RED

1. Red for this tune so different, so sheared, so intrusive, so hypnotic and addictive. Would I like today this album that bathed my adolescence and that I hated? Well, it goes around in circles, it hits everywhere, the sweetness of ITCOTCK and Larks' Tongues in Aspic has faded, I no longer recognize this band; and then, and then the sensitive, dark break that would melt a steel beam, yes KC is truly mantranically unique and Robert finally boasts us with his own solo, I breathe after 6 minutes of apnea and this minimalist outro; in short, very captivating and stressful 2. Fallen Angel ... 3 points for catching my breath; everything is there in place, the arpeggio, the air, the voice, the progressive, latent sweetness, even the clarinet is sweet, for writing; the chorus, the chorus, this cry of despair, beauty has a price and I bow before the oboe that makes my hair stand on end, an objective sign of quality; a roll of Bill's pads and we're back on the typically progressive marshmallow tune; come on Robert, a little riff and a little solo to finish us off pleasantly; a slap even if the fade-out disappoints me a little 3. One More Red Nightmare, aggressive, hard, heavy tune, yes, before the sulphurous 'THRAK', in short, claps and the track between 1 and 2 with intermediate vocals welding research and melody; 2 minutes and the break, yes, that's the progression; a bit like the MMEB understood so well... afterward, a progressive, evolving break that raises the question of Ian's alto saxophone. A quick reminder of prog, rock with classical instrumentation, the flute of the other Ian, of Peter, yes, BIG BIG TRAIN decades later will follow, survive the movement; well, the sax becomes aggressive, in the madness of the emerging SUPERTRAMP, and the guitar follows suit, my hairs are still standing on end, I clap my hands.

4. Providence * for Instrumental improv recorded at the Palace Theatre, everything is written; it's also there that the rating drops to 4; how do you expect these grating, half-detuned screams to tickle my ears? They are assaulted, bruised, and improv or not, no, I still can't buy into it; at the time, I would go straight to the next track, just to say, to write, yes, it's true; yes, the drums, yes, the guitar, but no... Oh yes, live, just for the dexterity and the atmosphere; But it's not a done deal. 5. Starless follows, perhaps, surely, the best intro, soaring, ambient, progressive, quite simply; how else could you do it with this bewitching Mellotron organ and guitar, this enchanting sound, these plaintive notes, this moving voice? Even the alto sax, soprano, I'm told in my earpiece, becomes velvet, the violin finishing the job. 4:30 and the surprise break, the clean cut, the track takes off into proven prog territory; In short, the second track within the track, the Impulse effect, the slow crescendic decline begins to move, caressing our ears; a track that was also criticized but which would be magnified some time later by these live performances with three drummers, yes, you read that right: Robert plays, Robert delights behind his guitar; 8' and the volcanic rise with cymbal, timpani, snare drum, arrogant bass and unhinged guitar rush together; 9 min and the strident, explosive, enjoyable, orgasmic finale arrives; the sax, once paused, begins to hurtle down the slope for this frenetic finale, phew, all wet I'm writing this review. The outro returns to the air of the departure for the ultimate deliverance of a piece which enters the Hollywood musical without a star, well yes I read the title!!

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