King Crimson - I Talk To The Wind ( L2 )

Said the straight man to the late man

"Where have you been?"
I've been here and I've been there
And I've been in between

I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

I'm on the outside looking inside
What do I see
Much confusion, disillusion
All around me

I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

You don't possess me
Don't impress me
Just upset my mind
Can't instruct me or conduct me
Just use up my time

I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

The wind does not hear
The wind cannot hear
[repeat]

Istoric ( 283 )

12.06.1949 - s-a nascut John Wetton – bass – King Crimson, U.K. Uriah Heep, Roxy Music, Asia 

King Crimson - 21st Century Schizoid Man ( S1.1 )

 The basis of the picking technique is to strike down on the on-beat and up on the off-beat. Then one must learn to reverse that. I'll generally use a downstroke on the down-beat except where I wish to accent a phrase in a particular way or create a certain kind of tension by confusing accents, in which case I might begin a run on the upstroke." British Prime Minister Tony Blair praised the song and especially the guitar solo. The song encompasses the heavy metal, jazz-rock and progressive rock genres, and is considered to be an influence on the development of progressive metal. The atonal solo was rated number 82 in Guitar World's list of the Top 100 Greatest Guitar Solos in 2008 Louder Sound ranked the solo at No. 56 in its "100 greatest guitar solos in rock" poll.

Personnel

• Greg Lake – bass, lead vocals
• Ian McDonald – alto saxophone
• Robert Fripp – electric guitar
• Michael Giles – drums
• Peter Sinfield – lyrics

Single by King Crimson
from the album In the Court of the Crimson King
A-side	"Epitaph"
Released	12 October 1969
Recorded	1 & 20–21 August 1969
Genre	Progressive rock jazz-rock heavy metal
Length	7:20
Label	Island
Composer(s)	Robert Fripp Michael Giles Greg Lake Ian McDonald
Lyricist(s)	Peter Sinfield
Producer(s)	King Crimson

King Crimson - 21st Century Schizoid Man ( S1 )

 

"21st Century Schizoid Man" is a song by the progressive rock band King Crimson from their 1969 debut album In the Court of the Crimson King.

Lyrical content

The lyrics of "21st Century Schizoid Man" were written by Peter Sinfield and consist chiefly of disconnected phrases which present a series of images. All three verses follow a set pattern in presenting these images. The first line of each verse presents two relatively vague images (e.g. "iron claw", "death seed"). The second line is a single image, often more specific than the first two, and the third line approaches an actual sentence. The fourth and last line of each verse is the song's title.

The song makes reference to the Vietnam War with the lyrics "Politicians' funeral pyre/Innocence raped with napalm fire". Before a live performance of the song on 14 December 1969, heard on the live album Epitaph, Robert Fripp remarked that the song was dedicated to "an American political personality whom we all know and love dearly. His name is Spiro Agnew."

Musical structure

Clocking at nearly seven and a half minutes, the song is notable for its heavily distorted vocals sung by Greg Lake, and its instrumental middle section, called "Mirrors". Most of the song is in either 4/4 or 6/8 time, save for the end of the song, which is in free time. Fripp explained his guitar solo to Guitar Player magazine in 1974: "It's all picked down-up.

continuare

King Crimson - In the Wake of Poseidon ( D2 )

 

click here

King Crimson ( I1 )

King Crimson - In the Court of the Crimson King ( D1 )

click here

King Crimson - 21st Century Schizoid Man ( L1 )

Cat's foot iron claw
Neuro-surgeons scream for more
At paranoia's poison door
Twenty first century schizoid man

Blood rack barbed wire
Politicians' funeral pyre
Innocents raped with napalm fire
Twenty first century schizoid man

Death seed blind man's greed
Poets' starving children bleed
Nothing he's got he really needs
Twenty first century schizoid man

King Crimson ( B29 )

Former temporary members

• Chris Gibson - keyboards, synthesizer, Mellotron (substitute for Bill Rieflin Oct–Nov 2017)

Notes:

• The Chapman Stick and Warr Guitar are both varieties of touch-style guitars
• Sinfield used the VCS3 for sound processing rather than as a traditional keyboard

Discography

Studio albums

• In the Court of the Crimson King (1969)
• In the Wake of Poseidon (1970)
• Lizard (1970)
• Islands (1971)
• Larks' Tongues in Aspic (1973)
• Starless and Bible Black (1974)
• Red (1974)
• Discipline (1981)
• Beat (1982)
• Three of a Perfect Pair (1984)
• THRAK (1995)
• The Construkction of Light (2000)
• The Power to Believe (2003)

King Crimson ( B28 )

Former members

Michael Giles – drums, percussion, backing vocals (1968–69)
Ian McDonald – Mellotron, flute, saxophone, keyboards, clarinet, bass clarinet, vibraphone, backing vocals (1968–69; studio: 1974)
Peter Sinfield – lyrics, illumination (1968–71), VCS3 synthesizer, keyboards, artwork, production (1970–71)
Greg Lake – lead vocals, bass guitar (1968–70; died 2016)
Gordon Haskell – lead vocals, bass guitar (1970)
Andy McCulloch – drums (1970)
Ian Wallace – drums, percussion, backing vocals (1971–72; died 2007)
Boz Burrell – lead vocals, bass guitar, choreography (1971–72; died 2006)
John Wetton – lead vocals, bass guitar; occasional violin, piano, rhythm guitars and lyrics (1972–74; died 2017)
Jamie Muir – percussion, drums, trombone (1972–73)
Bill Bruford – acoustic and electronic drums, percussion (1972–74, 1981–84, 1994–97)
David Cross – violin, electric piano, Mellotron, viola, flute (1972–74)
Adrian Belew – lead vocals, guitar, electronic percussion, lyrics, occasional drums (1981–84, 1994–2013; last performed 2008, "quit" 2013–2017, remains "Ninth Man Inactive" as of Summer 2017)
Trey Gunn – Warr Guitar, Chapman Stick, Ashbory bass, backing vocals (1994–2003)

continuare

King Crimson ( B27 )

Other artists affected by King Crimson include noise music artist Masami Akita of Merzbow, jazz guitarist Dennis Rea of Land,folktronica exponent Juana Molina, hip hop producer RJD2, hip hop and soul composer Adrian Younge, film director Hal Hartley, and folk-pop singer Ian Kelly.

Personnel

Current members

• Robert Fripp – guitar (1968–74, 1981–84, 1994–present), Mellotron, keyboards (1970–74, 1994–present), Frippertronics (1981–84), soundscapes (1994–present)
• Mel Collins – saxophone, flute (1970–72, 2013–present; studio: 1974), Mellotron, backing vocals (1971–1972)
• Tony Levin – bass guitar, electric upright bass, Chapman Stick, funk fingers, synthesizers, backing vocals (1981–84, 1994–98, 2003–present)
• Pat Mastelotto – percussion, acoustic and electronic drums (1994–present)
• Gavin Harrison – main drums (2007–present)
• Jakko Jakszyk – lead vocals, guitar, flute (2013–present)
• Bill Rieflin – drums, percussion (2013–2015), keyboards, synthesizer, Mellotron, backing vocals (2013–2015, 2017–present)
• Jeremy Stacey – drums, keyboards, backing vocals (2016–present)

continuare

King Crimson ( B26 )

King Crimson's influence extends to many bands from diverse genres, especially of the 1990s and 2000s. Tool are known to be heavily influenced by King Crimson, with vocalist Maynard James Keenan joking on a tour with them: "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson." Modern progressive, experimental, psychedelic and indie rock bands have cited them as an influence as well, including the Mars Volta, Porcupine Tree, Primus, Mystery Jets, Fanfarlo, and Anekdoten, who first practised together playing King Crimson songs. Steven Wilson, the leader of Porcupine Tree, was responsible for remixing King Crimson's back catalogue in surround sound and said that the process had an enormous influence on his solo albums. In November 2012 the Flaming Lips in collaboration with Stardeath and White Dwarfs released a track-by-track reinterpretation of In the Court of the Crimson King entitled Playing Hide and Seek with the Ghosts of Dawn.Colin Newman, of Wire, said he saw King Crimson perform many times, and that they influenced him deeply. The seminal hardcore punk group Black Flag acknowledge Wetton-era King Crimson as an influence on their experimental period in the mid-1980s. Melvin Gibbs said that the Rollins Band was influenced most by King Crimson, using similar chords. Bad Religion cites the lyrics of "21st Century Schizoid Man" on their single "21st Century (Digital Boy)" and the name of their record label, Epitaph (founded by their guitarist Brett Gurewitz), comes from the song of the same name of Crimson's debut album.

King Crimson have frequently been cited as pioneers of progressive metal and as an influence on bands of this genre, including Mastodon, Between the Buried and Me, Leprous, Haken, the Ocean, Caligula's Horse, Last Chance to Reason, and Indukti. Members of metal bands Mudvayne, Voivod, Enslaved, Yob, Pyrrhon and Pallbearer have cited King Crimson as an influence. Heavy experimental and avant-garde acts like the Dillinger Escape Plan, Neurosis, Zeni Geva, Ancestors, and Oranssi Pazuzu all cite King Crimson's influence.

continuare

King Crimson ( B25 )

Individual soloing is largely eschewed; each musician is to listen to each other and to the group sound, to be able to react creatively within the group dynamic. A slightly similar method of continuous improvisation ("everybody solos and nobody solos") was initially used by King Crimson's jazz-fusion contemporaries Weather Report. Fripp has used the metaphor of "white magic" to describe this process, in particular when the method works particularly well.

Similarly, King Crimson's improvised music is rarely jazz or blues-based, and varies so much in sound that the band has been able to release several albums consisting entirely of improvised music, such as the Thrakattak album. Occasionally, particular improvised pieces will be recalled and reworked in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases (the most recent example being "Power to Believe III", which originally existed as the stage improvisation "Deception of the Thrush", a piece played on stage for a long time before appearing on record).

Influence

King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. Genesis and Yes were directly influenced by the band's initial style of symphonic Mellotron rock, and many King Crimson band members were involved in other notable bands: Lake in Emerson, Lake & Palmer, (some of whose songs can be regarded stylistically as Lake's attempt to continue the early work of King Crimson); McDonald in Foreigner; Burrell in Bad Company, and Wetton in UK and Asia. Canadian rock band Rush cites King Crimson as a strong early influence on their sound; drummer Neil Peart credits the adventurous and innovative style of Michael Giles on his own approach to percussion.

continuare

King Crimson ( B24 )

Improvisation

King Crimson have incorporated improvisation into their performances and studio recordings from the beginning, some of which has been embedded into loosely composed pieces such as "Moonchild" or "THRaK". Most of the band's performances over the years have included at least one stand-alone improvisation where the band simply started playing and took the music wherever it went, sometimes including passages of restrained silence, as with Bill Bruford's contribution to the improvised "Trio". The earliest example of King Crimson unambiguously improvising is the spacious, oft-criticised extended coda of "Moonchild" from In the Court of the Crimson King.

"We're so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second. Then you react to his statement, usually in a different way than they would expect. It's the improvisation that makes the group amazing for me. You know, taking chances. There is no format really in which we fall into. We discover things while improvising and if they're really basically good ideas we try and work them in as new numbers, all the while keeping the improvisation thing alive and continually expanding."

—King Crimson violinist David Cross on the mid-1970s band's approach to improvisation
Rather than using the standard jazz or blues "jamming" format for improvisation (in which one soloist at a time takes centre stage while the rest of the band lies back and plays along with established rhythm and chord changes), King Crimson improvisation is a group affair in which each member of the band is able to make creative decisions and contributions as the music is being played.
continuare

King Crimson ( B23 )

These include:

• The use of a gradually building rhythmic motif. These include "The Devil's Triangle" (an adaptation and variation on the Gustav Holst piece Mars played by the original King Crimson, based on a complex pulse in 5
  4 time over which a skirling melody is played on a Mellotron), 1973's "The Talking Drum" (from Larks' Tongues in Aspic), 1984's "Industry" (from Three of a Perfect Pair) and 2003's "Dangerous Curves" (from The Power to Believe).
• An instrumental piece (often embedded as a break in a song) in which the band plays an ensemble passage of considerable rhythmic and polyrhythmic complexity. An early example is the band's initial signature tune "21st Century Schizoid Man", but the "Larks' Tongues in Aspic" series of compositions (as well as pieces of similar intent such as "THRAK" and "Level Five") go deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, but that all 'finish' together through polyrhythmic synchronisation. These polyrhythms were particularly abundant in the band's 1980s work, which contained gamelan-like rhythmic layers and continual overlaid staccato patterns in counterpoint.
• The composition of difficult solo passages for individual instruments, such as the guitar break on "Fracture" on Starless and Bible Black.
• The juxtaposition of ornate tunes and ballads with unusual, often dissonant noises (such as "Cirkus" from Lizard, "Ladies of the Road" from Islands and "Eyes Wide Open" from The Power to Believe).
• The use of improvisation.
• Ascending note structure (e.g. "Facts of Life" and "THRAK").

continuare

King Crimson ( B22 )

The first incarnation of King Crimson played the Mars section of Gustav Holst's suite The Planets as a regular part of their live set and Fripp has frequently cited the influence of Béla Bartók. As a result of this influence, In the Court of the Crimson King is frequently viewed as the nominal starting point of the progressive rock movements. King Crimson also initially displayed strong jazz influences, most obviously on its signature track "21st Century Schizoid Man". The band also drew on English folk music for compositions such as "Moonchild" and "I Talk to the Wind."

The 1981 reunion of the band brought in even more elements, displaying the influence of gamelan music and of late 20th century classical composers such as Philip Glass, Steve Reich, and Terry Riley. For its 1994 reunion, King Crimson reassessed both the mid-1970s and 1980s approaches in the light of new technology, intervening music forms such as grunge, and further developments in industrial music, as well as expanding the band's ambient textural content via Fripp's Soundscapes looping approach.

Compositional approaches

Several King Crimson compositional approaches have remained constant from the earliest versions of the band to the present. 

continuare

King Crimson ( B21 )

Since 2007, Tony Levin has led the trio Stick Men, which also features Pat Mastelotto (the band was initially completed by Chapman Stick player Michael Bernier, replaced in 2010 by touch guitarist and former Fripp student Markus Reuter). This band includes and interprets King Crimson compositions from the band's entire career in their live sets. Reuter and Mastelotto also play together as a duo (originally called Tuner), for which they have been known to rework the mid-1980s King Crimson instrumental "Industry" live.

Between 2011 and 2014, Stick Men and Adrian Belew’s Power Trio band (Belew plus drummer Tobias Ralph and bass player Julie Slick) joined forces to play and tour as The Crimson ProjeKCt, covering the music made during Belew’s tenure as King Crimson frontman and principal songwriter.

During his solo career (including performance with the Power Trio), Adrian Belew has performed versions of certain King Crimson songs written predominantly by himself, such as "Dinosaur," as well as ensemble pieces like "Frame by Frame" and "Neurotica,". Post-Crimson, he has also performed live versions of King Crimson songs which he neither wrote nor composed (in particular when he has played with Eddie Jobson), such as "Red" or "Larks' Tongues In Aspic, Pt. II," .

Musical style

The band's music was initially grounded in the rock of the 1960s, especially the acid rock and psychedelic rock movements. The band played Donovan's "Get Thy Bearings" in concert, and were known to play the Beatles' "Lucy in the Sky with Diamonds" in their rehearsals. However, for their own compositions, King Crimson (unlike the rock bands that had come before them) largely stripped away the blues-based foundations of rock music and replaced them with influences derived from classical composers.

continuare

King Crimson ( B20 )

On 3 September 2017, Robert Fripp announced that his differences with Adrian Belew had been resolved and that Belew was now King Crimson's "Ninth Man Inactive"; meaning that there were "no current plans for (him) to come out with the current formation; but (he) has rejoined the larger family - hooray! - and doors to the future are open." Belew confirmed this, adding "it means I may be back in the band in the future at some point. It leaves the door open for Crimson to evolve as necessary."

On 13 October 2017, it was announced that Bill Rieflin would be unable to join the Double Quartet Formation on the 2017 Autumn tour in the U.S. He was temporarily replaced by Seattle-based Crafty Guitarist Chris Gibson.

On 22 November 2017, King Crimson announced that the Uncertain Times tour, an extensive 33-date UK and European tour, would take place throughout 2018 (from 13 June to 16 November), visiting Poland, Germany, Austria, Czech Republic, Sweden, Norway, the Netherlands, Italy, the UK and France.

King Crimson members' bands devoted to playing King Crimson's music

Since the early 2000s, several bands containing former, recent or current King Crimson members have toured and recorded, performing King Crimson music.

Active between 2002 and 2004, the 21st Century Schizoid Band reunited several former King Crimson members who had played on the band's first four albums. The band featured Ian McDonald, Mel Collins, Peter Giles and Michael Giles (the latter subsequently replaced by Ian Wallace), and was fronted by guitarist/singer Jakko Jakszyk (a decade prior to his own recruitment into King Crimson proper). The band engaged in several tours, played material from the band's 1960s and 1970s catalogue, and recorded several live albums.

continuare

King Crimson ( B19 )

In early 2014, King Crimson had no plans to record in the studio, instead playing "reconfigured" versions of past material For the first time since 1974, the band's repertoire included songs from the run of albums between In The Court of the Crimson King and Larks' Tongues in Aspic, as well as including instrumentals from THRaK and The Power to Believe (although Adrian Belew's songs were conspicuously absent). After rehearsing in England, they toured North America from 9 September 2014 across 20 dates.Recordings from the Los Angeles dates were released as Live at the Orpheum.

Tours across Europe, Canada, and Japan followed in the later half of 2015. A live recording from the Canadian leg of the tour was released as Live In Toronto. A European tour was planned for 2016. Following Rieflin's decision to take a break from music after the three dates of March, April and June in Salisbury, drummer Jeremy Stacey of Noel Gallagher's High Flying Birds was called in place for dates from September, building-up the now so-called 2016-SOND line-up.

On 7 December 2016, founding King Crimson member Greg Lake died of cancer.

On 3 January 2017, Robert Fripp announced Bill Rieflin's return to King Crimson. Since the band liked and wished to retain Jeremy Stacey, Rieflin shifted his group role and became King Crimson's full-time keyboard player. Consequently, King Crimson became an octet, referred to by Fripp as the "Double Quartet Formation".

On 31 January 2017, another former King Crimson member, John Wetton, died of colon cancer.

On 27 April 2017, King Crimson announced a new live EP named "Heroes" after the David Bowie song, as a tribute to both the artist and the album featuring the song in question (both of which featured distinctive Robert Fripp guitar contributions throughout). The video to the song won "Video of the Year" at the 2017 Progressive Music Awards. Shortly afterwards, King Crimson embarked on an extensive tour of North America beginning on 11 June 2017 in Seattle, Washington and ending on 26 November 2017 in Milwaukee, Wisconsin.

continuare

King Crimson ( B18 )

King Crimson began another hiatus after the 40th Anniversary Tour. Belew continued to lobby for reviving the band, and discussed it with Fripp several times in 2009 and 2010. Among Belew's suggestions was a temporary reunion of the 1980s line-up for a thirtieth anniversary tour: an idea declined by both Fripp and Bruford, the latter commenting "I would be highly unlikely to try to recreate the same thing, a mission I fear destined to failure." In December 2010, Fripp wrote that the King Crimson "switch" had been set to "off", citing several reasons for this decision.

2011–present: the "Seven-Headed Beast" lineup and the Double Quartet

In 2011, a band called Jakszyk Fripp Collins (and subtitled "A King Crimson ProjeKct") released an album called A Scarcity of Miracles. The band featured Jakko Jakszyk, Robert Fripp and Mel Collins as main players and composers, with Tony Levin and Gavin Harrison covering bass guitar/Chapman Stick and drums respectively. At one point, Fripp referred to the band as "P7". Unusually for a ProjeKct, it was based around fully finished and carefully crafted original songs (initially derived from improvisations). For a while, King Crimson fans debated whether this was a new line-up of the main band under another name, but the project did not tour or release another album. In August 2012, Fripp announced his retirement from the music industry, leaving the future of King Crimson uncertain.

In September 2013, Fripp suddenly and unexpectedly announced King Crimson's return to activity with a "very different reformation to what has gone before: seven players, four English and three American, with three drummers". He cited several reasons to make a comeback, varying from the practical to the whimsical: "I was becoming too happy. Time for a pointed stick." The new line-up drew from both the previous lineup (retaining Fripp, Levin, Harrison and Mastelotto) and the Scarcity of Miracles project (adding Jakszyk and Collins), with former R.E.M./Ministry drummer Bill Rieflin as the seventh member. Adrian Belew was not asked to take part, thus ending his 32-year tenure in King Crimson: Jakszyk took his place as singer and second guitarist. This version of the group took on the nickname of "the Seven-Headed Beast".

continuare