Most Helpful Customer Reviews
|
|
58 of 61 people found the following review helpful:
5.0 out of 5 stars
Brilliant., November 4, 2005
"Red", in many ways, is the definitive King Crimson album and statement, the song itself as much as the album. The closing statement by the '70s Crimson, "Red", came after much struggle and turmoil within the band, and the recording sessions would be the straw that broke the camel's back-- the band, by this point consisting only of Robert Fripp (guitar, mellotron), John Wetton (bass, vocals), and Bill Bruford (percussion), further augmented by another melody player on most tracks, fell apart compeletely.
The album opens on a dark note-- the title track, an instrumental masterpiece composed by Fripp and generally regarded as one of the great statements of the band, lives up its reputation. Powerful, dark, and with a haunting bridge, it grabs hold and pulls the listener with it. Unlike previous Crimson albums, when the mood evolved, a state of darkness remains on this one-- "Fallen Angel", alternating between ballad form verses (featuring some totally stunning guitar work from Fripp) melts into a dark chorus (featuring a riff Fripp first tossed around in an improv when this band first came together) where several layers of guitars are added together with a positively haunting cornet solo by Mark Charig on top of all of it. The piece shows how far this band has come-- the musicians are pretty much psychic in their playing, and Wetton's vocal resonates a condidence he's never displayed.
Speaking of confident delivery, on "One More Red Nightmare", Wetton sings the piece, which runs at a breakneck pace, flawlessly. One of my complaints on the previous record was that his vocal sounded rushed, here again completely self-assured, there's no rushing. The piece also features jaw-dropping drumming from Bill Bruford and a monster sax solo courtesy of former band member Ian McDonald. The track that follows, "Providence", is actually a live improv from the city of the same name and as such, David Cross performs on violin. Remarkably, its the closest thing to a light moment on the album, which is to say it isn't as dark as the rest of the album. It still has an air of mystery about it and builds, but to my ears, never quite amounts to much.
The album's closer is probably the most stunning, "Starless", a piece in two movements. The first is a mellotron-string driven ballad with brilliant liquid-tone guitar playing from Fripp, a lovely soprano sax solo from former Crim Mel Collins, and a passioned vocal from John Wetton. This melts into a building section, highlighting Bruford's percussion again as Fripp plays repeated figures over and over again until the guitar and distorted bass echo each other and the piece explodes-- McDonald plays another brilliant alto solo, full of fire and passion before the two saxes restate the theme and the piece erupts like never before and comes to a conclusion. Its one of those magic moments on record, definitely a moment of pure brilliance.
This was unfortunately the last work of the '70s band-- McDonald was supposed to rejoin, but in a surprising move (given band history), Fripp left, which effectively ended Crimson for a further six years.
This album is another candidate for "the" Crimson masterpiece-- I don't think its quite as good as "Larks' Tongues in Aspic", but it is much more digestable. Essential.
|
|
|
14 of 15 people found the following review helpful:
5.0 out of 5 stars
Seething fury, February 7, 2007
This 1974 release would prove to be the last studio album from King Crimson until their radical transformation/rebirth in 1981. Robert Fripp was quoted as saying that King Crimson's dissolution in 1974 occurred at a time when all of the English bands in the (progressive rock) genre should have ceased to exist. While I do not necessarily agree with everything Mr. Fripp has said regarding progressive rock over the years, Red is indeed a mighty recording upon which to close a very exciting chapter in King Crimson's recorded history.
The KC lineup in 1974 is considered by many to be the finest progressive rock lineup to record and included Robert Fripp (electric and acoustic guitars; mellotron); John Wetton (bass and lead vocals); master drummer/percussionist Bill Bruford; along with David Cross (violin); Mel Collins (soprano saxophone); Ian McDonald (alto saxophone); Robin Miller (Oboe); and Marc Charig (cornet). I think it goes without saying that the guys in KC during the 1973-1974 timeframe were some of the finest musicians around. The ensemble work is simply out of this world, and Bill Bruford once again demonstrates how to properly use the drum kit. What is missing from this lineup are softer acoustic textures - this record seemed intent on blasting the VU needle all the way into the "Red". This is a good thing by the way.
The five pieces on Red range in length from 6'00" to 12'18". Musically, the pieces on Red present a thunderous wall of sound that is menacing and at times somewhat violent. Jagged and frantic guitar parts, heavily distorted bass parts, and wall shaking drumming dominate the album, with comparatively delicate woodwind parts scattered throughout. The ensemble work is unbelievable and the Bruford/Wetton rhythm section never ceases to amaze. With respect to the pieces themselves Red, Fallen Angel, and One More Red Nightmare are more or less similar in terms of tempo and heaviness, while Providence is a very experimental piece that would not have been out of place on Starless and Bible Black (1974). The lengthy Starless however, is another personal favorite (along with Epitaph) and builds slowly, starting off with a very haunting melody played quietly by the band along with layers and layers of mellotron (with string setting) and John Wetton's excellent vocals. This placid introduction then gradually gives way to the seething fury that was established on the first three pieces and is largely instrumental - Bill Bruford really rips on the closing section of this piece.
Well there you have it. Red is an exceptionally fine example of English progressive rock and is very highly recommended along with In the Court of the Crimson King (1969); Larks Tongues in Aspic - 30th Anniversary Edition Remastered (1973); and Starless and Bible Black - 30th Anniversary Edition Remastered.
|
|
|
11 of 12 people found the following review helpful:
5.0 out of 5 stars
Crimso's crowning achievement for the '70s, March 2, 2006
It's possible there has never been another band on the face of the planet that has gone through as many changes musically and with personnel as King Crimson. An astounding wealth of talent has passed through this band since their beginnings ca. 1968.
Their extraordinarily diverse sounds throughout the years makes it impossible to say which album is the "best". It is truly an apples and oranges comparison.
Personally, I prefer this era. Starless and Bible Black was good. Larks' Tongues in Aspic was utterly fantastic in its eccentricity, but Red is by and far their most incredible accomplishment. Hard, dark, and eerie, Red captures a mood that was probably quite appropriate considering the band disintegrated in the summer of 1974.
This album doesn't display quite the bizarre behavior from Larks' Tonuges (think Larks' Tonuges Part 1), although Providence meanders a bit and could probably have been tightened up. However, with Crimson you get what you get, and what you get is pretty damned good, even (or perhaps *especially*) when they were improvising.
The instrumental Red has been more or less a concert standard for them since they got back together in 1981, and with good cause. Fallen Angel is beautifully dark, and One More Red Nightmare's frantic pace draws you in, making you want to listen over and over again.
I suppose part of the magic of this album may be the release these guys must have felt when their soundscape opened up after the departure of previous members. Three-piece outfits with such talented musicians generally tend to overachieve. Sometimes that's good and sometimes it's bad. In Red's case, though, you just can't deny the brilliance of Bill Bruford's drum prowess, John Wetton's pounding bass and incredible "rock" voice. I won't even bother to try to describe Fripp's presence. If you know Crimson and Fripp, I don't have to explain. If you don't, there's no way to describe it. You must listen.
This is a must have for any prog music fan. End of story.
|
|
|
Most Recent Customer Reviews
|
Interact With Your Music: Discover, listen to, and buy new music, all from the pages of SPIN's digital edition, free to Amazon customers.
~ King Crimson
~ King Crimson
~ King Crimson
~ King Crimson
by King Crimson 
