King Crimson – Red - 1974 Prog Rock Art Rock - Original UK LP in Shrink
King Crimson – Red
Island Records – ILPS 9308
Vinyl, LP, Album
Record is VG+ VG++ has some wear (listen to our copy)
Cover is VG+ VG++ is in shrink but has cornerwear on right top and bottom corners and a bend mark close to the spine edge bottom left corner (see our pic)
Record comes in original Island Label personalized inner sleeve VG+ VG++ has some wear
This original UK first edition was released with a laminated cover and a light blue inner sleeve with pink 'i' Island logo, and the label's "22 St. Peter's Square", London address printed below it at the bottom (also in pink).
"Pink Rim Palm Tree'' labels.
A1 Red 6:20
A2 Fallen Angel 6:00
A3 One More Red Nightmare 7:07
B1 Providence 8:08
B2 Starless 12:18
Record Company – E.G. Records Ltd.
Phonographic Copyright (p) – Island Records Ltd.
Copyright (c) – E.G. Music Ltd.
Copyright (c) – United Artists Music Ltd.
Copyright (c) – Yessongs Ltd.
Published By – E.G. Music Ltd.
Published By – United Artists Music Ltd.
Published By – Yessongs Ltd.
Printed By – Robor Ltd.
Recorded At – Olympic Studios
Pressed By – EMI Records Ltd.
Alto Saxophone – Ian McDonald
Bass, Vocals – John Wetton
Cornet – Marc Charig
Cover – John Kosh
Engineer – George Chkiantz
Engineer [Assistant] – Rod Thear
Guitar, Mellotron – Robert Fripp
Lacquer Cut By – Pecko (tracks: B), Séan. (tracks: A)
Oboe – Robin Miller
Percussion [Percussives] – William Bruford
Photography By – Gered Mankowitz
Producer – King Crimson
Soprano Saxophone – Mel Collins
Technician [Equipment] – Chris, Harvey, Peter Walmsley, Tex
Violin – David Cross
On cover rear:
Produced by King Crimson for E.G. Records at Olympic Sound Studios, London, England, July and August 1974.
Printed in England by Robor Limited
Published by E.G. Music Ltd © 1974 (A1)
Published by E.G. Music Ltd © 1974/United Artists Music Ltd (A2, A3)
Published by E.G. Music Ltd © 1974/United Artists Music Ltd/Yessongs Ltd (B1, B2)
Produced by King Crimson for E.G. Records Ltd
℗ 1974 Island Records Ltd
Matrix / Runout:
"Séan" and "PECKO" are etched
Barcode and Other Identifiers
Matrix / Runout (Label Side A): ILPS.9308-A
Matrix / Runout (Label Side B): ILPS.9308-B
Matrix / Runout (Side A, stamped / etched - variant 1): ILPS 9308 A-3U Séan.
Matrix / Runout (Side B, stamped / etched - variant 1): ILPS 9308 B-6U PECKO
Matrix / Runout (Side A, stamped / etched - variant 2): ILPS 9308 A-3U 1 G P Séan.
Matrix / Runout (Side B, stamped / etched - variant 2): ILPS 9308 B-6U 2 R D PECKO
Matrix / Runout (Side A, stamped / etched - variant 3): ILPS 9308 A-3U M Séan. 1
Matrix / Runout (Side B, stamped / etched - variant 3): ILPS 9308 B-6U GL PECKO 2
Matrix / Runout (Side A, stamped / etched - variant 4): ILPS 9308 A-3U R7 Séan. 2
Matrix / Runout (Side B, stamped / etched - variant 4): ILPS 9308 B-6U A PECKO 2
Matrix / Runout (Side A, stamped / etched - variant 5): ILPS 9308 A-3U R D Séan. 1
Matrix / Runout (Side B, stamped / etched - variant 5): ILPS 9308 B-6U P PECKO 1
"The best album ever made" - Kurt Cobain
Holy mother! Where do I start with Red?
I can honestly say that no album is more tight, innovative, provocative, loose, musically rich, powerful, dark, deep, and finally - completely and utterly necessary to the very last note than Red is.
Intelligent, progressive, and varied enough, King Crimson's Red is most probably the best album ever made.
From the opening track "Red" to "Starless", the album bleeds every single drop, and just enough, of pure concentrated creativity.
"Red" opens up the album giving us a taste of tritonal bliss, executed simply and viciously.
This is truly the first grunge album. While 21st Century Schizoid Man opened up the fires of what we call alternative rock today, that initial blast was silenced with the break up of the original band. Lark's Tongues in Aspic and Starless and Bible Black were the first to develop this sound further, but Red is where grunge was perfected and blue printed for future generations.
"Fallen Angel" is a masterpiece, featuring sax and oboe. The song is perfectly executed from beginning to end - the timing, the crescendos, the spacing, the use of strong riffs and changing melodic sections. Night and day are represented within one song, and with the night eventually winning the battle.
"One More Red Nightmare" is the most easily enjoyable song on the album. Once again, the tritone is king. A heavy metal riff blasts off the song, John's vocals exploding at break neck speed. The middle section is where Fripp comes in shredding a heavy funk riff only for Mel Collins to push it even further by blasting the sax. The third verse rushes through and crashes into an explosion of grunge-funk riffing and sax, burning the song to cinders via a 3 minute sax solo from hell.
"Providence" is Crimson at their improvisational best. It starts off slowly and ominously, but John Wetton's bass blasts it into life. David Cross' violin screeches and moans. John builds a heavy grungy funk groove that tears the song to shreds with Bill Bruford following and Fripp ripping his licks viciously.
"Starless" is the single greatest rock song in history. It makes Stairway to Heaven look like a pop song. John begins with a ballad, his singing at it's veritable peak, along with Mel Collins softly playing on the soprano sax. But at the final verse, his vocals explode with agression, leaving Fripp to solo a two note solo while Bruford bangs metal sheets and rattles chains. His solo peaks at two powerful guitar wailings, and then John jumps in and Fripp and him have a duel of sonic power, each one rising closer to climax, and then... Bang! Ian McDonald, God of Crimson, blasts his way onto the scene with his sax, bleeding every last drop of musical rage out of the song, only for the rhythm section and Fripp to thrash their way out of the song twice, reprising the main theme ad inferno.
Red both singlehandedly invented a style of music and perfected in album form by using concise songwriting, viciously loose playing that is so loose that it's tight, and musical variety and fluidity brought forth with the use of sax, the cello break in "Red", and the improvisational nature of "Providence".
No other album is so perfect in it's musicality, deliverance, and artistic inventiveness. Well, Nevermind is a close, close second."