Described by Variety magazine as "really about as good as rock documentaries get", the long-awaited, official King Crimson documentary by Toby Amies will be released in Limited edition form as an 8 Disc boxed set containing 2 Blu-Rays, 2 DVDs and 4 CDs. The set includes the full film, an early edited version of the film, live and studio performances from the 50th anniversary tour plus a plethora of additional footage. It also includes the music from the original soundtrack and more over 4 CDs - many tracks previously unreleased and/or new to CD. The film appears in DTS-HD MA 5.1 Surround on Blu-ray 1 and in Dolby Digital 5.1 Surround on DVD 1. The film and other material on Blu-ray 1/DVD 1 - the final performance of 'Starless from December 2021, an early edit of sections of the film and a set of trailers/shorts, appear in LPCM 24/48 Stereo on both formats. Blu-ray 2/DVD 2 feature: Tring, Rock In Rio, 38 minutes backstage footage and more.

King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album – largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") – is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure – and played even better than before – still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King.

Although John Wetton is at the helm throughout all of these tracks, King's Road, 1972-1980 is really a collaboration of progressive rock artists that have joined Wetton across each of the 13 songs. Wetton's renditions of songs by his former bands King Crimson and UK come off quite clean and refined, especially "As Long As You Want Me Here" from 1979's Night After Night Live album and the opening "Nothing to Lose" off Danger Money. While his efforts at singing the King Crimson tracks lack the magic and fullness they exhibit in their original form, they still maintain a slight electrified feel. The entire 12 minutes of "Starless" from the classic Red album makes for an excellent finishing track, brought marvelously back to life with the steady drumming of Bill Bruford and the sparkling keyboard work of Robert Fripp…

As Robert Fripp had done with King Crimson's first live LP, Earthbound (1972), USA is a single-disc concert package documenting the quartet during its 1974 swing through North America. As with its predecessor, USA was also issued as a sonic cenotaph of the concurrently defunct Krim. So insistent that the band would not be resurrected, Fripp concluded the LP's liner notes at the time with another three-letter epitaph: "R.I.P." The 1973/1974 King Crimson included the collective efforts of Fripp (guitar/Mellotron), David Cross (violin), John Wetton (bass/vocals), and Bill Bruford (drums/percussion).

2CD collection of extracts, elements from studio recordings, alternate takes, live tracks, rehearsals & finished recordings from 1969-2014, much of it previously unreleased on CD. This also comes with a 24 page tour booklet.

Expanded 50th anniversary edition of King Crimson’s first non-album single from 1970, featuring artwork derived from Peter Sinfield’s original 7” cover.
Featuring Cat Food (single version), Groon (original single B-side), a live version of Cat Food performed by the current KC line-up in Toronto in September 2019, and an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series.

When it comes to quality live material, there's never been a better time to be a King Crimson fan than the 2010s. In addition to the exhaustive 40th anniversary boxes, there have been multiple releases from the 2014-2015 seven-piece band culminating with Radical Action to Unseat the Hold of Monkey Mind, a set that features every song performed on the tour in excellent audio and video quality.
The vast majority of the set was recorded in Japan, with other shows filling in on the songs that weren't performed there. Every show was recorded in high-quality audio and video with a multi-camera shoot, so there's no difference in quality. While the band doesn't improvise as extensively as they have in the past, a comparison of the solos shows that they aren't phoning in their performances, either…

King Crimson performed Heroes at the Admiralspalast in Berlin as a celebration, a remembrancing and an homage. The concert was thirty-nine years and one month after the original sessions at the Hansa Tonstudio overlooking the Berlin Wall. This is released in the Fortieth Anniversary year.
The title track sees Robert Fripp reprise the unforgettable guitar role he created for the original David Bowie studio recording in the same city in 1977, particularly poignant in the year of Bowie's death.
Also featured on the EP are a ten minutes recording of Easy Money (Paris), a song that varies in length and solos from night to night and is always a fan favourite, an edited version (featuring the “song section”) of Crim Classic Starless often a set closer, always a stand-out moment and a recording of the three drummers’ showpiece The Hell Hounds of Krim…

Released in December 1970, King Crimson's third studio album, Lizard, is often viewed as an outlier in the pioneering British prog outfit's nearly half-century discography. It's not easily grouped with 1969's stunning In the Court of the Crimson King debut and 1970 follow-up In the Wake of Poseidon, and along with 1971's Islands it's considered a transitional release on the band's path toward the relative stability of the Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974) trilogy. Plus, the Lizard sessions were difficult and the core group lineup acrimoniously collapsed immediately afterward, as bandleader/guitarist Robert Fripp, with lyricist Peter Sinfield, continued brave efforts to save King Crimson from disintegrating as the group's lengthy history was just getting underway.

The CD features the original album, plus three extra tracks (stunning pre-overdub trio versions of Red & Fallen Angel and the full version of Providence).
King Crimson fell apart once more, seemingly for the last time, as David Cross walked away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past - Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together…