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    Peter Sinfield, Lyricist for King Crimson, Dies at 80

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    His swirls of poetic imagery helped define progressive rock in the 1970s. He later turned his focus to pop acts like Celine Dion.Peter Sinfield, whose mystical and at times politically pointed lyrics for the British band King Crimson became emblematic of the progressive rock movement of the 1970s, died on Nov. 14 in London. He was 80.His death was announced on the website of DGM, the record label founded by the King Crimson mastermind and virtuoso guitarist Robert Fripp, along with David Singleton. The statement did not say where Mr. Sinfield died or cite a cause, but it noted that he “had been suffering from declining health for several years.”Mr. Sinfield, who once referred to himself as the band’s “pet hippie,” linked up with Mr. Fripp in 1968 after living an itinerant life in Spain and Morocco. He was the lyricist on the first four King Crimson albums, starting with “In the Court of the Crimson King” in 1969, which is widely regarded as the first album in the genre that came to be known as prog rock.But his role was varied. He also helped produce King Crimson’s albums and worked as a roadie, lighting operator and sound engineer and, as art director, oversaw the band’s album covers. He even came up with the name of the band, plucked from his lyrics for the song “The Court of the Crimson King.”“I was looking at things like Led Zeppelin, the Who — I could see that it had to be something powerful,” Mr. Sinfield recalled in a 2012 video interview. “And I thought, actually, if we just take it from the song and just call it King Crimson, that’s pretty powerful. And it isn’t the Devil. It isn’t Beelzebub, but it’s arrogant, and it’s got a feeling of darkness about it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘In the Court of the Crimson King’ Review: 50 Years of Off-Kilter Rock

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      Toby Amies’s documentary dives into the history of the British progressive rock band King Crimson and its chief disciplinarian, Robert Fripp.The director Toby Amies’s documentary “In the Court of the Crimson King” is part road chronicle and part retrospective, and captures King Crimson, the adventurous British rock ensemble, at what may be the end of its existence. Robert Fripp, for years the band’s sole original member, has strongly suggested that its 2021 tour would be its last. (It hasn’t toured since.)One of the originators of the subgenre called progressive rock or art rock, King Crimson is, depending on whom you ask, either impossibly pretentious or startlingly adventurous. Fripp, an endlessly thoughtful and meticulously articulate guitarist, is the group’s most tireless and paradoxical explainer in the film. He’s fond of pronouncements like, “For silence to become audible, it requires a vehicle. And that vehicle is music.”At one point Fripp describes his experience in the band from 1969 to 2016 as “wretched.” What changed in 2016? He put together a group of stellar musicians who did as he requested. The film features their thoughts along with interviews with past members who had strong differences with Fripp.While the YouTube videos Fripp and his wife, the singer Toyah Willcox, began making during the pandemic reveal the guitarist as a mild-mannered, eccentric, uxorious madcap, he can come off like an egghead martinet in the context of the band he has helmed for half a century. But he is as hard on himself as he is on anyone else, practicing the guitar four to five hours a day and subjecting himself to other forms of discipline such as taking a cold shower in the morning: “Your body doesn’t want to go under a cold shower,” he says in the film. “So you’re saying to your body, ‘Do as you’re told.’”Bill Rieflin offers another perspective on the band, as a musician who chose to spend his last years alive touring with Crimson. He died of cancer in 2020. His devotion renders Fripp’s adages about the sacred nature of music-making palpable.In the Court of the Crimson King: King Crimson at 50Not rated. Running time: 1 hour 26 minutes. In theaters. More

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      Doja Cat’s Hit and 7 More Ways of Seeing Red

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      Hear songs by Willie Nelson, TLC, King Crimson and more.Doja Cat, painting the MTV Video Music Awards stage red.Dia Dipasupil/Getty ImagesDear listeners,This Friday, the rapper and singer Doja Cat will release her highly anticipated fourth album “Scarlet,” which features the ubiquitous No. 1 hit “Paint the Town Red.” That is, to quote Playboi Carti, a whole lotta red.Doja Cat’s crimson era got me thinking about all the other musicians who have used that evocative color to conjure all sorts of images — wine, ballet shoes, luftballoons. Red sometimes signifies love, but it also suggests anger, passion and danger. Red is the color of blood and roses. It’s the musical connection between artists as disparate as Taylor Swift and King Crimson. Clearly, it calls for its own playlist.Doja Cat’s vampy hit kicks off this mix, but you hardly need to be familiar with her music to listen. (My boyfriend has admitted that, until recently, he thought Doja Cat was “a cryptocurrency.”) It pulls from a variety of decades and genres, featuring artists including TLC, Willie Nelson and Nick Cave & the Bad Seeds. I omitted some of the more obvious choices, like “Lady in Red” or “Red Red Wine,” because I assume we’ve all heard those enough for several lifetimes. I couldn’t resist adding a well-known Prince song, though, because, well … it’s Prince!So pour yourself a glass of cabernet or cranberry juice, cue up this playlist, and get ready to paint the town red.Listen along on Spotify as you read.1. Doja Cat: “Paint the Town Red”Built around a sample of Dionne Warwick’s wistful 1963 hit “Walk on By,” which was co-written and produced by Burt Bacharach, Doja Cat’s first solo No. 1 has a strutting swagger and a puffed-chest confidence. It’s the perfect soundtrack for striding off into the sunset, leaving doubters in the dust — or perhaps performing a viral TikTok dance that has added to the song’s popularity. (Listen on YouTube)2. Prince: “Little Red Corvette”The second single from Prince’s 1983 album “1999,” “Little Red Corvette” hit No. 6 on the Billboard Hot 100 — making it his highest charting pop hit up until that point. While red isn’t the color most commonly associated with Prince, here it provides a memorably vivid image, suggesting passion, excitement and even a little danger. (Listen on YouTube)3. Willie Nelson: “Red Headed Stranger”Willie Nelson’s 1975 breakthrough album was more than just a commercial and critical success: It also gave the Red Headed Stranger his enduring nickname. This plaintive, sparsely arranged title track reworks “The Tale of the Red Headed Stranger,” a 1953 story-song written for Perry Como, and imbues it with Nelson’s own inimitable melancholy. (Listen on YouTube)4. Taylor Swift: “Red (Taylor’s Version)”This 2021 reworking of the country-rocking, lightly synesthetic title track from Swift’s 2012 release “Red” — still my favorite of her albums — contrasts the cool, muted hues of heartbreak (“Losing him was blue like I’ve never known/Missing him was dark gray, all alone”) with the bright, Technicolor memories of better times: “Loving him was red.” (Listen on YouTube)5. The Cyrkle: “Red Rubber Ball”Co-written by a not-quite-yet-famous Paul Simon, this bouncy folk-pop hit from 1966 finds optimism — and a memorably colorful simile — at the end of a bad relationship: “The worst is over now/The morning sun is shining like a red rubber ball.” (Listen on YouTube)6. TLC: “Red Light Special”If you thought the Prince song was going to be the sultriest moment of this playlist … think again! (Listen on YouTube)7. King Crimson: “Red”“Red”? From the album “Red”? By King Crimson? This six-minute prog-rock epic from 1974, written by Robert Fripp shortly before he disbanded King Crimson, just might be the reddest song of all time. (Listen on YouTube)8. Nick Cave & the Bad Seeds: “Red Right Hand”This slinky, atmospheric single from the Australian art-rockers’ 1994 album “Let Love In” takes its title from a line in John Milton’s “Paradise Lost.” Used prominently in the “Scream” movie franchise and later as the theme song to the TV show “Peaky Blinders,” “Red Right Hand” has a dark, cinematic quality. It also brings this playlist full circle: Like Doja’s “Paint the Town Red,” it’s the perfect soundtrack for slowly sauntering down the street. (Listen on YouTube)I said what I said,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“8 Red Songs” track listTrack 1: Doja Cat, “Paint the Town Red”Track 2: Prince, “Little Red Corvette”Track 3: Willie Nelson, “Red Headed Stranger”Track 4: Taylor Swift, “Red (Taylor’s Version)”Track 5: The Cyrkle, “Red Rubber Ball”Track 6: TLC, “Red Light Special”Track 7: King Crimson, “Red”Track 8: Nick Cave & the Bad Seeds, “Red Right Hand” More

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      In the Hudson Valley and Catskills, Veteran Rockers Start Over

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      How the Hudson Valley and the Catskills became the home to grunge icons, ex-punks and one-hit wonders.Melissa Auf der Maur spent 15 years as a rocker on the road, playing bass in alternative bands like Hole and the Smashing Pumpkins, dating Dave Grohl, and at times taking up residence in Janis Joplin’s old room at the Chelsea Hotel in New York. But in 2006, when she met and fell in love with the filmmaker Tony Stone, she knew it was time to settle down away from the city, become a mother and raise a child in a “cozy little town with a cool kindergarten and plenty of nature.”She was 34 and in the middle of making her second solo album, she said, when Mr. Stone took her to Hudson, N.Y., to visit friends and family who had moved to the area.“I had a tingling feeling,” she said. “I said to Tony: ‘If we’re going to live anywhere in the U.S., it’s going to be here.’”The couple moved to Hudson in 2008 and started a family soon thereafter. But Ms. Auf der Maur still felt driven by the urge to create. She also wanted to do something community-focused, like starting an arts center similar to the ones she had relied on when she was a struggling young musician growing up in Montreal.Together with Mr. Stone, she started Basilica Hudson in 2010. The arts and performance space, housed in a former railroad wheel foundry, hosts both international music festivals and local events. A reclaimed elementary school, built around 1901 and close to Basilica’s net-zero campus, now serves as a showpiece, design innovation hub and media center for the couple’s interest in green design. Basilica has also become one of the Hudson Valley’s most popular wedding venues, which, as Ms. Auf der Maur puts it, “wasn’t in our original plan, but totally pays for our wild, purist dreams of arts and culture.”A former grunge icon for Courtney Love’s band in the dangerous days of the ’90s, Ms. Auf der Maur is just one of the many musicians who have moved to the Hudson Valley and the Catskills to start over, in one way or another. Some have put their musical careers on hold. Others have continued recording and touring, while devoting themselves to completely new pursuits. But the artists in the area make up a dream festival bill for the Lollapalooza generation, one that remembers vinyl, cassettes, CDs and when MTV still played music videos for most of the day.Melissa Auf der Maur, left, and Courtney Love of Hole, onstage in Los Angeles in 1999.Jeff Kravitz/FilmMagic Inc., via Getty ImagesThere’s longtime area resident Natalie Merchant, the former lead singer for 10,000 Maniacs, who has volunteered for educational nonprofits including Head Start in Troy; the bassist Tony Levin, who played with King Crimson and Peter Gabriel, and who now lives in Kingston and pursues photography; the songwriter Amy Rigby, now an author and podcaster in Catskill; Daryl Hall, of Hall & Oates fame, who became a nightclub proprietor with the opening of Daryl’s House in Pawling; and Kate Pierson, the inimitable singer of the B-52’s, who pioneered the funky retro chic motel concept in the Catskills with the opening of Kate’s Lazy Meadow in Mt. Tremper in 2004.And where else but in Woodstock could the dentist who is filling your cavity have had a former life as a “one-hit wonder” in that golden year of pop, 1967?As a couple, Ms. Auf der Maur and Mr. Stone seemed like the perfect combination for making a thriving arts center in Hudson a reality; she had the vision, and he had the know-how. “I wanted to see if I could bring the world to us, to bring all the things I had experienced around the world to this tiny town,” she said.Mr. Stone is the son of two artists who were active in the SoHo and TriBeCa loft scene of the 1970s. “Tony’s dad, Bill, was a contractor in Lower Manhattan, who at one time almost went in on a plumbing pipe threader with Philip Glass,” Ms. Auf der Maur said. “A lot of artists worked renovating many lofts in SoHo, a skill my husband inherited,” she continued. “We’re not afraid of taking on big buildings without plumbing or electricity. Our destiny seems to be taking these buildings and creating a second life for them and ourselves.”Mr. Stone described himself as “an urban-rural hybrid,” who grew up in a loft on Duane Street in Downtown Manhattan but spent every summer “off the grid in a hippie cabin” in Vermont. “By age 12, I was wiring solar panels and digging wells,” he said. “It set the stage for what Melissa and I do today at Basilica.”He came to know the Hudson Valley as a student at Bard College and again when his aunt bought a house in Hudson, followed by his parents, who moved to the area in 1998. Soon after he started dating Ms. Auf der Maur, Mr. Stone introduced her to family haunts in Vermont and upstate New York, where Ms. Auf der Maur “began to understand the power of nature in the raw and the need to preserve it,” she said. “It makes you look at everything differently. And that, too, changed the whole direction of my life.”Ms. Auf der Maur and Mr. Stone seemed like the perfect combination for making a thriving arts center in Hudson a reality; she had the vision, and he had the know-how; Lauren Lancaster for The New York TimesNow, the couple are players in the local arts and climate scene. Ms. Auf der Maur is a member of the Regional Economic Development Council for the Capital region, where she reviews grant applications. (Basilica Hudson and The River House Project, their green design initiative, have received grants from the council.) She and Mr. Stone were part of the team that helped secure a $10 million grant from the council to revitalize the Hudson waterfront.Ms. Auf der Maur also joined the writer, musician and producer Jesse Paris Smith (who is the daughter of Patti Smith) and the musician and activist Rebecca Foon to help Hudson become a part of the 1,000 Cities Initiative for Carbon Freedom, a project to get cities of all sizes involved in the renewable energy and zero emissions goals set forth by the Paris Agreement.“Melissa and Tony’s efforts have been a blessing for our community, one that really demonstrates the connection between climate action and social justice,” said Kamal Johnson, the mayor of Hudson. “Basilica has been a great asset,” he continued. “It has brought world-class artists and audiences to our door and served as the stage for many events that bind together our community.”The singer Amanda Palmer, who is half of the punk-cabaret duo the Dresden Dolls and has a place in Woodstock, concurs with the mayor’s take on Ms. Auf der Maur, now 50, who has also found the time to work on a memoir that will include some of the 30,000 photos she snapped during her time as a musician. “She’s an important nexus, a vital connective tissue in the arts, the environment and in swaying a certain kind of creative, like myself, to take up residence in the Hudson Valley,” Ms. Palmer said.About five miles south of Hudson is the town of Catskill. In 2011, the singer-songwriter Amy Rigby (best known for her 1996 album, “Diary of a Mod Housewife”) moved there from France with her rocker husband, Eric Goulden, also known as Wreckless Eric (best remembered for his 1977 record “Whole Wide World”). Her friend Deb Parker, a former owner of the Beauty Bar in the East Village and who had become a real estate broker in the area in the late 2000s, showed the couple around.The singer-songwriter Amy Rigby moved to Catskill with her husband in 2011. These days she’s writing and producing a podcast.Lauren Lancaster for The New York TimesOnce they were settled, Ms. Rigby started working part time at the Spotty Dog Books & Ale in Hudson and pursuing writing. In 2019, her memoir, “Girl to City,” about being a musician in the East Village from the 1970s through the mid-90s, was published.During the Covid-19 shutdown, Ms. Rigby created a podcast based on “Girl to City” and began work on a follow-up memoir, “Girl to Country.” The Hudson Valley is all about second acts, she said. “Everybody reinvents themselves up here.”Ms. Rigby onstage with her husband, Eric Goulden, at City Winery in New York City.Al Pereira/Getty ImagesTake Tracy Bonham, who had a No. 1 alternative single in 1996 with “Mother, Mother,” but who has since used much of her time to teach music to children. In 2020, during the height of the pandemic, she and another musician founded Melodeon Music House, an educational program in Woodstock that was inspired by the popular 1970s Saturday morning TV series “Schoolhouse Rock!”But unlike her peers, Ms. Bonham ultimately decided full-time country life was not for her. This fall, she returned to Brooklyn, where she currently teaches the Melodeon curriculum to preschoolers.“It was really for the energy and vitality of the city, and the diversity of the people,” Ms. Bonham said of her return to the city. “Now that I look back on it, it could be a bit isolating,” she said, referring to Woodstock. “The sun goes down early and the winters are long and hard, so you can feel a bit trapped. Now that I am back in Brooklyn, I feel re-energized and inspired. There’s both more opportunity for work and to socialize.”Ms. Rigby, too, feels the pull of the city. “When I was driving down to Manhattan to play a gig at the City Winery recently, I kept telling myself, ‘I don’t care about the city anymore,’” she said. “But it’s a defense mechanism. I still care about the city that made me, and nothing feels as good as playing to a New York crowd.”Ms. Rigby, at home in Catskill, N.Y.Lauren Lancaster for The New York TimesHowever, when she hits the New York State Thruway and sees the mountains, Ms. Rigby said, she can breathe again. So for now, she’s staying put. “I probably became a more well-rounded person living up here. New York will always be the paragon of where one goes to pursue a creative life, but that kind of low-rent existence for aspiring artists isn’t possible there anymore.”Tony Levin, who has lived in Kingston since the mid-70s, is also not going anywhere. Best known for his inventive bass playing with King Crimson, Peter Gabriel and Paul Simon, Mr. Levin still tours and records. But he is also a writer and a photographer, and he recently took advantage of his downtime during the pandemic to organize many of his photographs into a new coffee table book, “Images From a Life on the Road.”Across the river in Beacon, Richard Butler, the charismatic frontman of the Psychedelic Furs, who studied at the Epsom School of Art and Design in London before pursuing music, lived and painted there for decades before relocating to Connecticut last year.Another rocker with long ties to the area is Bruce Jay Milner, whose band, Every Mother’s Son, had a hit with “Come on Down to My Boat” in 1967. The tune also earned him and his bandmates a place in the “One-Hit Wonders” exhibit at the Rock & Roll Hall of Fame in Cleveland.Bruce Jay Milner at his dental office, Transcend Dental, in West Hurley, N.Y.Lauren Lancaster for The New York Times“I had just started dental school at N.Y.U., but this was way, way more exciting,” Dr. Milner said of the instant success as a young musician. “I really thought I would pursue this, stay in the music game forever, if we kept getting hits.”Unfortunately, that was not to be. Dr. Milner ended up finishing dental school and now lives and practices dentistry in West Hurley, about three miles south of Woodstock. Naturally, he claims to have attended the famous festival of peace and music in nearby Bethel, in 1969. The name of his practice? Transcend Dental.“I still play a lot locally, have a digital keyboard in my office and have had my hands in the mouths of some of the biggest names in music,” said Dr. Milner, ticking off famous patients like Brian Eno and Sonny Rollins.The musician Amy Helm, whose father was Levon Helm, the drummer for The Band, is a patient. She said Dr. Milner was “the kind of guy who will play a song and sing harmony with you before he gives you a root canal.”Dr. Milner said: “Being a dentist up in Woodstock, with all these great musicians, is a pretty great second act. And what other dentist can say he is in the Rock & Roll Hall of Fame?”“He’s the kind of guy who will play a song and sing harmony with you before he gives you a root canal,” a longtime patient said of Dr. Milner.Lauren Lancaster for The New York TimesSal Cataldi is a writer, musician and former publicist living in Saugerties, N.Y. More

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      Robert Fripp Lightens Up

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      No one expected to see the leader of King Crimson dancing in a tutu on YouTube. In a rare interview, the guitarist explains “an entirely different trajectory.”Robert Fripp became a rock star without acting like a showman. As the guitarist and leader of King Crimson — the band he founded in 1969 — Fripp, 76, has written music that’s barbed, visceral, complex and ambitious, seizing the vanguard of progressive rock yet reaching a broad audience.King Crimson’s catalog has found multiple generations of admirers among musicians, including the Rolling Stones, the Clash, the Mars Volta, Black Midi and even Kanye West, who sampled “21st Century Schizoid Man” in the song “Power,” which has been streamed more than 135 million times. (The deal involved is still under litigation.)Fripp’s guitar riffs are saw-toothed and dissonant; his solos lines slice and sear. But onstage, he has always been the picture of an introvert: seated, taciturn, entirely concentrating on his guitar.“Some players can put on a really great show playing guitar. I can’t,” Fripp said in a rare video interview from Long Island, where he was preparing to teach one of his Guitar Craft seminars. His white shirt, vest and tightly knotted tie were a sartorial contrast with his hair: a gray, upright Mohawk. “I have to focus and pay attention very closely. I have no room for jumping around or symbolic gestures. So the excitement isn’t in what the player is doing in terms of his gestures. It’s in terms of the music which is appearing.”But during the pandemic, Fripp has showed a new public face: droll, chatty and unpretentious. He and his manager, David Singleton, are on a speaking tour called “That Awful Man and His Manager,” promising to discuss music and business and to answer fan questions; it comes to City Winery in Manhattan on Friday. (The “awful man” designation teases at Fripp’s many disgruntled former bandmates and business associates.)Spurred by his wife, the pop-rock singer Toyah Willcox, in 2020 Fripp started co-starring in a charmingly homemade weekly series of YouTube videos, “Toyah and Robert’s Sunday Lunch,” that has them attacking pop and rock hits from Metallica’s “Enter Sandman” to Britney Spears’s “Toxic,” often in costumes and makeup. The couple has also danced — both in tutus — to “Swan Lake.”Outside of King Crimson, Fripp has made ambient music using Brian Eno’s “Frippertronics” looping setup; added indelible solos to songs like David Bowie’s “Heroes”; produced albums for Peter Gabriel, the Roches and Daryl Hall; written voluminously in an ongoing online diary; and taught Guitar Craft seminars, where he seeks to instill the same technical and philosophical discipline — an important word for Fripp — that he brings to his own playing.He has repeatedly dissolved and reconfigured King Crimson to his shifting but exacting specifications. “When there is nothing to be done, nothing is done: Crimson disappears,” Fripp has said. “When there is music to be played, Crimson reappears. If all of life were this simple.”A documentary, “In the Court of the Crimson King,” appeared at festivals earlier this year, and Fripp completed a book, “The Guitar Circle,” with the lessons of his Guitar Craft seminars. He is about to release a collection of his long-accruing aphorisms about music, ethics and creativity in three sets of 78 cards each, the same number as a Tarot deck. Leaving no merchandising opportunity unturned, he also offers personalized, handwritten, metal-leafed versions of his aphorisms.A chat with Fripp invariably spirals outward, from the particulars of guitar tunings to what he jovially calls, with an expletive, “cosmic” horse manure. These are edited excerpts from the conversation.What makes a man go on tour with his manager?Probably to present our work to the world in a way that doesn’t quite get across in social media, in the same way that performance, for me, is really the only place where you connect with music. When you meet someone face to face, you can engage. And a key part of the so-called speaking tour is likely to be the Q&A.During the pandemic you became very active on social media. Did YouTube change your life?Yes, very much indeed. The main change in my life, following lockdown, is I got to spend time with my wife for the first time in 34 years of marriage up to that point. And I loved it. I have a wonderful, dear wife, but I kept leaving her. For me, lockdown was an opportunity to address some subjects of interest to me, including catching up on my academic reading in music. But there is my dear wife thinking, “This old character is losing it — I’ve got to get him going.” So then out came the tutu and “Swan Lake,” which was something of a turning point in my life.You’ve been more performative on YouTube than you have been for 40 years in King Crimson.I think that’s probably true.“Some times have been better than the others,” Fripp said, “but riches and popularity have never been on the top of my to-do list.”Timothy O’Connell for The New York TimesIs that going to change you when you go back to performing concerts?I don’t think I can look back. I think the future has now shot off on an entirely different trajectory. A personal interest for me is kicking received opinion. Because if you were only seen in a certain way, there is a richness in life which is somehow closed to you. A question: Have you seen Toyah and Robert live sitting in with the Trevor Horn band at the Cropready festival?Yes, you played Lenny Kravitz and tuned your guitar in the standard tuning, E-A-D-G-B-E, for the first time since 1984. You broke your streak. But most of your lockdown songs were probably written in standard tuning.That’s right. I’m learning to play in E again. And after spending nearly two years working very hard, translating classic rock riffs into a C pentatonic tuning — that’s C-G-D-A-E-G — to actually tune to E is a lot easier, but it’s also a challenge.How did the C tuning start?I was in the Apple Health Spa on Bleecker and Thompson back in September 1983, in the sauna at half past 10 in the morning, almost asleep, and the tuning flew over my head. At the time I couldn’t understand what it was for. I was asked to give a guitar seminar at Claymont Court in December 1994, to raise funds for the running of the estate and the children’s school. There was a click and I realized the tuning was for the guitar class. So at that point, anyone who came into a Guitar Craft seminar was pretty much on the same page. Whether you had experience or not, you have a new tuning. Including me.Which has now led to the book, “The Guitar Circle.”It’s pretty much what, as a young guitarist, I would have liked to have known. The aphorisms are probably the most useful part of the book.What unanswered questions do you still have?I know pretty much all I need to know at this point in my life. But it’s a question of engaging with it. And I hesitate because it’s so easy to get involved in cosmic horse [expletive]. An understanding is what you can take onstage that’s entirely practical.Speaking of the stage, the most recent version of King Crimson turned the typical setup inside out, putting the drums up front and the other musicians in the back. Why did you do that?It’s a very simple story. I think maybe it was July 2013 — Toyah and I were visiting chums in Vauxhall. I was sipping gently on prosecco, and for some reason I asked the question, “If King Crimson were to perform tomorrow night, what would it be?” And then it appeared: three drummers at the front, the conventional front line at the back. It was what we call the point of seeing, and I trust points of seeing in that way. And then I knew what King Crimson would be if it formed.But I wasn’t sure that I wanted to take that up because King Crimson for me is grief. Nothing else in my life can happen when King Crimson is in go mode. It is such a responsibility. The background to King Crimson is in the counterculture. And we probably wouldn’t use the term today, but the aim was to change the world. Can music change the world? Well, back then, all the young players and probably most in the audience would say, “Of course it can.” But moving 53 years later, we’d say, Well, that’s horse [expletive]. But for me it’s not. It’s still an ongoing concern and a responsibility to the originating intention within King Crimson, which is something that is always possible when music is available. That is a continuing theme and a continuing imperative.Isn’t there some pleasure in performing?During the rehearsals, as we were playing the notes, I felt the music move into the notes. There is a quite distinct experience of King Crimson as an individuality in this thing, entirely apart from whoever is playing it, moving into this certain place onstage. And for me, that is validation. But if, for whatever reason, a performance doesn’t meet what is possible, it is an acute suffering for me.People can recognize your guitar tone from a single note. What do you want that tone to be?True. That’s all.The actual sound of the note may change, like if you’re sustaining or whatever. But that’s the criterion. Is this note true? And I remember with King Crimson, I think it was in Preston — it might have been Darby — in the autumn of 1972. And I threw off a lick. And it was awful. It felt like I was lying to my mother. It violated conscience for that one lick. I was lying to music and that was appalling. And it still irks me to this day.What have you learned from all the pop songs you’ve been playing on YouTube? When I heard “Toxic,” that sounded like a Crimson riff.Some of the riffs, I think, “Hmm, maybe we supped at the same table.” I love playing classic rock riffs. They are relatively easy, providing you’re alert when you’re playing them. It was a privilege playing in Crimson, but it was a very specific repertoire. As a guitar player, it’s like the Olympics of guitar, phenomenally difficult lines, and it required two to four hours of practicing a day. Now, King Crimson is not in go mode. I can step back from it to a certain extent and move my attention into learning E tuning.You’re touring with your manager, and you have an aphorisms deck called Finance. How does having to earn a living affect your music?I have no problem singing for my supper. My sense has always been: Present your work to the public. Some people change their work to meet what they believe their public is. Well, that might work for a while, but I have no idea what my public will want, so if I hear something, I follow it. If I see something, I follow it and present it to the public, trusting that there will be a sufficiency in order for a supper to arrive. And historically that’s worked. Some times have been better than the others, but riches and popularity have never been on the top of my to-do list.I’ve learned to trust the music, trust the process. And it’s important that the audience should know they are as important as the musician. If the audience is present and engaged and listening, the relationship is qualitatively different. When that happens, the moment becomes actually real. And there is a profound satisfaction in there. And then you go back, you get on the bus and you drive overnight to the next venue and it all begins again. More

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      Ian McDonald, of the Bands King Crimson and Foreigner, Dies at 75

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      As a multi-instrumentalist and songwriter with King Crimson, he helped propel the progressive rock movement. He found more commercial success with Foreigner.Ian McDonald, a multi-instrumentalist and songwriter whose work with the British band King Crimson helped propel the progressive rock movement of the 1960s and ’70s, and who went on to help found the immensely popular group Foreigner, died on Feb. 9 at his home in New York City. He was 75.The cause was colon cancer, said his son, Maxwell, who is also a musician.Though Mr. McDonald’s work with Foreigner reaped far greater financial rewards than his efforts with King Crimson — his trio of albums with Foreigner sold a combined 17 million copies — his earlier band far outdistanced them in creativity and influence. Their debut album, “In the Court of the Crimson King” (1969), with its radical sound and structure, was a watershed work in the history of rock. It was the only release in the band’s wide catalog in which Mr. McDonald had full involvement.For the album, he was a co-writer of every song, played nine instruments and provided primary production.“Ian brought musicality, an exceptional sense of the short and telling melodic line, and the ability to express that on a variety of instruments,” the band’s leader, Robert Fripp, wrote in the liner notes to a box set of King Crimson’s work released in 1997. In a recent email he said, “In 1969, I trusted Ian’s musical sense ahead of my own.”For the title track of “In the Court of the Crimson King,” Mr. McDonald wrote the music and provided a Mellotron hook that became one of the most recognizable uses of that instrument in rock history. Highly melodic, the sound provided a striking contrast to the fury of the album’s other most famous song, “21st Century Schizoid Man.” Fired by the combination of Mr. McDonald’s shrieking alto-saxophone and Mr. Fripp’s brutalist guitar, “21st Century Schizoid Man” both startled and thrilled listeners.Pete Townshend of the Who was so impressed, he wrote ad copy for the album in Rolling Stone magazine that read: “Twenty-first century schizoid man is everything multi-tracked a billion times, and when you listen you get a billion times the impact. Has to be the heaviest riff that has been middle-frequencied onto that black vinyl disc since Mahler’s 8th.”The album went gold in the United States and made the Top 5 in the band’s native Britain. At the end of a U.S. tour to promote the album, Mr. McDonald left the band, as did the drummer, Michael Giles. “I was probably not emotionally mature enough to handle it, and I just made a rather rash decision to leave without consulting anyone,” Mr. McDonald told Sid Smith in the 2001 book “In the Court of King Crimson.”In 1970, the two departed members released their own album, “McDonald and Giles,” which showcased Mr. McDonald’s vocal skills as well as his Beatle-esque sense of melody. That same year, several long songs he had helped write for King Crimson appeared on the group’s second album, “In the Wake of Poseidon.” In 1974, Mr. Fripp invited him back, and he played on two tracks of the band’s “Red” album, released that year. The band broke up shortly thereafter.King Crimson in 1969; from left, the leader and guitarist Robert Fripp, the drummer Michael Giles, the singer and guitarist Greg Lake, the multi-instrumentalist Ian McDonald and the lyricist Peter Sinfield. Michael Ochs Archives/Getty ImagesWhen work slowed for him in England in the mid-1970s, Mr. McDonald moved to New York, where he helped form Foreigner with another British transplant, Mick Jones.Foreigner’s debut album in 1977 made Billboard’s Top 5 list and sold more than five million copies. One song Mr. McDonald helped write, “Long, Long Way From Home,” became a Top 20 Billboard hit. He was a co-producer of all three albums that he recorded with Foreigner, including “Double Vision” (1978) and “Head Games” (1979).Ian Richard McDonald was born on June 25, 1946, in Osterley, Middlesex, England to Keith McDonald, an architect, and Ada (May) McDonald, a homemaker. His father played banjo and piano, and, in a house filled with music, Ian played guitar and piano.His multi-instrumental approach broadened at 15, when he left school and entered the British Army as a bandsman. “I was taught clarinet, and from there I taught myself flute and saxophone,” he told Big Bang Magazine in 1999. “I was exposed to a number of different musical styles.”After leaving the army and moving to London, he met Mr. Fripp, who had a whimsical group called Giles, Giles and Fripp, including Michael Giles and his brother Pete. Mr. McDonald recorded songs with them before they evolved into King Crimson, with the singer and bassist Greg Lake replacing Pete Giles.Almost immediately a buzz grew around them, leading to an invitation to perform at a Rolling Stones free concert in London in Hyde Park; the event was originally meant to introduce the Stones’ new guitarist, Mick Taylor, but it wound up doubling as a salute to the musician he had replaced, Brian Jones, who had died two days earlier. Audience estimates for the show range from 250,000 to 500,000. In 2013, The Guardian reported that “King Crimson nearly stole the show.”The trailer for a forthcoming documentary titled “In the Court of the Crimson King” shows Mr. McDonald apologizing to Mr. Fripp for leaving the band so soon after it began. His run with Foreigner also ended when he was fired by Mr. Jones, who, Mr. McDonald said, desired more control. (Mr. McDonald did play with the band for its 40th-anniversary tour in 2017.)In 2002, he formed a group with other ex-members of Crimson (without Mr. Fripp) called the 21st Century Schizoid Band, which toured and released several live albums. Mr. McDonald issued a solo album in 1999, “Driver’s Eyes,” and formed a new rock-oriented group, Honey West, which featured his son, Maxwell, on their album “Bad Old World” (2017).In addition to his son, Mr. McDonald is survived by his sister, Linda Rice.Throughout his life he remained proud of how King Crimson’s debut album had endured.“One thing I tried to do as the main producer was to have every moment be able to be listened to hundreds of times so that, hopefully, the album would stand the test of time,” he told the entertainment blog The Los Angeles Beat in 2019. “Here we are 50 years later, and people are still talking about it.” More