I've avoided King Crimson ever since their first album. I admired and loved the Eno/Fripp albums as well as Robert Fripp's contributions to David Bowie's "Heroes" album, yet when it came to King Crimson, I felt like that was the Jets hangout, when I was clearly a member of The Sharks. It wasn't until a few hours ago that under either a condition of boredom or being adventurism (or both) that I went to Amoeba and purchased "Red."
I played the album once so far, and I love it. What surprised me, and it shouldn't have, is the connection between Roxy Music and King Crimson. I know that Bryan Ferry was once going to audition to be their lead singer, and of course the Eno/Fripp connection as well. But listening to "Red" reminds me of some of the longer instrumental passages of the first two Roxy albums. It's more in that line than say garden-variety prog rock. Fripp is exceptional of course, but John Wetton's bass playing is incredible. A very aggressive heavy sound from that instrument that reminds me a bit of John Entwhistle or traces of a punk aesthetic concerning the noise of the bass. Michael Nyman in his orchestra had a heavy electric bass player as well, that also stands out in such a manner.
"Red" is a classic album, in that there are no wasted moments and all five songs are equally placed in a position that makes the album seem more like a novella than a big novel. The beauty or strength of King Crimson and on this album is the textural playing by all musicians. There is a riff orientation that goes through here, but also a gentle melody here and there that gives the material tension. Fripp broke up the band right after recording "Red," I think due to the issues of the band being tied down to its prog-rock image, as well as Fripp being curious to explore the world of New York City's punk/post-punk/ no wave scene. He didn't need to break up this band. It would have been at home in lower Manhattan.
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