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Discipline (King Crimson album)
Discipline (King Crimson album)
Discipline (King Crimson album)
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Discipline
Studio album by
King Crimson
Released2 October 1981
RecordedMay and June 1981
StudioIsland (Notting Hill, London)
Genre
Length38:15
Label
Producer
King Crimson chronology
A Young Person's Guide to King Crimson
(1976) 		Discipline
(1981) 		Beat
(1982)
King Crimson studio chronology
Red
(1974) 		Discipline
(1981) 		Beat
(1982)
Singles from Discipline
  1. "Matte Kudasai"
    Released: November 1981
  2. "Thela Hun Ginjeet"
    Released: 1981 (Spain)

Discipline is the eighth studio album by the English progressive rock band King Crimson, released by E.G. Records in the United Kingdom on 2 October 1981.[1] Warner Bros. Records released the album in the United States the same month.[2]

This album was King Crimson's first following a seven-year hiatus; only co-founder and guitarist Robert Fripp and drummer Bill Bruford remained from previous incarnations of the band. They were joined by two American musicians: vocalist, guitarist and frontman Adrian Belew, previously a member of Frank Zappa and David Bowie's backing bands and a touring member of Talking Heads, and bassist, Chapman Stick player, and backing vocalist Tony Levin, a session musician Fripp had met while both were working with Peter Gabriel.[3]

The album introduced a new sound for the band, influenced by new wave, post-punk, minimalism and Indonesian gamelan music,[3][4] while retaining an experimental character, helping lay the groundwork for what would eventually become known as post-progressive rock.[5] Music publications have described Discipline as having elements of art rock,[6] progressive rock,[6] new wave,[7] and dance-rock.[8]

Background

[edit]

Shortly before the release of Red in 1974, King Crimson bandleader Robert Fripp decided to disband the group, stating in an interview with Trouser Press magazine that "King Crimson is completely over. For ever and ever."[9][10] In the interim, following a brief period of retirement from the music industry, Fripp collaborated with musicians including Brian Eno, Peter Gabriel and David Bowie and released a series of albums. A King Crimson reunion was considered in 1977 but ultimately rejected by Fripp, so the two other members from the Red lineup, Bill Bruford and John Wetton, formed the band U.K.. In 1979, Fripp released the solo album Exposure, kickstarting a period that he dubbed the "Drive to 1981"; this concluded once his band The League of Gentlemen dissolved in late 1980.[9]

Fripp had sought to assemble a new band that would grant him "access to the latest, current ideas, [and] the best musicians" while still touring with The League of Gentlemen.[11] He then recruited Bruford, Tony Levin, and Adrian Belew to form the band Discipline, which performed live with the Lounge Lizards in the United Kingdom throughout parts of 1981.[12][13] Fripp later opted to rename Discipline to King Crimson after concluding that "there was no doubt that the band playing was King Crimson."[11]

Composition and recording

[edit]

The title of the ballad "Matte Kudasai" means “please wait” in Japanese (待って下さい). The original release of Discipline featured a guitar part on this track by Fripp that was removed from the 1989 "Definitive Edition" remaster and most subsequent editions. The 30th and 35th anniversary editions of the album include both versions of the song.[14]

The lyrics of "Indiscipline" were adapted from a letter written to Adrian Belew by his then-wife Margaret concerning a painting that she had made, with all direct references to its subject removed.[15]

The title of "Thela Hun Ginjeet" is an anagram of "heat in the jungle", a euphemism for urban crime. When it was first performed live, some of its lyrics were improvised around an illicit recording made by Robert Fripp of his neighbours having a vicious argument when he was living in Manhattan; this recording is featured on the track "NY3" on Fripp's solo album Exposure.[citation needed] While "Thela Hun Ginjeet" was being recorded, Adrian Belew, walking around Notting Hill Gate with a tape recorder looking for lyrical inspiration, was harassed first by a gang that took and played the tape and then by police who searched the tape recorder for drugs. On returning to the studio, he gave his bandmates a distraught account of what had just happened to him. Fripp covertly signaled to the recording engineer to record Belew, and this recording is featured on the Discipline version of the track.[16]

"The Sheltering Sky", which heavily features Belew and Fripp on the Roland GR-300 guitar synthesizer,[17] is named after and partially inspired by the 1949 novel of the same name by Paul Bowles. Bowles is often associated with the Beat Generation, the writings of which would inform King Crimson's subsequent studio album Beat.[9]

Later versions of Discipline featured this design by Steve Ball.

Some live versions of "Elephant Talk", "Indiscipline", and "Thela Hun Ginjeet" included vocal improvisation during the spoken-word sections.[18]

The back cover features the statement, "Discipline is never an end in itself, only a means to an end". The original front cover features a variation on a copyrighted Celtic knot design by George Bain.[19] As it was found to be used without proper licensing, it was replaced on later releases by a knotwork designed by Steve Ball on commission from Fripp.[20][21] Ball's design is also used as the logo of Fripp's record label, Discipline Global Mobile.

Reception

[edit]
Professional ratings
Review scores
SourceRating
All About JazzStarStarStarStarStar[22]
AllMusicStarStarStarStarHalf star[23]
The Encyclopedia of Popular MusicStarStarStar[24]
MojoStarStarStarStar[25]
MusicHound RockStarStarStarStarHalf star[26]
QStarStarStarStar[27]
Record MirrorStarStarStarStar[28]
Rolling StoneStarStarStar[29]
The Rolling Stone Album GuideStarStarStarStarHalf star[30]
The Village VoiceB[31]

Discipline reached number 41 on the UK Albums Chart[32] and received mixed to positive reviews. John Piccarella's review in Rolling Stone praised King Crimson's talent and artistry, particularly Belew and Fripp's "visionary approach to guitar playing", but criticised the "arty content" of the album itself, hoping that "this band of virtuosos [would stay] together long enough to transform all of their experiments into innovations."[29] Record Mirror's Alan Entwistle was generally enthusiastic, writing that the band "tests new ground and revitalises older ground"; he highlighted the "more mature" second side of the album, noting its "distinct songs that are danceable as well as disciplined".[28] Robert Christgau of The Village Voice described the album as "musically, not bad—the Heads meet the League of Gentlemen".[31] In The Village Voice's year-end Pazz & Jop poll, Discipline was voted by critics as the 35th best album of the year.[33]

Greg Prato's retrospective review in AllMusic commended the album's "inspired performances", particularly applauding the unexpectedly successful combination of Belew and Fripp's disparate playing styles: "the pairing of these two originals worked out magically."[23] Trouser Press characterised the album's songs as "unfolding musical sculptures, played with precision and rare imagination" and "a mostly successful synthesis of ambition, simplicity and Kraftwerkian clarity."[8]

Legacy

[edit]

In 2002, Pitchfork ranked Discipline at number 56 on its list of "The Top 100 Albums of the 1980s"; in the album's entry on the list, staff writer Dominique Leone cited it as an influence on math rock and called it "as angular and tense as any post-punk group while as precise and rhythmically propulsive as a Bartók string quartet."[34]

In 2024, Adrian Belew and Tony Levin formed BEAT with Steve Vai and Tool drummer Danny Carey, performing music by the 1980s incarnation of King Crimson. This included material from Discipline as well as the subsequent albums Beat and Three of a Perfect Pair.[35][36]

Track listing

[edit]

All music written by Adrian Belew, Robert Fripp, Tony Levin and Bill Bruford; all lyrics written by Adrian Belew.

Side A
No.TitleLength
1."Elephant Talk"4:43
2."Frame by Frame"5:09
3."Matte Kudasai"3:47
4."Indiscipline"4:33
Total length:18:12
Side B
No.TitleLength
5."Thela Hun Ginjeet"6:26
6."The Sheltering Sky" (instrumental)8:22
7."Discipline" (instrumental)5:13
Total length:20:01

Personnel

[edit]
King Crimson
Production personnel

Charts

[edit]
Chart (1981–82) Peak
position
Canada Top Albums/CDs (RPM)[39] 18
Dutch Albums (Album Top 100)[40] 43
French Albums (SNEP)[41] 17
Japanese Albums (Oricon)[42] 33
New Zealand Albums (RMNZ)[43] 13
Swedish Albums (Sverigetopplistan)[44] 37
UK Albums (OCC)[45] 41
US Billboard 200[46] 45

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Discipline (King Crimson album)

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from Grokipedia
Discipline is the eighth studio album by the English progressive rock band King Crimson, released on 22 September 1981 by E.G. Records. It marked the band's reformation after a seven-year hiatus following their 1974 album Red, introducing a new lineup of guitarist and founder Robert Fripp, vocalist and guitarist Adrian Belew, bassist Tony Levin (on bass guitar and Chapman Stick), and drummer Bill Bruford. Produced by and engineer , the was recorded at studios in , including Advision and Basing Street. Running for 38 minutes, Discipline features seven tracks, including the singles "" and "," blending intricate rhythms, angular guitar work, and experimental structures. The represented a radical stylistic departure for the band, incorporating new wave, , and influences while retaining progressive elements, and it received widespread critical acclaim for its innovative sound. Upon release, Discipline charted in the UK and US, peaking at number 41 on the UK Albums Chart and number 45 on the , signaling a commercial resurgence for . Its influence extended to subsequent works, launching an era of the band's output with albums like Beat (1982) and Three of a Perfect Pair (1984), and tracks such as "Elephant Talk" and "Frame by Frame" became staples in live performances. The album's legacy endures as a pivotal work in , praised for revitalizing the genre amid the rise of and punk derivatives.

Background and Formation

Historical Context

King Crimson disbanded in September 1974, shortly after the release of their album and the conclusion of its supporting tour, with leader announcing the group's end and declaring his intention to operate henceforth as "a small, intelligent, highly mobile unit." This decision marked the close of the band's initial era, amid internal tensions and Fripp's desire for a creative reset following years of intense touring and recording. In the years immediately following the breakup, Fripp immersed himself in a series of high-profile collaborations that exposed him to emerging musical trends beyond progressive rock. He contributed guitar to Brian Eno's ambient project Music for Films (recorded in 1976 and released in 1978), including on the track "Slow Water," and co-produced Eno's Evening Star (1975) using innovative tape-loop techniques known as Frippertronics. Fripp also played on David Bowie's Berlin-era albums, notably providing distinctive guitar solos on Heroes (1977), such as the soaring lines in the title track, at the invitation of producer Brian Eno. Additionally, Fripp guested on Peter Gabriel's first three solo albums (Peter Gabriel 1–3, 1977–1980), offering production input and guitar work that bridged his Crimson roots with Gabriel's art rock explorations. These partnerships culminated in Fripp's debut solo album Exposure (1979), a eclectic collection featuring vocals from guests like Peter Hammill and Daryl Hall, alongside Eno's production and Bowie's contributions, blending rock, ambient, and avant-garde elements. By 1977, Fripp briefly considered reviving King Crimson when former members and approached him about a reunion, but he ultimately declined, citing his ongoing personal and artistic reevaluation. This led Wetton and Bruford to form the supergroup U.K. in 1978, incorporating fusion and progressive influences without Fripp's involvement. Fripp then launched in 1979, a short-lived ensemble described as a "second-wave dance band" emphasizing rhythmic drive and experimental textures over traditional virtuosity, drawing from new wave and aesthetics with angular guitars and electronic percussion. Active through 1980, the group toured extensively and released material that previewed the angular, discipline-focused sound of the forthcoming Crimson revival. The seven-year hiatus from King Crimson coincided with punk's assault on progressive rock's excesses, fostering a broader evolution where prog elements merged with post-punk minimalism and new wave energy, influences Fripp actively embraced in his work. This period's explorations directly shaped the initial naming of the reformed band as in late 1980, before Fripp opted to revive the King Crimson moniker.

Assembling the Lineup

In late , following the dissolution of his experimental project , began assembling a new band initially named , drawing on musicians who shared his interest in blending with new wave and . Fripp first recruited vocalist and guitarist , whom he had met at a concert in New York earlier that year and later saw perform with his band GaGa opening for in July ; impressed by Belew's energetic and versatile style, Fripp invited him to join the project in late , pulling him away from ongoing work with . For bass and duties, Fripp and drummer auditioned several candidates in early 1981, ultimately selecting , a who had played on Fripp's solo album Exposure and was then touring with ; Levin impressed during his unwitting audition by swiftly adapting to and performing the complex track "" on the , securing his spot in the lineup. Fripp's initial contact for drums was Bruford, a former member from 1972–1974 who had recently left U.K. after its 1980 breakup and sought opportunities aligning with Fripp's innovative vision; Bruford's familiarity with Fripp's rigorous, exploratory approach made him an ideal fit for the new ensemble. The Discipline quartet—Fripp, Belew, Levin, and Bruford—began intensive rehearsals in February 1981, initially in before moving to locations in Dorset such as a hunting lodge at and Holdenhurst Church Hall near Wimborne, focusing on developing a cohesive sound through structured and in performance. They made their live debut as Discipline on April 30, 1981, at Moles Club in , followed by a UK tour opening for ; after these initial shows demonstrated the band's potential, Fripp decided to revive the King Crimson name, announcing the change in April 1981 to leverage the group's legacy while pursuing fresh directions.

Composition and Recording

Songwriting and Influences

The songwriting for Discipline marked a significant evolution for , blending with elements of new wave, , , and Indonesian music, while emphasizing angular, concise structures over the expansive epics of the band's 1970s era. This shift was influenced by Robert Fripp's work with his side project , which incorporated punk and new wave aesthetics, and Belew's experience as a guitarist and vocalist with , bringing a pop-inflected edge to the proceedings. Fripp drew inspiration from ensembles, appreciating their rhythms and communal performance style as a model for the band's non-hierarchical interplay, where guitars mimicked percussive patterns in complex time signatures like 15/8 and 17/8. The album's music was collaboratively composed by Belew, Fripp, , and , focusing on rhythmic complexity and guitar lines, with Belew providing all lyrics to unify the thematic and sonic experimentation. Several tracks drew from personal and literary inspirations, reflecting the band's interest in and urban unease. "Matte Kudasai" emerged from a collaborative effort between Fripp, who supplied the , and Belew, who overlaid a haunting to create a evoking quiet longing; the title, Japanese for "please wait," lent an exotic, minimalist air to the piece. In contrast, "Indiscipline" stemmed from a letter Belew received from his then-wife describing her creative process while , capturing themes of and repetition with the "I repeat myself when under stress, I repeat myself when under stress." The album's exploration of tension continued in "Thela Hun Ginjeet," an of "heat in the jungle" symbolizing urban paranoia and street crime, inspired by Belew's real-life encounter with a in and the broader atmosphere of following John Lennon's murder. Finally, the instrumental "The Sheltering Sky" was named after and partially inspired by ' 1949 novel of existential isolation in the North African , featuring ethereal textures achieved through Belew and Fripp's use of the Roland GR-300 to evoke vast, shimmering landscapes.

Studio Sessions

The recording sessions for Discipline occurred from May to June 1981 at Island Studios on Basing Street in , , marking the first full album effort by the reformed lineup. The band co-produced the project alongside engineer , with maintaining close oversight through daily diary entries that documented progress, such as remixing tracks like "Thela Hun Ginjeet" and "Indiscipline." These three-week sessions emphasized efficiency, capturing the quartet's chemistry in a compact space to foster spontaneous interplay. A key anecdote arose during the capture of ambient elements for "," when Fripp directed vocalist-guitarist to roam the streets with a portable to gather authentic urban sounds; Belew recounted being approached by a suspicious group of youths who surrounded him after he rewound the device, escalating into threats until police arrived to disperse the situation. This real-time incident directly informed the track's narrative spoken-word section, highlighting the sessions' blend of risk and immediacy. Technically, the recordings showcased innovative instrumentation and rhythmic experimentation, including dual guitar lines from Fripp and Belew that interlocked in polyrhythmic patterns—such as 7/8 over 4/4 time—creating a propulsive tension. prominently featured the for its percussive, tapping technique on tracks like "Indiscipline," while drummer delivered elastic, reactive rhythms that navigated the music's shifting meters without reliance on for a raw edge. Several pieces, including the title track, were committed to tape in single takes with minimal or no overdubs to preserve a live-band vitality. The completed album runs 37:55 in total length, structured across two vinyl sides of roughly equal duration—Side A encompassing high-energy openers and Side B delving into more atmospheric closes—for balanced playback.

Artwork and Release

Cover Design and Packaging

The original cover art for King Crimson's Discipline, released on 22 September 1981, featured a minimalist red background overlaid with an intricate Celtic knot design in silver. The cover was designed by graphic artist Peter Saville, with the knotwork provided uncredited by John Kyrk. This knotwork was derived from patterns in George Bain's 1951 book Celtic Art: The Methods of Construction, but was used without proper licensing from Bain's estate, leading to copyright disputes that prompted its withdrawal from subsequent pressings and reissues. The design's abstract, interlocking form symbolized the album's themes of precision and complexity, aligning with the band's emphasis on disciplined musical structures over visual spectacle. Following the copyright issues, the cover was replaced in later editions with a new knotwork emblem designed by Steve Ball in 2001 for the reissue, commissioned by Robert Fripp. Ball's stylized interlocking loops, rendered in a similar monochromatic style, served as the basis for the logo of Discipline Global Mobile (DGM), Fripp's independent label founded in 1992, and has endured as its primary visual identifier across King Crimson releases and related projects. This replacement maintained the original's abstract ethos while resolving legal concerns, ensuring continuity in the trilogy of 1980s albums (Discipline, Beat, and Three of a Perfect Pair). The album's packaging for the 1981 vinyl LP edition was characteristically sparse, consisting of a standard single-pocket without a or lyric insert, and featuring no photographs of the band members to prioritize the music's intrinsic qualities. The inner contained production credits, recording details, and brief , printed on plain cardstock that echoed the cover's restrained palette. This approach reinforced the artwork's thematic focus on geometric , mirroring the album's innovative fusion of new wave angularity and progressive intricacy.

Promotion and Singles

Discipline was released on 22 September 1981 in the United Kingdom by E.G. Records and in the United States by Warner Bros. Records later that month. The album spawned two singles. "Matte Kudasai" was issued in November 1981 as a 7-inch vinyl single in the UK on E.G. Records (EGO 2), featuring the original album mix with a prominent guitar solo by Robert Fripp. "Thela Hun Ginjeet," backed with "Elephant Talk," appeared as a promotional 7-inch single exclusively in Spain in 1981 on E.G. Records (20 02 108). To support the album, embarked on a world tour spanning 1981 and 1982, beginning with dates in April and May—initially billed as the band , a name changed to by October amid early promotional confusion—and extending to and , where live performances prominently featured tracks from Discipline. In press interviews, emphasized the band's reinvention as a "post-progressive" ensemble, describing the music as a boundary-dissolving fusion of , new wave, and experimental elements that moved beyond traditional conventions toward a more accessible yet innovative sound.

Critical Reception

Contemporary Reviews

Upon its release on 22 September 1981, Discipline debuted at number 41 on the UK Albums Chart. Contemporary critical reception was mixed to positive, with reviewers appreciating the album's innovative blend of new wave, post-punk, and progressive elements while expressing some uncertainty about the band's stylistic evolution from its 1970s sound. In Rolling Stone, John Piccarella commended the "talent and artistry of the four musicians," particularly the "hypnotic, interlocking guitar lines" between Adrian Belew and Robert Fripp, though he critiqued certain tracks for their overly "arty" pretensions. Record Mirror's Alan Entwistle offered a generally enthusiastic assessment, noting that the band "tests new ground and revitalises older ground" with bold tribal rhythms on side one—such as the fully formed "Elephant Talk"—and more mature, danceable compositions on side two, including the percussive "Thela Hun Ginjeet" and the instrumental "The Sheltering Sky." Robert Christgau of The Village Voice awarded the album a B grade in his Consumer Guide column, calling it "not bad—the Heads meet the League of Gentlemen," in reference to influences from and Robert Fripp's prior project, while suggesting Fripp's verbosity might benefit from restraint. In the Village Voice's annual critics' poll, Discipline placed 35th among the best albums of 1981, garnering 112 points from 11 ballots.

Retrospective Assessments

Retrospective assessments of Discipline have generally been highly favorable, with critics lauding its reinvention of King Crimson's sound through intricate rhythms and genre-blending innovation. In a review for , Greg Prato awarded the album 4.5 out of 5 stars, commending the "inspired performances" throughout and particularly the "unexpectedly successful combinations" of and Robert Fripp's guitar work, which created a dynamic synergy that revitalized the band's identity. Other publications echoed this enthusiasm. All About Jazz published a glowing retrospective on the 40th anniversary edition, emphasizing the album's evolution into complex, polyrhythmic grooves that marked a pivotal shift for while preserving its experimental edge. Mojo rated it 4 out of 5 stars in a later appraisal, highlighting its enduring vitality. In 2002, placed Discipline at number 56 on its of the Top 100 Albums of the 1980s, describing the album's angular, tense sound—blending post-punk energy with rhythmic exactitude—as an obvious precursor to math rock, with tracks like "Discipline" and "Thela Hun Ginjeet" serving as maxi-minimalist etudes that nearly approached danceability. Critics and scholars have since regarded Discipline as a crucial bridge from to , praised for its interlocking guitar patterns and rhythmic interplay that influenced subsequent developments in rock's experimental fringes. The official site underscores this by noting the album's reinvention through New Wave, , and intricate guitar work, solidifying its status as a cornerstone of the band's 1980s output. This consensus highlights the album's lasting impact, with its polyrhythmic complexity and genre fusion continuing to draw acclaim for pushing boundaries beyond its initial 1981 release. Recent retrospectives as of 2025, such as a 2024 in Pienemmät Purot praising its refined and complex sound influenced by and new wave, and a January 2025 analysis noting its successful pop elements, affirm its ongoing relevance.

Commercial Performance

Chart Positions

Upon its release on 22 September 1981 in the United States and 2 1981 in the United Kingdom by Records and E.G. Records, respectively, Discipline achieved moderate commercial success on international album charts. The album peaked at number 41 on the , spending four weeks in the top 100. In the United States, it reached number 45 on the , with a 17-week chart run beginning in late 1981. Internationally, Discipline performed strongest in and , entering the top 20 in both markets. It also charted in several European and Asian territories, though none of the singles released from the album—"" and ""—achieved significant chart placements beyond the album's entry.
Chart (1981–1982)Peak position
Top Albums/CDs (RPM)18
(SNEP)17
Albums (RMNZ)13
UK Albums (OCC)41
US 45
(Oricon)33
(Album Top 100)43
(Sverigetopplistan)37

Sales and Certifications

Discipline experienced modest commercial success upon its release, peaking at number 45 on the chart in late 1981. The did not receive any certifications from the (RIAA) or the (BPI), underscoring its limited initial market impact despite critical acclaim. Global sales figures for Discipline remain sparsely documented, with available data indicating relatively low unit sales in key markets such as Japan, where it sold 16,000 copies. However, the album has demonstrated long-term viability through steady catalog performance, supported by CD reissues starting in the early 1990s and the advent of digital streaming platforms in the 2010s, which have introduced the record to new generations of listeners.

Legacy

Cultural and Musical Influence

Discipline played a pivotal role in the evolution of through its use of angular guitar riffs, odd time signatures, and complex polyrhythms, which inspired subsequent bands in the genre. Groups like and drew from these elements, incorporating similar rhythmic intricacies and instrumental focus into their post-hardcore-inflected sound. The album's emphasis on mathematical precision in composition helped lay foundational groundwork for math rock's emergence in the late and . In the realm of post-progressive rock, bridged the intricate, experimental style of 1970s with the more accessible, new wave sensibilities of the , influencing modern progressive acts. Bands such as Tool and adopted the album's blend of tension-building dynamics and textural guitar work; Tool drummer has specifically highlighted 's impact on his rhythmic approach. 's , a longtime admirer, has credited the era, including , for shaping his production and compositional techniques. Music historian Paul Stump, in his 1997 analysis, described the album as a decisive shift in , emphasizing its role in revitalizing the genre amid punk and new wave dominance. The album received notable recognition for its innovative approach, ranking at number 56 on Pitchfork's 2002 list of the top 100 albums of the 1980s. Additionally, Discipline's incorporation of Indonesian gamelan-inspired percussion and minimalist repetition extended its cultural reach, influencing ambient music's textural layers and world fusion's cross-cultural integrations. Contemporary reviews from 1981 praised these elements for their forward-thinking fusion of global sounds with rock structures.

Reissues and Remasters

The album was first reissued on in 1989 as part of the "Definitive Edition" remaster series, in which Robert Fripp's Frippertronic guitar solo was removed from "" to maintain consistency with the 1981 single version of the track. In the 1990s, (DGM), founded by Fripp and David Singleton, began handling distribution and reissues of King Crimson's catalog, including subsequent editions of Discipline. A 25th anniversary edition was released in 2006 in SACD and formats, featuring high-resolution stereo and 5.1 surround mixes derived from the original master tapes. The 30th Anniversary Edition, issued in 2011 by DGM/ as part of the King Crimson 40th Anniversary Series, restored the original 1981 album mix on CD, included an alternate version of "" with the guitar solo as a bonus track, and came with an expanded 12-page booklet containing and contemporary press clippings from 1981–1982. This edition was also reissued on 180-gram vinyl in , faithfully reproducing the original artwork and track listing with the restored mix.

Recent Developments

In recent years, live performances of material from have seen a notable revival through collaborative projects involving former band members. In 2023, and , key contributors to the album, announced the formation of BEAT alongside guitarist and Tool drummer to tour selections from King Crimson's catalog, with a strong emphasis on Discipline tracks such as "Frame by Frame" and "Indiscipline." The ensemble embarked on a 65-date North American tour starting in 2024, culminating in performances across the and that drew enthusiastic responses for reinterpreting the album's angular rhythms and interlocking guitar lines. The tour resulted in the release of the live album BEAT Live on , 2025, by InsideOut Music, in a media-book edition capturing the band's renditions of King Crimson material. The album's availability on digital streaming platforms has contributed to a surge in listenership since the late . King Crimson's full catalog, including , became accessible on in June 2019, leading to a marked increase in streams; by 2023, the band surpassed 1 million monthly listeners, with Discipline accumulating over 23 million total plays on the platform. As of November 2025, the band maintains approximately 1 million monthly listeners on . This digital revival has been bolstered by anniversary initiatives, such as the 40th anniversary promotions in 2021, which highlighted remastered editions and encouraged renewed engagement with the record's innovative sound. Archival live recordings from the Discipline era have also received fresh attention through official releases. In May 2025, 29 concerts from the band's 1981 North American tour—featuring extensive setlists drawn from the album, including staples like "" and ""—were made available for streaming, providing high-quality access to performances that originally circulated as bootlegs. These releases underscore the enduring interest in the 1981-1982 lineup's dynamic interpretations of the material. Robert Fripp has reflected on Discipline in subsequent interviews as a pivotal "new beginning" for , revitalizing the group after a seven-year hiatus and establishing a fresh creative direction through its blend of and . In a 2014 discussion, he emphasized how the album's aftermath allowed for immediate artistic renewal following legal resolutions with former management.

Album Details

Track Listing

All tracks are written by , , , and , with lyrics by Belew, and published by EG Music Ltd.

Side one

  1. "Elephant Talk" – 4:43
  2. "Frame by Frame" – 5:09
  3. "" – 3:47
  4. "Indiscipline" – 4:33
Total length: 18:12

Side two

  1. "Thela Hun Ginjeet" – 6:26
  2. "The Sheltering Sky" – 8:22
  3. "Discipline" – 5:13
Total length: 20:01

Personnel

Discipline features the reformed quartet, consisting of on guitar and Frippertronics, on guitar and lead vocals, on bass guitar, , and backing vocals, and on drums and percussion. This lineup performed all instrumentation without guest musicians, emphasizing the band's self-contained dynamic during recording. The album was produced by and and recorded at (an Island Studios facility) in . Engineering was handled by , with assistance from .

References

  1. https://www.allmusic.com/album/discipline-mw0000196148
  2. https://www.dgmlive.com/news/king-crimsons-1981-discipline-album-is-40
  3. https://www.discogs.com/master/577-King-Crimson-Discipline
  4. https://www.discogs.com/release/6437114-King-Crimson-Discipline
  5. https://pienemmatpurot.com/2024/08/19/review-king-crimson-discipline-1981/
  6. https://www.officialcharts.com/albums/king-crimson-discipline/
  7. https://www.billboard.com/charts/billboard-200/1981-11-28/
  8. https://www.nytimes.com/1981/11/01/arts/why-robert-fripp-resurrected-king-crimson.html
  9. https://ultimateclassicrock.com/king-crimson-red/
  10. https://www.discogs.com/release/1068549-Brian-Eno-Music-For-Films
  11. https://www.musicradar.com/news/the-story-of-david-bowies-heroes-and-why-robert-fripp-should-get-some-credit
  12. https://faroutmagazine.co.uk/david-bowie-peter-gabriel-robert-fripp-retirement/
  13. https://pienemmatpurot.com/2024/06/09/review-robert-fripp-exposure-1979/
  14. https://musicaficionado.blog/2018/02/28/bill-bruford-sessions-and-tours-1975-1976/
  15. https://www.dgmlive.com/robert-fripp/league-of-gentlemen
  16. https://www.loudersound.com/bands-artists/king-crimson-league-of-gentlemen
  17. https://thequietus.com/opinion-and-essays/anniversary/king-crimson-discipline-anniversary-review/
  18. https://www.dgmlive.com/biographies/adrian-belew
  19. https://www.ultimate-guitar.com/news/interviews/it_was_a_shock_tony_levin_reveals_what_joining_king_crimson_was_like_recalls_how_he_impressed_them_at_audition.html
  20. https://www.loudersound.com/bands-artists/king-crimson-beat-era
  21. https://musicaficionado.blog/2020/03/18/adrian-belew-part-2-1981-1984-king-crimson/
  22. https://movingtheriver.com/2016/10/10/king-crimsons-discipline-35-years-old-today/
  23. https://www.dgmlive.com/news/discipline-celebrates-43-years
  24. https://www.progarchives.com/album.asp?id=1914
  25. https://ultimateclassicrock.com/king-crimson-discipline-album/
  26. https://www.elephant-talk.com/wiki/October_1981_interview_with_Adrian_Belew_and_Robert_Fripp
  27. https://www.thetapesarchive.com/adrian-belew/
  28. https://postpunkmonk.com/2016/05/10/redux-record-review-king-crimson-discipline/
  29. https://www.rollingstone.com/music/music-news/thela-hun-ginjeet-205049/
  30. https://mawrgorshin.com/2025/01/27/analysis-of-discipline-beat-and-three-of-a-perfect-pair/
  31. https://classicrockreview.wordpress.com/2022/03/03/king-crimson-discipline-1981/
  32. https://www.dgmlive.com/king-crimson/kc-iv-discipline
  33. https://stylusmagazines.com/feature_ID_477.html
  34. https://rateyourmusic.com/release/album/king-crimson/discipline/
  35. https://openvirtualworlds.org/omeka/exhibits/show/groam-house-museum/george_bain_drawings
  36. https://whatculture.com/music/10-rock-bands-who-were-forced-to-change-their-album-covers?page=3
  37. https://www.discogs.com/release/3987271-King-Crimson-Discipline
  38. http://www.steveball.com/words/archive/2001/2001-10-01.htm
  39. https://www.brandsoftheworld.com/logo/discipline-global-mobile
  40. https://www.discogs.com/release/979030-King-Crimson-Discipline
  41. https://www.discogs.com/release/2309465-King-Crimson-Matte-Kudasai
  42. https://www.discogs.com/release/4673408-King-Crimson-Thela-Hun-Ginjeet-Elephant-Talk
  43. https://www.nugs.net/05-14-2025-king-crimson-north-america-1981.html
  44. http://jazz-rock-fusion-guitar.blogspot.com/2018/08/king-crimson-1981-1989-discipline.html
  45. https://www.worldradiohistory.com/UK/Record-Mirror/80s/81/Record-Mirror-1981-10-17-OCR.pdf
  46. https://www.robertchristgau.com/get_album.php?id=5142
  47. https://www.robertchristgau.com/xg/pnj/pjres81.php
  48. https://www.allaboutjazz.com/king-crimson-discipline-40th-anniversary-series-by-john-kelman
  49. https://pitchfork.com/features/lists-and-guides/the-top-100-albums-of-the-1980s/
  50. http://www.jazzshelf.org/kc80s.html
  51. https://recordsandcharts.com/albumrun.php?alid=9823
  52. http://hitsofalldecades.com/chart_hits/index.php?option=com_content&task=view&id=3597&Itemid=53
  53. https://dutchcharts.nl/showitem.asp?interpret=King+Crimson&titel=Discipline&cat=a
  54. https://www.charts.nz/showitem.asp?interpret=King+Crimson&titel=Discipline&cat=a
  55. https://swedishcharts.com/showitem.asp?interpret=King+Crimson&titel=Discipline&cat=a
  56. https://bestsellingalbums.org/album/24740
  57. https://www.riaa.com/gold-platinum/?tab_active=default-award&ar=King+Crimson&ti=Discipline#search_section
  58. https://www.dgmlive.com/products/discipline-cd
  59. https://www.sputnikmusic.com/review/85786/King-Crimson-Discipline/
  60. https://www.theyoungfolks.com/music/146325/tyf-music-crash-course-math-rock/
  61. https://www.soundoflife.com/blogs/mixtape/math-rock-history
  62. https://glidemagazine.com/304782/adrian-belew-talks-start-of-beat-tour-with-steve-vai-danny-carey-tony-levin-revisting-80s-king-crimson-interview/
  63. https://www.loudersound.com/features/steven-wilson-i-cant-emphasise-how-much-i-learned-working-with-king-crimsom
  64. https://books.google.com/books/about/The_Music_s_All_that_Matters.html?id=OJ0mAQAAIAAJ
  65. https://www.dgmlive.com/albums/discipline
  66. https://www.pienemmatpurot.com/2024/08/19/review-king-crimson-discipline-1981/
  67. https://www.discogs.com/release/10537404-King-Crimson-Discipline
  68. https://www.dgmlive.com/
  69. https://www.discogs.com/release/640637-King-Crimson-Discipline
  70. https://www.discogs.com/release/12125596-King-Crimson-Discipline
  71. https://relix.com/news/detail/beat-featuring-adrian-belew-tony-levin-danny-carey-and-steve-vai-to-honor-king-crimson-with-2024-north-american-tour/
  72. https://tonylevin.com/road-diaries/the-beat-tour-2024/early-rehearsals
  73. https://blabbermouth.net/news/adrian-belew-tony-levin-steve-vai-and-danny-carey-announce-beat-live-album
  74. https://www.youtube.com/watch?v=exnem6zypZI
  75. https://www.reddit.com/r/KingCrimson/comments/13ntzi4/king_crimson_have_finally_passed_1_million/
  76. https://open.spotify.com/artist/7M1FPw29m5FbicYzS2xdpi
  77. https://www.innerviews.org/inner/king-crimson
  78. https://www.loudersound.com/features/robert-fripp-king-crimson-interview-2014
  79. https://musicbrainz.org/release/39ab58ec-b635-3609-8833-b1c9530a988d
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