In 1974, King Crimson released one of their most underrated, at the time, albums. Red, created by the powerhouse trio Robert Fripp, John Wetton and Bill Bruford, didn’t even reach the UK Top 40 and yet it’s now regarded by many as a key work – not only in Crimson’s back catalogue but also as a foundation stone in what would later become known as progressive metal. On its 50th anniversary, Crimson’s alumni discuss the allure of an album that’s reduced some adults to tears.
At the completion of a take on the new instrumental track, Robert Fripp, Bill Bruford and John Wetton down tools and file out of the heavily padded door in Olympic’s Studio Two and into the adjacent control room, where engineer George Chkiantz sits at the 16-track desk. The trio are keen to listen back to their work. George asks his assistant to cue the tape and press play. The chainmounted Tannoy speakers dangling from the ceiling deliver the music in the confines of the relatively small space with such a punch it feels like being hit by a 10-ton truck. As the two-inch tape spools through the machine, each player’s attention zeroes in on the tiniest inflection within their respective performances, quality checking at a micro-level for any faults that might have gone unnoticed in the heat of the take. At the same time, they are also considering the macro level, pulling their respective viewpoints to also be able to take in the totality of the bigger picture, assessing the feel and weight of this new composition.
After the final note has died away Fripp asks, “Well, what do you think?” “I’m not sure. The tune reminds me of Tea For Two, you know? I don’t really get it,” replies Bruford.
“Well, we don’t have to use it,” offers Fripp.
“No,” says Wetton. “We use it!” It’s interesting to think that had the conversation back in early July 1974 gone in a different direction, the track Red might not have made it to the record, instead consigned to the vaults or perhaps appearing on a future Robert Fripp solo record. Speaking to Prog from his home via Zoom just ahead of a speaking tour in North America with his business partner and producer, David Singleton, Fripp recalls the day in question.
“Bill did not get the piece Red, where he had just playe
