STARLESS AND BIBLE BLACK

"Starless And Bible Black" is the sixth studio album of King Crimson and was released in 1974. Most of the lyrics on the album are satires and commentaries to the sleaziness materialism of our society. It continued to explore the sound and style of "Larks' Tongues In Aspic" and proved that King Crimson could handle it very well. Many fans and critics always saw more "Starless And Bible Black" as a transitional album, both in terms of musical progression and line up, between the twin behemoths of "Larks' Tongues In Aspic" and "Red" than as a great album, on its own right. Still, I think to see this album in that simple perspective is to undervaluing this album considerably. I think it's more than that.

The line up of this album is Robert Fripp (guitar, Mellotron, electric piano and devices), John Wetton (lead vocals and bass), Bill Bruford (drums and percussion), David Cross (violin, viola, Mellotron and electric piano) and Richard Palmer-James (lyrics).

The album has eighth tracks. The first track "The Great Deceiver" written by Robert Fripp, John Wetton and Richard Palmer-James is a very aggressive rock song which marries a powerful riff with some of King Crimson's most weird lyrics. The song is dominated by the violin with a very precise guitar performance and on the back a great rhythm work by the percussion and the bass, which proves the perfect musical marriage between Bill Bruford and John Wetton. The second track "Lament" written by Robert Fripp, John Wetton and Richard Palmer-James is one of the greatest songs on the album. This is another heavy rock song with an unforgettable and fantastic work led by that wonder duo, John Wetton and Bill Bruford but where all the four musicians are at their best shape. The third track "We'll Let You Know" written by Robert Fripp, David Cross, John Wetton and Bill Bruford is a very weird instrumental piece of music very dissonant. It's an improvised track with some strange sounds and where the percussion section sounds chaotic. This is, in my humble opinion, one of the less interesting songs on the album. The fourth track "The Night Watch" written by Robert Fripp, John Wetton and Richard Palmer-James is a commentary in a form of a musical piece deriving directly from Rembrandt's painting of the same name. The song was also released with "The Great Deceiver" as a single. It's a calm and melodic song, perfectly performed by all band's members that captures, in my humble opinion, the feeling and sense in the context of the painting. This is another great song on the album. The fifth track "Trio" written by Robert Fripp, David Cross, John Wetton and Bill Bruford is the most serene song and is an instrumental piece of music composed for violin, bass guitar and Mellotron with the sound of a flute. The performance of the trio of the musicians is absolutely perfect which gives us a nice and relaxing piece of music. The sixth track "The Mincer" written by Robert Fripp, David Cross, John Wetton, Bill Bruford and Richard Palmer-James is another strange and weird song with some dark atmosphere with good musical notes from all musicians. However, we need to learn to like it, really. This is also, in my humble opinion, another less interesting song on the album. The seventh track, the title track, "Starless And Bible Black" written by Robert Fripp, David Cross, John Wetton and Bill Bruford is a very interesting improvised musical piece. It's also a very strange and weird song but is much better than "We'll Let You Know" and "The Mincer". It's a song with some fantastic and brilliant musical parts and so, is a very good song which probably needs lots of listenings to can enjoy it. The eighth and last track "Fracture" written by Robert Fripp is the lengthiest track on the album. It represents the epic magnus opus of the album and it's also my favourite track too. This is a masterful and colourful semi-improvisation piece of music with a strong and superb performance by the band. It's a track that reminds me strongly their other masterpiece "Starless" from "Red" and we may say this song, by itself, deserves the price of the album. This is one of the best pieces of music composed by Robert Fripp and released by King Crimson that fited perfectly well on their next studio album and great masterpiece "Red". There could be no better way to end this album.

Conclusion: Once more, I don't totally agree with many of my colleagues on this site. In my humble opinion, "Starless And Bible Black" is a great King Crimson's album and it's also, in some way, superior to "Larks' Tongues In Aspic". It's more balanced, is a more cohesive album and has also one of the best songs of the group "Fracture". It's true that "Starless And Bible Black" isn't a perfect album. Despite that, "Starless And Bible Black" is one of the heaviest albums of the band, is one of the most cohesive and it's also an album where, in my humble opinion, the musical performance of John Wetton and Bill Bruford is absolutely perfect. However, this isn't a particularly accessible album and it needs repeated listenings to be fully appreciated by its own merits. It's a must have for every fan of progressive rock. Anyway, that is what happens with all King Crimson's albums in the 70's. Besides, the band hasn't many weak points, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

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