I Talk to the Wind

In 1969, King Crimson would release their debut album — “In the court of the Crimson King”. As expected from a Prog Rock record from the late ’60s, the music is experimental, hectic, and uneasy. Within this mess, lies a more quiet, somewhat overlooked piece — “I Talk to the Wind”.

Compared to the rest of the record, “I Talk To The Wind” seems simple. It is the shortest song on the record (spanning a “mere” 6 minutes), it has a straightforward chord progression that doesn’t really change throughout the song (and neither does the time signature), and it is written in a simple verse-chorus form.

It is this mundane nature of the song that makes it stand out. In an album featuring Schizoids from the future, Moonchildren, and Crimson Kings, “I Talk to the Wind” is normal.

Lyrics

[Verse 1]

Said the straight man to the late man
Where have you been
I’ve been here and I’ve been there
And I’ve been in between

[Chorus]
I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

[Verse 2]
I’m on the outside looking inside
What do I see
Much confusion, disillusion
All around me

[Chorus]
I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

[Verse 3]
You don’t possess me
Don’t impress me
Just upset my mind
Can’t instruct me or conduct me
Just use up my time

[Chorus]
I talk to the wind
My words are all carried away
I talk to the wind
The wind does not hear
The wind cannot hear

[Outro/Verse 1]
Said the straight man to the late man
Where have you been
I’ve been here and I’ve been there and
I’ve been in between

The song begins as a dialog between the straight man and the late man. The straight man turns to the late man to ask a simple question — “Where have you been?”. “I’ve been here, and I’ve been there, and I’ve been in-between”, remarks the late man, a remark upon which he expands to a monologue that spans throughout the entire song.

The late man depicts a person that has been missing from society (possibly deceased?) – an “outsider”, a drifter, an odd figure. Road-weary, not only has he been there, and in between, but he feels that first and foremost he has been here all along.

Like most of King Crimson’s early songs, “I Talk to the Wind” was written by Peter Sinfield. Sinfield’s role in the band was an odd one – he took the role of a poet and a roadie. His official credit on the album was for “lyrics, illumination, and production”. Like the late man, he had been there all along, but not in the normal way.

In the second verse, the late man claims he is now “On the outside / Looking inside”, seeking to explain what he sees from his point of view: “Much confusion/ Disillusion/ All around me”. The late man chooses not to participate because he is not content with society. The last line may appear out of place: “All around me” — is the late man indeed on the outside then, or is he rather inside, but feeling outside? The confusion and disillusion of the straight man may subside within the late man himself, whether he realizes this or not.

In the last verse, the late man’s words become more aggressive (the music retains its quiet nature): “You don’t possess me/ don’t impress me/ Just upset my mind”. The late man is unapologetic, but yet defensive. Perhaps he feels attack for his absence from society, or perhaps he feels he is not being heard by the straight man.

Composed by Ian McDonald, the song is carried by wind instruments. The drums, bass, and rhythm guitar, all serve as the foundation for McDonald’s own Flute and Clarinet. The vocals are credited to both McDonald and the lead vocalist, Greg Lake.

The chorus, which bridges between the verses, is where the song’s title and theme come into place:

“I talk to the wind/ My words are all carried away” — distancing himself from society and the people around him, in his loneliness, the late man turns to talk to the wind, “I talk to the wind/ The wind does not hear/ The wind cannot hear”. The wind is not a replacement for human interaction, for the wind cannot hear. The late man hopes instead that his words are all carried away , maybe so they can be heard by another entity.

The late man indulges in non-conformism, seeking freedom from the shackling manners of society, trading those for a life of loneliness, remaining hidden in plain sight.

Unlike the late man, King Crimson would not remain in the shadows for long. “In the Court of the Crimson King” would go Gold in the US and UK (Platinum in Canada) influencing countless musicians along the way, and eventually being voted the second greatest Progressive Rock album by Rolling Stone magazine. Peter Sinfield’s words were all carried away, and the people listened.