A delicate piece of art, In the court of King Crimson. Eclecticism among us.

Eclecticism is a kind of mixed style in the fine arts: "the borrowing of a variety of styles from different sources and combining them" (Hume 1998, 5). Significantly, Eclecticism hardly ever constituted a specific style in art: it is characterized by the fact that it was not a particular style. In general, the term describes the combination in a single work of a variety of influences — mainly of elements from different historical styles in architecture, painting, and the graphic and decorative arts. In music the term used may be either eclecticism, crossover music, orpolystylism.

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History

"The Giles Brothers were looking for a singing organist. I was a non-singing guitar player. After 30 days of recording and playing with them I asked if I got the job or not – joking like, you know? And Michael Giles rolled a cigarette and said, very slowly, 'Well, let's not be in too much of a hurry to commit ourselves, shall we?' I still don't know if I ever got the job."

Robert Fripp on signing up with Michael and Peter Giles^[6]

In August 1967, brothers Michael Giles (drums) and Peter Giles (bass) who had been professional musicians in various jobbing bands since their mid-teens in Dorset, advertised for a singing organist to join their new project.^[7] Fellow Dorset musician Robert Fripp – a guitarist who did not sing – responded and the trio formed the band Giles, Giles and Fripp.

Based on a format of eccentric pop songs and complex instrumentals, the band recorded several unsuccessful singles and one album, The Cheerful Insanity of Giles, Giles and Fripp.^[3] The band hovered on the edge of success, with several radio sessions and a television appearance, but never scored the hit that would have been crucial for a commercial breakthrough. The album was no more of a success than the singles, and was even disparaged by Keith Moon of The Who in a magazine review.^[3] Attempting to expand their sound, Giles, Giles and Fripp then recruited the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald brought along his then-girlfriend, the former Fairport Convention singer Judy Dyble, whose tenure with the group was brief and ended at the same time as her romantic split with McDonald (she would later resurface in Trader Horne).^[3][8]More significantly, McDonald brought in lyricist, roadie and art strategist Peter Sinfield, with whom he had been writing songs – a partnership initiated when McDonald had said to Sinfield, regarding his 1968 band Creation, "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?" ^[9] One of the first songs McDonald and Sinfield wrote together was "The Court of the Crimson King".^{[citation needed]}

Fripp, meanwhile, had seen the band 1-2-3 (later known as Clouds) at the Marquee. This band would later inspire some of Crimson's penchant for classical melodies and jazz-like improvisation.^[10] Feeling that he no longer wished to pursue Peter Giles' more whimsical pop style, Fripp recommended his friend Greg Lake, a singer and guitarist, for recruitment into the band, with the suggestion that Lake should replace either him or Peter Giles.^[8] Although Peter Giles would later sardonically describe this as one of Fripp's "cute political moves",^[8] he himself had become disillusioned with Giles, Giles and Fripp's failure to break through, and stepped down to be replaced by Lake as the band's bass player, singer and frontman. At this point, the band morphed into what would become King Crimson.

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http://en.wikipedia.org/wiki/King_Crimson