RED

In 1974, King Crimson had been stripped down to the trio of Robert Fripp (Guitar) John Wetton (Bass), and Bill Bruford (Drums), after the departure of violinist David Cross. Released in 1974, "Red," was an album with a noticeably heavier sound which King Crimson delivered perfectly. Fripp's guitar work on this LP coupled with the lyrical ingenuity and soulful vocals of John Wetton make this album a joy to listen to. This very well might just be my favorite King Crimson album (Up there with the likes of ITCOTCK and Larks'). The dense sound of the album was created by the use of significant layering, multiple guitar overdubs, and key guest appearances by musicians including founding King Crimson member Ian McDonald, and iconic progressive rock saxophonist Mel Collins (who had played with Camel, Alan Parsons, Chris Squire, Roger Waters, etc...).

The instrumental title track, "Red," opens the album clocking in at just over 6 minutes. With very heavy instrumentation Fripp's wild guitar and Bruford pounding drums carry the track. The main riff shoots off into a rhythmic section with heavy Chyna from Bruford before returning to its original state. At the 2:30-minute mark, the song goes into a small buildup before entering a doom section with violin sounding guitar from Fripp. The song goes back into the main riff where Fripp keeps up with the stunning riff work and guitar wizardry. The song ends on the progression from the opening. After the amazing start of the album, KC keeps up the trend with the beautiful ballad "Fallen Angel." The song opens with heavy mellotron, bassoon, and acoustic guitar and we hear Wetton's splendid voice for the first time. The song gets heavy around the bassoon solo with Fripp's soothing guitar riffs being overridden by screeching licks of his own. This song resembles a song like "Exiles," off of "Larks' Tounges in Aspic," as it's also a beautiful ballad (Although I do prefer Exiles more). After the gorgeous "Fallen Angel," the band returns to its heavy roots with the sweltering "One More Red Nightmare." This song is a huge deep cut and one that I love so much. The song is in 12/8 which is a very odd-time signature and features heavy Chyna from Bruford once more, under some very unique Wetton vocals. Around the 2:00 minute section, the song goes into an instrumental rhythmic section with excellent Fripp guitar and phased claps. The interlude evolves into a sax solo for the ages played by none other than band founder Ian Macdonald. This is possibly the greatest sax solo ever played on a King Crimson track. After another few minutes of the verse sections, Ian comes back for round two with another smashing solo to end the song!

Side 2 opens with my personal least favorite track off the album, "Providence." The song is a free improvisation played live in Providence Rhode Island with David Cross. The first 5-minutes of the 8-minute song are pretty much nothing (and are just ambient noises). The song picks up near the 6-minute mark, with heavy bass entering, and doesn't go anywhere. Fripp does a bunch of odd things on the guitar and the whole thing is kinda just a mess. Overall just an out-of-place avant grade song. After the weaker cut, the album close on King Crimson's 12-minute masterpiece "Starless." I believe this song to be the greatest piece of music ever to be written under the name of King Crimson. Beginning with a heavy Mellotron, and ethereal guitar from Fripp the song goes on for about a minute before Wetton's voice enters. Wetton's voice on this track is stunning and goes great with the mellotron and sax (this time from Mel Collins). The main theme of the song goes on to about the 4-minute mark before transitioning into the iconic buildup. Wetton's bass and Fripp's twangy guitar begin the ordeal in 13/4 time signature. Bruford enters with light percussive tones which he had assumed from former percussionist Jamie Muir. The guitar and bass slowly begin to get a bit angrier as Fripp reaches a high point and Bruford enters in full force with a steady beat. The song is an absolute groove, and slowly but surely moves through the frets on the guitar before reaching the verge. Fripp loads up and BAM! The song reaches its climax as Fripp goes wild with Bruford banging his pots and pans in the background. Suddenly it stops. Or does it? Fripp's echoing guitar moves up the frets before going into a fast, jazzy saxophone solo with distorted guitars and bass, expressive tribal drumming, and the tempo doubling up to a time signature of 13/8! The band is in absolute jam mode right now, just before a lone bassoon takes the song into another 13/8 section with more heavy guitar from Fripp. With a minute left in the song, the band decides to return to the stunningly beautiful main theme with heavy mellotron and a faster tone, and rhythmic thumping. Horns eventually lead the song to its melancholy end.

If this album was just "Starless," it would still be a 5-star (that's how good it is). This is truly KC's last epic album, with nothing after ever coming close to rivaling it. The band goes completely above and beyond, on this record and I wish they had gone on with this lineup because it rocks. There is a reason this album is ranked so high in the Prog Archives Top 100. Overall, an absolute masterpiece and highly recommended to anyone.