RED

As Ivan Melgar stated, I appreciate the genius behind (or within) the cacophony. There is definitely genius--and often even melody--among KC outpouring. Here it is brimming, but I'm so sorry to report that I believe the voice of John Wetton to be a down-point to anything he ever touched--even UK. He has such trouble finding the center of a note and slides so awkwardly from note to note it's . . . almost embarrassing. Needless to say, the songs on this album with less singing stand out for me.

Red (8/10) is KC approaching its best. Not enough Fripp experimentation, not enough Bruford wildness. The band is waiting the talents of Tony Levin in order to really go to places no other band can ever go.

"Fallen Angel" (6/10) has moments--instrumentally. But, Wetton's voice.

"One More Red Nightmare" (9/10) is a great song, despite Wetton's vocals. Bruford gets to really play--as do the adjunct band members.

"Providence" ( 7/10) begins as a variation on the 'five men in five different rooms' approach of "Moonchild" et al. before going into a jazz-funk thing. Some now-signature Frippisms are contained herein. Bruford and Fripp must have really loved this. Wetton's bass sounds awful. How can people complain about Genesis' "The Waiting Room" when there is KC?

"Starless" (9/10) starts with mellotron, Giles-like drums, and some heavy-on-the-sustain guitar soloing--harkening back to the In The Court of the Crimson King album. . . Until Wetton begins to sing. He is no Greg lake, though there are definite similarities in voice. Maybe that's why so many people 'like' or even praise his singing?! The addition of sax is an innocuous addition. Then the music and mood change at the 4:25 mark. Is this where Post Rock/Math Rock came from? I certainly lose a little respect for ANEKDOTEN's masterpiece, "Hole" when I listen to this: its the same! Just when Bruford's really having fun, the song switches (8:45), bridging into a fast jazz/Canterbury-type of thing. 10:05 turns to a JAN GARBAREK-like break before breaking out into full jamming until recovering with the opening melody/theme, albeit a lot heavier, with a minute to finish.

Certainly an experimental and seminal prog album, however, IMHO, denigrated mainly by the presence of John Wetton. Therefore, I can give it masterpiece status--iconic though it may be.