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Discipline


Price: CDN$ 18.89 & FREE Shipping on orders over CDN$ 25. Details
Only 9 left in stock (more on the way).
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Frequently Bought Together

Discipline + Larks' Tongues In Aspic + In The Court of the Crimson King
Price For All Three: CDN$ 50.64

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Product Details

  • Audio CD (Oct. 14 2011)
  • Number of Discs: 1
  • Label: Outside Music
  • ASIN: B00064WSNW
  • Other Editions: Audio CD  |  Audio Cassette  |  DVD Audio  |  LP Record  |  DVD
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (50 customer reviews)
  • Amazon Bestsellers Rank: #14,280 in Music (See Top 100 in Music)

1. Elephant Talk
2. Frame by Frame
3. Matte Kudasai
4. Indiscipline
5. The Hun Ginjeet
6. The Sheltering Sky
7. Discipline
8. Matte Kudasai (alternative version)

Product Description

Product Description

With this 1981 LP, King Crimson became one of the few bands to release a classic in three different decades. This was their highest-charting LP (#45) in 11 years, and that Fripp/Belew guitar interplay still dazzles; includes a bonus alternate version of Matte Kudesai !

Amazon.ca

The title says it all and the title track further demonstrates the concept as the band runs through a series of incredibly intricate, ever-changing guitar patterns and time signatures. When Robert Fripp resurrected the King Crimson banner for this 1981 release, he assembled an amazingly skilled--indeed, disciplined--group of musicians. But this record is not so much about skill as it is about transforming the complex into the beautiful. By turns explosive ("Indiscipline"), driving ("Thela Hun Ginjeet"), and quietly meditative ("The Sheltering Sky"), Adrian Belew (whose vocals and lyrics reflect his tenure with the Talking Heads) injects a degree of manic humor to the proceedings. All this technical proficiency would be for nothing if these weren't such wonderfully compelling songs. --Percy Keegan --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

4.7 out of 5 stars

Most helpful customer reviews

3 of 3 people found the following review helpful By A Customer on March 30 2005
Format: Audio CD
This is the first album from the 1980s incarnation of the band. Tony Levin (bass) and Adrian Belew (vocals, guitar, lyricist) join long-timers Robert Fripp (guitar) and Bill Bruford (drums) to make for the best set of musicians to grace the band. The sound is much leaner than before, with hints of the pop-ish sound that was to come. This album doesn't have a bad track. "Thela Hun Ginjeet" is a rocking guitar over a breathless narrative; "Matte Kudasai" is hauntingly beautiful; and "Frame by Frame", "Elephant Talk" and "Indiscipline" are very good too. The interplay of two guitars, percussion and bass is magical throughout, and Belew's vocals complement it perfectly. There are two instrumentals, and there's not an indulgent moment or sound on either. "Discipline" and the follow-up "Beat" are definite musts for your CD collection.
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3 of 3 people found the following review helpful By furbottle on Jan. 1 2008
Format: Audio CD
It's very hard to describe this album, because it doesn't really fit into any genre easily. If you're a KC fan and you don't own this album, then you are in for a treat. If you have never heard of King Crimson and you are an audiophile who can appreciate a great recording on it's own merits, you are in for a treat. If somebody told you about this album and you have never heard King Crimson and you are a fan of grooving, polyrhythmic, adventurous, genre-defying music played by world-class rock musicians, then you are in for a real treat. To top it off, Adrian Belew is a great vocalist. All very good reasons to check it out.
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1 of 1 people found the following review helpful By A. Platkin on June 13 2010
Format: Audio CD
This is the album that defines the "before and after" for the Fripp-style musicianship that so many people love, and so many alt-rock groups have tried (sometimes successfully) to replicate. Rhythmic patterns, guitar play, Belews's Talking-Heads-influenced outpouring (Brian Eno had earlier produced "Remain in Light", an album that is the mirror image of this one, where Belew did great work), layers and layers of guitar and pseudo-guitar, Tony just being there with the right note, Bill hitting the drums as if the Final Judgment had just sent a summons.
This is as close to perfection as anything that came out in the early 1980s. Better than everything Crimson did in the 1970s, which is a high bar already, and pretty much anticipating much of what was to come. "Beat" and "Three of a Perfect Pair" are great but never as good as this one.
With the entire British scene having fallen to pieces in the wake of punk, reggae, Elvis Costello, and that empty feeling of not being able to replace greatness (Led Zep, Peter Gabriel, Steve Winwood, The Who, The Stones, Eric Clapton, Jeff Beck: none of them was getting any younger) with pretensions (not just a pun about The Pretenders... U2 anybody? Duran Duran?), this album is a pretty lonely gem for its time.
Yet it is not for everybody though. For people who need neat melodies and comforting harmonies, satisfaction may come at too big of an expense. For the thinking person, this record is maybe the greatest achievement of its decade.
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By Lens Fortwright on April 20 2004
Format: Audio CD
I think this is a really great album. Most King Crimson albums are the type where you have to be into the band and listen to the album repeatedly before you can truly appreciate the music. Discipline, however, is more easily digestable. Truly awesome guitar work by Fripp and Belew make most of the songs here classic. Discipline is a fantastic instrumental. Right up there with Red and Larks' Tongues in Aspic. Probably the best song (at least the easiest to like) on the CD is Elephant talk. This, however, is where I have a big problem with the vocals. It just sounds like such weak singing (I know, it's not supposed to be sung, properly speaking, but listen to a live version of this song if you want to be blown away by Belew's voice). The live version on Vrooom Vrooom just ruined this studio recorded version for me. The guitar is (how to describe it? spacy? rythmatic?): Cool in this song and most of the other tracks. Instrumentally, (and vocally on some songs, not all) this is a fantastic piece of work. I can listen to it all the way through and grin the entire time (all the songs are along a similar line of thought and it sounds like a true Album, unlike their previous masterpiece Red, where the musical style varys wildly from track to track). Recommended to all music lovers.
Side Note: It took me a while to figure out that there's actually a bonus track on this. I kept thinking that Discipline sounded identical to Matte Kudesai because Discipline is listedas the last track on the CD. The last track is actually an alternate version of Matte Kudesai and is on the CD case, but not with the other tracks.
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Format: Audio CD
Robert Fripp is one of my favorite musicians. Not only is he an amazing guitarist and composer, his creation the immortal King Crimson embodies the term of "progressive rock" like no other band. Over its 30-year lifespan, King Crimson has undergone so many lineup alterations and changes in sound that it's hard to keep track, but the result is always true to Fripp's evolving vision.
After 1975's incredible Red, King Crimson was disbanded. Robert declared that he would continue to operate as "a small, intelligent, highly mobile unit" (whatever that means). After fruitful collaborations with David Bowie and Brian Eno, and his own experiments in ambeint music, Fripp decided to resurrect the King in 1981. Except for "batterie" Bill Bruford, the lineup was new (and stayed unchanged for more than one album, a Crimson first). Adrian Belew, formerly of the Talking Heads, was the new vocalist and also added a second guitar, while session master Tony Levin added his ample talents on bass as well as the Chapman Stick, a 12-string instrument that is a prominent feature in this and later Crimson releases.
What's really noticeable is how big of a departure Discipline is from Red. No longer the heavy, cerebral, avant/fusion/metal of the previous lineup, the new lineup sounds more like the Talking Heads taken in a more "prog" direction (being a fan of the T-Heads, that is a compliment). Bruford's polyrhythmic African-sounding percussion is a standout. He relies way more on his skins and very rarely on cymbals, which is a major change from his previous style. Moreover, his drumming is less "busy" here, less jazzy. The twin guitars add a totally new element to the band--no longer does Fripp dominate. There are lots of fleet arpeggiated guitar lines, often in harmony with each other.
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