Richard Grimes

I have been a King Crimson fan for 50 years (hard to believe). Red to me has always been their statement of perfection--not just for the genre of 70's prog rock but for the standards of inspirational music to come. The title track Red along with One Red Nightmare represents the angular side of Crimson --sharp, threatening, and doom laden-- with Robert Fripp's shattering guitar work, John Wetton's growling bass lines, and Bill Bruford's precision drumming. The longest track Providence is a live piece which demonstrates David Cross's shrieking violin ascents as he weaves throughout, in concert with Fripp's frenzied notes and with the thunderous rhythmic pulse of Wetton and Bruford, who drive and push the musical parameters of Providence. While these tracks are indicative of the power and heaviness of this incantation of Crimson, the beautifully melodic Fallen Angel and the epic Starless reminds us of the earthy fullness of John Wetton's voice. (For Wetton fans, this was John Wetton at his absolute best). In these tracks, the Red King Crimson delivers an orchestral climax-- additional sounds drift into these stunning tracks. We hear cellos, the clarion of cornet, saxes, oboes-- all building the crescendo of these wonderful tracks. I have always favored this Crimson line up. Lark's Tongues in Aspic and Starless and Bible Black are also masterpieces and close to equal stature with Red. This title has never worn thin with me. It has never become dated and I find it as vibrant as it was when I first heard it in 1974. Red has managed to be timeless and I have grown old with this recording, whether on album, cassette, or cd. The newly-released box set Road to Red, is my reward for being a Crimson fan for half a century. Oddly enough, I have been listening to Red together with Stravinsky, The Fire-bird Suite. They complement each other well, which is a notable tribute to Red.