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In the Court of King Crimson
King Crimson’s 1969 masterpiece In The Court Of The Crimson King, was a huge U.S. chart hit. The band followed it with 40 further albums of consistently challenging, distinctive and innovative music. Drawing on hours of new interviews, and encouraged by Crimson supremo Robert Fripp, the author traces the band’s turbulent history year by year, track by track.
256 pages, Paperback
First published March 1, 2002
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January 12, 2020
This is for King Crimson fans only. But if you are one then you will want to read this.
Sid Smith knows his stuff and has perceptive comments on the music.
Be aware that although the total page count is a shade over 600 pages, the book is split into 4 main sections.
1 A history of the band. This is around 360 pages
2 After Crimson. Potted biogs of the band members work after leaving KC. Around 30 pages
3 Track by track details for each of the band's studio albums. 90 pages
4 Annotated Gigography. 120 pages. This covers Mr Smith's notes on a multitude of audience bootleg recordings uploaded to the DGM website. For me, less than essential
Sid Smith knows his stuff and has perceptive comments on the music.
Be aware that although the total page count is a shade over 600 pages, the book is split into 4 main sections.
1 A history of the band. This is around 360 pages
2 After Crimson. Potted biogs of the band members work after leaving KC. Around 30 pages
3 Track by track details for each of the band's studio albums. 90 pages
4 Annotated Gigography. 120 pages. This covers Mr Smith's notes on a multitude of audience bootleg recordings uploaded to the DGM website. For me, less than essential
March 5, 2020
This second edition (I never had the first) of the authorized biography of King Crimson was released for the fiftieth anniversary of their first appearance. I put it this way because Crimson are an intermittent band, who periodically come into existence, usually for only a few years, always with a new lineup. The only constant member among these incarnations - seven to nine, depending on how you count - is guitarist Robert Fripp, who spent deacades trying to convince us and himself that a Crimson without him was possible, but has finally given that up.
The research for the book is extensive; Smith interviewed every member of the band up to early 2019, except for one who refused to talk to him. In addition he had access to the Discipline Global Mobile archives (the company instituted to release Crimson music on an unsuspecting world), and to the diaries of a couple of members, as well as a host of articles and reviews from the music press and - well, lots of stuff.
King Crimson had its roots in an act called Giles, Giles, and Fripp, who played a sort of twee (if slightly Pythonesque in places) music-hall pop music. Michael Giles (drums) and Peter Giles (bass) advertised for a piano player who could sing, but somehow hired Fripp, a guitarist who could not, as their third member. They went to London seeking fame and fortune, and found neither. Their one album sold something on the order of 600 copies in its initial release.
Eventually GG&F were joined by woodwind player Ian MacDonald and singer Judy Dible (recently of Fairport Convention). After a while, Dyble left, and Peter Giles was eased out (by Fripp's machinations) in favor of bass player and singer Greg Lake. Lyricist Peter Sinfield completed the first incarnation of King Crimson (the name suggested by Sinfield, as a reference to Beelzebub). In addition to the instruments already listed, Fripp and MacDonald played a keyboard instrument called the Mellotron, a sort of orchestra-in-a-box with severe limits and a tendency to go out of tune; but it gave them the ability to produce a huge sound. In addition to their own tunes, they would frequently close a concert with a rendition of the "Mars" movement of Holst's _Planets_.
This band hit it big fast. Within six months they shared a stage with the Rolling Stones, in Hyde Park in front of an audience in the hundreds of thousands. Talk about exposure! Their first album _In the Court of the Crimson King_, shot up the charts in the U.K., and to a lesser extent in the US. Naturally, a US tour was booked, with the plan of "breaking" the band in the US. Instead, the band broke up at the end of the tour; McDonald and Giles left first (and produced one album together which might be considered an "alternate Crimson"); shortly afterwards, Lake left to co-found Emerson Lake and Palmer.
It was a year and a half before Fripp managed to assemble another King Crimson capable of touring. In the meanwhile, with various players, he released two more King Crimson albums. The second Crimson lasted a little longer, about a year and a half, before imploding, again in the United States.
Fripp quickly put together a new band which many consider the definitive incarnation: with drummer Bill Bruford (ex-Yes), bass player/singer John Wetton (ex-Family), percussionist Jamie Muir and violin-keyboard player David Cross, this Crimson was a take-no-prisoners outfit who played very little of the older material, and spent significant parts of each show in pure improvisation. Muir left first, and the band carried on as a quartet for about two years and one studio album, until Cross departed following another massively-attended outdoor show, this one in New York's Central Park. The trio released one more album, and then Fripp surprised Wetton and Bruford by informing the music press that King Crimson was over "forever".
Forever, in this case, meant seven years...
But you don't want to hear all that. That's what the book is for, right?
The actual biography takes up slightly under 400 pages of the volume's 608. The remainder is taken up with two long sections: a track-by-track examination of every King Crimson studio album (plus the GG&F album and Macdonald and Giles's one album), and an "annotated gigography". I rather resent this latter.
You see, Discipline Global Mobile has huge numbers of King Crimson concerts available for digital download at their website. The "gigography" is actually nothing more than a collection of the blurbs for these concert downloads. I managed to read through the whole thing, but it made my brain hurt. In sequence, these become extremely repetitive, and effectively constitute little more than an advertisement for the downloads.
Still, the main book and the track-by-track are, between them, more than worth the money I paid for this tome. It probably isn't of interest to anyone who isn't already a fan of the band, but there are more of us than you might think.
The research for the book is extensive; Smith interviewed every member of the band up to early 2019, except for one who refused to talk to him. In addition he had access to the Discipline Global Mobile archives (the company instituted to release Crimson music on an unsuspecting world), and to the diaries of a couple of members, as well as a host of articles and reviews from the music press and - well, lots of stuff.
King Crimson had its roots in an act called Giles, Giles, and Fripp, who played a sort of twee (if slightly Pythonesque in places) music-hall pop music. Michael Giles (drums) and Peter Giles (bass) advertised for a piano player who could sing, but somehow hired Fripp, a guitarist who could not, as their third member. They went to London seeking fame and fortune, and found neither. Their one album sold something on the order of 600 copies in its initial release.
Eventually GG&F were joined by woodwind player Ian MacDonald and singer Judy Dible (recently of Fairport Convention). After a while, Dyble left, and Peter Giles was eased out (by Fripp's machinations) in favor of bass player and singer Greg Lake. Lyricist Peter Sinfield completed the first incarnation of King Crimson (the name suggested by Sinfield, as a reference to Beelzebub). In addition to the instruments already listed, Fripp and MacDonald played a keyboard instrument called the Mellotron, a sort of orchestra-in-a-box with severe limits and a tendency to go out of tune; but it gave them the ability to produce a huge sound. In addition to their own tunes, they would frequently close a concert with a rendition of the "Mars" movement of Holst's _Planets_.
This band hit it big fast. Within six months they shared a stage with the Rolling Stones, in Hyde Park in front of an audience in the hundreds of thousands. Talk about exposure! Their first album _In the Court of the Crimson King_, shot up the charts in the U.K., and to a lesser extent in the US. Naturally, a US tour was booked, with the plan of "breaking" the band in the US. Instead, the band broke up at the end of the tour; McDonald and Giles left first (and produced one album together which might be considered an "alternate Crimson"); shortly afterwards, Lake left to co-found Emerson Lake and Palmer.
It was a year and a half before Fripp managed to assemble another King Crimson capable of touring. In the meanwhile, with various players, he released two more King Crimson albums. The second Crimson lasted a little longer, about a year and a half, before imploding, again in the United States.
Fripp quickly put together a new band which many consider the definitive incarnation: with drummer Bill Bruford (ex-Yes), bass player/singer John Wetton (ex-Family), percussionist Jamie Muir and violin-keyboard player David Cross, this Crimson was a take-no-prisoners outfit who played very little of the older material, and spent significant parts of each show in pure improvisation. Muir left first, and the band carried on as a quartet for about two years and one studio album, until Cross departed following another massively-attended outdoor show, this one in New York's Central Park. The trio released one more album, and then Fripp surprised Wetton and Bruford by informing the music press that King Crimson was over "forever".
Forever, in this case, meant seven years...
But you don't want to hear all that. That's what the book is for, right?
The actual biography takes up slightly under 400 pages of the volume's 608. The remainder is taken up with two long sections: a track-by-track examination of every King Crimson studio album (plus the GG&F album and Macdonald and Giles's one album), and an "annotated gigography". I rather resent this latter.
You see, Discipline Global Mobile has huge numbers of King Crimson concerts available for digital download at their website. The "gigography" is actually nothing more than a collection of the blurbs for these concert downloads. I managed to read through the whole thing, but it made my brain hurt. In sequence, these become extremely repetitive, and effectively constitute little more than an advertisement for the downloads.
Still, the main book and the track-by-track are, between them, more than worth the money I paid for this tome. It probably isn't of interest to anyone who isn't already a fan of the band, but there are more of us than you might think.
November 28, 2015
"They took 12 hours to get a drum sound... and it was still shite. They shouldn't have used drums--they should have used my dick. That would have pleased Richard Williams!" - Gordon Haskell
...My favorite quote of the book.
...My favorite quote of the book.
January 1, 2020
A pretty extensive and detailed biography covering fifty years of The Mighty Krim, one of the most interesting and forward thinking bands in rock history. It summarizes the story behind all of the lineup changes and albums pretty well. The book also includes an extensive description of songs from each album, as well as a short description of concerts being available to download from the artist's website. Recommended for fans mostly.
I didn't enjoy the last part however, the one covering the current lineup. I see no need for the author to excuse the band or defacto band leader Robert Fripp's decisions.
I didn't enjoy the last part however, the one covering the current lineup. I see no need for the author to excuse the band or defacto band leader Robert Fripp's decisions.
March 17, 2020
Definitely not a quick read, but a really in depth look at one of my favourite bands in it's various incarnations. Ever reinventing itself, King Crimson is an absolute stalwart of the Progressive Rock world and with good reason (whether Fripp likes the term or not). Sid Smith does a fantastic job with chronicling the band from it's barest beginnings up through 2003 (and we know it's gone through more changes since). Besides the historical meanderings, he has a wonderful way of describing music that is almost indescribable, in the final section, the "Annotated Gigography," which doesn't cover every single date, but certainly covers a lot of territory, quite vividly. Decidedly a wonderful book for lifelong Crimson fans.
I was able to catch some live shows of this band during the Wetton-as-singer/bassist era in the 70's in Los Angeles, and then in 1995 in Denver. I so wish I'd been able to attend many more shows, as the descriptives of the shows are just fantastic and you realize how much each individual show has it's own character, as so much is improvised by the band and always has been. Hopefully I will see them one more time at least in this lifetime.
Some standout lines from the book, in my opinion and perhaps to pique your interest:
"The album and the band would become regarded as standard bearers in the progressive rock movement of the 1970's. In 1969 progressive was a term applied to folk, blues, jazz and other forms of music and generally taken to mean it was moving forward or making a break with accepted traditions. It as not until the end of the '70's that the term became a generic pigeonhole."
Describing the three drummers in the front configuration, Fripp says: "...what is creative thinking? You look at something and the answer appears in front of you. It's not a rational process. A creative insight is instantaneous."
From Bill Rieflin: " Crimson is a living, vibrating organism - it's like all of the point on a circle, each one has equal value but essentially it's an organism working to find it's way."
In describing the idea of no real front person for the band around 2014 (and a way of dealing with RF's dislike of flash photography," In much the way as a classical chamber orchestra might be presented, the visual focus rested solely upon the ensemble."
"Talking to music journalist Mark Derry in 1984, Fripp said: 'Most people assume that a musician creates music, but I don't look at it that way at all - I'd say music creates the musician. In time, one develops a relationship with the music where it's not what one requires of the music but what the music requires of the musician. And it's only at this point that anything worthwhile happens - where you recognise that music not only has a life of its own that the life the music has is more real than life itself.'"
Trey Gunn on his part on Warr guitar on "The ConstruKction of Light," title track: "I was so up about this track, I wanted to do more, but I ran out of hands!"
"Listening to music wakes us up both superficially and profoundly. It makes us feel fiercely alive, or as though we are discovering some arcane, secret knowledge. It can make us experience a clarity of thought that borders on the mystic. That it can do all of this, and so much more, speaks to the remarkable, transformative power it carries."
"Half a century on the formation of KC, the world is a profoundly different place. In 1969 it looked and felt a though music could, and might, change the world....where it once was the only game in town it has now become incidental music on a game - or a muted soundtrack to a much bigger game.....Music has joined wisdom in William Blake's 'desolate market where none come to buy.'...In a world bent out of shape by greed, cynicism and paranoia, it turns out that nothing we've got, we really need."
I was able to catch some live shows of this band during the Wetton-as-singer/bassist era in the 70's in Los Angeles, and then in 1995 in Denver. I so wish I'd been able to attend many more shows, as the descriptives of the shows are just fantastic and you realize how much each individual show has it's own character, as so much is improvised by the band and always has been. Hopefully I will see them one more time at least in this lifetime.
Some standout lines from the book, in my opinion and perhaps to pique your interest:
"The album and the band would become regarded as standard bearers in the progressive rock movement of the 1970's. In 1969 progressive was a term applied to folk, blues, jazz and other forms of music and generally taken to mean it was moving forward or making a break with accepted traditions. It as not until the end of the '70's that the term became a generic pigeonhole."
Describing the three drummers in the front configuration, Fripp says: "...what is creative thinking? You look at something and the answer appears in front of you. It's not a rational process. A creative insight is instantaneous."
From Bill Rieflin: " Crimson is a living, vibrating organism - it's like all of the point on a circle, each one has equal value but essentially it's an organism working to find it's way."
In describing the idea of no real front person for the band around 2014 (and a way of dealing with RF's dislike of flash photography," In much the way as a classical chamber orchestra might be presented, the visual focus rested solely upon the ensemble."
"Talking to music journalist Mark Derry in 1984, Fripp said: 'Most people assume that a musician creates music, but I don't look at it that way at all - I'd say music creates the musician. In time, one develops a relationship with the music where it's not what one requires of the music but what the music requires of the musician. And it's only at this point that anything worthwhile happens - where you recognise that music not only has a life of its own that the life the music has is more real than life itself.'"
Trey Gunn on his part on Warr guitar on "The ConstruKction of Light," title track: "I was so up about this track, I wanted to do more, but I ran out of hands!"
"Listening to music wakes us up both superficially and profoundly. It makes us feel fiercely alive, or as though we are discovering some arcane, secret knowledge. It can make us experience a clarity of thought that borders on the mystic. That it can do all of this, and so much more, speaks to the remarkable, transformative power it carries."
"Half a century on the formation of KC, the world is a profoundly different place. In 1969 it looked and felt a though music could, and might, change the world....where it once was the only game in town it has now become incidental music on a game - or a muted soundtrack to a much bigger game.....Music has joined wisdom in William Blake's 'desolate market where none come to buy.'...In a world bent out of shape by greed, cynicism and paranoia, it turns out that nothing we've got, we really need."
July 15, 2020
I read and enjoyed the first edition of this biography of one of my favorite rock bands, but was frustrated because there had been nearly 20 years of Crimsoning since it was published. The new edition brings things up to date, and will be welcomed by all fans of the band.
I read this after bailing on a dry, boring music biography. Smith's book, to use a cliché, reads like a novel, due to the tensions that arose in almost lineup of the band. Each reader will come to his or her own conclusions about the sources of those tensions.
I read this after bailing on a dry, boring music biography. Smith's book, to use a cliché, reads like a novel, due to the tensions that arose in almost lineup of the band. Each reader will come to his or her own conclusions about the sources of those tensions.
February 17, 2022
(Review of the second edition, 2019). Six hundred pages covering the history, entire recorded output song-by-song, and dozens of concert bootlegs of one of the great progressive rock bands might sound like the best thing ever. Unfortunately, author Sid Smith does not write very well, and the volume is incompetently typeset, making the entire thing feel like some shoddy self-published thing. Except for the description of the bootlegs, most of the detail herein (and much more) can be found on the internet.
May 27, 2020
For a fan like me it was very interesting. Well written and very thorough
December 31, 2024
La "bandografía" de uno de mis grupos favoritos, “In The Court of King Crimson” ofrece un recorrido detallado y apasionado por la trayectoria de KING CRIMSON, una de las bandas más influyentes del rock progresivo. La edición de 2019 de "In The Court of King Crimson" es una versión ampliada y revisada que celebra el legado de 50 años de la banda. Sid SMITH actualiza su biografía de 2002, combinando un análisis meticuloso de la música, los cambios constantes en la alineación y las tensiones creativas que marcaron la evolución del grupo, incorporando los desarrollos más recientes de la banda, incluidos los años de gira y la revitalización del proyecto bajo la visión implacable de Robert FRIPP.
Con entrevistas inéditas, anécdotas reveladoras y un análisis musical minucioso, Smith captura la esencia cambiante y siempre desafiante de KING CRIMSON, que a mi me ayudó a entender mucho mejor la música de este grupo, elevando mi nivel de apreciación en al menos un orden de magnitud.
El volumen de más de 600 páginas puede parecer intimidante y exagerado, pero está dividido en 4 secciones que facilitan mucho la lectura; poco más de la mitad se dedica a una cronología detallada del desarrollo de la banda, desde años antes de su formación hasta la celebración del 50° aniversario de la banda en 2018. La segunda parte, bastante corta, nos informa de los quehaceres de los ex-miembros de todas las diferentes encarnaciones del grupo, para seguir con un análisis detallado de cada álbum grabado en estudio, corte a corte. Finalmente, la última sección (prescindible) se dedica a listar una inmensa cantidad de grabaciones de conciertos, disponibles en el sitio web de la banda.
Esta edición es una obra definitiva que no solo contextualiza la historia del grupo, sino que también honra su impacto duradero en la música progresiva y experimental. Es una lectura que no se puede perder ningún fan del progresivo que desee comprender el arte sin concesiones de una banda que continúa siendo única.
Con entrevistas inéditas, anécdotas reveladoras y un análisis musical minucioso, Smith captura la esencia cambiante y siempre desafiante de KING CRIMSON, que a mi me ayudó a entender mucho mejor la música de este grupo, elevando mi nivel de apreciación en al menos un orden de magnitud.
El volumen de más de 600 páginas puede parecer intimidante y exagerado, pero está dividido en 4 secciones que facilitan mucho la lectura; poco más de la mitad se dedica a una cronología detallada del desarrollo de la banda, desde años antes de su formación hasta la celebración del 50° aniversario de la banda en 2018. La segunda parte, bastante corta, nos informa de los quehaceres de los ex-miembros de todas las diferentes encarnaciones del grupo, para seguir con un análisis detallado de cada álbum grabado en estudio, corte a corte. Finalmente, la última sección (prescindible) se dedica a listar una inmensa cantidad de grabaciones de conciertos, disponibles en el sitio web de la banda.
Esta edición es una obra definitiva que no solo contextualiza la historia del grupo, sino que también honra su impacto duradero en la música progresiva y experimental. Es una lectura que no se puede perder ningún fan del progresivo que desee comprender el arte sin concesiones de una banda que continúa siendo única.
February 18, 2021
A “tome” is defined as a large, heavy, scholarly book. This is definitely a tome. It’s 600 pages, my wrists are sore from holding it up for hours and it has to be the most in depth exploration of a musical group ever put to print.
King Crimson, of course, aren’t an everyday group. Led (in every way), by guitarist Robert Fripp, the group has morphed through umpteen incarnations over its 50 plus years. The Godfather of progressive rock with its 1969 album In The Court of the Crimson King; the, now 7-8 headed Crim is more popular than ever, with sellout shows and an online sales presence that any band would envy.
Smiths book is quite remarkable for the detail that is applied to this history despite the numerous amazing musicians who have been members. A wonderful addition at the end of the book is an index with full histories of all the main participants. This section had me scurrying through Spotify to look for albums I didn’t know existed. . Additionally there is a full annotated discography and a large section of concert reviews. The text itself is about 370 pages, leaving 230 pages for the appendix but you will want to read it all.
This book is for the King Crimson fan and if you are a fan you just have to read it, it’s that simple Crimson followers generally know most of this but not this detailed. The Belew-Fripp ending, the Bruford-Fripp relationship, really Fripp and everyone. The bits and pieces displayed here for every era are really impressive. To call it a pageturner is a slight. Sleep kept getting in my way as I wanted to read more.
I saw King Crimson in 1971, 1995 and then in 2018 and 2019 and will see them hopefully a few more times. Their music is soft and loud, gorgeous and cacophonous, melodic and atonal but you hate when it ends. And the players are among the most versatile and skilled in music of any kind.
King Crimson has never been my favorite group and I prefer some versions over others, but it has always played at a higher level than most, it’s always been so, so interesting and even now, 52 years later, it’s the best version of itself it has ever been.
This book is a magnificent retelling of the story of King Crimson and the best tome I ever had.
King Crimson, of course, aren’t an everyday group. Led (in every way), by guitarist Robert Fripp, the group has morphed through umpteen incarnations over its 50 plus years. The Godfather of progressive rock with its 1969 album In The Court of the Crimson King; the, now 7-8 headed Crim is more popular than ever, with sellout shows and an online sales presence that any band would envy.
Smiths book is quite remarkable for the detail that is applied to this history despite the numerous amazing musicians who have been members. A wonderful addition at the end of the book is an index with full histories of all the main participants. This section had me scurrying through Spotify to look for albums I didn’t know existed. . Additionally there is a full annotated discography and a large section of concert reviews. The text itself is about 370 pages, leaving 230 pages for the appendix but you will want to read it all.
This book is for the King Crimson fan and if you are a fan you just have to read it, it’s that simple Crimson followers generally know most of this but not this detailed. The Belew-Fripp ending, the Bruford-Fripp relationship, really Fripp and everyone. The bits and pieces displayed here for every era are really impressive. To call it a pageturner is a slight. Sleep kept getting in my way as I wanted to read more.
I saw King Crimson in 1971, 1995 and then in 2018 and 2019 and will see them hopefully a few more times. Their music is soft and loud, gorgeous and cacophonous, melodic and atonal but you hate when it ends. And the players are among the most versatile and skilled in music of any kind.
King Crimson has never been my favorite group and I prefer some versions over others, but it has always played at a higher level than most, it’s always been so, so interesting and even now, 52 years later, it’s the best version of itself it has ever been.
This book is a magnificent retelling of the story of King Crimson and the best tome I ever had.
June 6, 2019
An uncompromising history of a rock band that had, as percussionist Jamie Muir said, "more than three brain cells." The never-ending personal and musical clashes chronicled here make it all the more remarkable that King Crimson managed to produce so much excellent music.
Every fan of the band will have his or her favorite passages. One of mine concerns the aforementioned Jamie Muir, whose tenure with the band was short, but memorable:
Every fan of the band will have his or her favorite passages. One of mine concerns the aforementioned Jamie Muir, whose tenure with the band was short, but memorable:
(Paul) Wetton and (Bill) Bruford were completely taken aback when they saw Jamie on stage. Nothing in the rehearsal rooms had given a hint of this. With obvious affection, Bruford recalls: "He was a remarkable guy and a performance artist as well. I didn't really understand that percussion was only part of it. The performance art was another side to him and he would cheerfully scale the PA stacks while the band was playing, with blood pouring out of his mouth and a little caveman fur jacket on, looking like a complete wild man."
December 31, 2019
Sid Smith published the definitive King Crimson bio in 2002. Much has happened in the ensuing couple of decades, so his thoroughly updated version is most welcome !
At over 600 pages, this is not one of those music bios which dig deep into the early years and then powers through the latter years in a chapter.
Sid has interviewed pretty much every member of the band past and present and gives a detailed, balanced overview of 50 years of amazon music.
ITCOKC is one of the finest music biographies I've read and well worth the time if you have any interest in Crimson, and the enigmatic Mr Fripp !!
At over 600 pages, this is not one of those music bios which dig deep into the early years and then powers through the latter years in a chapter.
Sid has interviewed pretty much every member of the band past and present and gives a detailed, balanced overview of 50 years of amazon music.
ITCOKC is one of the finest music biographies I've read and well worth the time if you have any interest in Crimson, and the enigmatic Mr Fripp !!
March 25, 2020
Do you want to know everything about King Crimson? Then read this book!
Of course, you can’t know everything about a band, but this book is a pretty good approximation of it. Recommended for fans of the band at all levels. Now I want to go back and listen to all the albums (especially the lesser listened to ones in my collection, like MCDONALD & GILES), and give them another listen.
Of course, you can’t know everything about a band, but this book is a pretty good approximation of it. Recommended for fans of the band at all levels. Now I want to go back and listen to all the albums (especially the lesser listened to ones in my collection, like MCDONALD & GILES), and give them another listen.
December 7, 2019
As a huge fan of the Group I found this book very rewarding to read. You get the group's history over 50 years. It took time to read because I had to take out the Records and look them over as I passed them in the book
December 12, 2019
Without a doubt the best book on King Crimson! On the other hand the only competitor is the previous edition of this book. The final 125 pages of annotated gigography was a rather tiresome read and is probably better used as a reference library.
December 28, 2019
If you love KC you'll love this.
March 1, 2018
Sid Smith is such a good writer, so expressive about the songs, an incredible wordsmith. I so much enjoyed playing all the songs while reading his descriptions. It was like listening to them all anew. As good as they all are, this book made them better for the most part anyways..
The interviews and capturing of the scenes in the life of this very special band are likewise illuminating, almost like you're travelling with KC. I almost cried over Fripp's heartbreak when McDonald left, and felt that the author shadowed McDonald's confusion, discontent so realistically.
Where Smith stumbles, it's where most of the rock and pop culture authors do, feeding us wide-eyed accounts of sex and drug usage. Personally I think these are cheap shots. I could care less. At these junctures, the book descends to the tabloid level.
In another insult to the reader, Smith slips out of character and seems to be reviewing the band's records, like when discussing "Pictures of a City," he proclaims that "...Schizoid Man" had already "charted much of this territory." Really!? I beg to differ. I think Smith should better comprehend that his work is going to be devoured by people who worship the musical ground his subjects trod.
The interviews and capturing of the scenes in the life of this very special band are likewise illuminating, almost like you're travelling with KC. I almost cried over Fripp's heartbreak when McDonald left, and felt that the author shadowed McDonald's confusion, discontent so realistically.
Where Smith stumbles, it's where most of the rock and pop culture authors do, feeding us wide-eyed accounts of sex and drug usage. Personally I think these are cheap shots. I could care less. At these junctures, the book descends to the tabloid level.
In another insult to the reader, Smith slips out of character and seems to be reviewing the band's records, like when discussing "Pictures of a City," he proclaims that "...Schizoid Man" had already "charted much of this territory." Really!? I beg to differ. I think Smith should better comprehend that his work is going to be devoured by people who worship the musical ground his subjects trod.
November 1, 2022
A solid book that is just shy of being as interesting as it could be.
The elements are all here--who recorded what, when; where did the band record; the chronology of albums. Unfortunately, it's what's missing that would have made this a must read.
I have no idea how King Crimson's sound changed over time or why. I don't know what the band thought of most of the albums. I have no idea of what life was like on the road for the band. I learned absolutely nothing about the personality of the band members.
Smith occasionally dips into the writing process but the book is basically a running journal with no anecdotes. "The band recorded this album next with a list of the tracks and some general information about each one. Then the band went on tour. Then the band got together to record the next album..."
I didn't learn much about how Tony Levin felt as a member of the band or what his real contributions were. How does Bill Bruford feel about the latest incarnation of King Crimson? Why was Belew left out of the newest touring band? All of these are questions unexplored.
It's a solid book and has a lot of history. It just doesn't touch on the white spaces outside of the sentences.
The elements are all here--who recorded what, when; where did the band record; the chronology of albums. Unfortunately, it's what's missing that would have made this a must read.
I have no idea how King Crimson's sound changed over time or why. I don't know what the band thought of most of the albums. I have no idea of what life was like on the road for the band. I learned absolutely nothing about the personality of the band members.
Smith occasionally dips into the writing process but the book is basically a running journal with no anecdotes. "The band recorded this album next with a list of the tracks and some general information about each one. Then the band went on tour. Then the band got together to record the next album..."
I didn't learn much about how Tony Levin felt as a member of the band or what his real contributions were. How does Bill Bruford feel about the latest incarnation of King Crimson? Why was Belew left out of the newest touring band? All of these are questions unexplored.
It's a solid book and has a lot of history. It just doesn't touch on the white spaces outside of the sentences.
February 4, 2024
The definitive book on the history of King Crimson, containing information not found on news snippets, social media posts, or even Robert Fripp’s diary. Learned more about Ian and Michael’s departure after the first album, the 1974 breakup, the steps towards the 1981 reformation and the most recent revival, including why that was the most harmonious version of the band.
January 10, 2025
Very entertaining for the hardcore Crim fan. Well researched. A bit tedious in spots, particularly near the end. Finally, I would have appreciated a full discography and/or some more technical information in the song-by-song portion (players, when recorded, where, who produced, instrument info, etc). As written, that portion is primarily additional stories about the song.
April 2, 2020
Great book. 5 stars if it had an index and simple discography, family tree.
March 11, 2022
This book is massive! But that is to be expected with this many years of history to talk about...
An absolutely fantastic overview of the history behind this amazing band! Highly recommended to fans.
An absolutely fantastic overview of the history behind this amazing band! Highly recommended to fans.
September 15, 2023
The ultimate biography on the ultimate band. Any KC devotee must read this.
March 21, 2022
A must-read for King Crimson fans.
August 10, 2012
One of the great ironies about my relationship with my favorite band is that I first "discovered" King Crimson nearly a year after they dissolved in 1984. As such, my initial education came from listening to the band's albums.
In the internet era, I began to learn more and more. But Sid Smith's excellent volume puts things in order for me. I knew a lot of what was covered in this book. But there was also plenty to read about that I didn't know.
My only gripe has nothing to do with the author or his work at all. He stopped the book just as Crimson was preparing to record "The Power to Believe," released in 2003. As that release is probably my favorite since "Discipline" in 1981, I would have loved to learn more about the process that went into that album. But if I am reading my blogs correctly, I will be getting my wish soon, as Sid is updating this work. It is also my understanding that there will be a lot more input from Robert Fripp (aside from his approval of the project).
But until that book surfaces, this book will more than suffice to learn about all things King Crimson.
In the internet era, I began to learn more and more. But Sid Smith's excellent volume puts things in order for me. I knew a lot of what was covered in this book. But there was also plenty to read about that I didn't know.
My only gripe has nothing to do with the author or his work at all. He stopped the book just as Crimson was preparing to record "The Power to Believe," released in 2003. As that release is probably my favorite since "Discipline" in 1981, I would have loved to learn more about the process that went into that album. But if I am reading my blogs correctly, I will be getting my wish soon, as Sid is updating this work. It is also my understanding that there will be a lot more input from Robert Fripp (aside from his approval of the project).
But until that book surfaces, this book will more than suffice to learn about all things King Crimson.
June 19, 2020
When the first edition of this book was released, it seemed kind of expensive to me so I thought I'd wait and pick up a copy used. But it turned out that it was twice the price so I never got a copy. When this edition was published, I ordered it right away. I generally prefer first editions to later ones, but this book has quite a bit of new meat, so to speak.
One of my favorite things about this book is that, although Sid Smith is the author, the bulk of the words are the words of the various participants in the events described. I find this valuable, as we see things from multiple points of view, and sometimes those viewpoints are in direct opposition.
The book tells the story of the band, but also of Fripp. All former members and most of the supporting session players' stories are told as well, but not to the same degree. We get a full description of the development of Fripp's solo works but Belew's solo work is mentioned more in passing. I don't see this as a shortcoming, because King Crimson is, in many respects, Robert Fripp.
If you're not a Crimson fan, you'll have little or no interest. I found it fascinating and illuminating.
One of my favorite things about this book is that, although Sid Smith is the author, the bulk of the words are the words of the various participants in the events described. I find this valuable, as we see things from multiple points of view, and sometimes those viewpoints are in direct opposition.
The book tells the story of the band, but also of Fripp. All former members and most of the supporting session players' stories are told as well, but not to the same degree. We get a full description of the development of Fripp's solo works but Belew's solo work is mentioned more in passing. I don't see this as a shortcoming, because King Crimson is, in many respects, Robert Fripp.
If you're not a Crimson fan, you'll have little or no interest. I found it fascinating and illuminating.
September 4, 2014
Having followed King Crimson since 1969 I ploughed into this book eagerly & was not disappointed. In some ways it's as uncompromising as their music. Although the author is a fan he is most definitely not a fan boy & criticizes where he sees fit. It's a pity the book stops just short of their final (so far) studio album The Power To Believe, for me their best ever. King Crimson is a bunch (several bunches) of serious musicians led by a serious curmudgeon who have constantly created serious music for the serious listener; with a couple of playful diversions into Cat Food territory. They have never toured Australia but I did get to see the Adrian Belew & Tony Levin-led Crimson ProjeKct this year & it was truly awesome. Fripp has recently formed yet another new Crimson, minus Belew but with 3 drummers (including Porcupine Tree's Gavin Harrison). They won't tour Australia either (bastards!) so I'll have to wait for the inevitable live CDs. Long may they reign.
August 27, 2022
Everything you ever wanted to know about the thing called King Crimson, Robert Fripp's ever-evolving life's pursuit of the ultimate not-Rock, not-Progressive band, written with the full cooperation of all involved.
The first 400 pages provide a detailed history of each phase of the band. The remaining 200 are devoted to bios of each member, track by track discussion of each album, and detailed descriptions of gigs/sessions available on CD or download. I can't imagine anyone who isn't a fan being motivated to pick up this 600+ page tome, but I'd consider it essential for the rest of us.
When the book was announced in early 2019, I had hopes for a large format book with lots of color photos of album covers, live shots, etc. Alas, the photo section is only 8 pages of small black and white photos (21 in all). And there’s no index. Other than those shortcomings, I highly recommend this.
The first 400 pages provide a detailed history of each phase of the band. The remaining 200 are devoted to bios of each member, track by track discussion of each album, and detailed descriptions of gigs/sessions available on CD or download. I can't imagine anyone who isn't a fan being motivated to pick up this 600+ page tome, but I'd consider it essential for the rest of us.
When the book was announced in early 2019, I had hopes for a large format book with lots of color photos of album covers, live shots, etc. Alas, the photo section is only 8 pages of small black and white photos (21 in all). And there’s no index. Other than those shortcomings, I highly recommend this.
May 20, 2020
You need to be a fan to want to plough through all this KC minutiae. I am, and hence the 5 stars.
I scratched numerous notes in the margins, mostly MUST LISTEN, when a tune/album/artist was mentioned as having been an influence or a forerunner or a connection to a KC tune or band member.
At the end of the history are three lists: I didn't find the third one (concert recordings) too helpful or interesting, but the first two were, on past band members and a track-by-track analysis.
Two sections which I read & re-read were the falling out between Robert & Adrian, and Jakko's arrival. Interesting perspectives.
Altogether a very good read.
I scratched numerous notes in the margins, mostly MUST LISTEN, when a tune/album/artist was mentioned as having been an influence or a forerunner or a connection to a KC tune or band member.
At the end of the history are three lists: I didn't find the third one (concert recordings) too helpful or interesting, but the first two were, on past band members and a track-by-track analysis.
Two sections which I read & re-read were the falling out between Robert & Adrian, and Jakko's arrival. Interesting perspectives.
Altogether a very good read.
December 22, 2020
As a longtime fan of the band I found this book really enjoyable. I was very curious about it and so I decided to read it in english rather then to wait for an Italian translation: it took a while but it was well worth the time spent. It is not only very accurate, but also beautifully written: for everyone who wants to navigate deep into Kcrimsoning, this is THE book.
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