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EXPLAINED: Peter sinfield - The Real Truth

“Let’s not forget he was still learning how to sing as ‘Bryan Ferry.’ I know I captured a fantastic atmosphere, complete with mistakes”: Some of Roxy Music hated Virginia Plain, but its producer loved it

Former King Crimson man Pete Sinfield tried to balance prog and pop sensibilities on the 1972 single, and had answers for the criticisms levelled at it

Louder

“Here’s a diary entry from July 24, 1974: ‘Argument with Bill Bruford. Bill says, ‘They might as well get a session guitarist’”: The making of Red, the album that pushed King Crimson to the brink

Robert Fripp digs into his long-unopened personal diaries with Guitar World as he shares the story of the relentlessly heavy and ambitious 1974 prog classic

Guitar World

"A picture-postcard Christmas, with morbid edges..." New animated video released for Greg Lake's perennial seasonal favourite I Believe In Father Christmas

Greg Lake's I Believe In Father Christmas originally reached No. 2 in the UK singles chart in 1975

Louder

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“Removing the skits that appeared throughout the original allows the beauty of the strange, baroque pop to shine through”: Giles Giles & Fripp album returns with Brondesbury Tapes demo collection

Recordings rom 1967 and 1968 provide a satisfying overview of pre-Crimson Robert Fripp

Louder

“I don’t think he ever got over being fired from King Crimson… but he went on to bigger, more financially successful things”: Peter Sinfield, the prog poet who gave voices to ELP, Roxy Music and many others

Lyricist, art director, producer and all-round creative who aimed to enlighten, provoke or stir died in November 2024 without being fully aware of what he’d achieved

Louder

“Peter Gabriel started singing over my solos. I was pissed off – ‘You’re singing on my bit!’ But that half-minute is probably our peak”: How Genesis made Supper’s Ready, arguably their greatest song

The band believe it’s the moment they began to become significant – and the construction of the 23-minute anthem for 1972’s Foxtrot was itself an epic experience

Louder

We celebrate 50 years of Yes's Relayer on the cover of the new issue of Prog, which is on sale now!

Plus Marillion, Clannad, Pavlov's Dog, Klone, Swallow The Sun, Dilemma and more

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Peter Sinfield obituary

Lyricist, record producer and co-founder of the prog rock band King Crimson

The Guardian - UK

Peter Sinfield, lyricist for King Crimson, Céline Dion and more, dies aged 80

Versatile poet and music producer co-founded King Crimson, produced Roxy Music’s debut album and had a long partnership with Greg Lake

The Guardian - UK

"I remember listening back to that and thinking: What the hellis this?!": Behind the scenes at the recording of King Crimson's trailblazing In The Court Of The Crimson King

Tales of the first true progressive rock album, from two of the men who made it

Louder

“All I can remember was Robert Fripp giving up completely, saying, ‘There’s no hope’”: King Crimson’s torturous journey through fourth album Islands – and its 30-year fallout

How King Crimson fractured, regrouped and fractured again as they made 1971 album Islands

Louder

“They’d been to university, they had bank accounts; two of them were teachers; they had a car; they’d got a bank loan to buy a PA!”: Phil Manzanera always knew Roxy Music were going to make it

Guitarist who failed his first audition recalls making 1972 debut album for just £5,000

Louder

"All of a sudden we play at blinding speed and unbearable intensity, and everyone starts to take notice and stand up": How King Crimson got started

Recorded in just 10 days in 1969, King Crimson’s iconic In The Court Of The Crimson King has been called “the true point at which progressive rock was born”. We look at the making of a landmark album

Louder

“You pick five interesting guys, lock them in a room together… and if they make an album without actually killing each other first, it will at least be an interesting album”: How King Crimson made Larks’ Tongues in Aspic

The 1973 release steered a new line-up into uncharted waters, resulting in a work that could only have been made by a band who were “prepared to jump off the cliff”

Louder

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