Discipline 30th Anniversary Editio N

Corners a little bent on outside cover; otherwise perfect condition. Love the insert.

Great stuff here. Going through my CD's, found the empty box for this, and ordered a replacement! Well worth a relisten!

Anyone who is looking at this already know how great it is…no words will do it justice. If somehow you may not be familiar, if you’re a “true” music lover then don’t hesitate. It’s deserves to be archived in the deep salt mines where all the best, most rare and important objects are kept.

"Discipline" finds a revitalised Robert Fripp and Bill Bruford joining forces with (then) new members Adrian Belew and bass supremo Tony Levin. Listening to it in 2013, it's hard to imagine that there was a time when the "chorus" pedal on guitar sounded cool, but indeed it did for an ephemeral period in the early 80s. Fripp and Belew take advantage of this and ultimately it's this timbral ingredient that most sounds dated 30 years later (particularly on an otherwise compelling "The Sheltering Sky").Crimson fans know what to expect: bizarre time signatures, a penchant for chromaticism over sweet consonance and unusual instrumentation (chorus pedal notwithstanding!). This music that can be otherworldly in its beauty and yet at other intervals, it's downright irritating.At times Belew's lyrics sound as if they have been spuriously superimposed on the music - as if they were inserted later as an afterthought rather than growing organically out of a process of group composition. That said, this album is nonetheless a high point for New Wave quasi-electronic rock in an era that yielded a lot of 'flash in the pan' rubbish. Highly recommended!

As a long time fan of progressive or art rock from the likes of Yes, Emerson Lake and Palmer, and more recently, King Crimson, I am always eager to find "new" music. By new I generally mean music from the 1970s that has a sensibility similar to the bands I just mentioned. And although I only recently began listening to King Crimson, I liked them enough to buy their first seven albums.As I read reviews on Amazon for the first three from the 1980s, I got excited. I didn't bother listening to the supplied snippets as reviewers promised that these albums were even better than anything King Crimson released in the 60s or 70s. Well, suffice it to say I don't necessarily agree with some of the other reviews.While I wouldn't call any of the three albums I purchased (Discipline, Beat, and Three of a Perfect Pair) bad, they are closer to a funky cross between The Talking Heads and Frank Zappa than anything the band did before. The music is indeed good, but it doesn't appear to be progressive rock anymore. Instead of a mix of classical, rock, and jazz, it's more of a cross between funk, rock, and jazz.So buyer beware! If you're ready for something more current than what King Crimson released in the 60s and 70s, these albums will deliver that. But if you wanted something a little closer to the great progressive rock of that era, look elsewhere.

IF you are a hardcore Crimson Fan, then you are not reading this and you already have this album. If you want to taste this band for the first time, know that you will get a shiver from the experience of this unexpected spice. Cut in the dangerous eighties, this particular album is remarkable for many reasons, one of them being that the roaster of this album's outfit is the closest thing to perfection. Every cut is delicious and every musician plays here heroically and yet effortlessly. The signature of this collection is one of elegance and lust. You just feel like dancing from the get go. Bill Brufford feels real frisky and naughty on this album and I know that every percussionist out there keeps this album in a secret place. If after listening to this album you don't become a fan of the band, I know that you will be a fan of this album.

I first discovered KC through its softer tracks, "I Talk to the Wind," "Epitaph," etc. So when I first heard Discipline, it was a bit of a shock to the system.However, after the strangeness of the opening track "Elephant Talk" the band hits a powerful groove and stays there for the rest of the album. As the tracks crescendo, you suddenly realize that KC stays melodic even when they're at high volume and being avante garde. This makes for a great late night study aid, when you need some rhythm, but need to stay awake as well. Problem is that you really need to listen to Discipline at high volume to really appreciate it, which doesn't go down well with sleeping neighbors...All the tracks are excellent. My favorites are Frame by Frame and Thela Hun Ginjeet.

I had not listened to this since it came out, and I had forgotten just how awesome this album is. The synchronicity of the diverse styles of the guys in this iteration of the band is really on display here. Other than some of the stuff by XTC, I can't think of an album that is at once so off the beaten path of mainstream and yet so accessible and enjoyable.

Having been recommended ‘Red’ by my guitar teacher, I decided to try out this album too! I first came across this album whilst reading an interview with a member of Tool, I can’t remember if it was the drummer or guitarist, anyway, he noted this as being one of his favourite albums. Listening to a few of tracks, the influence on Tool is undeniable; indeed, some sections seem to be lifted directly from a Tool album, although obviously it’s the other way around!Despite being a guitar-driven band, King Crimson features vocals in some form (spoken words, singing, unusual vocal patterns etc) on all of the songs on this album, apart from its title track and the penultimate ‘Sheltered Sky,’ which is pretty unusual for this band as they tend to leave out vocals altogether, to concentrate on instrumentals instead.Another musical aspect than immediately grabs you about this album is the importance of the bass, or its prominence in the songs. I use the term bass guitar loosely as I’m sure they are using an unusual bass or equivalent, the name escapes me! Some songs almost have the bass and the guitar swapping roles almost (the bass soloing/leading and the guitar providing the customary ‘bass role’ of a rhythmic canvas).This is also a pretty short, succinct prog album coming in at just over 38 minutes (not counting the bonus track) and its all the better for it, (only two tracks are significantly longer than 5 minutes!) There is little wasted motion and no long-winded, drawn-out boredom often associated with prog rock.The songs themselves are absolute classics, and are as quirky and different as they are fun to listen to. ‘Elephant Talk’ has an almost ‘cocky’ (for lack of a better term) vocal delivery, a bouncy rhythm and will have fans of all instruments, desperately trying to figure out how they got that elephant noise! ‘Discipline’ is what a sci-fi soundtrack should sound like – futuristic, and it’s brother ‘Indiscipline’ is plain chaotic! ‘Matte Kudasai’ and its alternative version which is a bonus track (one of the few completely justified, non-filler bonus tracks I’ve heard in a long time) are both beautiful pieces of music.As much of a niche genre prog rock is made out to be, I find this album to be pretty accessible and a great advert for this type of music, I'm glad I read that Tool interview!

So says Adrian. I do remember one thing from the early 80s when this album came out; I remember thinking, God I've never heard music like this before. Well that was 30 years ago and it still sounds absolutely brilliant. Superb musicians - really superb - and brilliant song-writing: 7 tracks all completely different and not a duff moment at all.There's a reviewer on here who gave this one star because it sounds like Talking Heads. Well, yes: Remain in Light and Discipline go together as the two albums that went furthest in bringing disparate genres together (rap, dance, post-punk, african, rock, techno). Discipline and Remain in Light are two of the best pop/rock albums ever made.If you've not heard this album you're really lucky - a bit like if you've not read the Brothers Karamazov, eaten Gloucester Old Spot pork or been to Munich. A very big treat awaits you.

It's an album from the eighties' line-up of King Crimson. Consequently it ventures nowhere near the usual mindless fodder perpetuated by the media. Eight tracks, including an alternative version of track 3, are all you get. But if you like unclassifiable, quirky prog rock that alternates between the beautifully melodic to the chaotically atonal.....then this could be for you! Typically, you won't get to know this album after one listening for there are complex strata to be delved - all of which underpinned by Fripp's unique and masterful guitar playing throughout. As you'd expect, there are highly valid contributions from Brufford and Belew as well, while Levin's vocal abilities really come to the fore on the track, Matte Kudasai.

Brilliant album with fantastic musicianship.

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