“In the Court of the Crimson King: King Crimson at 50” – trailer: https://twtr.to/ymC4G

The only thing wrong with this documentary is you’re going to have to pay to watch it. Who knows, it may eventually be on one of the big streamers, but they’ve all tightened their budgets, stopped licensing what they see as niche, marginal material. But if this documentary was available as part of Netflix, it would be a cult classic, Robert Fripp would become if not quite a household name, more of a well-known icon than he already is.

You see this doc is absolutely different from any you’ve ever seen before. You know, they’re all hagiography, with maybe one naysayer, who is ultimately contradicted. They’re all love letters that cover the artist/band’s life from birth to today. Delineating all the highlights you think you’re interested in.

That’s not this doc.

What we’ve got here is band members, past and present, primarily talking about making music with Robert Fripp. Most of whom have negative things to say about him. He’s difficult, he’s exacting, why can’t he let a few mistakes slide by?

Robert is a taskmaster, but it’s all in service to the music. Hell, how can you argue with a man who still practices his instrument for hours every day?

And the players tolerate Robert and Robert tolerates the players all in service to the music. The music is paramount. The live experience is paramount. They’re trying for that elusive gig in the sky every single night. Where they get it right, there’s a feeling in the music and the audience connects.

And the audience is all hard core fans. There are no casual King Crimson fans. Either you’re a member of the tribe, or you’re not.

But having said that, the doc makes you want to go to a King Crimson show, which you may never get to see.

And so many members of the band, past and present, tell their stories. Adrian Belew thought it was a partnership, he couldn’t understand when Robert continued without him.

And Ian McDonald still regrets jumping ship during the first American tour.

And then you’ve got erudite and upbeat Bill Bruford. Who left Yes at its peak to join Crimson, and is now retired completely.

But really the film is about Robert Fripp. A unique character. Unlike seemingly everybody else in the music business.

Fripp reminds me of that great Pete Townshend song “Pure and Easy,” written for “Lifehouse,” the definitive version of which opens his 1972 solo album, “Who Came First.”

“There once was a note

Pure and easy

Playing so free, like a breath rippling by

The note is eternal

I hear it it sees me

Forever we blend

And forever we die”

This guy sans a university degree is an intellectual. He’s analyzing the music, the performance and life itself. He’s on a mission and no one is going to get in the way. It’s all about discipline. You make the decision and you live up to it. And if you’re a player in the band you must respect and accept this.

And Robert speaks in such a fashion that he appears to be from Mars. Well, not this planet anyway. It’s slow, and measured and everything he says is considered. There are no superfluous words. He comes across as anything but casual.

And there is some history of the band involved. But it’s not paint-by-numbers like most docs.

I don’t care if you hate King Crimson, I don’t care if you’ve never even heard of King Crimson, you’re going to dig this movie. Watching it is anything but a chore. You’ll be engrossed. These people live in a world where music is paramount. Fame isn’t even part of the equation. Sure, there’s money involved, but it’s all about the performance. Nailing it.

I don’t know anybody like Robert.

I’ve never seen a film exactly like this.

It’s hard to get it out of my head.