround mixes.mixes by either Jakko Jakkszyk or [[Music/PorcupineTree Steven Wilson]].
16th May '16 6:01:58 AM fauxtoast
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However, in September 2013 [[TenMinuteRetirement he announced the new seven-piece lineup]] (which includes ''three'' drummers) which began touring in 2014. It is being billed as a 'farewell' tour, but if this tour truly ''remains'' the last hurrah is to be seen (and as of early 2016, the line-up is still touring). But, as Fripp is approaching 70 and his dissatisfaction with the current state of the music industry [[http://www.dgmlive.com/about.htm is well documented]], this re-formation could very well be the last.

to:

However, in September 2013 [[TenMinuteRetirement he announced the new seven-piece lineup]] (which includes ''three'' drummers) which began touring in 2014. It is being billed as a 'farewell' tour, but if this tour truly ''remains'' the last hurrah is to be seen (and as of early 2016, the line-up is still touring). But, as Fripp is approaching recently turned 70 and his dissatisfaction with the current state of the music industry [[http://www.dgmlive.com/about.htm is well documented]], this each re-formation or line-up change could very well someday be the last.
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http://tvtropes.org/pmwiki/article_history.php?article=Music.KingCrimson