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Red 30th Anniversary Edition Remastered

King Crimson - Red 30th Anniversary Edition Remastered Audio CD

A fair review of the King Crimson "Red 30th Anniversary Edition Remastered" Audio CD. Please note that the below review is the views of the authors, and authors only. You can get a complete list of all King Crimson reviews here, or go back to the King Crimson tabs.

Band: King Crimson
Title: Red 30th Anniversary Edition Remastered
Rating:

Release Date: 2004-11-22
Media: Audio CD

Tracks: 1: Red 2: Fallen Angel 3: One More Red Nightmare 4: Providence 5: Starless

prog that rocks
"Red" is the antithesis of this notion. The general perception of 70's prog-rock is that of a lumbering behemoth, staggering drunkenly across the land and spewing painfully "literate" lyrics. The instrumentation is relatively spare, giving the players lots of room to do their worst. The songs themselves are raw and melancholy, with a production style to match. "Red" delivers extreme musicianship, without all the heady mysticism associated with prog.

Ultimate Power Trio
After this the band broke up for 7 years, but what a way to go out! Dark, ominous, and un-relentingly powerful, "Red" was in many ways their strongest release since the famous debut "In The Court Of The Crimson King" (1969). King Crimson's "Red" (1974) features the core trio of Robert Fripp (guitar, mellotron), John Wetton (bass, vocals), and Bill Bruford (drums). Over those five years they had changed so much.

The first 4 studio albums ("Court", "Poseidon", "Lizard", "Islands") are great, but sound rather dated today. Lyricist Pete Sinfield wrote like Tolkien, and liked medieval imagery with arcane twists and turns. When paired with acoustic guitar and flute it comes off kind of hippie-ish. They are fascinating, and contain remarkably advanced musicianship - but they are very much a product of their times. Starting with "Larks' Tongues In Aspic", the sound changed completely. "Starless And Bible Black" and "Red" complete a trilogy that still holds up as contemporary and fresh. The reason was a complete change in personnel.

All 3 feature the simpler lyrics of Richard Palmer-James. Wildman percussionist Jamie Muir came on board for "Larks' Tongues", and Bruford gives him a lot of credit as a mentor who helped him loosen up. Larks also saw the addition of violinist David Cross. The fourth jewel in the crown was new singer John Wetton, whose smoky, evocative voice is one of the best in rock history. This version of King Crimson was less acoustic and more electric. By the time they recorded "Red" they were practically a heavy metal band.

From '81 to '84, King Crimson resurfaced for a few albums that sounded a lot like Talking Heads. After another long time off, they came back in '94 bearing more resemblance to Nine Inch Nails. They are still around with this harsher industrial sound. All these eras are good, but I'd say "Red" remains their penultimate achievement. That particular line-up of the band just can't be beat. .

Bill Bruford's Choice
My title is way overgeneralized. Actually, I was thinking about listening to this CD prior to deciding to write on it. Let's see: Fripp on guitar (I think mostly Les Paul at this stage; don't know what kind of acoustic) and Mellotron (a synth that mimics strings, woodwinds, etc. ); John Wetton on Fender P-Bass and vocals; and, of course, the incredible Bill Bruford on drums whose name, if you listen to _The Noise_, a video from 1982, can be heard chanted from the crowd. But the album in question was 1974; excuse me. Track One, "Red," is Fripp's composition, an instrumental full of strange chords, sort of suggesting diminished fifth "devil" chords, etc. , and also some odd 7/8 time signatures, but a fine performance by the whole band. In fact, I think nobody goes overboard with self-indulgence here. Track Two, "Fallen Angel," features Wetton's pleasant voice singing about violence in NYC, with the implication that the devil is responsible. Track Three, "One More Red Nightmare," with words by Wetton (I think), is about just that while sleeping on a Greyhound bus. Compare and contrast Bruford's fills in the instrumental parts to Billy Cobham's on a certain track of _The Inner Mounting Flame_ by Mahavishnu Orchestra (1973). Track Four: a live improv ("Providence") which can also be found on _The Great Deceiver_ at greater length. Includes David Cross on violin, who'd been given the ax, much to Fripp's distress. . . Whatever. Read the notes to _Great Deceiver_. And Track Five, "Starless," which had been in process during the 1973-74 tour. It appears here without Cross - so if you want to hear the original concept, I advise obtaining a copy of _The Great Deceiver_.

Some critics have dubbed KC the first heavy metal band based on this incarnation. But KC was way more elusive for that kind of nailing. They just followed their collectively individual instincts - if that makes any sense. There's no other band like them, and, actually, "band" should say "project. " Fripp _is_ King Crimson.

One more word: John Wetton is, alongside Chris Squire, the best prog rock bassist I know from this period. I'm just a nobody, a musician, in fact a bass player and drummer, but I learned almost all I know from listening to records. _Red_ is a beauty. Listen and be inspired!.

Red 30th Anniversary Edition Remastered
Had the album, cassette and CD and lost or played them til' they died. One of my all time favorite CDs. Best to sit down, have a beer or so, and have a listen. Very intense!.

The last of their jazz-metal, and it's goooooood!
I actually love all their albums (yes including the fantastic, yet hated, Islands and ConstruKction of Light). Me, I have an obsession with this band. In this album, they became a three-piece band. . . . with past players still present. . . . . whatever. Now just what type of music will you find in this album? Their heaviest rock of that era. The album hits you hard with RED, an instrumental track doing everything it can to be loud, but satisfying. In the middle is my favourite part of the song, a cello solo with the guitar making simple noise with a swirl effect in your speakers. FALLEN ANGEL features beautiful vocal work by Wetton and nice instrumental work by the band. ONE MORE RED NIGHTMARE features a slight remixed section of RED popping up in a few spots, but it is definitely it's own song. It has the band doing a well written jam session. PROVIDENCE is a lengthy improvised instrumental. The only problem I have with the song, and it's only a minuscule gripe, is that it has some really quiet sections that are difficult to hear sometimes. Which, sadly, happens a bit in their earlier discography. Anyway, back to the song. It's weird, it's spooky, and it's crazy fun as Wetton and Fripp completely blow your mind with wonderful noise. Great violin work by David Cross, who is the reason this sounds spooky. And finally, the really epic song STARLESS It start out with a smooth jazz feel accompanied by great vocals. It then transitions to a very hypnotic movement with Fripp playing only a few notes repeatedly. Along with sound effects, and other instruments popping in eventually, the music slowly reaches intensity until it switches to a heavy jazz section. Followed by more heavy hypnotic guitar, and then an intense, but beautiful reprise of the opening section. It's a busy song, yes, but it a great song to lose yourself into, as you feel hypnotized and nervous.

To sum it up. . . A VERY good record to blast on your stereo and just listen. I still get shivers from this album.

You can see a complete list of all King Crimson discography, or go back to the King Crimson tabs. There is also a good guide on how to read guitar tabs here.