01	Elephant Talk						04:43
	02	Frame By Frame						05:09
	03	Matte Kudasai						03:47
	04	Indisicipline						04:33
	05	Thela Hun Ginjeet						06:26
	06	The Sheltering Sky						08:22
	07	Discipline						05:13
	08	Matte Kudasai (Alternate Version)						03:50

EG/Warner Bros. (3629-2)
UK/USA 1981

Adrian Belew, guitar, lead vocal;
Robert Fripp, guitar, devices;
Tony Levin, stick, bass guitar, support vocal;
Bill Bruford, drums and percussion

Bob Eichler:
The complex pattern of interweaving lines on the cover perfectly represents the music inside. If you like music written and performed with an almost mathematical precision, then the 80s King Crimson is right up your alley. And this album is, by most accounts, their best.
Discipline was originally the band's name, with Bruford and Fripp from the previous 70s incarnation of Crimson joining up with guitarist/vocalist Adrian Belew (fresh from Frank Zappa's band) and bassist Tony Levin (who has played in innumerable jazz and rock bands). The music they created apparently inspired Fripp to revive the King Crimson name.
On their first album, songs like "Elephant Talk", "Frame By Frame", "Thela Hun Ginjeet" (an anagram for Heat in the Jungle) and the title track showed the band's new style of having the nimble melody lines of each of the stringed instruments play off one another to create almost hypnotic patterns. Meanwhile, the beautiful ballad "Matte Kudasai" showed a poppish side to the band that would come more to the surface on the subsequent two albums.
The tricky compositions don't leave much room for improvisation, other than the occasional guitar solo. Fans of the 70s band might be disappointed because of that. Also, Bruford doesn't get much of a chance to cut loose, as his role is reduced mostly to keeping time. And he doesn't use the cymbals much, to avoid stepping on the guitarist's frequencies.
For what it is, this album is pretty much perfect. Well, in a perfect world "The Sheltering Sky" might not ramble on quite as long as it does, but that's a very minor gripe. This is probably my favorite Crimson album, which is odd because I don't actually own a copy (no need to, since between the Frame By Frame boxed set and the Absent Lovers and B'Boom live albums, I already have one or more versions of every track).

Jack Hesse:
I'm not really sure what I was expecting when I first heard this, but this wasn't it. It sounded to me like quirky early-80's new wave pop or something. Leads with weird sound effects, heavily chorused clean guitars, nerdy vocals... I got a good chuckle out of "Elephant Talk" and "Thela Hun Ginjeet" (still do!). But when I stopped to listening to what I thought it sounded like on the surface, and started to listen to what they were actually doing, it grew on me in a big way. I noticed all the interlocking parts, the polyrhythms.. hey, this is tricky stuff! So I got used to that. Then I began to hear the big picture.
When trying to explain it, I keep coming back to that cover design. All those lines, weaving in and out of each other.. it's dizzying trying to follow it. Notice how the lines follow a very precise path - it knows where it's supposed to be, and it knows to stay out everyone's way. Notice how it comes back around full circle to where it started. But take a step back and look at the whole picture... it's quite lovely, without having to study it under a magnifying glass to figure it out. So it is with this album. I just let it weave around, twisting and turning... letting it carry me around in circles. Robert Fripp has stated, "Discipline is a vehicle for joy," and I concur. A very uplifting album.

Joe McGlinchey:
I actually purchased the 80s King Crimson studio albums in reverse order the first time I had heard them as a teenager. But within the first few minutes of "Elephant Talk," I knew I had found the album that contained the essence of their sound for this period. It's hard to think of a better example in this genre where a band has managed to convincingly merge old elements of their style--the virtuosic playing, odd time signatures, room for improvisation--with new elements that had not been in evidence previously, with the same degree of artistic accountability. Gone is the 'heaviness' and very British feel of the Larks' era, replaced with a more cosmopolitan approach: the influences of new American recruits Belew and Levin, and the emphasis of collective play and rhythmic sensitivity from ethnic influences such as Balinese music. Gone was the mellotron, replaced with newly acquired guitar synth gear. These all contribute to the album's forward view.
However, ultimately, it is the execution of these ingredients and the songs themselves that make the album shine. There is not one weak track on this album, and each one has something creative about it, if not brilliant. "Elephant Talk" features contrasting 'mouse' and 'elephant' guitar synth solos. On "Frame by Frame," Bruford creates an off-kilter, syncopated effect that people generally can recognize sounds odd but don't know why (in actuality, it's because Bruf delays one of his hits by a sixteenth note each phrase). "Indiscipline" features a reversal of the traditional role of rock instruments, with drums taking the lead. It also features one of the most infamous soliloquies of the genre. Then there's the weaving, micro-precise polyrhythms of the album's instrumental closer "Discipline," itself an aptly-titled diametric opposite of the chaotic "Indiscipline."
In short, Discipline is perhaps the most successful and in a sense truly 'progressive' comeback of a prog rock group that had been away for seven years. I would say it is a must have for anyone interested in the genre. If you love this album, be sure to check out what I think of as its fraternal twin: the Talking Heads' Remain in Light (produced by Fripp's collaborator Brian Eno and also featuring Belew on guitar).

Eric Porter:
A desert island disc for me! I hope to never find myself without this CD in my collection. On some level this one just clicks with me. As much as I like just about every phase of King Crimson, this would be the one I would keep if I could only have one from KC. The great stick intro of Levin and the hilarious guitar noises that emanate from Belew during "Elephant Talk" make it a favorite. The precision interweaving lines of Fripp and Belew during "Frame by Frame" are wonderful. The beautiful "Matte Kudasai" is followed by the other extreme with the heavy riffing of "Indiscipline". "Thela Hun Ginjeet" has a great groove and Belew's spoken word story of a frightening encounter in NYC is quite original. The music still sounds fresh and vital today, and Belew and Fripp work together on such a level as to reinvent the dual-guitar approach to a band. A real gem: essential!


heather

It is hard to write about a classic, well-known, well-discussed album. So, I will do my best. This is a rare, great album that is overflowing with ideas. It's an amalgamation of rock, minimalism and contemporary classical forms, world beat, pop, and even elements of jazz improv. Belew brings in a guitar style that mimics animal sounds (this time, elephants, mice, and swooping birds) and a strong pop sensibility. Fripp brings minimalist ideas to the composition and exciting use of counterpoint between the two interlocking guitars. Fripp introduces a guitar style he will use in KC's music for the next twenty years; short arpeggio figures which are used as a minimalist basis for the music and are used to develop and build tension in the music through repetition and through variations on the small patterns (the 1973 instrumental "Fracture" was the first major instrumental in this style). Also, Levin and Bruford are the quintessential killer rhythm section.
I think this album rises about live versions of the same music solely because of the "Sheltering Sky", which is usually not played live and when it is, it doesn't cross over well. It is a 9 minute hypnotic beauty depicting the shifting sands of the desert under the vast blue sky. Too beautiful and colorful to describe, and easily one of Fripp's five best instrumentals. Which is saying a lot, since this band's major strength rests on Fripp's instrumental compositions.

1-27-03



Discipline
Date of Release 1981

When King Crimson leader Robert Fripp decided to assemble a new version of the band in the early '80s, prog-rock fans rejoiced, and most new wave fans frowned. But after hearing this new unit's first release, 1981's Discipline, all the elements that made other arty new wave rockers successful (i.e., Talking Heads, Pere Ubu, the Police, etc.) were evident. Combining the futuristic guitar of Adrian Belew with the textured guitar of Fripp doesn't sound like it would work on paper, but the pairing of these two originals worked out magically. Rounding out the quartet was bass wizard Tony Levin and ex-Yes drummer Bill Bruford. Belew's vocals fit the music perfectly, sounding like David Byrne at his most paranoid at times (the funk track "Thela Hun Ginjeet"). Some other highlights include Tony Levin's "stick" (a strange bass-like instrument)-driven opener "Elephant Talk," the atmospheric "The Sheltering Sky" and the heavy rocker "Indiscipline." Many Crimson fans consider this album one of their best, right up there with In the Court of the Crimson King. It's easy to understand why after you hear the inspired performances by this hungry new version of the band. - Greg Prato





Tentative Review #19
King Crimson
Discipline
(released 1981)

--------------------------------------------------------------------------------
Track: Rating:
1. Elephant Talk
2. Frame By Frame
3. Matte Kudasai
4. Indiscipline
5. Thela Hun Ginjeet
6. The Sheltering Sky
7. Discipline

Personnel:
Adrian Belew: Guitar, vocals, elephantosity
Bill Bruford: Batterie
Robert Fripp: Guitar and devices
Tony Levin: Bass and stick
Credits:
Music by King Crimson. Lyrics by Adrian Belew.


--------------------------------------------------------------------------------

Comments:
The progressive rock album of the 1980s.

It isn't often that I begin my reviews definite assertions, particularly those that lack preceding clauses. In this case, though, I trust that my meaning will be perfectly clear.

1981 saw the re-emergence of one of progressive rock's most consistently innovative and interesting projects, led (as always) by the vision of Robert Fripp. Following the dissolution of Fripp's loosely-run League of Gentlemen project, the path of his career led squarely to a more tightly organized venture. Originally entitled "Discipline", the unit was to serve as the opening volley of Fripp's curiously titled (though sadly prophetic, in the light of subsequent albums) "decline to '84".

The other band members came fresh from prog-related ventures of diverse sorts. Adrian Belew had recently guested on the Talking Heads' Remain In Light (itself a rather proggy affair in parts), and had previously worked with Frank Zappa and David Bowie. Tony Levin had worked on Peter Gabriel's solo projects. And Bill Bruford was witnessing his own jazz-prog group fall apart after the departure of guitarist Alan Holdsworth.

With the possible exception of Levin (who despite his ability to function in the band never seemed to be overly taken with Krimson's music to begin with, and may very well have regarded the entire venture as extended session work), these musicans were in search of a stable basis from which to work their labours. With the re-emergence of King Crimson, such a basis was provided.

The '80s Crimson unit would eventually fragment over personality clashes which have not yet been entirely clarified to the listening public (though the division of Three Of A Perfect Pair into "Fripp" and "Belew" sides of differing musical styles may indicate that the split was more structural than personal). While the unit lasted, however, they were able to create music unparalleled in the musical landscape of the early 1980s.

Discipline captures the group at the crest of their artistic purpose, and is the definitive statement of the unit. Each track was filled with incredible guitar duets between Fripp & Belew (each maintaining his distinctive style at almost all times), incredible work in the low (and I do mean low) ranges by Levin, and frequently off-kilter work by Bruford. Furthermore, intellectual disciples of the group lacking in concrete musical performance skills could take comfort in the fact that each of the vocal tracks contained a puzzle of some sort.

Regarding the small minority of KC fans from earlier times who disowned the album, this reviewer will simply state that it is unlikely they would have been pleased with anything other than a direct mimicking of the Wetton-era sound. Discipline, though mingling elements of Talking Heads-esque "new wave" into its output, is indisputably a progressive album (both in the real and accepted senses of the term). Those prog fans who were disappointed by the work were, to quote Fripp's description of a different tendency, "out of tune with the times".

Regarding the individual songs ...

"Elephant Talk" begins with a striking tritone note (the symbol of musical chaos in the Middle Ages) from Tony Levin's stick. A more appropriate herald of KC's return could hardly be imagined. After an amazingly fast hammer-on section from Levin, the entire band emerges in a well-structured arrangement, which quickly yields to Belew's unusual lyrical foundation (I won't spoil these lyrics for those who haven't heard them yet ... but let us simply say that they have some correlation to the order in which the Tentative Reviews have been appearing). The song also features two diverse guitar solos (the first from Belew, the second from Fripp) which clearly state what each member was capable of contributing to the unit. A triumphant return, elephantosity and all.

"Frame By Frame" is a more subtle work, weaving amazing band instrumental passages (including drum work which ranks among the best of Bruford's career) with tasteful guitar duets which (to use Fripperian terminology once again) serve the rare function of touching the mind as well as the heart. The lyrics were reportedly written by Belew as a commentary on Fripp's (over?)intellectualism in governing the group -- as such, Fripp's own performance of extremely fast and repetitious guitar picking in search of a sudden end might be regarded as an in-joke of sorts. Perhaps.

I normally don't give five-star ratings to ballads, but "Matte Kudasai" merits an exception ... and this is where I should note that my copy of Discipline is the unremastered version, with Fripp's guitar lines dominating the introductory section. Although I've never actually heard the so-called "definitive" version of this track, I might be inclined to reduce its rating accordingly. As the original track stood, however, it was an unbelieveably gorgeous piece, showcasing Belew's vocal skills to their maximum effect. The title is Japanese for "wait for me".

"Indiscipline" is perhaps the most overtly "proggy" track on the album, with Fripp leading the band through incredibly dark instrumental passages rivaling those of the Larks' Tongues period. Everyone is in top form on this track, and everyone gets a chance to shine. As with "Elephant Talk", I won't ruin the lyrical enjoyment for those who've not yet heard the album ... let's just say that they often co-relate to my feelings after finishing a Tentative Review. ;)

"Thela Hun Ginjeet" is a rather strange track, to say the least. The bass line is notable for being slightly more conducive to dance situations than the average KC song, though not by much. Fripp's trademark noises are in attendance, as is a curious high-pitched percussive device. The feature of this track, however, is Belew's recitation of a near-fatal experience with two street toughs near the area of NYC in which KC were making their recording. If the legend is to be believed (and there's probably no reason why it shouldn't be), Fripp managed to secretly record Belew's description of the events with a handheld tape recorder, and play them back for the band afterwards. A curious number, but one with enough musical merit to grasp a five-star rating (though I'll admit that I considered lowering it by half a star). The title is an anagram for "Heat In The Jungle".

"The Sheltering Sky" has sometimes been described as the showcase piece of the album: beginning with a quiet percussive line, stating the main theme of the track at about the 1:00 mark, gradually developing through various subtle arrangements, resolving itself with a return to the main theme late in the track, and finally returning to the percussive line on which it began. A more successfully meditative piece involving bass, drums, and two guitars may be impossible to imagine

And, finally, "Discipline" closes the album with a statement of controlled expressivity, using the skills of all group members to create a successful whole (though the cymbal crashes in the middle of the piece serve as a momentary disruption). Levin is probably the standout player in this piece, though everyone puts in an excellent performance.

In summary, this album is a triumph, and is one of the few progressive albums which no fan of the genre can afford to be without. It may even be the most consistently good album ever released under the "King Crimson" name.

The Christopher Currie
(review originally posted to alt.music.yes on 15 July 1997; revised 22 September 1997)






Frame by Frame

AMG REVIEW: This track is among the first batch of new material performed by the pre '80s King Crimson congregate Discipline. Even at this early stage, the roles within the band are firmly established. With clearly challenging material to work with, the quartet of Adrian Belew (guitar/vocals), Bill Bruford (drums), Tony Levin (bass/Chapman stick/vocals) and Robert Fripp (guitar), pool their vast musical resources. The results are wholly fulfilling as this rapid-fire and densely orchestrated masterpiece demonstrates. According to Sid Smith's band bio In The Court Of King Crimson, Adrian Belew's lyrical inspiration hit close to home resulting in his own decidedly-Yankee observations of the overtly analytical nature of his Brit band mates Fripp and Bruford. However, all theoretical factions disintegrate in light of the complex, yet well manoeuvred duel leads from Fripp and Belew. The growl and screech of Belew wholly compliments Fripp's technical prowess as the two guitarists successfully push the envelope. "Frame By Frame" became an enthusiast favourite and was revived by both the double-trio in the '90s as well as the '01 incarnation of the band. The call-and-response vocals are also notable in performance, featuring Tony Levin ('81 - '95) and then Trey Gunn during their 2000 reformation. Live versions from throughout the band's history are available on a variety of concert recordings. Among these is the very first live performance as Discipline on April 30, 1981 ( Discipline: Live at Moles Club, 1981), the final '80s show on July 14, 1984 ( Absent Lovers) as well as the '90s reformation ( VROOOM VROOOM). - Lindsay Planer



King Crimson - Discipline

Member: TopographicYes

Just when it seemed the ghost of King Crimson was laid to rest- it was resurrected, sort of.....

In early 1981 Robert Fripp's flirtations with the New York minimalist music scene came to fruition in the form of a new band called Discipline. Joining him were former Crimson drummer Bill Bruford, and two Americans, Tony Levin on bass and a new instrument called the Chapman Stick, and Adrian Belew on guitar. While this band was intended to be an altogether new project, in the end it was saddled with the King Crimson name (see our online Robert Fripp book for the details on how this came to be).

Musically this band had a whole new approach to music that was right in line with early 80's minimalist music. Compared to older Crimson music, the sound of Discipline was a radical departure. It's sleek and streamlined. Still, many Crimson hallmarks are still in the mix. Robert Fripp is his usual self, though by the early 80's he had a few new techniques and musical approaches in his bag. Most notably an idea for interlocking two guitar parts into a precise almost mechanized synchronization. Often done in harmony, this was a very fresh sound for 'rock' guitar at the time and continues be a part of the sound of today's incarnation of Crimson as well (check out the title track from ConstruKction of Light for a recent interlocking piece). This is the sound most closely associated with this version of the band. Also a newfound use of guitar synthesis and electronic drums and percussion helped define the sound of 80's Crimson.

"Elephant Talk" opens the album. "ET" has become a signature tune for this era of Crimson. A guitar showcase for 'stunt guitarist' Belew. Listen as he coaxes out a variety of un-guitar sounds, including his famed trumpeting elephant . Levin's stick intro was a first for the time as well and one of his funkiest moments. Fripp turns in a wild melodic solo and then Belew unleashes a wilder solo of his own. A classic! Do you hear a little David Byrne influence here in the vocals??

"Frame by Frame" follows and is another signature tune for this lineup, this songs influence was far reaching. On the following two albums, Beat and Three Of A Perfect Pair, there are a few numbers that could easily be called Frame #2. But to me there is nothing like the original for energy and imagination. This was the first Crimson song I ever heard and I guess I will always be biased towards it. Fripp's wild arpeggiating guitar bubbles under a wave of Belew's chordal stabs. Bruford and Levin provide the perfect platform for the guitars to fly.

"Matte Kudasai" (Wait Please) is a gentle ballad. While Crimson are known for their bombast, there have always been a few tender, melodic numbers on each album as well and Discipline is no exception. Check out Belew's seagull sounds on this track.

The 'song' "Indiscipline" is as uncompromising as the name implies. One of Belew's best spoken-word pieces. Here he talks about an object that is never really defined in the song. He "wishes you were here to see it!". I have heard this is about a painting that Belew's wife gave him. Musically there is a huge contrast going on, alternating between the quiet spoken word sections and some unrelenting dissonant walls of sound. The juxtaposition is delicious! The heavy bits remind me of old Crimsons more dissonant moments. Good stuff this one! Both Fripp and Belew turn in some insane guitar work.

"Thela Hun Ginjeet" - Fast, frantic and the perfect music to accompany Belew's spoken word narration about an unpleasant encounter with some unsavory characters in the streets of New York. A true story put to music.

"The Shetering Sky" is a very special instrumental and in my opinion, this version of Crimsons finest moment. Bruford plays a 'slit' drum on this, which creates a sparse foundation for the band to build on. Levin lays down some growling stick work . Belew enters with a flanged motif on guitar. Atop all this Fripp solos freely with some of his finest guitar synth work. While a lot of this album is really rigid and tense, The Sheltering Sky is the opposite. There is a freeness to it that is very refreshing after listening to the rest of the CD. My favorite song by this lineup, easily. Reminds me of when Fripp would cut loose back in the 70's, with a modern twist to the sound.

Closing is the title track, an interlocking guitar masterpiece. Again, here is another song that is imitated a lot on future Crimson LPs. This is the best of the bunch though! A must!

Out of the three LPs by this lineup, Discipline is by far the strongest. It's solid from beginning to end. Essential 80's Crim. A minimalist prog masterpiece!





A Young Person's Guide to All Things Crimson, Part 2
The Adrian Belew Years
By Clayton Walnum

After the release of Red, and except for the live album USA, King Crimson disappeared. Most fans figured that the KC juggernaut had run its course, and with the flagging interest in progressive rock (Fripp hates to hear KC described as progressive rock; sorry, Robert), it didn't seem that there was much hope of ever seeing another KC studio album. Seven years went by, when what seemed to be almost out of nowhere, King Crimson was reborn with an all-new direction.

The one thing that identifies this era of KC more than any other is the work of Adrian Belew, who joined the new KC incarnation. In its previous life, KC could never seem to stay with a singer, having had four singers over the course of five albums. But from 1981 to the present, Belew has been the voice of King Crimson. And so, it just seems appropriate to call these the Adrian Belew years.

Note that, as I said in the previous installment of this omnibus review, A Young Person's Guide to All Things Crimson covers only the band's studio output. King Crimson has also released well over 20 live albums that feature virtually every incarnation of the group. In fact, with KC's special subscription CD offerings, I really have no idea how many live albums have actually been released. Let's just say that there's a lot of live KC out there!

Discipline (1981)

The 1980s brought us a very different King Crimson from the past incarnations. For one thing, the album Discipline welcomed vocalist/guitarist Adrian Belew to the fold. Of the old KC, only Fripp and Bruford remained, with the bass chores being taken over by the amazing Tony Levin. Having two axemen enabled KC to create some truly spectacular guitar convolutions. In fact, all of the Belew KC albums feature not only Belew's very original guitar solos, but also complex interplays between Fripp and Belew. Also, this album displays a much more vocal- and song-oriented KC. Considering Belew's vocal talent, that comes as no surprise. Although all the music on Discipline is credited to King Crimson, Belew's singular style is all over almost every song.

And unlike most of KC's output up to this point, Discipline is a collection of songs. Most of the tracks on this album are in the four- to five-minute range. Moreover, most of the songs feature great vocal melodies that, if you're familiar with Belew's solo work, you'd have to agree must have come from Belew's pen. Whether it's the frenzied "Frame by Frame," the gentle "Matte Kudasai," or the bizarre "Indiscipline," Belew's trademark vocals and melodies make each of these tracks a new type of KC experience. One is tempted to say that, in this incarnation of KC, Belew's influence overshadows even Fripp's. Still, the old KC sometimes rears its head, such as the roaring Frippish guitars in parts of "Indiscipline" (brings to mind the "Larks' Tongues in Aspic" days).

Beat (1982)

Beat was the second of what many people consider to be a KC trilogy, a set of three related albums that started with Discipline and ended with Three of a Perfect Pair. First, the album covers of all three albums look as if they were designed to be a three-album set, what with the solid-color backgrounds trimmed with a single graphic and a single line of text. Also, Beat continues the musical path that the newly incarnated KC followed on the earlier release, Discipline, fitting in perfectly with the group's new musical vision. The group also comprises the same four musicians, Robert Fripp, Adrian Belew, Tony Levin, and Bill Bruford.

Adrian Belew is as strong a presence in this disc as he was on the previous one. The compositions are again very song oriented, with most tracks being in the four- to five-minute range and featuring well defined melodies and the extraordinary convoluted dual guitar parts of Fripp and Belew. This album also features what I consider to be one of Belew's finest compositions, "Heartbeat," a musically complex, yet entirely accessible, song that's been covered several times by other artists. One artist who covered this track is Al Kooper (of Blues Project, Blood, Sweat, and Tears, and Super Session fame), who, on his live album, Soul Of A Man: Live, commented, "I can't even begin to tell you how difficult this song is to play, cause Adrian Belew is nuts!" Beat is probably the best album from this era of King Crimson, a disc that, many years later, I still listen to with awe and wonderment.

Three Of A Perfect Pair (1983)

Three Of A Perfect Pair (what a great title) is not only the last of King Crimson's trilogy of the 1980's, but is also the last studio album KC would release for another decade. Just about everything I've said about the previous two albums can be applied here: The group comprises the same musicians, the compositions follow the same musical direction (though a little less song oriented), the Belew influence is strong (although this album is every bit as much Fripp's show), and so on. Three of a Perfect Pair is nearly as great as its predecessor, Beat, falling short only by not having a track as perfect as "Heartbeat" and the fact that the recording is a bit lackluster, though not enough to affect listening enjoyment. In fact, some people would just call the recording "warm."

What really sets this album off from the previous two, however, is KC's nod to their past, courtesy of the instrumental tracks "Nuages (That Which Passes, Passes Like Clouds)," "Industry," "No Warning," and especially "Larks' Tongues in Aspic, Part III." These tracks revisit KC's dark side, with pulsing beats, dreamy "Frippertronics," and raging guitar solos. Expect goose bumps! The track "Dig Me," which is a vocal number rather than an instrumental, is downright avant-garde, much more experimental than any tracks on Discipline and Beat. The same can be said about the nightmarish instrumental "No Warning." In fact, this album is the perfect mix of the original KC sound with the new, Belew-influenced sound, and was a suitable way to end the 80s.

Vroom (1994)

It would be ten long years after the release of Three of a Perfect Pair before a new King Crimson studio album would appear in the record store racks. But when it did, it would be an EP (only 31 minutes) of new material by a KC line-up affectionately known as the double trio, comprising two guitarists (Robert Fripp and Adrian Belew), two bassists (Trey Gunn and Tony Levin), and two drummers (Bill Bruford and Pat Mastelotto). Apparently, Fripp was so overjoyed with his new lineup that he couldn't wait to get the music out there. Thus, this EP, which is actually a recording of the group's rehearsals, was released as a hint of what was to come. (Or, to quote Mr. Fripp, "We present VROOOM as a calling card, rather than a love letter, to those generous enough to give it ears." Four of the six songs on this EP were to appear in more polished form on following album THRAK.

The CD's opening track "VROOOM," reminiscent of the series of "Larks Tongues" compositions, positively explodes from the speakers, heralding the return of a more experimental and powerhouse KC. The same is true of another instrumental here, "THRAK," a monstrous (in a good way) barrage of counterpoint rhythms, distorted guitars, and blasting percussion. Not for the weak hearted! Belew's vocal and compositional presence still makes itself known on this EP, but the sound, to these ears, is more Fripp than Belew. The guitars scream, the vocals shriek, the percussion roars. KC was back with a vengeance. About the only break your ears get from the sonic onslaught is on the beautiful closing song, "One Time," one of the four tracks that would appear again on the following album, THRAK.

THRAK (1995)

THRAK is the album for which the EP VROOOM was a warm up. Four of the 15 tracks on this disc appeared on the previous EP. Here, however, those four songs appear in their finished form and with full studio production. The group on this album is still the double trio from the VROOOM EP, and the sound continues in the direction forged on that EP. Now, however, Belew gets to do a lot more singing. Although there are 15 tracks on this album, and they are all on the short side, several of the songs segue into each other such that they appear to be extended compositions.

Tracks such as "VROOOM," "Dinosaur," "THRAK," and "VROOOM VROOOM" are among the best things KC has released, the first and last having strong stylistic ties to the landmark Larks Tongues in Aspic album. Other terrific tracks, such as the Lennon-esque "Walking on Air," as well as "People," and "Sex Sleep Eat Drink Dream" look back to the more song-oriented KC of the 80s. In fact, for folks who are looking to get started with King Crimson, this album would be a great place to start, as it offers a wide range of KC's compositional styles, from the gentle to the ferocious. This album, along with Larks Tongues in Aspic, is among my personal favorite KC recordings.

The ConstruKction Of Light (2000)

It took another long five years before King Crimson went back into the studio. (Over that time, Fripp stayed busy releasing many live KC albums.) ConstruKction of Light is a weaker album than its predecessor, THRAK, but is still a great album and was one of my favorite albums for the year 2000. (Even a slightly weak KC album is better than 99% of the other stuff out there.) Here, the double trio is gone, with a trimmer KC featuring Robert Fripp (of course!), Adrian Belew, Trey Gunn, and Pat Mastelotto, providing the talent. Gone -- not permanently, I hope -- are Bill Bruford and Tony Levin.

If anyone wonders whether Fripp and Belew actually have a sense of humor, they need look no further than the opening track on this disc, "ProzaKc Blues," which is a send-up of the blues genre with hilarious lyrics ("The thing about depression is, well, you just can't let it get you down") and a : shall we say, unique :vocal style -- Adrian Belew as a black blues singer! Definitely a bizarre and silly opening track that probably would have fit better later in the album, but still a lot of fun.

The rest of the album is more traditional KC fare, with several Belew-sung shorter tracks, as well as a few longer instrumental tracks. The short songs have that trademark Fripp/Belew sound that harkens back to the 80s KC, whereas the instrumentals are more restrained than the thunderous stuff from THRAK, but still often immensely powerful. This album also features the next in the "Larks Tongues" series of compositions, "Larks Tongues in Aspic, Part IV," probably the best track on the album, along with the nine-minute "FraKctured."

As of this writing, that brings you up to date with King Crimson's studio recordings. There are plenty of other KC-related albums to explore, however, including a library of collections, live recordings, and the so-called ProjeKct albums. The latter are recordings from club dates that Fripp did with various KC subgroups who performed mostly improvisational fare, with the idea of developing new KC material. King Crimson's full discography is huge, to say the least.