King Crimson aren’t so much a band as a series of bands, all featuring idiosyncratic guitarist Robert Fripp. With a demeanour that resembles a University professor more than a rock star, Fripp’s plotted an erratic course for his band. The group formed in London in 1968, but their ninth album, 1982’s Beat, was the first time the band’s lineup remained the same for two consecutive albums.
While the term “progressive rock” has come to mean a specific style of music that’s symphonic and complex, King Crimson’s shifting lineups, fondness for improvisation, and changes of musical direction mark them as truly progressive. This daring approach can make for some difficult listens, but makes them constantly interesting – their discography is a wild ride, especially in the early 1970s as Fripp struggled to replace the mighty lineup that created their stellar 1969 debut, In The Court of The Crimson King.
I’ve been working through their King Crimson’s studio discography recently, and I’ve picked five favourite albums, but you should bear in mind that a lot of their live material is also acclaimed – albums like Epitaph from the initial lineup or Absent Lovers from 1984 are considered key parts of their discography.
Five Best King Crimson Albums
Starless and Bible Black
Of all King Crimson’s lineups, my favourites are the mid-1970s iterations of the band, featuring John Wetton on bass and vocals and Bill Bruford on drums. Starless and Bible Black is less coherent than the two albums that bookend it, as it’s largely formed around live improvisations, but it’s still full of highlights like the complex, heavy instrumental ‘Fracture’ and the beautiful ‘The Night Watch’.
After breaking up King Crimson in 1974, Robert Fripp rebooted the band in 1981, retaining Bill Bruford from the previous lineup, and adding guitarist and vocalist Adrian Belew and Tony Levin on Chapman Stick and bass. The new lineup’s extreme virtuosity is impressive, a unique blend of new wave, progressive rock, and world rhythms. Belew’s persona is similar to David Byrne on songs like ‘Elephant Talk’, while the band let loose on ‘Indiscipline’.
Larks Tongues in Aspic
After some unconvincing albums in the early 1970s, Fripp replaced his entire band, bringing in Wetton and Bruford along with percussionist Jamie Muir and electric violinist David Cross. Larks Tongues in Aspic is split between complex instrumentals, like the two parts of the title track, and strong songs like ‘Exiles’ and ‘Easy Money’, featuring Wetton’s gritty vocals.
In The Court of the Crimson King
King Crimson immediately made an impact with their debut, with Fripp sharing the limelight with Greg Lake on vocals and bass, Michael Giles on drums, and Ian McDonald on woodwinds; McDonald contributed a lot of the song-writing to the album. It’s not perfect, as ‘Moonchild’ drags, but it’s a landmark of progressive rock, effectively defining the symphonic prog genre with highlights like ’21st Century Schizoid Man’ and ‘Epitaph’. This remains King Crimson’s only gold record – they never capitalised on its success, as the initial lineup disintegrated – Lake went on to form Emerson, Lake and Palmer.
Gradually whittled down to a trio over the previous couple of records, the dominant sound on Red is the hard, complex rock of the title track and ‘One More Red Nightmare’ from Wetton, Fripp, and Bruford. But it’s the majestic closing ‘Starless’ that’s the gem of King Crimson’s oeuvre, a twelve minute epic that builds to a triumphant, unforgettable climax.
Do you have a favourite King Crimson album?