Album – Red
Group – King Crimson
Year – 1974
Genre – Eclectic Prog/Progressive Rock
Country – UK
Overview:
Okay, everyone in the prog world knows how big of deal King Crimson is and that their seventh album, Red, is a classic of the genre, but even in the context of a band that completely reinvents itself every few years, this a is a very unique album. The album cover perfectly sums it up: this is a dark album, and one put together, for the only time in the band’s history, by a trio. The fact that the band only consisted of Robert Fripp (guitar/mellotron), John Wetton (bass/vocals) and Bill Bruford (drums/percussion) meant that there is a LOT more Fripp on this album than any other by the band. Of course there were other musicians (inclding Crims David Cross on Violin and Mel Collins on sax), but it can’t be overstated how much more of Fripp’s guitar is present on this album. There are layers upon layers of it with tones from the prettiest clean to the raunchiest distortion. It’s also worth mentioning that this album has way more rock in it than other Crimson records, but it still does it with classic KC sophistication and dynamics (something missing on most rock records).
Songs:
Red, the instrumental title track, opens the album with aggresively crunchy guitars and bass pummeling octatonic scales in 5/8. There is no question that the record you just put on is progressive rock. This track is unusual for instrumentals due to its lack of melody. Even more unusual is that, despite this, the song is actually very good, catchy, and somehow not boring. I can’t quite tell you why Red works so well, because it’s just something you have to hear for yourself. it’s no surprise that this is one of the few “early” Crimson tracks to be played live often. Even the absolutely appalling distorted bass tone in the middle section somehow blends perfectly with the cello. The 7/8 section of the song also highlights a stupidly cool cymbal that Bill Bruford pulled out of a trash can.
Fallen Angel pulls back the aggression somewhat from the first track and introduces Fripp’s acoustic guitar, a staple of the first few albums, and Wetton’s rich baritone voice. This is a pretty ballad, but don’t think that means soft and boring. Powerful crescendos and Fripp’s layers of guitar give this piece character and bravado.
One More Red Nightmare kicks of with some heavy whole tone lines punctuated by Bruford’s creative drum fills (and that trash cymbal! why can a cymbal from a garbage can sound cool?!). After the whole tone comes a surprisingly groovy verse, some more whole tone, another verse, and an open jam section which is also pretty groovy. wah guitars, a clap track and a sax solo? a bit odd for prog, but still very nice. This whole piece is a massive highlight for Bruford’s ability as a drummer.
Providence. This is the only mistep on the album, a live jam that would have been well suited for Starless and Bible Black, but is completely out of place here.
Starless, the last track, is the masterpiece of the album. Gentle guitar melodies and mellotron set the stage for a gorgeous vocal performance by Wetton in almost pop-ballad style, but everything changes when the band drops to leave Fripp and Wetton quietly playing in 13/8, building slowly with Bruford’s clever percussion. The tension created by Fripp in this section is tangible. I’m not a fan of distorted bass, but Wetton pushes his P bass perfectly in this section for a brilliant dynamic effect. This builds for minutes until the band finally lets loose in the finest moment of the album. Wetton, Fripp, Bruford and Collins all shine here.
It’s unfortunate that this album is about one song too short at under 40 minutes (8 of which re taken up by the forgettable Providence).
Sonic Quality:
The tone choices on this album are adventurous, but for the most part they work. Fripp’s Les Paul and Wetton’s P bass work well together, despite both of them having sometimes ugly distortion. Bruford’s drum tone is very dry, but works for this record. I still love his trash cymbal. There are a lot of risks taken here, but the mix is very good, as is the resultant album.
Rating – 8/10
Standout Tracks – Starless, Red
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