King Crimson Albums Ranked — An In Depth Analysis into the Founders of Prog
Considering all of the progressive rock bands I have done album rankings for, King Crimson was an inevitability. Arguably the first true ‘prog’ band. And it still doesn’t get more prog than this. I mean, sure, you had The Moody Blues before that, and even Yes had released their debut album by the time the band had gotten it’s start, but 1969’s In The Court of the Crimson King is what I consider to be the earliest example of true prog.
But regardless of all these labels that, at the end of the day, don’t matter all to much, there is no way to downplay the legacy, the discipline, and the genius of these musicians. But from 1969 up until 2021 (on and off), through many lineup changes, and many stylistic changes, you had one constant: the man himself, Robert Fripp, and King Crimson is that guy’s baby, and over the years, he only recruited the best of the best. The ‘beasts in their fields’ as he’d put it.
To clarify, I will not be covering live albums obviously, sorry USA and Earthbound. I will not be covering the EPs, or so called ‘mini-albums’. Sure, they are longer than the average Slayer album, but still, they’re EPs. That’s Vrooom and Happy with What You Have to be Happy With, as solid as they are.
With all that sorted, let us begin from the top.
13 — The ConstruKction of Light (2000)
Best song: Larks’ Tongues in Aspic, Pt. IV
Worst song: ProzaKc Blues
It’s not that 2000’s The ConstruKction of Light is a bad album, but it certainly isn’t a great King Crimson album. I think it’s sort of indicative of a creative burnout the group may have been experiencing. Some argue this album is too creative, but to me it seems like a sort of rehash of old stuff. I think the vocal effect on ProzaKc Blues is… not my favourite, to say the least. I also feel like the production is a bit dull in parts, although I did like the bass tone in Larks’ Part IV, but I think this album could have done with the production of it’s follow up The Power to Believe (2003). Fripp himself was displeased with the album, and stated that the album ‘doesn’t convey the power of the music to a greater extent than any of the [other King Crimson] studio albums’.
Highlights for me include The ConstruKction of Light, FraKctured and Lark’s Tongues in Aspic Pt. IV, and not much else if I’m honest (though thats a good chunk of the album’s runtime). I do think that Larks’ Tongues in Aspic, Pt. IV is a worthy follow up, and FraKctured was supposed to be Larks’ Pt. V, until it suddenly bore more similarities to the Starless and Bible Black (1974) song Fracture. King Crimson fans would have to wait until 2003 for Larks’ Pt. V.
The ConstruKction of Light is a bit of a dull offering compared to other King Crimson studio albums, and even the best songs are named after and reuse leitmotifs from other past King Crimson songs. I don’t think it’s a bad album, but it’s not my favourite, personally.
12 — Three of a Perfect Pair (1984)
Now, I wanted to love 1984’s Three of a Perfect Pair, but I just couldn’t. I thought it was solid. Good even. But I just didn’t enjoy it as much as I did Beat (1982) or Discipline (1981), but I just couldn’t.
In all fairness, I do like this album. I think it’s got some great moments; Three of a Perfect Pair and Larks’ Tongues in Aspic, Pt. III come to mind, particularly the latter, with that awesome groove at the end. I enjoy the exploration of new genres, particularly the Industrial and Post-punk elements which are rare in prog. I think the instrumentals are great — I mean, the Fripp — Belew — Levin — Bruford lineup is incredible. However, I prefer the overall composition in both Discipline and Beat, and I prefer the more simple structure of those albums.
Some highlights for me are Three of a Perfect Pair, Model Man, Sleepless, and Larks’ Tongues in Aspic, Pt. III, and I also appreciate the instrumentals on Side B. I like this album, I think it’s a decent way to cap off this era of the band, but I didn’t enjoy it as much as Discipline and Beat.
11 — THRAK (1995)
Best song: Sex Sleep Eat Drink Dream
Worst song: One Time
THRAK kicks off the double trio era of King Crimson beautifully. It also caps off the double trio era of King Crimson beautifully (it’s the only album to feature the double trio lineup). Forget the number, I really like this album. The group goes full Industrial here. Well, prog then industrial, but still, the industrial elements found in Three of a Perfect Pair are amplified here. This sound is also distinctive as this album features the ‘double trio’ lineup of guitarists Adrian Belew and Robert Fripp, bassists Tony Levin and Trey Gunn, and drummers Pat Mastelotto and Bill Bruford.
This album is where vocalist Adrian Belew proves his versatility. He continues with his previous new-wave vocal style, but he throws in some John Lennon-isms and adds in some extra aggression, and, well, I bet Greg Lake was proud. Of course, you have Robert Fripp with the mellotron and soundscapes, which helps retain that King Crimson sound.
Some highlights on the album for me would have to be VROOOM, Dinosaur, Walking on Air, Thrak, Sex Sleep Eat Drink Dream, and VROOOM VROOOM. Overall THRAK ranks lower for me because the style is quite simply not my favourite Crimson, but nevertheless, I think this album is still pretty awesome.
10 — Beat (1982)
Best song: Waiting Man
Worst song: Two Hands
This is the point where that higher number starts to become more and more irrelevant, because I enjoy Beat, not quite as much as 1981’s Discipline, but still quite a bit. I think the songwriting is brilliant, granted the songs tend to blend in to each other — I find it difficult to differentiate them. Nevertheless, the Fripp — Belew — Levin — Bruford lineup continues to perfect their craft, and I feel that this album is a worthy enough follow-up to Discipline. The instrumentals remain awesome, some great cooperation between the Fripp and Belew, brilliant Chapman Stick and Bass playing from Tony Levin, and Bill Bruford, of course, is in a league of his own. I love the new ground explored in this album, whether it be the avant-garde inspired Waiting Man, the synth dominated Satori in Tangier, and the classic Crimson-esque Requiem.
Some highlights for me include Neal and Jack and Me, Satori in Tangier, Waiting Man, and Neurotica. Beat is a great experience, and while I don’t think it’s quite as good as Discipline, I think that it’s a worthy successor at the very least.
9 — Starless and Bible Black (1974)
Best song: Fracture
Worst song: Lament
Starless and Bible Black is an outlier in the King Crimson catalogue. The first two tracks were recorded in the studio completely, The Night Watch’s intro is live, but they used a studio recording for the rest of it, the songs We’ll Let You Know, Trio, The Mincer, and Starless and Bible Black are all live improvisations and Fracture is a live recording with studio overdubs. To call this album experimental would be an understatement. I don’t really count it as a live album, so I’m putting it here.
I like this album, I think it’s unique and it shows the musicianship of these guys brilliantly. It features a similar lineup to Lark’s Tongues in Aspic, but without percussionist Jamie Muir. The Fripp — Wetton — Bruford — Cross lineup remains awesome, but this album is probably my least favourite album from this era of the group. Picking a least favourite 69–74 era King Crimson album is like picking the worst chip from the bag; they’re all great, and there is no bad one. I feel like the reason I rank this lower is because, as much as I love the live improv stuff, I just think that this album maybe relies a bit too much on that.
Some highlights for me would be The Great Deceiver, The Night Watch, The Mincer, and Fracture. Starless and Bible Black is, once again, a very good album, I’d just say it’s almost too experimental for me, with the free improvisation style being dominant, and over half the album being live.
8 — The Power to Believe (2003)
Best song: Level V
Worst song: The Power To Believe (Pt. III)
The final King Crimson studio album is surprisingly good. As a follow up to The ConstruKction of Light, it’s no contest, this album wins. As a finale to King Crimson’s discography, it’s also pretty cool.
The Fripp — Belew — Gunn — Mastelotto lineup strikes again, and compositionally, this is such an improvement. And you have another instalment in the Lark’s suite, in the form of Level V, a gritty, aggressive, industrial piece which can be compared to the likes of bands like Ministry and Tool. The Larks’ Pt. V thing was confirmed by a box set in 2017, calling it ‘truly LTIA Pt V in all but name’, and then Fripp himself confirmed this. Level V also bears some resemblance to the guitar interplay on Discipline (1981). I also think the Power to Believe suite is pretty awesome — I especially like the sort of acapella, soundscape, and avant-garde bits bear much resemblance to the Peace suite from In the Wake of Poseidon (1970).
Some highlights for me would be Level V, Eyes Wide Open, Elektrik, The Power to Believe (Pt. II), Dangerous Curves, and Happy With What You Have to Be Happy With. Overall I think that The Power to Believe is a great way to cap off a brilliant discography, and I think it’s a very good album on it’s own.
7 — Lizard (1970)
Best song: Lizard
Worst song: Lady of the Dancing Water
I really like Lizard (Sorry Robert Fripp), I think all five songs are at the very least good, and of course, there is the only 20 minute epic in King Crimson’s discography, the title track Lizard. And of course, Lizard is the only King Crimson album to feature vocalist and bassist Gordon Haskell as well as drummer Andy McCulloch. The short lived Fripp — Haskell — Collins — McCulloch lineup is underrated in my opinion, I mean, Andrew McCulloch seems a great drummer, and I like Haskell’s voice, even if his range is a bit limited.
Stylistically, this was the start of a tonal shift to more of a jazz fusion sound, which was cemented in the bands next release, Lizard (1971). This time was turbulent for the group, as only a year after its debut album, only one original member remained, Fripp, of course. Nevertheless, this album is very good, with Cirkus and Lizard being my absolute highlights, both are brilliant compositions and they both show Gordon Haskell at his best. I’d also list Indoor Games as a highlight, I think that track is extremely underrated.
Even though Fripp resents this album, calling it ‘unlistenable’ (although he would later revise his opinion upon hearing the Steven Wilson remix), I think this album is very enjoyable, and the title track, the 20 minute opus Lizard, is a masterpiece.
6 — Discipline (1981)
Best song: Frame By Frame
Worst song: The Sheltering Sky
Initially, Robert Fripp was going to name this new group ‘Discipline’ rather than the album, but instead he reformed King Crimson with himself as guitarist, Adrian Belew as a vocalist and guitarist, Tony Levin on the bass and the Chapman Stick, and Bill Bruford back on drums. This lineup was different. To me it’s a sort of mix of the oddball new wave style of Talking Heads and standard Crimson prog. Thela Hun Ginjeet is a perfect example of this, as it’s a sort of standard new wave thing on paper, but it even starts out with a 7/8 over 4/4 polyrhythm.
There are many great stories surrounding this album, like Tony Levin bringing the Chapman Stick in, Adrian Belew actually getting jumped by criminals on the street (the second part of Thela Hun Ginjeet is him telling the band what happened), but that’s for another day.
Some highlights for me would include Elephant Talk, Frame By Frame, Matte Kudasai, Indiscipline, and Thela Hun Ginjeet. Discipline is such a different album stylistically, and it was one of three albums from this lineup (the others being Beat (1982) and Three of a Perfect Pair (1984)). I personally really like this album, even if its different from what came before in the 70s, and it came really close to being in my top 5 on this list.
5 — In The Wake of Poseidon (1970)
Best song: In The Wake Of Poseidon
Worst song: The Devil’s Triangle
The beginning of the turbulent era of King Crimson. After Ian McDonald left, Mel Collins was brought in as the band’s woodwinds player, and around this time, vocalist and bassist Greg Lake was approached by Keith Emerson to form Emerson, Lake and Palmer. Drummer Michael Giles also followed. When Lake’s position was uncertain, Elton John was actually booked to sing on recording sessions for this album, but Fripp had second thoughts and cancelled, and then Lake left the band. Lake had already recorded most of the vocal tracks, but future vocalist Gordon Haskell filled in for the track Cadence and Cascade, while Michael Giles’ brother Peter Giles, whom Michael Giles and Fripp had worked with in a group called Giles, Giles and Fripp, filled in on bass. There was also Keith Tippett who played piano.
All of this left a mark on the album, one that can certainly be heard. A total of eight musicians worked on the album, with two filling in for others. But In The Wake of Poseidon is still a great album, and a worthy follow up to In The Court of the Crimson King (1969), although it feels like they were trying to remake it in some ways. A good example of this would be Pictures of a City, which feels like a rehash of 21st Century Schizoid Man. And I found that the title track, In The Wake of Poseidon, sounds like a Court of the Crimson King Pt. II in many ways.
I still think there is lots to love about this album, I think the Peace bits are great introductions and interludes, those tracks that I listed above are still awesome, and more of In the Court of the Crimson King is never a bad thing. Some highlights for me would be Pictures of a City, Cadence and Cascade In the Wake of Poseidon and Cat Food. In the Wake of Poseidon is a good album, don’t get me wrong, but it doesn’t tread as much new ground as some of their other albums.
4 — Islands (1971)
Best song: Islands
Worst song: The Letters
Why have I ranked Islands so high? It’s a great album, so shush.
I really like this style of King Crimson, and the Fripp — Burrell — Collins — Wallace — Sinfield lineup is great and I think Boz, in particular, is a very underrated vocalist. I also cannot understand for the life of me why this album is so controversial. Sure it’s different, sure it’s slow, but it’s so proggy and jazzy — surely the average King Crimson fan should love this album, but I digress. I, for one, really like the jazz direction. I prefer the direction the band took with their follow up Lark’s Tongues in Aspic, but I’m glad this album exists still. I think Boz Burrell is a super underrated vocalist. I know other King Crimson fans don’t like his vocals much, but I think it fits the slower and more mellow mood of the album really well. Critics often call the album’s composition aimless, but I think it’s really creative and jazzy. Islands just has a certain vibe to it, a sort of chill vibe. I maintain it’s a great album.
Some highlights for me include Formentera Lady, Sailor’s Tale, Prelude — Song Of The Gulls, and the magnificent title track, Islands. I maintain that Islands is a masterpiece, and I think that everything about it is super underrated.
3 — Larks’ Tongues in Aspic (1973)
Best song: Larks’ Tongues in Aspic (Part II)
Worst song: Book of Saturday
As much as I love Islands, this was definitely the right direction for the band to take. The introduction of vocalist and bassist John Wetton, Violinist David Cross, Drummer Bill Bruford (of Yes fame), and percussionist Jamie Muir created the third iteration of the King Crimson. John Wetton is tied as my favourite vocalist of the group, along with Greg Lake, and Bill Bruford is my favourite King Crimson drummer by far. Compositionally this album is fantastic, and lyrically (when there are lyrics) are pretty cool, although they are no Epitaph for lyrics.
This album also introduces the Larks’ Tongues In Aspic suite, which would continue on and off throughout the years until 2003. This album features Parts One and Two, and both are brilliant.
Some highlights of this album for me would be Larks’ Tongues in Aspic Parts One and Two, Easy Money, and The Talking Drum. Larks’ Tongues in Aspic remains one of my favourite albums of all time. It’s an absolute masterpiece, and every prog fan should listen to it.
2 — In The Court of the Crimson King (1969)
Best song: 21st Century Schizoid Man
Worst song: Moonchild
Possibly the most important album in progressive rock history, but I’m ranking this based on personal opinion, and there are only really two contenders for first place, and this is one of them, but it’s not my personal favourite, although it’s pretty damn close. What else can be said about this album that hasn’t been said already? I mean it’s the album that created prog as we know it. All five songs are brilliant, the only reason I put Moonchild as my worst was because of the nearly 10 minute ambience that can get a little tedious, but it serves a purpose. 21st Century Schizoid Man was and still is so influential. That song changed and revolutionised music. If not for this track, we wouldn’t have Yes, Rush, Jethro Tull, Tool, Gentle Giant, Focus, Dream Theater, Emerson, Lake and Palmer, (at least in all of their state) and the list goes on. I Talk to the Wind, Epitaph and Court of the Crimson King came close to winning that best song prize, but it had to be 21st Century Schizoid Man. All five songs here are amazing.
If I had to pick a top three, it would have to be 21st Century Schizoid Man, Epitaph, and Court of the Crimson King. I don’t need to waffle on about this album much more, because you’ve heard it all before. It’s a masterpiece, and a crucial piece in music history, it’s just not my number one.
1 — Red (1974)
Best song: Starless
Worst song: Providence
Man, I love Red. King Crimson hit it out of the park with this one, and Starless is my favourite King Crimson song. This album has something for everyone; The badass instrumental (Red), the more grounded tracks (Fallen Angel, One More Red Nightmare), the awesome improvisation (Providence), and the mind bending opus (Starless (yes it has to do with Starless and Bible Black (1973)). If you haven’t listened to this album, I seriously recommend it. Seriously recommend it. It has the Starless and Bible Black lineup, minus David Cross, so they became prog’s second best power trio for one album (Fripp — Wetton — Bruford).
My top three would have to be Starless, Fallen Angel, and Red. Those three songs are immaculate. They are just perfect. If you have not listened to this album, once again, listen to it. It’s perfection.
Conclusion
It was only a matter of time before I’d do a King Crimson album ranking. To call the group influential would be an understatement. They are not only that, for they bent the fabric of music as so few could do. The band lasted over 50 years on and off from 1969–2021. In that time they produced 13 studio albums, none of which were bad at all, and it had many members throughout its history.
All of this is thanks to guitarist Robert Fripp, who stayed with the project through turbulence, and he endured all of the members leaving, and he never lost his genius.
(Below I have gathered photos of a few important lineups in the band’s history)
