|Song by King Crimson from the album Red|
|Released||8 October 1974|
|Genre||Progressive rock, jazz fusion, hard rock, heavy metal|
|Writer||John Wetton, Richard Palmer-James|
|Composer||Bill Bruford, David Cross, Robert Fripp, John Wetton|
|Red track listing|
"Starless" is a piece by British progressive rock band King Crimson. It is the final (and longest) track on the Red album, released in 1974, after which the group disbanded; thus it may be considered the culmination of that phase of King Crimson's existence.[by whom?]
The original lyrics and melody for "Starless" were written by John Wetton. He intended the song to be the title track of the group's previous album Starless and Bible Black. Robert Fripp and Bill Bruford initially disliked the song and declined to record it for that album. Instead the group chose an instrumental improvisation as the title track. However, "Starless" was later revived, its lyrics altered and a long instrumental section (based on a bass riff written by Bruford) added to it, and performed live between March and June 1974. For the Red recording sessions, the lyrics were again altered (with contributions by Richard Palmer-James). The haunting introductory theme, originally played by David Cross, was taken over by the guitar, with Fripp making minor alterations to the melody. As the title "Starless and Bible Black" had already been used, the original title was shortened to "Starless".
The piece is roughly 12 minutes and 15 seconds in length, the longest on the Red album. As the last track on the last King Crimson album of the 1970s, it features several moments which recall earlier releases. It starts with mellotron strings, electric guitar and a saxophone, playing in a style recalling "Epitaph" from In the Court of the Crimson King. These introduce a vocal segment in conventional verse-chorus structure. The middle section of the song is a build-up in 13/8 which recalls "The Talking Drum" from Larks' Tongues in Aspic. Starting with John Wetton's signature distorted bass, the playing gradually becomes louder and much wilder, though the tempo stays constant and all the while Fripp's guitar plays only two different notes. The song's final section begins with an abrupt transition to a fast, jazzy saxophone solo with distorted guitars and bass, an expressive tribal drumming by Bruford, and the time signatures alternating between 7/8 and 4/4. This recalls the wilder section of "21st Century Schizoid Man", the band's signature piece from that era (and also from In the Court of the Crimson King). The song ends with a short reprise of the opening melody, which is strongly influenced by the Fifth Movement ("Praise to the eternity of Jesus") of the Quartet for the End of Time by Olivier Messiaen.
Though the phrase "Starless and Bible Black" serves both as the chorus for the song's vocal segment and as the title of an instrumental track on the album Starless and Bible Black, there is little apparent similarity between the two pieces.
Recorded cover versions of Starless include those by: Neal Morse, Mike Portnoy, and Randy George; Craig Armstrong, on his album As If to Nothing as "Starless II"; Banco de Gaia, on their album Memories Dreams Reflections; The Unthanks, on their 2011 album Last.
The song has been covered live by Asia, a supergroup of which John Wetton became a member; 21st Century Schizoid Band, a group made up of earlier members of King Crimson (save for Jakko Jakszyk); After Crying, a Hungarian symphonic rock band, with guest vocals by Wetton; U.K., whom one of its members was once again Wetton; and District 97, with yet again featuring vocals from Wetton.
- Robert Fripp: guitar, mellotron
- John Wetton: bass guitar, vocals
- Bill Bruford: drums, percussion
- Mel Collins: soprano saxophone
- Ian McDonald: alto saxophone
- non-credit: cello