King Crimson - Red (1974)

This posthumous release from King Crimson – Robert Fripp having disbanded the group several months prior to its release – is, as with all early Crimson albums one of juxtaposition between Fripp’s penchant for grinding, plodding riffs being somewhat at odds with naively melodic vocal compositions by, in this instance, John Wetton.

The standout tracks for this album fall heavily into the former category with the opener, Red, being a 6 and a half minute soaring instrumental with Fripp’s trademark chops very much in evidence: the production on the album also really stands out with the album sounding as fresh today as it did 30 years ago. The clarity and quality of the production also allows for ex-Yes drummer Bill Bruford’s percussive style to really shine through.

Whilst the second track, Fallen Angel, is largely woven around a Wetton vocal, One More Red Nightmare provides a heavy, doom-laden riff with some intricate playing from Bruford – although once more incongruous verses are crow-barred into an otherwise impressive number but fortunately fail to diminish the power and prowess of the piece.

After building up hopes, Providence dashes them on the rocks and is basically experimental noodling and sound effects and a pointless addition to the album. The final track, Starless, is a 12 minute behemoth beginning with the familiar Crimson Mellotron backing leading into a vocal section. Fortunately, Fripp’s ability to compose an endless stream of malevolent riffs doesn’t escape him here and half way through Starless things start to pick up with a shift in time signature to a dissonant distorted bass melody over which Fripp noodles, gradually building intensity and tempo into an impressive climax.

In my opinion the five tracks of Red could have been quite easily cut to three but those three tracks – Red, One More Red Nightmare and Starless – more than make up for the inadequacies elsewhere. Whilst with a firm foot in the prog rock genre, don’t expect frantic soloing here: Crimson were all about creating mood pieces, albeit heavy and frequently ominous in tone, and of all their early albums, Red is the most approachable and consistent.

• Robert Fripp – Guitar
• John Wetton – Bass/Vocals
• Bill Bruford – Drums