In the Court of the Crimson King: King Crimson at 50 (2022) User Reviews

The film that King Crimson should have

[lexo70 · 8/10 · 9 January 2023]

I'm a King Crimson fan but I'm also a documentary film fan, and I was wondering exactly what this film would be like. We hardly need a sober, sensible, narrative history of the band because there are already enough of them, and sure enough, this film doesn't offer one--to the considerable annoyance of one of the other reviewers.

What Toby Amies has come up with is a film which is in large part about his effort to make a film about King Crimson. There's no attempt to gloss over the difficulties: Robert Fripp has said many times in print and in person that King Crimson has a kind of existence that's independent of any one group of people, and anyone who knows the history of the band will know of the moment in 1969 when half the band told Fripp they were leaving, and he offered to leave himself rather than have the band come to an end, only to be told that the band was more him than them.

So there are intangible things about this band (perhaps about any good band) which are hard if not impossible to capture on film. So what use is a documentary about something that only the people involved have first-hand experience of?

Well, it illustrates one of Fripp's other often-repeated sayings: that music often chooses unlikely characters to manifest itself. Fripp comes across as extremely focused on getting the music right, and impatient with anything that gets in the way of that: at one point he expresses his annoyance that talking to Amies has taken time away from his guitar practice, with the result that he's just played what he regards as a subpar show.

But in interviews with fans and bandmembers, people express appreciation for the music which shows you why people value this band so much. One fan, a nun, says that she likes KC's music so much because it's 'grown-up'. Another cheerfully recalls being hustled out of a KC show in the 90s because he ignored the no-camera rule, and yet here he is over 20 years later, still turning up.

One thing that puzzled me on first viewing was the ending, where Amies encounters Fripp in a backstage area and asks him what he missed. Fripp, in his most voice-from-the-mountaintop manner, informs that he missed 'everything'--that there was a 'pivotal scene' in which the band's history and future was presented, but Amies wasn't there, and so the film is a waste of time. He then strides off, with Amies offering a rather meek 'Thanks'. At first I thought that this was Fripp expressing lordly impatience with the whole process, but on a second viewing there's a mischievous twinkle in Fripp's eye that makes me regard this scene as emblematic of Fripp's whole attitude to the project: try as Amies might, he may make an interesting and entertaining film but he'll never get to the heart of the matter. I think Fripp is deliberately trolling Amies in this moment, giving him a suitably slam-bang final scene for the film.

I could have done with hearing more from previous members. The focus of the film is very much its final lineup, with the history being sketched in as we go. It's not the film to watch if you want to know more about this band's music and exactly what happened over the years, but it is a vivid portrait of creative people being creative. And to say a film is too short is surely a compliment. Good job, Mr Amies.

a way of doing things

[ferguson-6 · 7/10 · 31 October 2023]

Greetings again from the darkness. King Crimson was founded in 1969 and to this day, no one can properly describe their music. Even co-founder and band leader Robert Fripp avoids labeling the music and instead states, "King Crimson is a way of doing things". Documentarian Toby Amies takes on the challenge of examining the band after 50 years.

While most associate guitarist Fripp as being the face of the band, he himself claims that it's an ensemble and always has been. But then he also describes the years 1969 through 2013 as "wretched", and that only with this most recent iteration has found satisfaction. At a minimum, Fripp is a perfectionist, and it's likely he is also a tortured genius who constantly strives for different, more, and better. He makes for a frustrating interview, and director Armies shows him mostly in various short clips, while letting current and former band members offer their opinions.

Co-founder Ian McDonald's zoom interview is the most touching. Taking place shortly before McDonald's passing in 2022, he breaks down and says, "I'm sorry Robert", for leaving Fripp and King Crimson after only a year. Obviously, there was some bad blood between the two men, even after so many years. McDonald went on to co-found the band Foreigner in the 1970's before taking on a solo career. Fripp remained with King Crimson and pursued his idea of what a band should be.

Former King Crimson bassist Trey Gunn explained being in the band was like "a low-grade infection", while current drummer/keyboardist Bill Rieflin thrived with the band. Rieflin was performing with Stage four colon cancer and countless other health issues, yet viewed making music as what he was meant to do, right up until his passing during filming of this documentary. Numerous other former members are interviewed and the comments range from annoyance to reverence. Current singer/guitarist Jakko is cautious about what he says so as not to cross Fripp. He cracks, "you're irreplaceable ... like the last bloke." It's a unique band playing unique music - a style where each world class musician plays their part based on what fellow band members (usually 8 including 3 drummers) are playing. The result is often a peak experience for the audience, even those who have attended many shows over the years. There is an interesting segment featuring a nun who is also a devoted fan of the band. She compares it to religion, and between the immersive music and Fripp's commentary, we can't help but put this in terms of philosophy, psychology, religion, and even a cult-like atmosphere. Always impeccably dressed like a British gentleman, Fripp's obsessive discipline and demanding ways, leave us with a better feel for the band, while being no closer to offering a label of description. This is not your parents' music documentary ... even if it happens to be your parents' favorite band.

In theaters November 3, 2023 and VOD beginning December 1, 2023.

If Obsessive Compulsive was a band.

[torrascotia · 6/10 · 3 January 2023]

Unlike most of the intended audience of this doc, I am not a fan. However I have experienced this band live after being given a free ticket. Reading up on the band it seems they have a cult following, particularly from those who were in their teens during the 1970s. They are one of the most well known bands from the Prog Rock era so wonderfully sent up in Brian Pern.

In concert I found them a difficult listen not knowing any of their tracks. Its obvious that some and by this I mean a small minority seem to get something from this band most do not. And that is kind of the problem. I have no difficulty with difficult music as I love artists such as Autechre who would leave your average KC fan in confusion. The problem with this band is it seems to be about reaching a peak experience through virtuoso playing of what are now quite arcane instruments. There is no progress in terms of sonic palate.

This doc aims to shed some light on what goes on behind the scenes in terms of the functioning of the band, the bands relationships, its history and live experience. It manages to explore some of these better than others. What it does not do however is delve particularly deeply into the psychology of Robert Fripp. Using my background however its clear that Fripp displays many traits of obsessive compulsive personality. Which appears to drive his unfulfilled drive towards perfection, his rigid rules and anger when these aims are frustrated. Of course perfection doesn't exist so its always a mission deemed to fail. There is also a need for control over others so its no surprise that relationships with band members have fractured. This doc however does not seem to ask the question of Fripp of whether he is actually aware of his personality flaws or whether he has made any attempts to change these, for the better of his emotional life and those around him. Which was baffling. Particularly when its so obvious what the issues are and that they are easily addressed. It seems this documentary was more keen to maintain the image of Fripp as some type of troubled genius that nobody can fathom. Is that because the film maker is too much of a fan?

If anything its the other band members past and present who make the biggest contribution, although it also seems they do not have a basic grasp of Fripps personality, some appeared damaged as a result.

Thankfully there was not much in the way of music, its a mainly talking heads affair which will suit non-fans more, as the music tends to sound like the soundtrack of a European low budget horror movie. I am thinking Goblin and Suspiria of course.

As for the KC peak experience, I doubt too many will get that watching this doc. While fans may initially warm to it, its actually quite surface level, there aren't many stand out moments, apart from one scene I had to actually check the video I was watching hadn't frozen. This one scene however explains why an in depth or revealing doc about Fripp will never be made. Its because he exerts so much control, particularly over himself, that at no point will he allow others to see below the surface. It would take a doc in which others who know him and free to talk will he be revealed. Talking of which, where was Toyah?

Up close to one of rock's most elusive bands

[tvdr-87337 · 10/10 · 20 October 2022]

As a lifelong fan I have been waiting for a good documentary about one of my favourite bands - or any documentary for that matter. Again a cliché is proven right on the (easy) money: good things come to those that wait.

I never thought I would get this close to this most hermetic of bands and especially not to the Hermit In Chief: Robert Fripp. This film proves once and for all he's not (only) a cantakarous old sod, but also a deeply funny and intensely emotional man. And as a guitarist, one can only stand in awe of his dedication to his craft.

Seeing a whole host of band members from the recent to the distant past speak of the band that in every instance changed their lives - for better, for worse or both. It is truly heartwarming that Bill Rieflin, who during the making of this documentary had stage four colon cancer, is made into a focal point all on his own. Not only the life of a band, but also the lives of the band members come to light.

Even if you have never heard of King Crimson, you will be entertained by this well constructed documentary, filmed unflinchingly up close, and the quality and hilarity of the interviews, conducted in such places as on a stage, in a dismal van and at a candlelit dinner table. Deep earnestness and light-hearted taking the piss are around every corner. Just like in life, really.

A worthy tribute: irreverent, spiky and funny. So do take a seat in this Court and bow your heads to the majesty of King Crimson.

Unique, once in a lifetime look at King Crimson

[glennleemrg-35623 · 9/10 · 6 December 2022]

Toby Amies has presented us with a documentary about one of the most Marmite-like bands, King Crimson.

Don't expect to have a further understanding of the history of the band after you've watched this doc, you'll not get one, just revel in the fact that you've been able to get this close. It won't happen again, not like this anyway. This isn't a doc that cares about the band's history.

Revel in the fact that you are given a brief insight into the sheer pants-filling fear that being a member of Crimson, and rehearsing and performing with perfectionists, who are so much in tune with the ethos of King Crimson, that if you put a note out of place, you'll get a spine-tinglingly terrifying glare from Robert Fripp.

I expected Fripp to be a preposterous fop, and sometimes he is, but he's also a passionate, hilarious and loving father figure to the band. Some of the interactions with Toby Amies and Robert Fripp are excrutiating, but mesmerising as well. You really feel for Toby sometimes, being chided for asking what on the surface are normal innocent questions, to have them turned on their head by Fripp, who scolds him like a mildly pissed-off headmaster.

I loved the interviews with former band members, who have their own stories to tell, which probably could be turned into a mini-series. Some are very sad stories, (Ian McDonald and Fripp want their heads knocking together) some are happy. There are some welcome visits into the past of the band, which don't go too deep, but then again this isn't that type of documentary, Amies isn't interested in giving a history of the band.

My favourite parts of the doc are with Fripp, and the current members of the band who are very funny, sarcastic, terrifying, honest, sad and look sometimes that they are members of a cult.

A part of the film that will haunt me are the interviews with Bill Reiflin, But I'm not going to dwell on those.

You can try to explain what King Crimson are, at the end of the day it's a personal thing, you can go deep into the meanings of the songs, the spirit of the band, what it's like to travel the world just to get a glimpse of them on stage, (but please no photos or filming during the show or you'll get thrown out), but I think one of the funniest summing up's of the band are shared to us by a Brazilian(?) lady in the crowd who simply states 'I Love Tony Levin!' In one amazing statement cutting through all the pretentious tosh and putting feminism back 30 years. Priceless.

More backstage Tour than Band-history

[Johann_Cat · 6/10 · 22 March 2024]

This promises to be much more (a clever history) than it is (a fawning backstage tour of a current show), and had opportunities to be a) a deeper history of the band and b) wittier. Anybody who has watched Robert Fripp's home videos (of him and his wife covering a wild assortment of rock and pop tunes) knows he has a sense of humor, likes rocknroll music, and can be quite amusing and self-deprecating. The documentary focuses (much of this is connoted by editorial choices, as we frequently see Fripp walking away to do something more important) on the peeved, obsessive Latin-professor aspect of Fripp, which, while real, isn't the whole enchilada, and without being complicated by the rest of his experience and personality, the impatient-professor schtick is interesting for about 70 seconds. The film-makers lined up most of the surviving members of King Crimson from the last 50 years and got them narrate about 1.2% of their experience of the history of the band. The film spends more time lavishing its camera's eye on, I am not kidding, roadies and tech-men tinkering with equipment backstage for a current show, as they field inane questions, and mutter responses as good-naturedly as they can in the circumstances, rather than on any sort of evolutionary (or crisis-based) story of the bands called "King Crimson." About 30% of the film is such backstage or empty-house tedium--this doesn't develop into a concert movie. So there are at least two main categories of "lost opportunity" here: this isn't a concert film; this isn't a history of the band. Yet the film-makers also lined up, among many members of Crimson over the years, Ian McDonald and Michael Giles, the original reed and drum section of the band--their appearance gives hope that origins and musical anecdotes (how was tune that gave the film its title made, e.g.?) are forthcoming. McDonald and Giles may not have another opportunity to narrate the early history of the band. They left the band after its first two Lps to make a funky, major-key (in contrast to Crimson's dark heft) record (still famous; its frequently sampled in hip-hop), a classic of its 1970-moment, and unmentioned here. Pete Sinfield, the band's original lyricist is on camera for about 30 seconds and obviously could have been a trove of witty history; after a funny note on Greg Lake (the band's original singer, pre-"Emerson, Lake, and Palmer") as a young man (the only mention of Lake in the whole documentary, though the band's current singer was obviously hired largely because he can do a spot-on Lake imitation), Sinfield vanishes; John Wetton, the singer and bassist of what I think is the most interesting (mid-1970s) version of the band, is not mentioned. Bill Bruford and Adrian Belew (former long-term band members), are, gratefully, allowed to speak at some intelligent length, but again, in bits that convey the quality of working with Fripp, not how their versions of the band came together. I have yet to see any film that explained how this band evolved, somewhat like a transformer toy, throughout the 60s, 70s, and 80s. In 1972, e.g., there were two completely different versions of Crimson (one in the spring, on tour in the USA, and another, the Bruford-Wetton version, that toured England in the fall) of the band, both quite good, and both entirely different, though they played many (not all) of the same songs. The documentary lavished too much attention on the stage-preparations of this current, grandiose cover-band version of Crimson (a three-drummer, + keyboard, + etc. Version of the band) as though it were a church of Fripp service, while it could have narrated more history about each significant version of the band.

Not for fan. For people who care about a craft

[mikelpcl · 10/10 · 5 August 2023]

I knew nothing about Crimson King.

I had listened to a little bit of their music and it told me nothing, so I never paid any more attention.

After watching this film, I can proudly say I know very little about the facts, names, impact, etc of the band.

I feel I know what drives the band, what they are trying to do, what cost it comes at, and even maybe what they get out of it.

And I quite like that was the take of the film. I can learn all the data in Wikipedia if I'm so inclined; I can listen to their recordings any time I want; this film fills a different gap.

I'm still not keen on what they create and how they dress it up. But it doesn't matter. This is not a film for fans, it's a film for people who care about a craft whichever that craft might be.

So many has missed the point of this documentary

[jannemet · 9/10 · 7 September 2023]

Reading the reviews I realised that many people who saw this expected it to be your typical film of the bands history, it's ups and lows and tales from the road. If that's what you're looking for, this isn't for you.

If you want to see what it means to be fully committed to your art and vision, you're going to love it. It's hard to watch sometimes and it makes you wonder is this all necessary, it makes you angry at some people and it makes you feel sorry for some. There's also rare kind of beauty in it.

If you already know the bands history and the central members of it but you want to get inside the band, this is for you. If you expect it to be something else, it'll be a letdown.

WOW! Just Wow... What the hell else could I possibly say...

[lathe-of-heaven · 9/10 · 3 January 2023]

Honestly, my title says it all. This truly transcends description. It's almost like after seeing this, ANY words just simply are inadequate and anything I try to say about this film and whatever I attempt to articulate would be trite and insufficient.

I know this is a VERY unusual review and not at all like any of the others that I have written. But, as I sit here typing this, I genuinely feel incapable of expressing anything even remotely approaching what I just experienced in watching this.

I rated it a '9' which is extremely rare for me and speaks for itself.

If you like the band (as it was, is, or will be...) then that speaks for itself.

And, I WILL say that if you watch this and you come to the moment where Fripp is telling about his meeting with the man who led a certain retreat, well... let's just say that unless you do not have a pulse, you will find it quite unique and unexpected...

Obviously, most highly recommended...

86 minutes of self-admiration by Robert Fripp

[daltrey · 4/10 · 8 January 2023]

Expected more. Got 86 minutes of self-admiration by Robert Fripp. With all due respect to past glories and incredible musicianship through the years now the band stopped to be innovative. I do not expect them to be after so many years, I respect their legacy and thought the film would show the same level of respect for the music made in past decades. Not the case here, for some reason it is time to shroud everything (actually every bum note) in some mystical and cult nonsense. I know KC was always a cult but when Robert Fripp pontificates non-stop guru nonsense it is really insufferable. He is the core of KC, nobody doubts it, why it should be stressed countless of times, I have no idea.

Unfortunately the film does not tell anything about the history of the band and shows absolute disrespect to its former members (all wonderful musicians, a few are not alive anymore), really a pity.

This is easily the best rock documentary ever!

[info-43096-06156 · 10/10 · 5 June 2023]

Where do I begin? You do not need any prior knowledge of King Crimson to enjoy this film. Amies has discovered some really interesting people to talk to about the band, such as the Prog Rock Nun, and some of the fans. The sequences with Bill Rieflin are outstanding, he unflinchingly presents Robert Fripp as he is, and the interviews with band members past and present are filled with humour as well as introspection. And some of the cinematography is wonderful, such as the Polish tango dancers in the rain, and the shot of the drummers discussing a mistake with Robert Fripp looming over their cymbals.

Please, for the love of God, somebody give this film the distribution deal it deserves!!

How is 10/10 possible?

[Javier-63 · 10/10 · 6 June 2023]

Ok you need to understand my personal bias . I am a fan for nearly tte entire 50 years. But it was NOT a nostalgic film looking back at the past. It was a film about the present. A snap shot of who they are and where they are at now. That was refreshing. It was done in good humor and revealed an intimate portrait of the Crims and there extended members. The quality of the cinematography and editing is superior and the entire film was assembled thoughtfully producing a genuine portrait of the band at that point in time. You don't need to be a fan to enjoy the film but it helps to understand the characters involved. It's is well worth the time spent watching if only for entertainment but I would suggest you will walk away enriched .

Sublime insight into the agony and ecstasy of being 100% committed to creative art

[themattnolan · 10/10 · 6 June 2023]

Leave your expectations at the door and go in with an open mind. If you are not already a fan of the band, King Crimson, then this should be easy enough. If you are and you don't already know that this is how to approach their work then I'm not sure what to say. Some interesting "totally missed the point" reviews here. I will say no more about that.

If you want a typical rock-doc about this album, that album, this producer, that sound engineer, this tour, that break-up, go elsewhere. It's already out there. Start with youtube. If you want someone to reassure you overtly that the band you love is the best, or that Robert Fripp is a compositional genius who does not suffer fools glady, go elsewhere. We already know these things.

If you want a truly fascinating, touching, illuminating, baffling, sad, funny, moving and deep dive into the mind of the true artist, artists who put music above all else, and not without personal cost, then go see this movie. Rent it, buy, it, badger your local art-house cinema to arrange a showing. Bring your friends. The smart ones.

This is not glitzy, it is not glamourous, but it is candid and honest. The shooting style is minimally invasive, totally immersive stuff - you know, like when wildlife biologists go camp out with gorillas for months on end until the gorillas start to ignore them and carry on with life as normal. Amies is literally shooting from the hip most of the time here and also asking all the dumb questions (and sometimes bearing the brunt of the fallout for doing so) on the viewer's behalf.

This is a diamond in the rough. It is about music, not showbiz. It is about the transcendent places great music can take you, the dedication and diligence of artists bearing the weight of trying to achieve those heights on a nightly basis for the audience. It is about people. Extraordinary people.

Absolutely amazing film

[orlascarlett · 10/10 · 5 June 2023]

A must watch for any fan of King Crimson! This film is filled with emotion, humour and wonderful insight into the band. I've seen this twice now, with the latter featuring a Q&A with Toby Amies and that merely confirmed my admiration for the film.

I have never seen a more attentive and engaged audience than the one that came to see this film, as there was not a dull moment throughout. This band can often seem very distant, and this film allows people like me who have always wanted to learn more about them to experience the backstage atmosphere of the group and it goes into great detail about the relationship between the members and the fascinating history of the band.

Absolutely wonderful!

The cost of seeking perfection

[emmersoncz · 10/10 · 13 June 2023]

An intimate, at times painful portrait of a group of men who settle for nothing other than perfection, and are cursed with the self-awareness to know no such things exist.

This is a film about what makes the people tick. Fripp, whose tinpot dictator routine hides a deeply sensitive and thoughtful man, carries on his traditional role of "not leading" the band, but is its core. It's hard at times to believe this playful chap created some of the darkest guitar lines in history, and at times not. The same could also be said of their first dummer, Mike Giles, who manages to be both a god of thunder and quintessential English gentleman.

Some of the reflections are pained - the path to perfection will always claim some roadkill - but their complaints are put into perspective by Bill Rieflin. How much does this music really mean? His resolve and dignity answer that question better than any histrionics.

The film also features a variety of very serious fans who go to KC shows expecting the beset night of their lives, and quite often get it.

What a let down.

[philweir · 4/10 · 7 December 2022]

What offered a story was as deep as a teaspoon. Thank god there are additional music tracks, because I learned nothing about a band I love. Perhaps that's the point? Nothing from Tony Levin, very little of the past, apart from old film clips. I really hoped to learn more about King Crimson's heritage but there was nothing of note. We know Robert IS Crimson, now, but what of Wetton, Lake, et al? What of the music? I learned nothing of that, nor did I hear it. A wasted opportunity.

Even teasers were unexplained. Dissaponted. What you saw in the trailer is about all you get. Really disappointed...

No Justice for the Group!!

[urkus · 4/10 · 29 January 2023]

What was that, that I just saw??

Incredible, but it is, yeah, as a fan of King Crimson´s music since 1969 I was expecting to watch something interesting.

But I found a boring documentary that explores the day after day routine following the band into tour. When an interview is taking place with some members of the group that is not Robert Fripp, here He comes to tell something to the camera. He has no repect for other members. That makes me angry and it is very unpleasant to watch.

There is no history from the band, there are no interesting interviews; it is finally a mess where You can see that Fripp is the one in charge.

I love their music but this is not a documentary telling the chronicles of diffrent band formations between more than 50 years.

4 stars out of 10.

Awful Swan Song to a Great Band

[richhowlin · 2/10 · 11 May 2023]

I have followed King Crimson for over 45 years. Their early albums are inspirational; brilliant and innovative. Robert Fripp's melodic brilliance and creative guitar work has continued through every line up of the band this day.

Sadly, this documentary is not about the music or legacy of Crimson. In fact, it pays little or no attention to the music (no live excerpts or mention of the albums etc.) Instead of this It offers a dismal tale of agitated band members (current band) with the addition of one minute comments from former band members, all of which seem vacant and negative. Yes, Robert Fripp is renown for being an edgy task master and notoriously difficult to work with. Strangely, this seems to be the central theme driving this director. For example, there are several clips of Fripp acting agitated (with the director) as he seems to invade his space in less than opportune moments. Instead of treating an extreme introvert with respect, the director seems content in parading his idiosyncrasies. Beyond this, we learn nothing about Robert Fripp or King Crimson.

This film is a depressing mish mash of short interpersonal clips. Meanwhile it ignores the musical history and various line ups that Robert Fripp assembled over the 50 year period. No mention of his abilities as a composer, guitarist and creative wizard.

This was one of the worst documentaries and a legit one.

[nameismike69 · 3/10 · 1 January 2023]

I don't know who made this the director... Well if it was ... He should look for a different line of work ... First of all the only band member here that had any signficance what Robert Fripp. And something is bugging him... I don't know if it was because it was the end of Crimson forever .. But he just seemed like a bitter old business man... Which part of this is true. If you do you own view of Crimson which your going to have to ... In my opinion I look at it like this In the 1970's 1980's and 1990's up to when those letters. EG was dismissed and I forget if it was the 1990's or not. But that just symbolic. It's about when first King Crimson made their first box set which mostly everything has been compact discs since. From the first square CD box set with that black and white booklet square shape next the live The Great Receiver and then Crimson reunited in 1994 for Vroom to Thrak ... Technology was taking more control over the band they toured from 1994 to 1996 and then Robert thought up of a idea to somehow get rid of Brugord and Levin called The Projeckts ... This had the new technology of Sound scapes the Roland drum kit making the stick talk and Bruford doing some insane stuff on a acoustic kit some of the more far playing I ever heard him do ... And withoutwarning Crimson with Belew ( you have to wonder about that did Robert really want like David Sylvian or who he eventually got Jakko who I never really liked and even more his remixing on certain classic Prog albums were ruined the high end when he would mix stuff barely existed... You have to multi crank the high end to hear anything. But this was a beginning... It was DGMlive which gave me the creeps.... For a band who hated bootleggers basically sold everyone they could find of one and the whole control of flash photography.. Fripp was a different person in the 1970's and the 1980's but the 1990's he mainly sat in the dark directly in the middle between Pat and Bill with no light almost like he wasn't there and had no emotion. Like he just seemed distraught and the 1990's was a freaking long tour for 2 years. So what started at remastering kept getting remastered and finally he emptied the vault out which I was and Crimson fans were wishing for but then you get them and your so overwhelmed you don't even want to hear the band anymore... And from someone who probably didn't want to sell mugs and shirts of Crimson's career that's what you will find on DGMlive.... Box sets shirts buttons ties just everything Crimson.. When there was time you be lucky to get a live album... So Fripp in the movie has this strange I'm not sure what it is because every word I think of will probably be wrong. And the documentary this Crimson was 90 percent a well oiled cover band... With nothing but complaining. This is not what Crimson is about but that's what I saw...And that's why the Q and A people even I watching was afraid of Fripp he's like so how did like this piece of crap.