Few albums can claim the level of influence and foresight that King Crimson’s “Red” brought to the table 50 years ago.
Released on Oct. 6, 1974, the progressive rock staple was immediately singled out for praise amongst the London-based band’s then-short catalog. Even former detractor Robert Christgau, who once described their debut “In the Court of the Crimson King” as “ersatz,” called “Red” “grand, powerful, grating and surprisingly lyrical,” compared it to the jazz-rock stylings of John McLaughlin.
The influence this record has had on progressive rock and rock music in general can hardly be overstated. Often named as one of the heaviest albums of all time, “Red” was a major influence on the guitar tone and aesthetic on Nirvana’s “In Utero,” and Kurt Cobain allegedly left the album in his CD player when he died.
Opening with the six-minute instrumental title track, the path from British progessive rock to Seattle grunge is immediately made clear through an incredibly blown out treatment on every instrument. This treatment is already setting the progressive rock record apart from its peers.
As the song slowly weaves through several episodes of tension and release, the only element that truly ties this back to previous King Crimson openers is the prominent mellotron, always a favorite of frontman Robert Fripp.
Not all of the record is an attempt to be as abrasive as possible, and the next couple tracks demonstrate the subtle beauty in all the compositions on “Red” perfectly. “Fallen Angel,” a brass-led jazz-rock jam about a young gang member being stabbed in the streets, creates a sharp juxtaposition between the melancholic verses barely rising above a whisper and the aggressive fury of the main hook.
“One More Red Nightmare” provides a more tongue-in-cheek nature prevalent in the band’s previous records, lead vocalist John Wetton singing of an especially turbulent plane ride that turns out to be a dream. Accompanying the dropping altitude is a vertigo-inducing riff backed up by incredibly distorted handclaps.
The second side of “Red” could perhaps be called the lesser of the two, but this is also where the avant-prog side of the Crimson, founded on polyrhythms and dissonant strings, is given the spotlight.
“Providence,” the other instrumental on the record, is the only track taken from a live recording, and as such, it is also the only track to feature violinist David Cross who left the band shortly before they entered the studio.
“Starless,” the more delicate dynamics of this track, reminiscent of “Moonchild” from their debut, gives way to the 12-minute opus central to the celebration of “Red.” The track naturally dated back to the sessions for preceding record “Starless and Bible Black,” but the band’s decision to hold off on the epic until developing it further was most apt.
The lyrics on “Starless” are as oblique as anything with Robert Fripp’s name on it, but the vocal performance from Wetton is so gorgeous and achingly sad that it is easy to interpret many of the lines to be about the impending breakup of the band.
If one is to see this as their swan song, then the lengthy crescendo that takes up the majority of the song is a perfect sendoff: with Wetton’s thunderous bass sound, Robert Fripp’s asymmetrical guitar work and the always excellent drumming from Bill Bruford each entangling with the others perfectly.
“Red” has reached a status few albums of its era or its genre have managed, with progressive rock bands attempting to recreate what made it work all those years ago. The key to this record’s success has to be how well Fripp, Wetton and Bruford work together, and this may not even be the greatest lineup in King Crimson’s long history.
If you are a fan of progressive rock, heavy guitar sounds or jazzy breakdowns, then there is no excuse not to give this masterpiece a chance.
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