Founded by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and lyricist Peter Sinfield, the band initially focused on a dramatic sound layered with Mellotron, McDonald's saxophone and flute, and Lake's powerful lead vocals. Their debut album, In the Court of the Crimson King (1969), remains their most commercially successful and influential release, with a potent mixture of jazz, classical and experimental music. Following the sudden simultaneous departures of McDonald and Giles, with Lake also leaving very shortly afterwards, Fripp and Sinfield assumed direction of the group for In the Wake of Poseidon (1970), Lizard (1970), and Islands (1971) with Mel Collins, Boz Burrell and Ian Wallace among the band members during this period. In 1972, Fripp changed the group's instrumentation and approach, drawing from European free improvisation, and developing ever more complex compositions. With Bill Bruford, John Wetton, David Cross and briefly, Jamie Muir, they reached what some saw as a creative peak on Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974). Fripp disbanded this group in 1974.
In 1981, Fripp and Bruford reformed King Crimson with another change in musical direction. The new group also included Adrian Belew and Tony Levin. They drew influence from African music, gamelan, post-punk and New York minimalism. This group lasted three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). Following a decade-long hiatus, Fripp revived the group as a sextet he called the "double trio" in 1994 adding Pat Mastelotto and Trey Gunn. This group participated in another three-year cycle of activity that included the release of Thrak (1995), and multiple concert recordings. There was a hiatus between 1997 to 2000. Four members of the previous sextet reunited in 2000 as a more industrial-oriented King Crimson, called the "double duo", releasing The Construkction of Light (2000) and The Power to Believe (2003). After a five year hiatus, the group expanded (in the person of new second drummer Gavin Harrison) for a 2008 tour celebrating the 40th anniversary of their 1968 formation.
Following another hiatus (2009–2012), during which Fripp was thought to be retired, King Crimson came together again in 2013; this time as a septet (and, later, octet) with an unusual three-drumkit frontline, and new second guitarist and singer Jakko Jakszyk. This version of King Crimson continued to tour from 2014 to 2021, and released multiple live albums, rearranging and reinterpreting music from across the band's entire 50-year career for the first time.
Full Wikipedia article: https://en.wikipedia.org/wiki/KingCrimson
Studio albums
In the Court of the Crimson King (1969)
In the Wake of Poseidon (1970)
Lizard (1970)
Islands (1971)
Larks' Tongues in Aspic (1973)
Starless and Bible Black (1974)
Red (1974)
Discipline (1981)
Beat (1982)
Three of a Perfect Pair (1984)
Thrak (1995)
The Construkction of Light (2000)
The Power to Believe (2003)
(NOTE: Album covers, band images and YouTube links are not available due to certain legal restrictions imposed on Last.fm by King Crimson's management.)
Waiting Man
King Crimson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I come back, come back
You see my return
My returning face is smiling
Smile of a waiting man
I, I be home soon, soon, soon, soon
Your shoulder against my burning tears
Tears of a waiting man
One, two, three, four, one, two, three
I wait every moment
I wait, wait for my chance
I wait for my friend to say
Hello, you waiting man
Feel no fret, feel no fret, feel no fret
You can wait and feel no fret
And so I wait, so I wait, so I wait, so I wait
I return face is smiling
Be home soon cry on your shoulder
Tears of a waiting man
Every moment wait for my chance
My friend say hello feel no fret, feel no fret
You can wait and I wait and I wait
And home I am
The lyrics to King Crimson's "Waiting Man" describe the emotions of a man who is waiting to be reunited with a loved one. He is hopeful and eager to return home soon, as symbolized by his smiling face. However, he is also experiencing burning tears and waiting with anticipation for his friend to say hello and reassure him that he can continue waiting without fear or worry.
The song's time signature, which alternates between 7/8 and 4/4, adds to its sense of tension and anticipation. The repeating phrase "feel no fret" also emphasizes the importance of patience and the need to focus on positive emotions rather than negative ones.
Overall, the lyrics reflect a sense of longing and vulnerability, as well as a determination to remain stalwart and faithful even in the face of uncertainty and hardship.
Line by Line Meaning
I, I
The singer is introducing themselves, possibly to indicate that they have been away for some time.
I come back, come back
The singer has returned from wherever they were previously.
You see my return
The singer seeks acknowledgement from someone who was aware of their departure.
My returning face is smiling
The artist is happy to see the person they returned to.
Smile of a waiting man
The artist conveys that they have been waiting for their return, but are now happy to be back.
I, I be home soon, soon, soon, soon
The singer expects to leave again soon, possibly indicating that their return is temporary.
Cry on your shoulder
The singer may need comfort or reassurance from the person they returned to.
Your shoulder against my burning tears
The artist is emotionally overwhelmed and needs support from the person they returned to.
Tears of a waiting man
The artist is suggesting that they have been longing for their return, causing an emotional outburst.
One, two, three, four, one, two, three
The artist is counting down time, possibly to their departure.
I wait every moment
The singer is waiting for something important to happen, possibly relating to their departure.
I wait, wait for my chance
The artist is anticipating an opportunity, which they may need to take when it arises.
I wait for my friend to say
The singer is waiting for someone they know to give them instructions or advice.
Hello, you waiting man
The singer may be greeting themselves, or someone else who is also waiting for something to happen.
Feel no fret, feel no fret, feel no fret
The singer is reassuring themselves, or someone else, that there is no need to worry.
You can wait and feel no fret
The artist is suggesting that waiting does not have to be stressful or uncomfortable.
And so I wait, so I wait, so I wait, so I wait
The artist is emphasizing the amount of waiting they have done or will continue to do.
I return face is smiling
The singer is happy to return again, even if only temporarily.
Be home soon cry on your shoulder
The singer plans to return home again soon, and may require emotional support when they do.
Tears of a waiting man
The artist is acknowledging their own emotional state, and that they have been waiting for some time.
Every moment wait for my chance
The artist is suggesting that they are always waiting for something important to happen.
My friend say hello feel no fret, feel no fret
The artist is reminding themselves or someone else that there is no need to worry, and that they have a friend nearby.
You can wait and I wait and I wait
The singer is motivating themselves or someone else to continue waiting, even if it is difficult.
And home I am
The artist has reached their destination, and may finally be able to rest after a period of waiting and uncertainty.
Lyrics © Universal Music Publishing Group
Written by: Adrian Belew, Anthony Charles Levin, Robert Fripp, William Scott Bruford
Lyrics Licensed & Provided by LyricFind
yotorecords
How can this be 40 years old, and still sounds like something from the future. This era of King Crimson with Adrian Belew was just incredible.
Primitive In The Extreme
fully agree.
susana rosa rojas
Absolutely right.
I Can See For Miles
Well said! So happy to hear all these songs today ❤
Bobo Obob
So true! Bill Bruford. Find the live version of this here on YouTube. If you think this is great you'll be truly amazed!!
I Can See For Miles
@Bobo Obob You're so right!
Fleurs bruyantes
The most underrated King Crimson track and it's even better in the live versions.
Jean-Marie Tschanz
"better in the live versions" I vote for saying the stick & drums tones in Japan sound better than in this studio track (back 30 years ago I wouldn't care and surf in Heaven on that track, without thinking of more gorgeous tones so that it'd create new expectations)... As for getting the piece together esp Adrian Belew taking time leaving his pads before crazy feedback solo, this spoils it...
Playing it live as fluently and neatly as in studio is yet to be done !
Igor Rodrigues
the one live in frejus is awesome
Ramawajee
I agree, frejus live version much better especially the drum sessions