Beat Crimson Album Download

beat crimson album download King Crimson – Discography (1969 – 2016) King Crimson – Discography (1969 – 2016) EAC Rip | 328xCD + 13xDVD + 7xBlu-ray | FLAC Tracks & Image + Cue + Log | Full Scans Included Total Size: 385.9 GB | 3% RAR Recovery STUDIO ALBUMS | LIVE ALBUMS | DGM LIVE | COMPILATIONS-BOX SETS | EPs | PROJEKCTS KING CRIMSON COLLECTOR’S CLUB Label: Various | Genre: Progressive Rock, Experimental Rock. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era. King Crimson originally grew out of the remnants of an unsuccessful trio called Giles, Giles & Fripp. Michael Giles (drums, vocals), Peter Giles (bass, vocals), and Robert Fripp (guitar) had begun working together in late 1967 after playing in a variety of bands: Fripp’s resume included tenures with the League of Gentlemen and the Majestic Dance Orchestra, while the Giles brothers had played with Trendsetters, Ltd. After signing to Deram, the trio recorded their debut single, “One in a Million,” and began cutting a follow-up album, The Cheerful Insanity of Giles, Giles & Fripp, during the summer of 1968. ― Allmusic. 1. STUDIO: 1969. In The Court Of The Crimson King (1987, EG Records, Jem, EGCD 1, USA) 1969. In The Court Of The Crimson King (1987, Toshiba- EMI, 32VD-1063, Japan, Black Triangle) 1969. In The Court Of The Crimson King (1989, EG Records, EGCD 1, UK) 1969. In The Court Of The Crimson King (1989, EG Records, EGCD 1, USA) 1969. In The Court Of The Crimson King (1990, Virgin, VJCP-2301, Japan) 1969. In The Court Of The Crimson King (1999, Virgin, 7243 8 44065 2 3, EU, 30th) 1969. In The Court Of The Crimson King (2004, DGM, DGM0501, EU, HDCD) 1969. In The Court Of The Crimson King (2009, DGM, KCCBX1, UK, 5CD+DVD, 40th) 1970. In The Wake Of Poseidon (1987, EG Records, Jem, EGCD 2, Japan for USA) 1970. In The Wake Of Poseidon (1988, Toshiba-EMI, 32VD-1064, Japan, Black Triangle) 1970. In The Wake Of Poseidon (1988, Virgin, VJD-28002, Japan) 1970. In The Wake Of Poseidon (1989, EG Records, EGCD 2, UK) 1970. In The Wake Of Poseidon (1990, Virgin, VJCP-2302, Japan) 1970. In The Wake Of Poseidon (1994, Pony Canyon, PCCY-00662, Japan) 1970. In The Wake Of Poseidon (2004, DGM, DGM0502, USA) 1970. In The Wake Of Poseidon (2010, DGM, KCSP2, UK, CD+DVD, 40th) 1970. Lizard (1987, EG Records, EGCD 4, France) 1970. Lizard (1988, Virgin, VJD-28019, Japan) 1970. Lizard (1989, EG Reccords, EGCD 4, USA) 1970. Lizard (1993, EG Records, EGCD 4, UK) 1970. Lizard (2004, DGM, DGM0503, EU) 1970. Lizard (2009, DGM, KCSP3, UK,CD+DVD, 40th) 1971. Islands (1987, EG Records, EGCD 5, UK) 1971. Islands (1987, EG Records, Jem, EGCD 5, Sweden) 1971. Islands (1988, Virgin, VJD-28020, Japan) 1971. Islands (1989, EG Records, EGCD 5, USA) 1971. Islands (2004, DGM, DGM0504, USA) 1971. Islands (2010, DGM, KCSP4, UK, CD+DVD, 40th) 1973. Larks’ Tongues In Aspic (1986, EG Records, Jem, EGCD7, UK) 1973. Larks’ Tongues In Aspic (1987, Toshiba-EMI, 32VD-1122, Japan, Black Triangle) 1973. Larks’ Tongues In Aspic (1988, Virgin, VJD-28003, Japan) 1973. Larks’ Tongues In Aspic (1989, EG Records, EGCD 7, UK) 1973. Larks’ Tongues In Aspic (1994, EG Records, EGCD 7, USA) 1973. Larks’ Tongues In Aspic (2004, DGM, DGM0505, EU) 1973. Larks’ Tongues In Aspic (2012, DGM, DGM5011, USA, 2CD) 1973. Larks’ Tongues In Aspic (The Complete Recordings) (2012, DGM, KCCBX5, UK, 13CD+DVD+BD, 40th) 1974. Red (1987, EG Records, EGCD 15, UK) 1974. Red (1987, Toshiba-EMI, 32VD-1086, Japan, Black Triangle) 1974. Red (1988, Virgin, VJD-28021, Japan) 1974. Red (1990, Virgin, VJCP-2307, Japan) 1974. Red (1994, Pony Canyon, PCCY-00667, Japan) 1974. Red (2004, DGM, DGM0507, EU) 1974. Red (2009, DGM, KCSP7, UK, CD+DVD, 40th) 1974. Red (2013, DGM, DGM5011. 1974. Starless And Bible Black (1987, EG Records, EGCD 12, UK) 1974. Starless And Bible Black (1987, EG Records, Jem, EGCD 12, Sweden) 1974. Starless And Bible Black (1987, Toshiba-EMI, 32VD-1123, Japan, Black Triangle) 1974. Starless And Bible Black (1988, Virgin, VJD-28004, Japan) 1974. Starless And Bible Black (1990, Virgin, VJCP-2306, Japan) 1974. Starless And Bible Black (1994, EG Records, EGCD 12, USA) 1974. Starless And Bible Black (2004, DGM, DGM0506, USA) 1974. Starless And Bible Black (2011, DGM, KCSP6, UK, CD+DVD, 40th) 1981. Discipline (1983, Polydor, 800 099-2, W-Germany, Red Polydor) 1981. Discipline (1986, Warner Bros., 3629-2, USA) 1981. Discipline (1987, Toshiba-EMI, 32VD-1087, Japan, Black Triangle) 1981. Discipline (1988, Virgin, VJD-28022, Japan) 1981. Discipline (1990, Virgin, VJCP-2308, Japan) 1981. Discipline (1991, EG Records, EGCD 49,, Austria) 1981. Discipline (2004, DGM, DGM0508, USA) 1981. Discipline (2011, DGM, KCSP8, UK, CD+DVD, 40th) 1982. Beat (1984, Warner Bros., 9 23692-2, W.Germany by PDO) 1982. Beat (1987, Toshiba-EMI, 32VD-1088, Japan, Black Triangle) 1982. Beat (1990, Virgin, VJCP-2309, Japan) 1982. Beat (1991, EG Records, EGCD 51, Austria) 1982. Beat (2004, DGM, DGM0509, USA) 1984. Three Of A Perfect Pair (1984, Warner Bros., 9 25071-2, W.Germany, Target CD) 1984. Three Of A Perfect Pair (1988, Virgin, VJD- 28005, Japan) 1984. Three Of A Perfect Pair (1991, EG Records, EGCD 55, Austria) 1984. Three Of A Perfect Pair (1994, EG Records, EGCD 55, USA) 1984. Three Of A Perfect Pair (2004, DGM, DGM0510, USA) 1995. THRAK (1995, DGM, KCCDY 1-7243 8 40313 2 9, UK) 1995. THRAK (1995, Virgin, 7243 8 40313 2 9, USA) 1995. THRAK (2004, DGM, DGM0513, EU) 1995. THRAK (2006, WHD Entertainment, IECP-10045, Japan) 2000. The ConstruKction Of Light (2000, Pony Canyon Inc., PCCY-01455, Japan) 2000. The ConstruKction Of Light (2000, Virgin, 7243 8 49261 2 0, USA) 2000. The ConstruKction Of Light (2006, WHD Entertainment, IECP-10046, Japan) 2000. The ConstruKction Of Light (2007, DGM, DGM0514, USA) 2003. The Power To Believe (2003, Universal, UICE-1045, Japan) 2. LIVE: 1972. Earthbound (2002, Pony Canyon, PCCY 01615, Japan) 1972. Earthbound (2002, Virgin, CDVKCX11, Holland) 1975. USA (2002, Pony Canyon Inc., PCCY-01616, Japan) 1975. USA (2004, DGM, DGM0512, USA) 1975. USA (2013, DGM, KCSP12, UK, CD+DVD, 40th) 1992. The Great Deceiver. Live 1973-1974 (1992, Virgin, 0777 7 86543 2 2, USA & UK, 4CD) 1992. The Great Deceiver. Part One (2007, DGM, DGM5004, USA, 2CD) 1992. The Great Deceiver. Part Two (2007, DGM, DGM5005, USA, 2CD) 1995. B’BOOM. Official Bootleg. Live In Argentina (1995, DGM, DGM9503, USA, 2CD) 1996. THRaKaTTaK (1996, DGM, DGM9604, UK) 1996. THRaKaTTaK (1996, DGM, DGM9604, US) 1997. Epitaph. Volumes One & Two (1997, Pony Canyon, PCCY-01087, Japan, 2CD) 1997. Epitaph. Volumes Three & Four (1997, Pony Canyon, PCCY-01180, Japan, 2CD) 1997. The Night Watch (2006, USA, DGM, DGM 9707, 2CD) 1998. Absent Lovers. Live In Montreal 1984 (1998, DGM, DGM9804, UK by Docdata, 2CD) 1998. Absent Lovers. Live In Montreal 1984 (1998, DGM, DGM9804, UK, 2CD) 2000. Heavy ConstruKction (2000, DGM, DGM0013, USA, 3CD) 2002. Ladies Of The Road. Live 1971-1972 (2002, DGM, DGM0203, USA, 2CD) 2003. EleKtriK. Live In Japan 2003 (2003, DGM, DGM0302, USA) 2003. The Power To Believe. Tour Box (2003, DGM, DGM0301, USA) 2008. 40th Anniversary Tour Box (2008, DGM, DGM0801, USA) 2014. The Elements. 2014 Tour Box (2014, DGM, KCTB14, EU, 2CD) 2015. Live At The Orpheum (2015, DGM, DGMSP2, EU, CD+DVD) 3. DGM LIVE: 2005. Asbury Park Casino, Jun 28, 1974 (DGM Live, 419, WEB) 2006. Apollo, Glasgow, Scotland. October 23, 1973 (DGM Live, 348 WEB) 2006. Shepherds Bush Empire, London, July 1, 1996 (DGM Live, 704, WEB) 2006. Stanley Warner Theatre, Pittsburgh, Pennsylvania, March 6, 1972 (DGM Live, 214, WEB) 2006. The Greek Theatre Univ. Berkeley, California. August 13, 1982 (DGM Live, 519, WEB) 2007. House of Blues, Los Angeles, October 24, 2000 (DGM Live, 820, WEB) 2007. Palazzo dello Sport, Udine, Italy, March 19, 1974 (DGM Live, 372, WEB) 2007. Park West, Chicago, Illinois. March 14, 2003 (DGM Live, 948, WEB) 2007. Penn State University, June 29, 1974 (DGM Live, 420, WEB) 2007. Prix D’Ami, Buenos Aires, September 28, 1994 (DGM Live, 928, WEB) 2008. Mr Stormy’s Monday Selection Vol. 1 (DGM Live, 1344, WEB) 2008. Park West, Chicago, Illinois, August 07, 2008 (DGM Live, 1301, WEB) 2009. Mr Stormy’s Monday Selection Vol. 2 (DGM Live, 1681, WEB) 2010. Mr Stormy’s Monday Selection Vol. 3 (DGM Live, 1784, WEB) 2016. Live In Toronto. November 20, 2015 (DGM Live, 2011, WEB) 4. COMPILATIONS-BOX SETS: 1999. Cirkus. The Young Persons’ Guide To King Crimson Live (2006, DGM, DGM0603, EU, 2CD) 1999. Cirkus. The Young Persons’ Guide To King Crimson Live (2006, DGM, DGM0603, USA, 2CD) 1999. The Collectors’ King Crimson Vol.1 (1999, Pony Canyon, PCCY-01394, Japan, 3CD) 2000. The Collectors’ King Crimson Vol.2 (2000, Pony Canyon, PCCY-01440, Japan, 3CD) 2000. The Collectors’ King Crimson Vol.3 (2000, Pony Canyon, PCCY-01467, Japan, 3CD) 2001. The Collectors’ King Crimson Vol.4 (2001, Pony Canyon, PCCY-01493, Japan, 3CD) 2001. The Collectors’ King Crimson Vol.5 (2001, Pony Canyon, PCCY-01539, Japan, 3CD) 2001. VROOOM VROOOM (2004, Universal, UICE-9070. 2007. The Collectable King Crimson Vol.2 (2007, DGM, DGM5003, USA, 2CD) 2008. The Collectable King Crimson Vol.3 (2008, DGM, DGM5006, USA, 2CD) 2010. The Collectable King Crimson Vol.5 (2010, DGM, DGM5010, USA, 2CD) 2013. The Road To Red (2013, DGM, KCCBX7, UK, 21CD+DVD+2BD, 40th) 2014. Starless (2014, DGM, KCCBX6, UK, 23CD+2DVD+2BD, 40th) 5. EPs: 1994. VROOOM (1994, DGM, DGM0004, UK) 1994. VROOOM (1994, DGM, DR 9401 2, USA) 1994. VROOOM (1994, Pony Canyon, PCCY-00630, Japan) 2001. Level Five (2006, WHD Entertainment, IECP-10047, Japan) 2001. Level Five (2008, DGM, DGM0518, USA) 2002. Happy With What You Have To Be Happy With (2002, Universal, UICE-1027, Japan) 6. PROJEKCTS: 1998. Space Groove. ProjeKct Two (1998, DGM, DGM9801, USA, 2CD) 1998. Space Groove. ProjeKct Two (1998, Pony Canyon, PCCY-01225, Japan. 2CD) 1999. The Deception Of The Thrush [A Beginner’s Guide To ProjeKcts] (2000, Pony Canyon, PCCY-01456, Japan) 1999. The ProjeKcts (1999, DGM, DGM9913, UK, 4CD) 2000. Heaven & Earth. ProjeKct X (2000, DGM, DGM0005, USA) 2001. iMPRoVaTTaKc Vol.1 (2001, DGM Collector’s Club Edition) 2011. A Scarcity Of Miracles [A King Crimson ProjeKct] (2011, DGM, DGM1101, EU) 7. KING CRIMSON COLLECTOR’S CLUB: KCCC01 – Live at the Marquee 1969 (1998, DGM Collectors Club, CLUB1) KCCC02 – Live at Jacksonville 1972 (1998, DGM Collectors Club, CLUB2) KCCC03 – The Beat Club Bremen 1972 (1999, DGM Collectors Club, CLUB3) KCCC04 – Live at Cap D’Adge 1982 (1999, DGM Collectors Club, CLUB4) KCCC05-06 – On Broadway 1995 (1999, DGM Collectors Club, CLUB5-6, 2CD) KCCC07 – ProjeKct Four Live in San Francisco 1998 (1999, DGM Collectors Club, CLUB7) KCCC08 – The VROOOM Sessions 1994 (1999, DGM Collectors Club, CLUB8) KCCC09 – Live at Summit Studios Denver 1972 (2000, DGM Collectors Club, CLUB9) KCCC10 – Live in Central Park NYC 1974 (2000, DGM Collectors Club, CLUB10) KCCC11 – Live at Moles Club Bath 1981 (2000, DGM Collectors Club, CLUB11) KCCC12 – Live in Hyde Park 1969 (2002, DGM Collectors Club, CLUB12) KCCC13 – Nashville Rehearsals 1997 (2000, DGM Collectors Club, CLUB13) KCCC14 – Live at Plymouth Guildhall 1971 (2001, DGM Collectors Club, CLUB14) KCCC15 – Live in Mainz 1974 (2001, DGM Collectors Club, CLUB15) KCCC16 – Live in Berkeley 1982 (2001, DGM Collectors Club, CLUB16, 2CD) KCCC17 – ProjeKct Two Live in Northampton 1998 (2001, DGM Collectors Club, CLUB17) KCCC18 – Detroit (1971, DGM Collectors Club, CLUB18) KCCC19 – Live in Nashville 2001 (2002, DGM Collectors Club, CLUB19) KCCC20 – Live at the Zoom Club 1972 (2002, DGM Collectors Club, CLUB20) KCCC21 – Champaign-Urbana Sessions 1983 (2002, DGM Collectors Club, CLUB21) KCCC22 – ProjeKct One – Jazz Cafe Suite 1997 (2003, DGM Collectors Club, CLUB22) KCCC23 – Live in Orlando 1972 (2003, DGM Collectors Club, CLUB23) KCCC24 – Live in Guildford 1972 (2003, DGM Collectors Club, CLUB24) KCCC25 – Live at Fillmore East 1969 (2004, DGM Collectors Club, CLUB25) KCCC26 – Live in Philadelphia 1982 (2004, DGM Collectors Club, CLUB26) KCCC27 – ProjeKct Three Live in Austin 1999 (2004, DGM Collectors Club, CLUB27) KCCC28 – Live in Warsaw 2000 (2004, DGM Collectors Club, CLUB28) KCCC29 – Live in Heildelberg 1974 (2005, DGM Collectors Club, CLUB29) KCCC30 – Live in Brighton 1971 (2005, DGM Collectors Club, CLUB30) KCCC31 – Live at the Wiltern 1995 (2005, DGM Collectors Club, CLUB31) KCCC32 – Live in Munich 1982 (2006, DGM Collectors Club, CLUB32) KCCC33 – ProjeKct Two Live in Chicago 1998 (2006, DGM Collectors Club, CLUB33) KCCC34 – ProjeKct Three Live in Alexandria 2003 (2007, DGM Collectors Club, CLUB34) KCCC35 – Live in Denver (1972, DGM Collectors Club, CLUB35) KCCC36 – Live in Kassel (1974, DGM Collectors Club, CLUB36) KCCC37 – Live at the Pier (1982, DGM Collectors Club, CLUB37) KCCC38 – Live in Philadelphia (1996, DGM Collectors Club, CLUB38) KCCC39 – Live In Milan (2003, DGM Collectors Club, CLUB39) KCCC40 – Live in Boston (1972, DGM Collectors Club, CLUB40) KCCC41 – Live in Zurich (1973, DGM Collectors Club, CLUB41) KCCC43 – Live in Chicago 1995 (2010, DGM Collectors Club, CLUB43) KCCC44 – Live In New Haven 2003 (2010, DGM Collectors Club, CLUB44) KCCC45 – Live In Toronto 1974 (2011, DGM Collectors Club, CLUB45) If you encounter broken links or other problem about this publication, please let me know and write your comment below. I will reply and fix as soon as possible. King Crimson: a guide to their best albums. Forget a linear career; there’s nothing stable or logical about the way King Crimson have conducted themselves since forming in 1968. This most exhaustive and exhausting of prog bands have had nearly two dozen full-time members across five decades. Their mid-70s drummer Bill Bruford once called Crimson “a terrifying place”, and that’s perhaps the best description of the band started by guitarist Robert Fripp and drummer Michael Giles, when their previous band Giles, Giles And Fripp ceased to be of interest to them. The pair abandoned that trio’s whimsical pop in the pursuit of more headstrong and head-fuck music, and brought in multi-instrumentalist Ian McDonald, bassist/vocalist Greg Lake and lyricist Pete Sinfield. Since then Fripp has remained the sole constant. It’s easy to suggest that it’s Fripp’s vision, his drive, that has kept Crimson at the forefront of pioneering yet idiosyncratic music. But he’s done more than that. Understanding that creativity is often born out of turmoil and disagreement, he has often brought in highly talented, strong-minded people. This has led to a body of work that is not only the envy of many of their peers, but has also become hugely influential. Bands such as Tool and Porcupine Tree have cited Crimson as major inspiration, but they have reached far beyond the progressive world – Kanye West sampled 21st Century Schizoid Man for his 2010 hit Power , and British techno band Opus III covered I Talk To The Wind in 1992. It’s no wonder the tentacles of Crimson have touched so many disparate artists. They have never stood still and developed in a single direction, instead reaching out through all corridors and textures within music. This has taken them on a journey not only through the usual pastures of jazz, classical, blues and folk, but also across the globe in terms of their reach. Yet against the odds they have also had some considerable commercial success – eight of their albums have made the UK Top 40. But the band’s success truly lies in the fact that they are best described simply as King Crimson. Essential - the classic albums. Their debut has left an indelible mark on the prog genre. There’s an eerie beauty about the title track and Epitaph that reflects the way Crimson could capture emotion in the small detail of their musical excellence. Skating away from the usual blues inclinations of the time, the band bring together disparate idioms such as jazz and folk, and give the results their own virtuosic sheen. This records shines with a brightness that makes it one of the most outstanding albums of the era. The care and vision marked out Crimson as occupying their own musical dimension. Nothing else sounds like this.View Deal. In some ways, it’s astonishing that Crimson’s seventh album was recorded at all. The band were in the throes of breaking apart, and would split up shortly after it was released, ending the first phase of their career. Red is arguably the heaviest KC album, the title track possessing a driving, agitated force – perhaps because Fripp was rather withdrawn, leaving drummer Bill Bruford and bassist John Wetton to direct the sessions. The result is primitive and, at times, violent. Starless is an epic that twists like a tornado but is always anchored to a brutal ambience. The triumph of Red is the schizoid relationship between civilised freneticism and stark sophistication.View Deal. Superior - the ones that helped cement their reputation. The birth of the band’s third incarnation marked a change of attitude, as Fripp determined to take Crimson into a more free-form existence. Violinist David Cross was a lynchpin of this new approach, while Jamie Muir’s eccentric percussion expanded opportunities for the musicians to be vividly experimental. This was most obvious on Larks’ Tongues In Aspic (Part One) , a lengthy instrumental that butts jazz fusion against 20th-century classical excursions and added heavy metal embellishments. It would be the blueprint that would define King Crimson for years to come.View Deal. The band faced a writing crisis when percussionist Jamie Muir retreated into a monastery. They solved this dilemma by giving free reign to their musical reflexes. The resulting album was essentially improvised, and largely recorded live. The title track is taken from a session in Amsterdam. The only two tracks fully laid down in the studio were Only The Great Deceiver and Lament ; the former dealt with the march of commercialism, while the latter dealt with fame. The overall impact of the album was refreshing, with the musicians emphasising the revelry of instinct over discipline.View Deal. A live document of the band’s 1974 US tour, released as Crimson split for the first time – in fact, Fripp ended his sleeve notes on the original version with the stark ‘R.I.P.’ But USA captured the essence of one of their most essential periods. It opens with the catatonic drone of Walk On… No Pussyfooting , leading into the aggressive jolt of Larks’ Tongues In Aspic (Part Two) . The rest of the set underlined the magnitude of Crimson’s superiority as both musical magi and a primal force. Some of David Cross’s violin parts had to be overdubbed in the studio by Eddie Jobson, but thatView Deal. The band’s first new album for more than a decade was created by a line-up that Fripp dubbed a “double trio”. The result was very dense, but never alienating. It’s fascinating to hear how the six musicians would set themselves up in varied ways. At times, as on the title track, it sounded like a battle between two trios, playing off against each other in a musical war. But on Dinosaur they all worked in a restless unison. Here, the percussive instincts of Bill Bruford and Pat Mastelotto set up a dark structure within which Fripp played a freaky, outlandish guitar solo. It’s an intensely charismatic recording. View Deal. Good - albums worth exploring. An oddball KC album. Not only did the line-up that recorded it never play live, but also bassist/vocalist Gordon Haskell later admitted he was uncomfortable with the way the album turned out. Maybe part of the reason was because Indoor Games concludes with his uncontrollable laughter, because he thought Sinfield’s lyrics were ludicrous. Elsewhere, Happy Family is about The Beatles’ break-up, even nodding towards the Fabs’ While My Guitar Gently Weeps . Jon Anderson guests on the title track, which is the longest studio track Crimson have ever recorded. The album’s jazz feel and its perverse idiosyncrasies alienated some fans, though.View Deal. After a seven-year hiatus, King Crimson returned with a revamped line-up. Only Fripp and Bill Bruford remained from the previous era, joined by former Bowie guitarist Adrian Belew and bassist/Stick maestro Tony Levin. Fully aware of the way music had changed while they’d been away, Crimson adapted to modern tastes, mixing jazz rock with a new-wave approach – something best encapsulated in the way Fripp and Belew’s wildly differing guitar styles complemented one another. The result was 70s prog meets 80s art rock, and as such it seemed to be a linear extension of what Fripp had done the previous year with his short-lived League Of Gentlemen.View Deal. This is an EP that’s more than just something to fill in time until the next album. It has a self-contained individuality, highlighting the relationship the band enjoy with contemporary icons. The title track pinpoints the way Crimson have inspired modern artists such as Tool, yet also shows Fripp’s ability to soak up influences from them. There are also strangely contemplative narratives from Belew on Bude and She Shudders , which use an effect to make his monologues sound eerily robotic. Eyes Wide Open is vulnerably poignant, while Mie Gakure is a sharplyView Deal. Avoid - the runt of the litter. No King Crimson album is bad, but this one is worth leaving until you’ve indulged in the rest of their back catalogue. Here the band did try to make their sound more palatable for the mainstream, although claims at the time that they were looking for pop success were hardly true. Beat crimson album download. 0 selected items. Sorry, your search returned zero results for “beat_(king_crimson_album)” Have you tried doing the following: Check for spelling errors or typos. Clear search filter options. Use fewer keywords. Choose your country or region. United States. Hi IBMer! The IBM strategic repository for digital assets such as images and videos is located at dam.ibm.com. This repository is populated with tens of thousands of assets and should be your first stop for asset selection. Click here to request Getty Images Premium Access through IBM Creative Design Services. Discipline (King Crimson album) Discipline is the eighth studio album by the band King Crimson, released in 1981. This album was King Crimson's first album following a seven- year hiatus. Only founder Robert Fripp and later addition Bill Bruford remained from previous incarnations. The rest of the band was Adrian Belew (guitar, lead vocals) and Tony Levin (bass guitar, Chapman Stick, backing vocals). The album resulted in a more updated 1980s new wave proto-techno sound mixed with the previous dark and heavy sounds of the 1970s. Contents. Song notes [ edit | edit source ]

"Matte Kudasai" (Japanese: 待って下さい) literally means "please wait". The original release of Discipline featured only one version of "Matte Kudasai", with a guitar part by Robert Fripp that was removed from the track on a subsequent release of the album. The latest versions of the album to be released contains both versions of the song – track 3, "Matte Kudasai", without Robert Fripp's original guitar part; and track 8, "Matte Kudasai (alternative version)", with the guitar part included. The lyrics of "Indiscipline" were based on a letter written to Adrian Belew by his then-wife Margaret, concerning a sculpture that she had made. "Thela Hun Ginjeet" is an anagram of "heat in the jungle". When it was first performed live, some of its lyrics were improvised around an illicit recording made by Robert Fripp of his neighbours having a vicious argument when he was living in New York; this recording is featured on the track "NY3" on Fripp's solo album Exposure . While the track was being recorded for the Discipline album, Adrian Belew, walking around Notting Hill Gate in London with a tape recorder looking for inspiration, was harassed first by a gang and then by the police. On returning to the studio, he gave a distraught account to his bandmates of what had just happened to him. This account was recorded by Fripp without Belew's knowledge as well, and is featured on the Discipline version of the track (as well as almost all live versions), in place of those earlier lyrics that were based on Fripp's New York recording. "The Sheltering Sky" is named after and partially inspired by the 1949 novel of the same name by Paul Bowles. Bowles is often associated with the Beat generation, which would be an inspiration for King Crimson's subsequent studio album Beat . Later versions of Discipline featured this design by Steve Ball. Live versions of "Elephant Talk", "Indiscipline", and "Thela Hun Ginjeet" included partial vocal improvisation during spoken-word parts. One such example can be found in the August 13, 1982 performance, which, as of August 12, 2014, was still available for download in both MP3 and FLAC formats from DGM. The back cover features the statement, "Discipline is never an end in itself, only a means to an end". King Crimson purchased the rights to use a variation on a copyrighted Celtic knot [5] on the LP cover. In later releases, it was replaced by a knotwork designed by Steve Ball on commission from Robert Fripp. [6] [7] Ball's design is also used as the logo of Discipline Global Mobile, the music label founded by Fripp, which has become the label for King Crimson, Fripp, and associated artists. Reception [ edit | edit source ] Discipline received mixed to positive reviews. John Piccarella's review in Rolling Stone praised the talent and artistry of the four musicians of King Crimson, particularly Belew and Fripp's "visionary approach to guitar playing", but criticized the "arty content" of the album itself, concluding "Here's hoping that, unlike every other King Crimson lineup, this band of virtuosos stays together long enough to transform all of their experiments into innovations." [3] Robert Christgau described the album as "not bad--the Heads meet the League of Gentlemen". [2] Greg Prato's retrospective review in Allmusic gave unqualified approval of the album, particularly applauding the unexpectedly successful combinations of Fripp and Belew's disparate playing styles and the genres of progressive rock and new wave. [1] A retrospective review in The Daily Vault similarly praise the combination of progressive rock and new wave, and criticized only King Crimson's routine inclusion of ballads (in this case, "Matte Kudasai") on their albums. [4] Track listing [ edit | edit source ] Side one No. Title Length 1. "Elephant Talk" 4:43 2. "Frame by Frame" 5:09 3. "Matte Kudasai" 3:47 4. "Indiscipline" 4:33. Side two No. Title Length 5. "Thela Hun Ginjeet" 6:26 6. "The Sheltering Sky" (instrumental) 8:22 7. "Discipline" (instrumental) 5:13. i) Robert Fripp: Venal Leader (later Heartless & Raging) Promotes (Warner Bros Office, NYC, 1981) ii) Adrian Belew: Shaking Artist (Basing St. Studios May 1981) iii) Thela Hun Ginjeet (Philadelphia, July 30th 1982) " 2011 40th Anniversary Series re-issue bonus rough mix No. Title Length 1. "Discipline" (instrumental) 5:13 2. "Thela Hun Ginjeet" 6:26 3. "Matte Kudasai" 3:47 4. "Elephant Talk" 4:43 5. "The Sheltering Sky" (instrumental) 8:22 6. "Frame by Frame" 5:09 7. "Indiscipline" 4:33. 2011 40th Anniversary Series re-issue video content (Selections from The Old Grey Whistle Test) No. Title Length 1. "Elephant Talk" (recorded live at The Venue, October 1981) 2. "Frame by Frame" (recorded at the BBC, March 15th 1982. Introduced by Annie Nightingale) 3. "Indiscipline" (recorded at the BBC, March 15th 1982) Personnel [ edit | edit source ] – electric guitar, lead vocals (tracks 1-5) – electric guitar, devices (Frippertronics) – Chapman stick (tracks 1, 2, 4, 6, 7), bass (tracks 3, 5), backing vocals (tracks 2, 6) – drums (tracks 1-5, 7), percussion (tracks 6, 7) References [ edit | edit source ] ↑ 1.01.1 Prato, G. (2011). Discipline - King Crimson | AllMusic. allmusic.com . Retrieved on July 25, 2011. ↑ 2.02.1 Christgau, R. (2011). Robert Christgau: CG: king crimson. robertchristgau.com . Retrieved on July 25, 2011. ↑ 3.03.1 Piccarella, John (2011). King Crimson: Discipline [Caroline Bonus Track] : Music Reviews : Rolling Stone. web.archive.org . Retrieved on July 25, 2011. ↑ 4.04.1 Ray, Benjamin (2007-04-17). Discipline King Crimson EG, 1981 . Retrieved on August 23, 2012. ↑Bain, George (1951). Celtic art: The methods of construction . London: Constable Press. Bain, George (1973). Celtic Art: The Methods of Construction . Dover Publications, Inc. ISBN 0-486-22923-8. CRIMSON JAZZ TRIO. Some years ago I was "conned" into getting this album, believing that it featured Mel Collins, who is one of my fave sax players. I didn't listen to it then, but just recently dusting my collection it was time to hear some KC tunes in a Jazz interpretation with Collins guesting. Wow! Must be a nice combination, or so I thought. Well, this recording comes across as if it was Jazz standards performed in an intimate, little club. The atmosphere is pleasant and the music is well, Jazz. The KC tunes form only a loose framework before completely unrelated piano runs fill the body of the songs. Nice if you like Jazz, but with the same token, they could have done the same on say, Fleetwood Mac, Dire Straits, or practically any other work that has a recognizable melody to it. The connection with KC is former drummer Ian Wallace (RIP) - of course - who according to Fripp liked to tear the wings off butterflies. Hmmm, not very endearing. Anyway, the music is quite OK and Tim Landers on bass stands out for me more than any of the others. Landers plays in a way that's both elegant and tasteful. Funny thing that by doing an excellent and unassuming support role, he steals my attention! Talk about true craftsmanship! And Mel Collins, you may ask? Well, he must have been making the sandwiches and coffee for the band in the kitchen, but didn't get a chance to wet his reeds here. I feel ripped off! Anyway, the music is fine, but not really something that I would miss. Good playing, questionable concept and I'd much rather "21st Century Schizoid Band" in it's place. It deserves almost a 4, but I wouldn't recommend it as "excellent addition", so we'll have to settle for "good, but non- essential".. Review by Neu!mann Prog Reviewer. The second and (tragically) last chapter of their re-imagined KC catalogue stretched out even more than Volume One: interpolating original material, adding vocals, and reuniting drummer Ian Wallace with his erstwhile Crimson bandmate Mel Collins. Both had appeared in the 21st Century Schizoid Band, but that was strictly a nostalgia act. Inviting the sax player as a guest to these sessions not only gave the project more legitimacy, but added instrumental color to the piano-led trio, and a certain poignancy as well. Both CJ3 albums, but this one in particular, offered a glimpse of what Wallace might have contributed to the court of the Crimson King back in 1971, given half a chance. Older fans could argue that the band lost something of its original warmth in the harsher climate of the Wetton-Buford improvisations, and beyond. But the Jazz Trio succeeded in resuscitating the human pulse hidden deep inside the avant-metal heart of later Crimson line-ups. It might sound like straightforward jazz, but because the source material is so eclectic (ranging from the 1969 debut album to the double-trio Thrakking of the mid-1990s) the new music becomes likewise harder to pigeonhole. Even if the titles are familiar (and they should be, to any self- respecting Crimhead), the experience is like hearing the songs for the first time. "Lament", for example, is more or less faithful to the original melody, with Jody Nardone's piano substituting for John Wetton's vocals. But the updated "Heartbeat" is a significant departure from its "Beat" album forefather, and truer to the spirit of Kerouac and Ginsberg, enough to make me want to trim my goatee and pull on a black turtleneck sweater. The richer arrangement of "Hidden Garden" transforms it into a genuine song, instead of the incidental filler on the 1995 "THRAK" album (Nardone does the singing, and with the same sensitivity as his ivory tickling). And the ambitious 18-minute "Islands Suite" presents a mostly (I'm guessing) improvised, often free-form interpretation of the opening cuts off that 1971 LP, almost unrecognizable in this context. The pleasant surprise of the earlier Songbook is missing, of course: this one is merely (and undeniably) pleasant. But it's hard to hear it without a lump in the throat. The album represents the final studio recording of the late Ian Wallace, who succumbed to esophageal cancer shortly after laying down these tracks. The instrumental version of "Lament", deliberately placed at the end of the album, makes a fitting valedictory. And the closing fade-out was a nice gesture too, suggesting that the one-time Crimson percussionist never stopped swinging his drumsticks. Review by apps79 Special Collaborator Honorary Collaborator. In this album the trio chooses eight famous King Crimson tracks and decides to offer them back in more loose and jazzy formats.The idea of this jazzy interpretation is definitely welcome and trully ambitious.But what about the execution?Well, personally I would have a hard time to recognize any of these tunes as King Crimson's original stuff and that is not necessarilly a bad thing.Wallace & Co. succeeded to deliver eight jazzy compositions with many colors and moods in a very personal style with the jazzy improvisation being the main factor, while the execution is very nice.Plenty of good solos throughout with some fantastic piano work by Nardone and Wallace offering a memorable, confident and powerful drumming.I am not that convinced by Landers' bass work, which remains mostly down the shadows of Wallace and Landers, but he certainly contributes on the overall rich and warm sound.Still, you have to be more of a Jazz than Progressive Rock fan to fully appreciate the album. An interesting idea by an underrated member of early King Crimson.Recommened especially to Jazz/Fusion buffers but anyone into King Crimson's long career should simply try this ambitious musical project. Review by snobb Special Collaborator Honorary Collaborator. May be it's hardly to believe, but the result is excellent! Possibly, Ian Wallace's participation saves material from irresponsible transformation, but all composition sound very tasteful, with big love to initial material. Even if the music on this album is hardly fusion, but just more contemporary jazz, played by classic jazz trio, I believe this music can attract very wide listener (and really not only jazz lovers for sure). I think this album is the best release of KC material, played by non-original KC team. Very recommended - and when you will enjoy this album just remember there is Vol.2, album of the same excellent musical level. Review by snobb Special Collaborator Honorary Collaborator. Musical material is all well known - great King Crimson compositions, just seriously reworked to become contemporary jazz pieces ( some vocals are presented as well). All music is more jazz, than fusion, but excellent compositions make it very interesting, pleasant and accessible listening even for those without big love to jazz. Main accents there are atmosphere, acoustic warm sound, melancholic tunes, and great material just found its new life. Musicians are competent, and happily not demonstrate their technical abilities, but tried to save originals spirit. So -great ,really great result. It's difficult for me to speak about such kind of cover-work as about masterpiece, but I can just tell that it is possibly greatest of possible re-birth of progressive classics. Very recommended - and not only for jazz fans. Without doubt - 4,5! Review by ProgressiveAttic Collaborator Eclectic Prog Team. The first thing I am going to say about this album is WOW . Here we have a very very talented jazz trio reworking (not covering) King Crimson classics. and, yes, one of them is a Crimson alumni: Ian Wallace, drummer for the Islands lineup. Everyone can notice from one single listen of any of Crimson's works the strong jazz/improvised music foundations of the music, as a result of that the band developed a very particular method of songwriting which consists on free improvising (many of the times live at concerts) until they find something interesting to start working with. This album brings this jazzy soul to its maximum exponent with just an "acoustic" trio (piano, drums and electric bass). The style of the this album has nothing to do with rock is simply jazz in the style of Dave Brubeck and Ahmad Jamal with lots of improvisation (sort of a crossover between cool and free/avant jazz). The most obvious relationship with this style can be noticed during King Crimson's 1969-1974 era, therefore what you would expect are renditions of tracks such as 21st Century Schizoid Man, Catfood, Starless and Ladies Of The Road, which, of course, you'll get but things get more interesting with renditions of Red (more bluesy than jazzy) and I Talk To The Wind (with a more symphonic and ballady style in its original form) and the band gets even more daring while interpreting unexpected pieces such as Three of a Perfect Pair and Matte Kudasai from the 80s incarnation of King Crimson. Although the songs are completely changed and reoriented in style they still are recognizable and keep their original essence and some rocky edges here and there. This is so well accomplished that you don't get to miss any of the original instruments: not even Fripp's guitar; the vocals on I Talk to the Wind, Starless or Catfood; or the magnificent mellotron (yes, even in Starless you don't need it). It is magnificent how each song is revitalized and gets a new identity through this band's treatment. Nonetheless it is important to note that some songs did actually preserve much of their original nature, specially Catfood (since the original is actually based on a jazz piano melody), Starless (It is outstanding since the mellotron, electricity and Wetton's voice are all absent) and Red (again, amazing achievement without electricity). If these were original compositions (which they somehow are. and not just because Wallace played with Crimson) this could've been considered a jazz masterpiece and essential together with the great names of jazz. That is why I am going to give it the 5 star rating although this is not progressive rock in the strict sense of the term (it is progressive but not rock). In conclusion: this is what you may expect if during a King Crimson concert an outage occurs. Review by Slartibartfast Collaborator Honorary Collaborator / In Memoriam. Well, OK the drummer, Ian Wallace was in the KC and the musical style certainly reminds me of what remains one my favorite soundtracks of all time. In fact, I tend to think that if you had introduced this album to the jazz loving public around that time (1965) it might just be regarded as a classic jazz album to this day. Even though the original King was known for embracing jazz elements on their earlier albums, these are tracks from the 1969-1984 era totally reworked as jazz pieces. Who knew that hiding inside King Crimson's songs were some cool jazz tracks trying to get out? I think it is a testament both to the brilliance of Crimson's original compositions as well as the talent of the musician's involved in this project that it all works so well. A lot of the tracks you can kind of see reworked as pure jazz when you first read the list, but Three Of A Perfect Pair and Matte Kudasai work unexpectedly well. 21st Century Schizoid Man and Red were a bit of surprise, too. Cat, Food, Ladies Of The Road, and I Talk To The Wind, I could see. My favorite, last but not least, and not last really, Starless. Maybe that's the only one that might be out of place in parts back in the time before there was a King Crimson, but not by too much. Fripp says on the liner notes "I have heard as if for the first time," these songs. I got the same feeling. The idea for this ambitious project was hatched by the late ex-King Crimson drummer Ian Wallace upon meeting jazz piano virtuoso Jody Nardone during a gig in Nashville, Tennesee in 2004. Upon relocating back to LA they hooked up with master bassist Tim Landers who has played with everyone from Tracey Chapman to Al DiMeola in addition to forming the fusion outfit Vital Information with ex-Journey drummer steve Smith in the early '80s. To put it in a nutshell they just nail every piece featured here from 21st Century Schizoid Man to Three Of A Perfect Pair with passion and precision. Some of the pieces here are cleverly disguised using the magic of the jazzman's craft while others ar more easily recognizable. What they all have in common though is a very bright, fresh and very together sound possessing a warmth which is not present in the more clinical original versions wth plenty of soloing which is a testament to the improvisational potential of the original pieces. With superb engineering there is a live feel here as I could detect no overdubs or studio trickery. In particular, the fat tone Tim Landers' 5 string electric bass adds a lot of depth and he makes it sound like an upright double bass most of the time. A word of cauttion, however, must be issued here for those expecting cover tribute versions. These are jazz interpretations of King Crimson music of the highest order and as Bob Fripp himself indicates on the liner notes if one is not in tune with the passions and appreciation for more straight traditional jazz then they might wonder what is going on here. For those so inclined though, this is an exquisite treat and an opportunity to hear the King Crimson creature as it's never been heard before wonderfully contorted, twisted and reconstituted which will have jazz afficiados nodding their heads in approval and long time Crimheads experiencing The Crimson King's music in a much different vein. What else 5 stars.