Red is a progressive rock album with a noticeably heavier sound than their previous albums; it was later called one of the 50 “heaviest albums of all time” by Q. This was achieved with the rhythm section of performances by band members John Wetton (bass guitar, vocals) and Bill Bruford (drums, percussion). The production of the album is also significantly more layered, including more guitar overdubs. The album also marks the return of heavy saxophone usage in their music, with other instruments such as the cello, oboe, and cornet appearing throughout as well.
Much of the material on Red has origins in improvisation. Motifs that would eventually be used for “Fallen Angel” were first played by Robert Fripp in 1972, as part of improvs performed with the quintet lineup that would record Larks’ Tongues In Aspic. These improvisations are documented as “Fallen Angel” and “Fallen Angel Hullabaloo” in the Larks’ Tongues in Aspic: The Complete Recordings box set, as well as standalone releases of their respective concerts. The distinctive introduction to “One More Red Nightmare” was also deployed by John Wetton and Robert Fripp in various improvs throughout 1974, which can be heard in the Starless (box set) and The Road to Red box sets. One notable performance is titled “The Golden Walnut”. Lastly, “Providence” itself was an improv, taken from the group’s show on 30 June in Providence, Rhode Island. It has been included in its uncut form as part of various live sets, such as The Great Deceiver, as well as the 40th Anniversary Edition of Red itself.
“Red” was composed solely by Robert Fripp. In an analysis of the piece by Andrew Keeling, he describes “Red” as “an instrumental piece scored for electric guitar (multi-tracked in three layers), bass guitar and drums,” as well as “one of the more muscular pieces of Robert Fripp’s, in particular the deployment of open strings and heavily attacked and syncopated bass and drums.” In an online diary from 2012, Robert Fripp speaks about the development of “Red”: “A motif; moved from [the missing piece] “Blue” to “Red”: the opening and closing theme of “Red” itself. The driving, relentless figure that follows it, and the middle figure played by the basses, weren’t enough for a complete piece.” Speaking about it in the book accompanying the Larks’ Tongues in Aspic: The Complete Recordings box set, he says, “After we had just recorded the track “Red” in [Olympic Studios] … we played it back and Bill said, ‘I don’t get it, but if you tell me it’s good, I trust you.’ … I said, ‘We don’t have to use it.’ John was in no doubt: ‘We’ll use it.'” An unused variation of the song’s middle section would later emerge in 1983, during the writing rehearsals for Three of a Perfect Pair. Though it went unused, it finally saw light in 1995, more than two decades later, as the middle section of the instrumental “VROOOM VROOOM” on THRAK.
“Starless” was originally written by Wetton, with the intent of it being the title track for Starless and Bible Black. At the time, the piece consisted only of the vocal section of the song, and Wetton claims that it got a “cold reception” from both Robert Fripp and Bill Bruford. Later, an introductory theme was written by Robert Fripp and performed on violin by David Cross, and two additional sections were added after the vocal, one being contributed by Bruford. The final section reprises various themes from earlier in the song, and it also re-uses a bass part which was originally written for the song “Fracture”. This early arrangement of “Fracture” can be heard on discs 1 and 25 of the Starless box set, as well as the standalone releases of their respective concerts. The lyrics went through several iterations, with one early verse later included by Wetton in “Caesar’s Palace Blues,” a song he would perform with U.K. Since the title “Starless and Bible Black” was already used for an improvisation on the group’s previous album, the song’s title was shortened to “Starless”. On Red, “Starless” is credited to the quartet, as well as lyricist Richard Palmer-James.
The lyrics to the three songs on the album were not originally included as part of the packaging for the album, unlike all previous Crimson studio albums, which always had lyrics printed either on the inside of the gatefold covers, or on the custom innersleeves. This led to some occasional confusion amongst listeners about precisely what was being sung, particularly on the song “One More Red Nightmare.” The first printing of the lyrics would occur 26 years after the album’s initial release, on the 2000 ’30th Anniversary Edition’ release.
Track listing
1. Red (Written-By – Fripp) - 6:20
2. Fallen Angel (Written-By – Wetton, Palmer-James, Fripp) - 6:00
3. One More Red Nightmare (Written-By – Wetton, Fripp) - 7:07
4. Providence (Written-By – Bruford, Cross, Wetton, Fripp) - 8:08
5. Starless (Written-By – Bruford, Cross, Wetton, Palmer-James, Fripp) - 12:18
- King Crimson – production, arrangements
- Robert Fripp – electric guitar (1–5), acoustic guitar (2), Mellotron (2,5)
- John Wetton – bass (1–5), vocals (2–3, 5)
- Bill Bruford – drums (1–5), percussion (3–5)
- David Cross – violin (4), Hohner pianet (4–5)
- Mel Collins – soprano saxophone (5)
- Ian McDonald – alto saxophone (3,5)
- Additional personnel
- Mark Charig – cornet (2)
- Robin Miller – oboe (2)
- uncredited – cello (1-2, 5), double bass (5)
- George Chkiantz – recording, engineering
- Rod Thear – recording, assistant engineering
- Chris, Tex, Harvey and Peter Walmsley – equipment
- John Kosh – cover
- Gered Mankowitz – photography
Notes
Released: 6 October 1974
Recorded: 30 June – August 1974 Venue Palace Theater, Providence, Studio Olympic, London
Genre: Progressive rock
Length: 39:54
Label - Island / Atlantic
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