the court of the crimson king
------------the court of the crimson king: interview with Peter Sinfield – lyrics---------
12 October 1969
Length
9:25 (album version)
7:16 (edited version)
3:22 (single version, Part One)
4:25 (single version, Part Two)
sung by Greg Lake
Lyrics:
The rusted chains of prison moons
Are shattered by the sun. -caged people were set free long ago
I walk a road, horizons change
The tournaments begun. -he is at odds with the powers that be who imprisoned him. now free, he's on their list so he will have to be smart and clever to win this tournament.
The purple piper plays his tune,
The choir softly sing. purple for royalty only.
Three lullabies in an ancient tongue,
For the court of the crimson king. 13th century Holy Roman Emporer Frederick II
The keeper of the city keys
Put shutters on the dreams.
I wait outside the pilgrims door
With insufficient schemes.
==============================================================
http://www.songsouponsea.com/q&a1.html
Personnel
Peter Sinfield – lyrics
Robert Fripp – guitars
Greg Lake – bass guitar, lead vocals
Ian McDonald – Mellotron, harpsichord, organ, flute, backing vocals
Michael Giles – drums, percussion, backing vocals
==============================================================
The life of Frederick certainly resonates with the youth of the era under consideration, (the late 60's/early 70's). Like the "flower children" he rebelled against the older generation and eschewed convention. In turning against the traditional values of his father figure (the Pope) an epic struggle ensued, a struggle not without parallel to that which occurred between God and Satan .
Frederick's life was really the drama of the adolescent aspiring for autonomy on a grand scale and this is the very aspect of Frederick that most interested me as a teenager. Foremost among Frederick's resemblances to your creation was his particular rebellion against religious authority.
Ian - He took In the Court of the Crimson King and forged it into what you now hear in all its glory. he invited me to meet a musical trio . As Giles and Fripp played on and talked I smiled and shook my head and grinned as they played again. I was entranced, as the saying goes, I truly thought I'd died and gone to heaven."
Jon Green:
The lyrics of the song, The Court of the Crimson King, conform, not just to any despot, but to specific events in the life of Frederick II, and they cannot be applied to the life of any other person without leaving gaping holes and creating contradictions.
Peter Sinfield:
"The poet Robert Browning was once asked to elucidate on some of his work.... His reply was " When that was written only God and Robert Browning knew what I was attemping to say ....now only God knows."
--------------------------------------------
Peter Sinfield:
"although he flatters my knowledge regarding Fred2 and ignores the, Courts of Arthur, Alexander, Borge, Rameses, Victoria, Augustus, Louis, JFK, Elizabeth1, Charlemagne, Saladin, Assorted Mings, Xerxes, A Foundation Here and A Worm Rider There Etc. .ie any ruler who presided over an intense period of learning, yearning and burning and apparently benificial progress towards the elevation of mankind
- Fred2 has also rumbled my more obscure, though pointed and mischievous references to the gnostic, mystic and slapstick!"
Jon Green:
Peter, judging from your response, you consciously conceived the Crimson King as a composite of several historical figures.
Peter Sinfield:
"Ok - It was that ... and a game of archetypes, symbols, and purposefully 'vulgar' colours. [The Magus/Gormenghast/Lord Of the Rings/The Prince/The Hidden Persuaders(V.Packard), some Heinleinl etc ]
I wrote the whole song words and v. many months before I became with involved KC\
Ian MacD's famous remark after he auditioned for my enthusiastic ensemble was...
"Look your band are hopeless but you write some really interesting words ...do fancy trying to write some songs?"
Ian. He took In the Court of the Crimson King and forged it into what you now hear in all its glory. he invited me to meet a musical trio . As Giles and Fripp played on and talked I smiled and shook my head and grinned as they played again. I was entranced, as the saying goes, I truly thought I'd died and gone to heaven."
Robert Fripp
Jon Green:
I am still wondering about Frederick II's accidental presence in the title song. There are simply too many coincidences here.
Peter Sinfield:
"I agree. . . ."
Jon Green:
Robert Fripp provided occult evidence leading right back to Frederick.
Peter Sinfield:
"Did he indeed? Since both The Court of the Crimson King and Epitaph (which started life as a two verse poem written in iambic tetrametres) were written before I met him . . . .there was it would appear something, interesting , and synchronic that way coming. . . .
When we met he was the Fripp of Giles, Giles & Him... You have heard their album? Robert to my knowlege, and here I may be in error, did not begin his studies sufic and esoteric until the mid seventies. Not to say that having opened a window later in the day he was not at once aware that unconsciously he had always been aware, of a 'certain twist of light' which is normal. As I recall he seldom questioned my "obscurantist" wordlings - and now I come to think about it. . .why not? There was a silent respect, a raised eyebrow, a knowing twitch of the lip- well at least until Islands there was – but that is another tale!"
Jon Green:
The life of Frederick certainly resonates with the youth of the era under consideration, (the late 60's/early 70's). Like the "flower children" he rebelled against the older generation and eschewed convention. In turning against the traditional values of his father figure (the Pope) an epic struggle ensued, a struggle not without parallel to that which occurred between God and Satan (a common theme taken up by members of the 19th century symbolist movement, one of whom was Rimbaud, a major influence on Peter Sinfield). Frederick's life was really the drama of the adolescent aspiring for autonomy on a grand scale and this is the very aspect of Frederick (the Crimson King) that most interested me as a teenager. Foremost among Frederick's resemblances to your creation was his particular rebellion against religious authority.
Peter Sinfield:
"VERY VERY VERY TRUE !!!!"
Jon Green:
This is primarily what enabled me, those many years ago, to recognize him for who he came to be, the Crimson King.
Peter Sinfield:
"Indeed see : History of God: by erm, Karen Young?"
Jon Green:
Can all of this just be coincidence? Did you intend for the lyrics of In the Court of the Crimson King to have no particular meaning beyond evoking moods images and impressions suggestive of an archetypal ruler, "any ruler"?
Peter Sinfield:
"The song is not about "any ruler".... it is about.... Darwinian Corruption (in1968) I could NOT write it now for I know much less on the other hand I am totally empowered by the lessness (eek) I know not ...One hand claps...."
Jon Green:
Are the three lullabies just a coincidence?
Peter Sinfield:
"NO..."Three" is never a coincidence."
Jon Green:
The purple piper?
Peter Sinfield:
"HE IS ...MUSIC >>>>>> He is G. B. Shaw's famous aphorism about music and those who populate some ring or other in the Mother of All Saunas that Dante went on and on and on and on about."
======================================
12 October 1969
Length
9:25 (album version)
7:16 (edited version)
3:22 (single version, Part One)
4:25 (single version, Part Two)
sung by Greg Lake
Lyrics:
The rusted chains of prison moons
Are shattered by the sun. -caged people were set free long ago
I walk a road, horizons change
The tournaments begun. -he is at odds with the powers that be who imprisoned him. now free, he's on their list so he will have to be smart and clever to win this tournament.
The purple piper plays his tune,
The choir softly sing. purple for royalty only.
Three lullabies in an ancient tongue,
For the court of the crimson king. 13th century Holy Roman Emporer Frederick II
The keeper of the city keys
Put shutters on the dreams.
I wait outside the pilgrims door
With insufficient schemes.
==============================================================
http://www.songsouponsea.com/q&a1.html
Personnel
Peter Sinfield – lyrics
Robert Fripp – guitars
Greg Lake – bass guitar, lead vocals
Ian McDonald – Mellotron, harpsichord, organ, flute, backing vocals
Michael Giles – drums, percussion, backing vocals
==============================================================
The life of Frederick certainly resonates with the youth of the era under consideration, (the late 60's/early 70's). Like the "flower children" he rebelled against the older generation and eschewed convention. In turning against the traditional values of his father figure (the Pope) an epic struggle ensued, a struggle not without parallel to that which occurred between God and Satan .
Frederick's life was really the drama of the adolescent aspiring for autonomy on a grand scale and this is the very aspect of Frederick that most interested me as a teenager. Foremost among Frederick's resemblances to your creation was his particular rebellion against religious authority.
Ian - He took In the Court of the Crimson King and forged it into what you now hear in all its glory. he invited me to meet a musical trio . As Giles and Fripp played on and talked I smiled and shook my head and grinned as they played again. I was entranced, as the saying goes, I truly thought I'd died and gone to heaven."
Jon Green:
The lyrics of the song, The Court of the Crimson King, conform, not just to any despot, but to specific events in the life of Frederick II, and they cannot be applied to the life of any other person without leaving gaping holes and creating contradictions.
Peter Sinfield:
"The poet Robert Browning was once asked to elucidate on some of his work.... His reply was " When that was written only God and Robert Browning knew what I was attemping to say ....now only God knows."
--------------------------------------------
Peter Sinfield:
"although he flatters my knowledge regarding Fred2 and ignores the, Courts of Arthur, Alexander, Borge, Rameses, Victoria, Augustus, Louis, JFK, Elizabeth1, Charlemagne, Saladin, Assorted Mings, Xerxes, A Foundation Here and A Worm Rider There Etc. .ie any ruler who presided over an intense period of learning, yearning and burning and apparently benificial progress towards the elevation of mankind
- Fred2 has also rumbled my more obscure, though pointed and mischievous references to the gnostic, mystic and slapstick!"
Jon Green:
Peter, judging from your response, you consciously conceived the Crimson King as a composite of several historical figures.
Peter Sinfield:
"Ok - It was that ... and a game of archetypes, symbols, and purposefully 'vulgar' colours. [The Magus/Gormenghast/Lord Of the Rings/The Prince/The Hidden Persuaders(V.Packard), some Heinleinl etc ]
I wrote the whole song words and v. many months before I became with involved KC\
Ian MacD's famous remark after he auditioned for my enthusiastic ensemble was...
"Look your band are hopeless but you write some really interesting words ...do fancy trying to write some songs?"
Ian. He took In the Court of the Crimson King and forged it into what you now hear in all its glory. he invited me to meet a musical trio . As Giles and Fripp played on and talked I smiled and shook my head and grinned as they played again. I was entranced, as the saying goes, I truly thought I'd died and gone to heaven."
Robert Fripp
Jon Green:
I am still wondering about Frederick II's accidental presence in the title song. There are simply too many coincidences here.
Peter Sinfield:
"I agree. . . ."
Jon Green:
Robert Fripp provided occult evidence leading right back to Frederick.
Peter Sinfield:
"Did he indeed? Since both The Court of the Crimson King and Epitaph (which started life as a two verse poem written in iambic tetrametres) were written before I met him . . . .there was it would appear something, interesting , and synchronic that way coming. . . .
When we met he was the Fripp of Giles, Giles & Him... You have heard their album? Robert to my knowlege, and here I may be in error, did not begin his studies sufic and esoteric until the mid seventies. Not to say that having opened a window later in the day he was not at once aware that unconsciously he had always been aware, of a 'certain twist of light' which is normal. As I recall he seldom questioned my "obscurantist" wordlings - and now I come to think about it. . .why not? There was a silent respect, a raised eyebrow, a knowing twitch of the lip- well at least until Islands there was – but that is another tale!"
Jon Green:
The life of Frederick certainly resonates with the youth of the era under consideration, (the late 60's/early 70's). Like the "flower children" he rebelled against the older generation and eschewed convention. In turning against the traditional values of his father figure (the Pope) an epic struggle ensued, a struggle not without parallel to that which occurred between God and Satan (a common theme taken up by members of the 19th century symbolist movement, one of whom was Rimbaud, a major influence on Peter Sinfield). Frederick's life was really the drama of the adolescent aspiring for autonomy on a grand scale and this is the very aspect of Frederick (the Crimson King) that most interested me as a teenager. Foremost among Frederick's resemblances to your creation was his particular rebellion against religious authority.
Peter Sinfield:
"VERY VERY VERY TRUE !!!!"
Jon Green:
This is primarily what enabled me, those many years ago, to recognize him for who he came to be, the Crimson King.
Peter Sinfield:
"Indeed see : History of God: by erm, Karen Young?"
Jon Green:
Can all of this just be coincidence? Did you intend for the lyrics of In the Court of the Crimson King to have no particular meaning beyond evoking moods images and impressions suggestive of an archetypal ruler, "any ruler"?
Peter Sinfield:
"The song is not about "any ruler".... it is about.... Darwinian Corruption (in1968) I could NOT write it now for I know much less on the other hand I am totally empowered by the lessness (eek) I know not ...One hand claps...."
Jon Green:
Are the three lullabies just a coincidence?
Peter Sinfield:
"NO..."Three" is never a coincidence."
Jon Green:
The purple piper?
Peter Sinfield:
"HE IS ...MUSIC >>>>>> He is G. B. Shaw's famous aphorism about music and those who populate some ring or other in the Mother of All Saunas that Dante went on and on and on and on about."
======================================
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