RED

The title track of this album is a cool jam with signature jamming between Bruford and Fripp (I'd consider Wetton signature if he had a longer time with the band). It starts out in a 5/8 - 4/4 riff with fills before entering into a dissonant riff. The song gives off a dark impression and gives a very complete sound full of grit and, as usual, neat cymbal patterns and guitar work from Fripp.

"Fallen Angel" is just deceptive. The beginning fools you with a false mood that suddenly turns into a tune that reminisces a more In the Court-sounding verse, but this song still establishes itself in the newer style of the band and doesn't recall too much to the earlier work. It has a neat chorus and finally recalls the guitar line at the song's intro (thank goodness, thought those first seconds were for nothing). It's all melancholy while still a good jam track. Bruford's eclecticism shines here, as it does all throughout the album.

"One More Red Nightmare" is excellent. More use of tritones like the first track had, and there are lots of neat effects. The clapping sounds overdubbed. It's an odd effect and almost reminds me of the water sloshing on "Easy Money" from Larks'. This song is one of the greatest on the album, probably sitting at #2. The instrumental side of the music just keeps getting more and more exciting.

"Providence" is like "Moonchild Part 3". Thankfully it doesn't find itself as masturbatory as the original or "The Devil's Triangle". But I don't feel as amused as the improvising on Moonchild. The structuring was a backwards plan: "Moonchild" gets out the more cohesive side out of the way at the start, while "Providence" starts with all the wackiness and then becomes more accessible (or listenable in the first place). I don't exactly have words to describe this piece. I don't mind it because it is a change to all we'd heard before. I guess it's just the calm before the storm(?), which happens to be...

The ever so wonderful "Starless". I absolutely love this tune. Only vocals in the first section, and it's soothing to really hear Wetton purr in this tune. Gorgeous melodies all around on vocals and guitar, too. Then the song submerges into the haunting bass line in 13/8, alternated upward/downward strum of the guitar, and polyrhythmic flams FEATURING COWBELL. This section alone could send me away for twenty minutes or so before I realize "Hey, this has definitely gone on for twenty minutes or so". The drum beat comes in, and the tension rises and finally climaxes with an intense sax solo and great overall whole band performance. The rest is history.

Great great album.

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