| Discipline | |
| Type: | Studio |
| Artist: | King Crimson |
| Cover: | Discipline_-_Original_Vinyl_Cover.jpg |
| Released: | 2 October 1981 |
| Recorded: | May and June 1981 |
| Studio: | Island (Notting Hill, London) |
| Genre: | |
| Length: | 38:15 |
| Label: | |
| Producer: |
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| Prev Title: | USA |
| Prev Year: | 1975 |
| Next Title: | Beat |
| Next Year: | 1982 |
Discipline is the eighth studio album by English progressive rock band King Crimson, released on 2 October 1981 by E.G. Records in the United Kingdom and by Warner Bros. Records in the United States.[1]
This album was King Crimson's first following a seven-year hiatus. Only band co-founder and guitarist Robert Fripp and drummer Bill Bruford remained from the previous incarnation. 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.[2] The album introduced a new sound for the band, influenced by new wave, post-punk, minimalism and Indonesian gamelan music,[3] while retaining an experimental character, helping lay the groundwork for what would eventually become known as post-progressive rock.[4]
The musical style of Discipline has been described as art rock,[5] progressive rock, new wave,[6] post-progressive,[7] and dance-rock.
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 Robert 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.[8]
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.[9]
"Thela Hun Ginjeet" is an anagram of "heat in the jungle". 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 New York; this recording is featured on the track "NY3" on Fripp's solo album Exposure. While the track was being recorded for the Discipline album, 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.[10]
"The Sheltering Sky", which heavily features Belew and Fripp on the Roland GR-300 guitar synthesizer,[11] 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 inspire King Crimson's subsequent studio album Beat.
Some live versions of "Elephant Talk", "Indiscipline", and "Thela Hun Ginjeet" included partial vocal improvisation during the spoken-word sections.[12]
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.[13] 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 Robert Fripp.[14] [15] Ball's design is also used as the logo of Fripp's record label, Discipline Global Mobile.
Discipline reached number 41 on the UK Albums Chart[16] 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." Record Mirrors 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". Robert Christgau of The Village Voice described the album as "not bad—the Heads meet the League of Gentlemen". In The Village Voices year-end Pazz & Jop poll, Discipline was voted by critics as the 35th best album of the year.[17]
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. According to Prato, "the pairing of these two originals worked out magically." 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."[18]
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."[19]
All music written by Robert Fripp, Adrian Belew, Tony Levin and Bill Bruford; all lyrics written by Adrian Belew.
| Chart (1981–82) | Peak position |
|---|---|
| French Albums (SNEP)[22] | 17 |
| Japanese Albums (Oricon)[23] | 33 |