RED

Red is my favorite Crimson album of the six or so I've listened to so far. Each song is a masterful piece of art in its own way, and each track is unique from the others, yet they work together logically to form a concrete album. Red is not without its flaws, and I had considered giving it only four stars, but upon further reflection and comparison to the other works in this subsphere of progressive music, I realized that this album is essential to any serious collection of progressive music, if not for a purely aesthetic reason, than for one of perspective.

Red: The album begins at full force with a ripping guitar ascension, followed by the simple yet thrilling riff that marks this song. King Crimson would not be the same without its dinstinctive edgy, crackling, distorted guitar tone. John Wetton compliments the fantastic guitar work with a running bass line that keeps the momentum. Bill Bruford is right in tune with the others, playing exactly what the music asks for. Whoever thought of adding the string bass in the middle of the song is an unquestionable genius. The track never loses energy.

Fallen Angel: This is a somewhat somber and nostalgic piece, which I think adds a well-appreciated contrast between the more agressive tracks Red and One More Red Nightmare. The melody in the verses is pretty catchy but not pop-ish in any way. The acoustic guitar is a lovely addition to the distortion-driven sound. The entrance of the trumpet I think is just perfect for the timbre of the song.

One More Red Nightmare: Bruford employs the china cymbal to its maximum potential. The odd meter riff is pretty catchy and not awkward like many odd meters can often be. The saxophone solo is a great addition, and again, the clapping is a little-used device that really spices up the music here. GENIUS!

Providence: Scattered as it is, Providence is my favorite track on the album, just as Fracture and Starless and Bible Black. It's just so weird! One can really hear the fusionistic influence here. I love the dissonance, the unconventionality of it all, like Fripp is giving the music industry the figurative middle finger. It takes a really open mind to like this stuff, but as a big fan of atonal and bitches brew alike I really enjoy it.

Starless is actually my least favorite. I find the majority of my qualms with Red in Starless. It's good in some parts, but on the whole it just seems too long and drawn out, like butter stretched over too much bread.

Even so, I would consider this album on the lower end of the five-star range, I definitely recommend it to anyone serious about listening to Prog.