People who know me a bit, have learned that I can get very enthousiastic about the band King Crimson. Their debut album in 1969 with the song 21st Schizoid man, came at the moment of discovery of a lot of new musical and other inspiring things in my life. King Crimson music is hard to describe, it changes over the years and continues to amaze me.
King Crimson has one constant factor, Robert Fripp, guitar player, composer and often heard on that melodic instrument called the mellotron.
McDonald and Giles and Greg Lake, and text writer Peter Sinfield were on the first albums, giving it a magical sound. The line up with Bill Bruford and John Wetton was in my opinion the best ever.
Larks Tongues in Aspic, Red, One more Nightmare.
This is the band I saw perform in the Concertgebouw, of which many fragments were on the studio albums. But not so long ago The Nightwatch album was released, containing almost all of that performance of one the most powerfull bands ever
The most obvious of the King Crimson themes is composition by the use of a gradually building rhythmic motif. The Holst Mars that the first King Crimson played is a clear example of this, with its complex pulse in 5/4 time over which strings and winds—or, as played by King Crimson, mellotron—play a skirling melody above. This piece evolved into “The Devil’s Triangle”, a piece composed on variations of the central theme of Mars, split into three parts which were increasingly removed from the original Mars, on the In the Wake of Poseidon album. It was followed by many other forms, from “The Talking Drum” in 1973 (on Larks’ Tongues in Aspic), “Industry” in 1984 (on Three of a Perfect Pair) all the way to “Dangerous Curves” in 2003 (on The Power to Believe).