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1[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/king_crimson_9705.jpg]]
2[[caption-width-right:350:The ''Starless and Bible Black'' lineup: (L-R) [[Music/{{Asia}} John Wetton]], David Cross, Music/RobertFripp, and Music/BillBruford.]]
3
4->''"Everything you've heard about King Crimson is true. It's an absolutely terrifying place... In Music/{{Yes}} was an endless debate about should it be F♮ in the bass with G♯ on top with the organ, or should it be the other way round. In King Crimson, almost nothing was said. You were just supposed to know."''
5-->-- '''Music/BillBruford''', 2009 interview
6
7King Crimson is one of the earliest and most influential ProgressiveRock groups. The band was formed in 1968 in London. There have been many incarnations since, despite some pretty regular break-ups and reformations (1968–74, 1981–84, 1994–2004, 2007–08, 2013–).
8
9Their music is characterised by really impressive instrumental technique, UncommonTime signatures, EpicRocking, pretty extreme dynamic contrasts, lots of {{Improv}}, lyrics that usually [[WordSaladLyrics sound cooler than they read]] (when [[{{Instrumentals}} they appear]]), and a large percentage of tunes that seem specifically designed just to ''[[MindScrew fuck with your head]]''.
10
11The only constant member of the band is guitarist and mastermind Music/RobertFripp. King Crimson originated from the pop-rock band Giles, Giles & Fripp (comprising Fripp and brothers Michael and Peter Giles, the three of whom released a single album of pop numbers interspersed with zany Monty Python-esque spoken comedy interludes in 1968) following the departure of songwriter Peter Giles and the addition of vocalist [[Music/EmersonLakeAndPalmer Greg Lake]], lyricist Peter Sinfield and multi-instrumentalist Ian [=McDonald=], enabling Fripp to fulfil his emerging ambitions of incorporating classically-influenced melodies and instrumentals into rock. This lineup subsequently produced ''In the Court of the Crimson King'', an enormously-successful and widely-acclaimed album considered to be the main codifier of progressive rock. Nonetheless, this success did not correlate with the band's stability, with the next five years plagued by lineup changes ([=McDonald=] departed following ''Crimson King'' and Lake exited to form Emerson, Lake and Palmer in the midst of recording sessions for the group's second album ''In the Wake of Poseidon''), with Fripp and Sinfield emerging as the sole consistent members. Following several albums of varyingly symphonic and jazz-influenced progressive rock, Fripp revamped the group in 1972 as an experimental hard-rock band featuring an entirely new lineup (including bassist and vocalist John Wetton and drummer Bill Bruford, formerly of Music/{{Yes}}). Despite maintaining relative commercial success during this era, Fripp ultimately disbanded the revamped Crimson in 1974 (following the release of ''Red'', arguably their second-most acclaimed album after their debut), having become increasingly disenchanted with both the band and the music industry at large (even suggesting to management that he depart the group and transfer his creative roles to Ian [=McDonald=], then ironically on the brink of rejoining Crimson, and Music/{{Genesis|Band}} guitarist Music/SteveHackett). Following years of silence on the subject, Fripp would, however, reform the band ''yet again'' in 1981, albeit as a radically-different group drawing influences from new wave, worldbeat and gamelan (akin to a more prog-influenced incarnation of the Music/TalkingHeads) and featuring the guitar work and decidedly Music/DavidByrne-esque vocals of a then up-and-coming Adrian Belew (who had also played on ''Music/RemainInLight'' and joined Talking Heads on its supporting tour); this incarnation of the band remained largely stable until 1984. From 1994 to 1998 Crimson toured as a "double-trio" format, introducing some industrial and grunge sounds. A quartet around 2000 leaned heavily into ProgressiveMetal elements. The most recent iteration was a seven-piece band formed in 2013 with three (!) drummers. It contained two new members along with five previous members, including Mel Collins, who'd hadn't played with the band for nearly 30 years. This incarnation toured almost continuously through 2021, mostly playing reworked versions of the 1970s-vintage Crimson music as well as their signature improvisations.
12
13In a begrudging nod to current media consumption tastes, Fripp announced in 2019 that King Crimson's studio records would finally be available on streaming services. The 2021 tour was announced as the last King Crimson tour, but as Robert Fripp has [[TenMinuteRetirement "retired"]] several times in the past, fans aren't quite ready to declare the band done. Most recently the band released a 50th anniversary documentary, ''Film/InTheCourtOfTheCrimsonKing,'' directed by Toby Amies.
14
15Past and present King Crimson members have created multiple side bands to showcase their own take on the band's repertoire. Some are called [=ProjeKcts=], intended as "research and development," according to Fripp. Some, like 21st Century Schizoid Band and [[https://www.facebook.com/thecrimsonprojekct/ The Crimson ProjeKCt]], are comprised of former and current members who play older Crimson material. Others, like Stick Men or Adrian Belew's Power Trio, play a mix of original material and reworked Crimson songs. While Fripp for the most part gives his blessing to these groups, his reaction to them is mixed depending on how well they represent the band's aesthetic. [[note]]An [[https://www.rollingstone.com/music/music-features/king-crimson-robert-fripp-press-conference-819254/ underwhelming]] Crimson [=ProjeKCt=] show Fripp attended in 2014 almost prompted him to retire the band again.[[/note]]
16
17!!Band members:
18!!!Current band members:
19* Music/RobertFripp (1968–): guitar, guitar synthesizer, etc.
20* Mel Collins (1970–72, 2013–): saxophone, flute, Mellotron [[note]]Session musician in 1974[[/note]]
21* [[Music/LiquidTensionExperiment Tony Levin]] (1981–99, 2003–): Chapman Stick, bass, backing vocals
22* Pat Mastelotto (1994–): drums, percussion
23* [[Music/PorcupineTree Gavin Harrison]] (2007–): drums
24* Jakko Jakkszyk (2013–): guitars, lead vocals
25* Jeremy Stacey (2016-): drums, keyboards [[note]]Recruited [[http://www.dgmlive.com/news.htm?entry=5474 by]] Jakkszyk & Harrison when Bill Rieflin decided to take a sabbatical in 2016, but not released when Rieflin returned in 2017.[[/note]]
26
27!!!Former band members:
28* [[Music/ForeignerBand Ian McDonald]] (1968–69; died 2022): saxophone, flute, Mellotron, backing vocals [[note]]Session musician in 1974[[/note]]
29* [[Music/EmersonLakeAndPalmer Greg Lake]] (1968–70; died 2016): bass, lead vocals
30* Michael Giles (1968–69): drums, backing vocals
31* Peter Sinfield (1968–72): VCS 3 synthesizer, lyrics, light show
32* Gordon Haskell (1970; died 2020): bass, vocals
33* Andy [=McCulloch=] (1970): drums
34* [[Music/BadCompany Boz Burrell]] (1971–72; died 2006): bass, lead vocals
35* Ian Wallace (1971–72; died 2007): drums, backing vocals
36* [[Music/{{Asia}} John Wetton]] (1972–74; died 2017): bass, lead vocals, piano
37* Jamie Muir (1972–73): percussion, drums
38* Music/BillBruford (1972–97): drums, percussion
39* David Cross [[note]]No, not ''that'' Creator/DavidCross[[/note]] (1972–74): violin, Mellotron, piano
40* Richard Palmer-James (1973–74): lyrics
41* [[Music/FrankZappa Adrian]] [[Music/TalkingHeads Belew]] (1981–2013): guitar, lead vocals [[note]]The door has been [[https://www.dgmlive.com/news/Belew%20now%209th%20Man left open]] for Belew to rejoin the band if an opportunity arises.[[/note]]
42* Trey Gunn (1994–2003): Warr Guitar, Chapman Stick, fretless bass, backing vocals
43* [[Music/{{Ministry}} Bill Rieflin]] (2013–2016, 2017-2020, died 2020): drums, keyboards
44
45!!!Additional musicians:
46* Peter Giles (1970): bass
47* Keith Tippett (1970–71; died 2020): piano
48* [[Music/{{Yes}} Jon Anderson]] (1970): vocals
49* Nick Evans (1970): trombone
50* Robin Miller (1970–71, 1974; died 2014): oboe, cor anglais
51* Mark Charig (1970–71, 1974): cornet[[note]]Misspelt as "Marc" in the credits of ''Red''.[[/note]]
52* Harry Miller (1971; died 1983): double bass
53* Paulina Lucas (1971; died 2010): vocals
54* [[Music/RoxyMusic Eddie Jobson]] (1975): violin, piano; recruited to add violin to the live album ''USA'' whenever Cross' contributions were muffled due to technical issues.[[note]]The 2005 and 2013 mixes of the show remove the overdubs and restore Cross' original parts.[[/note]]
55* Chris Gibson (2017) : keyboards [[note]]Recruited when Bill Rieflin was unable to take part in the Fall 2017 tour.[[/note]]
56* Theo Travis (2019): keyboards [[note]]Was briefly set to play during the 2019 tours as Bill Rieflin took a second sabbatical for cancer treatments. However, after one day of rehearsal, the band decided to instead perform as a seven-piece for the tour, with no musician taking Rieflin's place.[[/note]]
57
58!!Discography
59!!!Studio album discography and notable songs:
60[[index]]
61* ''Music/InTheCourtOfTheCrimsonKing'' (LP, 1969) - "21st Century Schizoid Man", "Epitaph", "The Court of the Crimson King"
62* ''Music/InTheWakeOfPoseidon'' (LP, 1970) - "Pictures of a City", "Cat Food", "The Devil's Triangle"
63* ''Lizard'' (LP, 1970) - "Cirkus", "Lizard"
64* ''Islands'' (LP, 1971) - "Ladies of the Road"
65* ''Music/LarksTonguesInAspic'' (LP, 1973) - "Larks' Tongues in Aspic, Part One", "Easy Money", "Larks' Tongues in Aspic, Part Two"
66* ''Starless and Bible Black'' (LP, 1974) - "The Great Deceiver", "The Night Watch", "Fracture" [[note]]While ''technically'' a studio album, nearly all of the album was recorded live during the 1973 tour, with crowd noise later removed and certain pieces enhanced with studio overdubs.[[/note]]
67* ''Music/{{Red|KingCrimsonAlbum}}'' (LP, 1974) - "Red", "Starless" [[note]]The song "Providence" was recorded live in Providence, RI (natch) during the tour for ''Starless And Bible Black''.[[/note]]
68* ''Music/{{Discipline}}'' (LP, 1981) - "Elephant Talk", "Matte Kudasai", "Thela Hun Ginjeet"
69* ''Music/{{Beat}}'' (LP, 1982) - "Heartbeat", "Sartori in Tangier"
70* ''Music/ThreeOfAPerfectPair'' (LP, 1984) - "Three of a Perfect Pair", "Sleepless", "Larks' Tongues in Aspic Part III"
71* ''VROOOM'' (EP, 1994) - "Sex, Sleep, Eat, Drink, Dream"
72* ''THRAK'' (LP, 1995) - "Dinosaur", "Walking on Air"
73* ''The [=ConstruKction=] of Light'' (LP, 2000) - "[=FraKctured=]", "Larks' Tongues in Aspic Part IV"[[note]]This album was re-released in 2019 with a new percussion track and other production changes, under the title ''The [=ReConstruKction=] of Light''.[[/note]]
74* ''Happy with What You Have to Be Happy With'' (EP, 2002) - "Eyes Wide Open", the title track [[note]]The EP also includes a live version of Larks' Tongues in Aspic Part IV recorded during the 2001 tour.[[/note]]
75* ''The Power to Believe'' (LP, 2003) - studio versions of "Level Five" & "Dangerous Curves" [[note]]Songs initially developed during the [=ProjeKct=] years; "Level Five" has since been deemed by Fripp as the latest installment of the "Larks' Tongues" series[[/note]], new versions of "Eyes Wide Open" and "Happy with What You Have to Be Happy With"
76[[/index]]
77
78!!!"[=ProjeKct=]" studio album discography:
79* (as "[=ProjeKct=] Two") ''Space Groove'' (LP) - 1997
80* (as "[=ProjeKct=] X") ''Heaven and Earth'' (LP) - 2000
81* (as "Jakko Jakszyk, Robert Fripp, and Mel Collins - A King Crimson [=ProjeKct=]") ''A Scarcity of Miracles'' (LP) - 2011
82----
83The band has released several live albums; the most-well known are arguably ''Earthbound'' (1972) from the lineup that recorded ''Islands'', and ''USA'' (1974) from its John Wetton-led early lineup. Other live releases that rank highly amongst fans are ''The Night Watch'' and ''The Great Deceiver'', both which document the Wetton-era lineup, and ''Absent Lovers'', which represents the 1980's-era Belew-led four-piece lineup. Fripp has also released 50 King Crimson and [=ProjKct=] live albums between 1998-2019, independently through the ''King Crimson Collector's Club'' series, which was subscription-based at its inception, but of which all are now available individually.
84
85The latest 'Mark VIII' line-up that formed in 2013 has yet to release a studio album, however, this line-up has released seven live albums/boxsets between 2014-2019, along with six 'Elements' sets, which are 2-disc sets that contain snippets of new studio material, along with live & rare tracks that are a mix of the current and past line-ups.
86
87Fripp's label, Discipline Global Mobile, also has nearly ''six hundred'' recordings available for sale via download, ranging from full concerts (at times even '''entire tours''') from every stage of the band, along with compilations of rehearsals, rare mixes, and demos. Fripp, ever the archivist, notes each recording's sound quality and source, at times along with notes from his diary. [[note]]Fripp also has two full-time engineers working for Discipline Global Mobile who work on unearthing, organizing, and re-mastering content.[[/note]]
88----
89
90!! The Tropes of the Crimson King:
91* AddedAlliterativeAppeal:
92** Each verse of "Elephant Talk" is a list of words that mean "talk" that share the same first letter. This gets [[LampshadeHanging lampshaded]] in the fourth verse with the line "These are words with a D this time."
93** From "Cadence and Cascade", there's this line:
94-->"Caravan hot'''el''', where the sequin sp'''ell''' f'''ell'''"
95* AlternateAlbumCover:
96** Most releases of ''Islands'' depict a photo of the Trifid Nebula. The original US release, meanwhile, replaces this with the art from the original inner sleeve, depicting a group of watercolor blots (representing an island) against a solid white backdrop.
97** The original release of ''Music/{{Discipline}}'' depicted a Celtic knotwork design by John Kyrk, based on a pre-existing one by George Bain. Because the Bain design turned out to be copyrighted and used without permission, the 2001 reissue replaced it with a new, specially-commissioned design by Steve Ball, titled "Possible Productions knotwork", and it's stuck ever since; Ball would later design various other knotwork logos for Robert Fripp's other projects.
98* ArsonMurderAndJaywalking: In a live performance of "Thela Hun Ginjeet", Adrian Belew recounts how the gang he encountered wanted to "Kill me! Rip my limbs off! Smash my tape recorder!"
99* BerserkButton:
100** 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, 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.
101*** According to Tony Levin, Fripp was asked by a couple of fans if he was fine with them taking a photograph, and his reply was [[DeadpanSnarker "Yes, provided I'm not in it."]]
102** 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''.
103** For the longest time, Fripp was not a huge fan of digital distribution of King Crimson music—aside from the usual concerns with "DigitalPiracyIsEvil", the fallout from the EG Records bankruptcy and subsequent sale of KC's pre-1990s catalog left control of distribution and publishing rights out of his hands (or any other band members) for over ''two decades''. A very public row with now-defunct peer-to-peer sharing site Grooveshark did not help matters much. Starting in 2019, however, Fripp has apparently been satisfied with the state of the market to allow King Crimson music to be hosted on Spotify and Website/YouTube, at least.
104* BoleroEffect: They first tried this out with their simplified cover version of Gustav Holst's "Mars", and by five years on, "Starless" used this to the point where it could be considered an UrExample of PostRock. It's not their only usage of the trope; "Lizard", "The Talking Drum", "Dangerous Curves" and "The Devil's Triangle" are other good examples. [[note]]"The Devil's Triangle" is basically their rewrite of "Mars", so it figures.[[/note]]
105* BreatherEpisode: Most of the band's early albums have a SurprisinglyGentleSong somewhere along the middle to provide a break from the otherwise unrelenting bleakness.
106* BrokenRecord:
107-->"I repeat myself when under stress, I repeat myself when under stress, I repeat myself when under stress, I repeat-"
108-->"In the court of the crimson kiiiiiiiiiing... ahhhhhhhhhhhhh... ahhhhhhhhhhh..."
109* ContinuityNod:
110** 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").
111** "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).
112** 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.
113* ControlFreak: Robert Fripp in the early days of the band. It ended up driving multiple musicians, including vocalist Gordon Haskell, out of the band. He's mellowed out significantly since then, however.
114* CoverVersion:
115** "Get Thy Bearings" by Music/{{Donovan}}, "Mars, the Bringer of War" (from ''The Planets'') by Music/GustavHolst, "Prism" by Pierre Favre, "'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.[[/note]]
116** Early 1969 rehearsals included [[Music/JoniMitchell Michael from Mountains]] and [[Music/TheBeatles Lucy in the Sky with Diamonds]]. Unfortunately, said rehearsals were not recorded.
117** Don't forget [[Music/RevolverBeatlesAlbum "Tomorrow Never Knows"]]! [[https://www.youtube.com/watch?v=FgqNfbLI8h0 (Well, sorta.)]]
118** An improv from the 1972 Summit Studios show includes Pharoah Sanders' "The Creator Has a Master Plan".
119** At the [[UsefulNotes/AmericanHolidays July 4th, 1984]] show at the Agora Ballroom in Hartford, the band covered "America (My Country, 'Tis of Thee)" and [[NationalAnthem "The Star-Spangled Banner"]] during their usual "Entry of the Crims" walk-on improv.
120** On one live album, Adrian Belew does a version of Music/TheBeatles' "Free as a Bird" from ''Music/TheBeatlesAnthology'', but since this was a recording from just before the release of the documentary (and as such, the song itself), he only sings the Lennon bits (as those were available before on bootlegs).
121** The latest incarnation of the band played "Breathless", from Robert Fripp's solo album ''Exposure'', a few times from 2017 to 2019.
122* CrapsackWorld: "21st Century Schizoid Man" and "Epitaph" from ''Music/InTheCourtOfTheCrimsonKing'' both describe this kind of world.
123* CreepyCircusMusic: The 23 minute epic "Lizard" ends with about 2 minutes of warped, ghostly sounding carnival music following an incredibly heavy jazz section. "Cirkus", [[MeaningfulName appropriately enough]] also qualifies.
124* DarkerAndEdgier:
125** The whole Wetton, Cross and Bruford line-up could be considered this. After the complete personnel turnover from ''Islands'' to ''Larks' Tongues in Aspic'', the band metamorphosed from a lush, symphonic prog band into almost a metal group. ''Starless and Bible Black'' is probably every bit as edgy as ''Red'' but just not quite as heavy.
126** Allmusic's review of ''Music/InTheCourtOfTheCrimsonKing'' even refers to the trope by name.
127** The band's reliance on this trope is likely why King Crimson is one of the few ProgressiveRock bands apart from Music/PinkFloyd that critics like.
128* DeadpanSnarker: Robert Fripp and Bill Bruford.
129* DrivenToSuicide: "The Letters" is about a woman who takes her own life when her husband's lover writes to her that she's [[CantGetAwayWithNuthin pregnant with their child]]. Also a particularly unnerving example of MoodWhiplash in a song.
130* DroneOfDread: Many of their live improvisations use this to some extent. "Starless and Bible Black" is a particularly unnerving example, as is "Providence" on ''Red'' and the recently debuted live track "Ahriman's Ceaseless Corruptions".
131* EpicRocking:
132** 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 five separate parts across three albums plus an LP).
133** Robert Fripp [[https://en.wikipedia.org/wiki/New_standard_tuning needs his own special tuning]] to rock this epically.
134** Adrian Belew also qualifies. His ability to make his guitar sound like another instrument or an animal call, combined with the dexterity of the other band members, is probably what Fripp meant on making Crimson a "Small, mobile, intelligent, self sufficient unit".
135** 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.
136** The ''Islands'' era contains probably the most of this in terms of KC live performanc: the live version of "21st Century Schizoid Man" from ''Earthbound'' is nearly 12 minutes long, while "Groon" lasts for 15:30. The 40th Anniversary re-issue of the album also includes a version of "Sailor's Tale" lasting over 14 minutes (with most of the running time being an extended drum solo usually incorporated into "Groon"). The improvisation "Summit & Something Else" from ''Live at Summit Studios'', which includes a cover of Pharoah Sanders' [[Music/{{Karma}} "The Creator Has a Master Plan"]], clocks in at 38.5 minutes[[note]]shortened to 15.5 on CD[[/note]].
137** Probably the single longest composition by any lineup is the improv "Zoom Zoom" from the KCCC release ''Live at the Zoom Club''. Its running time? '''Almost 45 minutes'''. And there's ''another'' semi-improv[[note]]"Zoom" is partially composed, partially improvised[[/note]] from the same show lasting 22 minutes, which is almost as long as the Lizard suite. Other improvs from the Wetton-era lineups can get quite long, with a handful over 20 minutes.
138* FaceOnTheCover: Usually avoided, but ''Red'' has a photo of the band on the cover.
139* ForeignLanguageTitle: "Nuages (That Which Passes, Passes Like Clouds)" ("Nuages" is French for "clouds"), and several tracks with Japanese names, of which the best known are "Matte Kudasai" and "[=ShoGaNai=]" (a longer list is below under Gratuitous Japanese).
140* FracturedFairyTale: ''Lizard'' gives off this impression with its medieval aesthetic and more baroque sound combined with the band's usual heaviness.
141* GentlemanSnarker: With his habitual attire of a three-piece suit, soft-spoken delivery and lethal comic timing, Fripp is this trope in his interactions with the press and, on occasion, the public.
142* TheGift: Fripp says that Tony Levin has this, in that Levin's a natural musician who can fit into any context and who learns difficult-to-impossible parts with ease, whereas by contrast, when Fripp himself started to learn guitar he was tone-deaf and had no sense of rhythm, and only reached his current level of virtuosity by means of self-imposed TrainingFromHell.
143* GratuitousJapanese: They have several songs with Japanese names. "Matte kudasai" ("待ってください") means "Please Wait". "Shōganai" ("しょうがない") means "it can't be helped", and is so common that there's [[ItCantBeHelped a trope for it]]. "Mie gakure" ("見え隠れ", usually romanised as "miekakure") means "appear and disappear". "Shidare zakura" ("しだれ桜" seems to be the most common character reading, though "枝垂れ桜" and "シダレザクラ" are amongst the other possibilities) refers to a specific type of cherry tree (apparently [[https://en.wikipedia.org/wiki/Prunus_subhirtella this one]]), sometimes translated as "weeping cherry".
144* GratuitousPanning: The studio version of "VROOOM" from the ''THRAK'' album is mixed with with half of the band members (Fripp, Gunn, and Bruford) on the left channel and the other half (Belew, Levin, Mastelotto) on the right channel. This was applied across the board to Jakko Jakszyk's 2015 remix of the album for the ''THRAK BOX'', to mixed reception.
145* HaveAGayOldTime: "Faggot" in "The Great Deceiver" is intended to refer to a [[https://en.wikipedia.org/wiki/Faggot_(food) meatball]], not as a gay slur. Richard Palmer-James was apparently pretty embarrassed when he remembered the word's alternate meaning (which was not commonly used in the United Kingdom at the time, so this could also be an example of DidNotDoTheBloodyResearch or SeparatedByACommonLanguage).
146* 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.
147** The ''Happy with What You Have to Be Happy With'' EP has one at the end of "Clouds" (a short vocoded piece, of which a few appear on the album), consisting of snippets of outtakes and StudioChatter. Recent rereleases of the EP index it as its own track, titled "Einstein's Relatives" after a line spoken in one of the aforementioned outtakes.
148* IAmTheBand: Zigzagged. Fripp has been the only consistent member of the group over its long life, generally drives the recruitment and high-concept of the band's iterations, and is the most proactive in managing the group's catalog and archives. However, he's the first to acknowledge that he alone does not make King Crimson, and describes its way of doing things musically as more anarchic, with each member pulling the band in various directions to see where it will end up. He doesn't consider himself the "bandleader" of Crimson.
149* {{Instrumentals}}: Lots of them. Some King Crimson fans resent that they do songs with vocals at all. Every studio album except for ''In the Court of the Crimson King'' and ''Lizard'' includes at least one instrumental.
150* {{Improv}}:
151** From beloved ("Asbury Park", "Trio") to divisive ("The Illusion" section of "Moonchild"). A curious example is [[https://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.
152** Of similar note is [[https://www.youtube.com/watch?v=6AjbSC8nkuk "Groon"]], a studio jam recorded by the Giles, Giles and Fripp trio during the ''Poseidon'' sessions as the B-side of the 1970 "Cat Food" single. [[https://www.youtube.com/watch?v=brEfTSEimro Fifteen takes]] were recorded, and while they vary quite a bit their structure is nonetheless the same. The ''Islands'' band of 1971–72, however, never played it live the same way twice. While the recognizable intro is the same, everything after that is drastically different every time (usually culminating in a [=VCS3=]-enhanced drum solo by Ian Wallace). Just compare [[https://www.youtube.com/watch?v=2zCa0i0lZgA these]] [[https://open.spotify.com/track/1nE169UPMSoVysGXCO1Kqi three]] [[https://open.spotify.com/track/3NHw6z4GeWJV2E8vn9TbWo versions]].
153** Their 1996 live album ''[=THRaKaTTaK=]'' is almost an entire album full of it! It consists of "Thrak" as performed at various shows as well as improvisations involving the song.
154** They followed this up with ''Ladies of the Road'', an album of live performances from the 1971–72 ''Islands''-era band, that included an entire side of "21st Century Schizoid Man" with the improvisations from various performances stitched together into one massive montage.
155* IntercourseWithYou: Not many of their songs; two exceptions being "Ladies of the Road" from ''Islands'' and "Easy Money" from ''Larks' Tongues in Aspic''.
156* LargeHam: Lake's vocals could be pretty hammy. Some of the others could get this way at times too.
157* LastNoteNightmare:
158** "21st Century Schizoid Man" is probably the best known example, but the band use this trope pretty often. It's especially commonplace during live improvisations.
159** The screechy bike horns at the climax of "The Talking Drum" can easily scare someone. That they come right before the very hard-rocking "Larks' Tongues in Aspic, Part II" doesn't help things--and they also fall off the beat which makes it even easier to catch the listener off guard.
160* LeadBassist: The band has a history of this. Greg Lake, Boz Burrell and John Wetton are good examples, but although Tony Levin only sings backing vocals he's still more of a showman than Fripp. In the 2014– lineup of the band, Jakko Jakszyk is the lead singer and he, too, is less of a showman than Levin.
161* LighterAndSofter: ''Islands'' is a lot softer and airier than the albums that came before and after it.
162* ListSong:
163** "Elephant Talk" lists ways to say talking ("Arguments, agreements, advice, answers...")
164** "Coda: I Have a Dream" (from "Larks' Tongues in Aspic Part IV") lists major events of the 20th century.
165** "Coda: Marine 475" (from "VROOOM") lists things related to "a Lloyd's insurance syndicate which suffered huge financial losses...", an allusion to King Crimson's former label, E.G. Records' management. [[note]]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. btw, 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-1970's, long before the scandal began.[[/note]]
166* LongestSongGoesLast:
167** The titular suite of ''Lizard'' takes up the entirety of the album's B-side (23:20).
168** "Fracture" (11:14) is this on ''Starless and Bobo Black''.
169** "Starless" (12:25) is this on ''Red''.
170** "Requiem" is already the longest track on ''Beat'', clocking in at 6:43. The 40th anniversary remix includes a 12:07 version with an extended Frippertronics intro.
171** A "longest song, then outro" variant occurs with ''In the Wake of Poseidon'', which closes with "The Devil's Triangle" (11:30), followed by "Peace — An End" (1:54).
172*** ''The [=ConstruKction=] of Light'' ends with "Larks' Tongues in Aspic: Part IV"(9:09), [[note]]split into three identically-titled tracks of 3:41, 2:50, and 2:56 respectively[[/note]] segueing into "Coda: I Have a Dream" (3:53)[[note]]followed by 58 seconds of silence for a total of 4:51)[[/note]]. When combined (minus the silence), the total runtime is 13:03.[[note]]While the final track is the title track of [=ProjeKct=] X's ''Heaven and Earth'' (7:46), that one is considered a bonus.[[/note]]
173* LoudnessWar: Thankfully, almost always completely averted, as Robert Fripp hates modern recording industry 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.
174** ''Earthbound'' is heavily compressed; the aforementioned sound quality issues contribute to this. ''Ladies of the Road'' actually contains some material originally released there.
175* LyricalDissonance: Quite often. "21st Century Schizoid Man", for example, is a swaggering, jazzy hard rock song with apocalyptic lyrics about the horrors of the modern world.
176* MetalScream: Lake uses a type 4 throughout "21st Century Schizoid Man", made even more unsettling because his vocals are processed through a distortion filter. [[https://www.youtube.com/watch?v=eC8kfB3iDic Boz Burrell goes even hammier in 1972 performances.]]
177* MinimalisticCoverArt:
178** 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; the former was designed by longtime Music/JoyDivision and Music/NewOrder designer Peter Saville, a master of this trope. ''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.
179*** The cover art for ''Starless and Bible Black'', although pretty minimalist (just the band's name and the title on the front, in a military-styled stencil font), probably ''would'' give a design student an orgasm, because it's by noted English artist Tom Phillips, who was Music/BrianEno's tutor in Ipswich College of Art.
180** Most of Crimson's archival releases and 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''.
181* MoodWhiplash: They were masters of this, starting from the first album. The LastNoteNightmare of "21st Century Schizoid Man" transitions almost directly into the SurprisinglyGentleSong "I Talk to the Wind".
182* MotorMouth: Adrian Belew in "Neurotica".
183* MundaneMadeAwesome: "The Night Watch" is in part a description of Rembrandt's painting of that name, and in part just a 17th century middle-class Dutch guy talking about his life, but it's still remarkably moving.
184-->''The smell of paint, a flask of wine\
185And turn those faces all to me\
186The blunderbuss and halberd-shaft\
187And Dutch respectability\
188They make their entrance one by one\
189Defenders of that way of life\
190The redbrick home, the bourgeoisie\
191Guitar lessons for the wife''
192* MusicIsPolitics: "Lament" is an example, containing some quite scathing comments on the commercialisation of the record industry. That's not to get into the band's troubles with record labels and royalties from streaming sites over the years.
193* MysteriousWaif: The titular figure in "Moonchild" seems to be one.
194* NewSoundAlbum: [[{{Pun}} One of the kings]] of this trope. A few particularly famous examples:
195** ''Islands'' was more orchestral than most of the band's other work, to a somewhat mixed reception.
196** ''Larks' Tongues in Aspic'' brought in some subtle WorldMusic influence thanks to percussionist Jaime Muir, and it also came close to HeavyMetal at times. Though the latter was nothing new (as seen on "21st Century Schizoid Man"), ''Larks' Tongues'' and its two follow-ups (''Starless and Bible Black'' and ''Red'') are usually considered the band's heaviest works (although this is not showcased on every song). Interestingly, although Muir left after ''Larks' Tongues'', traces of the world music influence remained, in part since Music/BillBruford altered his playing style as a result of performing with Muir.
197** ''Discipline'' has a foundation in NewWaveMusic without completely abandoning ProgressiveRock. The band also incorporated WorldMusic influences, adding up to a sound that was similar to Music/PeterGabriel's ''Music/{{Melt}}'' and Music/TalkingHeads' ''Music/RemainInLight'' released the previous year. It's not that surprising when you know that Tony Levin and Robert Fripp have a long history of playing with Gabriel (both Levin and Fripp even play on ''Melt''), Adrian Belew played on ''Remain in Light'', and Belew's voice is a dead-ringer for Music/DavidByrne. Fripp is also a FandomVIP and collaborater with Talking Heads. The band additionally makes occasional delves into more experimental material heavily rooted in Belew's previous experiences working with Music/FrankZappa, particularly the proggier tracks on Zappa's ''Music/SheikYerbouti''. The next two albums, ''Beat'' and ''Three of a Perfect Pair'', mined the same vein.
198** ''THRAK'' incorporates elements of ProgressiveMetal and Music/{{Nirvana}}-influenced AlternativeRock into the sound of the Belew-led lineup's previous three albums, resulting in an overall harder sound without outright abandoning the NewWaveMusic elements that defined the band's output in the 1980's, effectively acting as a modernization of ''Larks' Tongues in Aspic''. The progressive metal elements would then come to completely envelop the band in 2000 with ''The [=ConstruKction=] of Light''.
199* NewWaveMusic: Wholeheartedly embraced with ''Discipline'', ''Beat'', and ''Three of a Perfect Pair''.
200* NonActionGuy: Peter Sinfield, despite being considered an official member of the band, almost exclusively contributed lyrics and played very little instrumentation (he only did very brief synth parts) and running the band's light show.
201* 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.
202* PostRock: As mentioned above, "Starless" is sometimes cited as an UrExample for this genre. The lengthy BoleroEffect-laden instrumental passage is a major reason for this.
203* ProgressiveMetal: "21st Century Schizoid Man" could be considered the UrExample of progressive metal, being extremely harsh and heavy compared to most music from that time perioid. Some of their work in the 1970s also has a strong heavy metal feel to it. ''THRAK'' saw the band embracing prog-metal completely, and they haven't looked back.
204* ProgressiveRock: One of the TropeMakers and {{Trope Codifier}}s.
205* ProtestSong: They have a few. "21st Century Schizoid Man" protests UsefulNotes/TheVietnamWar, "Lament" protests [[MusicIsPolitics record industry politics]], etc.
206* PsychoStrings: The instrumental BoleroEffect passage of "Starless" is pretty much a guitar-based equivalent.
207* PunBasedTitle: In addition to the examples under MythologyGag, a lot of their {{improv}}s get these (which also double as {{Mythology Gag}}s). "Clueless and Slightly Slack", "The Fright Watch", "Sharks' Lungs in Lemsip"...
208* QuieterThanSilence: "Trio" was recorded as a quartet improvisation, but drummer Bill Bruford never made a sound, deciding in the moment that the piece was better without percussion. The band loved the choice, and Bruford was given a co-writing credit. His contribution was later described by Fripp as "admirable restraint."
209* RealLifeWritesThePlot: The vocal sections of "Thela Hun Ginjeet" come straight from Adrian Belew's frazzled story of being confronted by gangsters just minutes earlier. As Belew began his story, Robert Fripp [[ThrowItIn signaled to the studio engineer to begin recording.]] This was lampshaded when the band performed on the American sketch comedy show ''Fridays''.
210-->'''Belew''': Hello, America! I'd like to tell you the true story about how I nearly got killed while making the Discipline album.
211* RedOniBlueOni: When the showmanlike, somewhat flamboyant Adrian Belew and the focused, intellectual Robert Fripp are put on the same stage, this kind of interaction inevitably results.
212* RevolvingDoorBand: King Crimson's lineup changes so frequently that only three albums in their discography (''Music/{{Beat}}'', ''Music/ThreeOfAPerfectPair'', and ''The Power to Believe'') feature the exact same personnel as a previous record. In fact, by their ''second'' album, Music/RobertFripp was the only founding member left. The amount of people who've been in and out of the band is so great that Website/{{Wikipedia}} has [[https://en.wikipedia.org/wiki/List_of_King_Crimson_members an entire article]] dedicated to the subject.
213* RockMeAmadeus: "The Devil's Triangle" has some obvious similarities to "Mars, the Bringer of War" from Music/GustavHolst's ''The Planets'', but [[SuspiciouslySimilarSong different enough to not be a copyright violation]]. (They either didn't ask for permission or were denied permission to record it at that time. Later on, some archival live albums such as ''Epitaph'' included recordings of their adaptation of "Mars, the Bringer of War" that they performed live in 1969, titled simply "Mars".)
214* RockTrio: The lineup just before their mid-'70s hiatus. In the '90s, King Crimson's six-man lineup was billed as being two {{Rock Trio}}s put together.
215* {{Sampling}}: In a rather unexpected move, the TitleDrop of "21st Century Schizoid Man" was sampled in Music/KanyeWest's "Power" from ''Music/MyBeautifulDarkTwistedFantasy'', as were parts of the line "Neurosurgeons scream for more".
216* ScareChord:
217** Several, but the one in "The Devil's Triangle" is particularly jarring.
218** Another one happens at the end of "Dangerous Curves", after about six minutes of tension building up.
219** "The Talking Drum", as mentioned above.
220* ScaryMusicianHarmlessMusic: Inverted. King Crimson are one of the most terrifying bands ever, but Fripp is a polite, soft-spoken intellectual. [[note]]He has said "Me and a book is a party. Me and a book and a cup of coffee is an orgy."[[/note]]
221* SelfDeprecation: Fripp loves to quote the band's more negative reviews, and adopted as a badge of pride one '80s music journalist's description of the band as "prog rock pond scum, set to bum you out".
222* ShoutOut:
223** Music/TheBeatles, Music/JimiHendrix and ComicStrip/RupertBear are depicted on the cover of ''Lizard''.
224** The lyrics of "Happy Family" (from ''Lizard'') are widely believed to be a thinly-veiled reference to Music/TheBeatles' breakup ("Silas" = George, "Rufus" = Ringo, "Jonah" = John, "Jude" = Paul), which would explain the cover illustration.
225** The cover image of ''Red'' was a conscious homage to the cover of ''Music/WithTheBeatles''.
226** The opening lyrics to "Epitaph" are either a reference to Music/SimonAndGarfunkel's "The Sounds of Silence" or a [[AsTheGoodBookSays reference]] to Literature/TheBible. Same with the Simon and Garfunkel song.
227** The live performance of “21st Century Schizoid Man” from ''Meltdown: Live in Mexico City'' featured a sax solo that briefly played the melody of “[[Music/{{Duke Ellington}} Take the A Train]].” The drum solo also mimicked the riff from “[[Music/{{DeepPurple}} Smoke on the Water]].”
228** One section of "Epitaph" is called "[[Theatre/{{Macbeth}} Tomorrow and Tomorrow]]", which is fitting since the song is about death and despair.
229* SignatureInstrument: In the 1969-1974 lineup, Fripp's black 1959 Gibson Les Paul Custom, seemingly the only guitar he ever used at the time. In the 1981-84 lineup, his Roland guitar synthesizer. Since the mid-90s, his Fernandes Goldtop Custom.
230* SillyLoveSongs: You wouldn't expect to see this trope here, but there you are. "Cadence and Cascade".
231* SomethingBlues: "Proza[=Kc=] Blues".
232* SoundtrackDissonance: A French porn studio in the mid '70s used "Larks' Tongues in Aspic, Part II" in one of their films (''Film/{{Emmanuelle}}''). While Fripp was irked that they didn't ask for his permission to use the track, he commented / joked in his online diary that they actually couldn't have picked a better KC song to use (honestly, the song does have certain raunchy, sexy overtones). Nonetheless, the heaviness of the piece might seem a bit off to some.
233* TheSpartanWay: Bill Bruford's descriptions of what playing in King Crimson was like almost make the band sound like this.
234-->'''Bruford''': In Music/{{Yes}}, there was an endless debate about should it be F natural in the bass with G sharp on top by the organ. In King Crimson... You were just supposed to ''know''.
235-->'''Bruford''' (on joining King Crimson): It was like going over the UsefulNotes/BerlinWall... [[{{Dissimile}} into East Germany]].
236* 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".
237* SpurnedIntoSuicide: "The Letters" features a woman committing suicide [[note]] perhaps after killing her husband first? "What's mine / was yours / is dead" [[/note]]when her husband's lover writes her a letter about their cheating.
238* StudioChatter:
239** Right at the end of the ''Islands'' album, there's a recording of the string and woodwind musicians rehearsing "Prelude: Song of the Gulls". It also doubles as a HiddenTrack. This has been used as King Crimson's walk-on music for TheNewTens' incarnation of the band.
240** The ''Happy with What You Have to Be Happy With'' EP contains this in its hidden track, later titled "Einstein's Relatives" after a line spoken in the track.
241* 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".
242* TextlessAlbumCover: ''Music/InTheCourtOfTheCrimsonKing'', ''In the Wake of Poseidon'', ''Islands'', and ''Larks' Tongues in Aspic''. Also the [=ProjeKct=] Two albums ''Space Groove'' and ''Live Groove''.
243* TitleConfusion:
244** 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.
245** The band often had (private) parody titles for their LP's. Hence ''Braless and Slightly Slack'', or ''Tree of a Perfect Pear''.
246** They do this in their improvs as well; one is called "Sharks' Lungs in Lemsip".[[note]]Lemsip is a brand of lemon-flavoured cold and flu medicine, sold in the UK, Ireland, Australia and New Zealand.[[/note]]
247* 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".
248* TropeCodifier: For ProgressiveRock in general. Arguably also for some tendencies of the genre, such as EpicRocking and UncommonTime.
249* TwelveBarBlues: Even King Crimson has written a twelve-bar blues, in an UncommonTime, to boot. "Cat Food". The 1971 band live album ''Ladies of the Road'' features a brief extract from a version of "In the Court of the Crimson King" played as a Chicago blues number. "Matte Kudasai" isn't twelve bars (it's ''five'') but it's blues-inspired and has a shuffle feel.
250* TwoPartTrilogy: The title ''Three of a Perfect Pair'' suggests this trope, though the album itself isn't really a straight example; regardless, it's almost universally agreed to be the final part of a trilogy with ''Discipline'' and ''Beat''.
251* UncommonTime: All over the place. Possibly the TropeCodifier for this trend in ProgressiveRock. ''Discipline'' really takes this up to eleven with some almost impossible-to-follow polyrhythms on tracks like "Frame by Frame", "Thela Hun Ginjeet" and "Discipline". It's probably not possible to express in concise terms just how mind-boggling the last of these gets, so [[https://en.wikipedia.org/wiki/Discipline_(instrumental) have a Wikipedia article]].
252* WarIsHell: "Prince Rupert's Lament," the fourth segment of "Lizard", is an instrumental depiction of the death and destruction left in the wake of the horrific Battle of Glass Tears. "21st Century Schizoid Man" also gets into this with its mention of "innocents raped with napalm fire", which was likely inspired by news reports of the Vietnam War.
253* WordPureeTitle: "Thela Hun Ginjeet", an anagram of "heat in the jungle".
254* WordSaladLyrics: Some of their lyrics, especially the ones by Adrian Belew or Peter Sinfield (the latter may also be EveryoneIsJesusInPurgatory).
255* WordSaladTitle: "Sex Sleep Eat Drink Dream", "This Night Wounds Time", "The World's My Oyster Soup Kitchen Floor Wax Museum", though the latter of these isn't quite as word salad-y as it looks at first glance since it consists of a number of commonly used phrases mashed together ("oyster soup", "soup kitchen", "kitchen floor", etc.).
256** ''Radical Action to Unseat the Hold of Monkey Mind'', a live box set released in 2016.
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