releases of their respective concerts. The distinctive introduction to "One More Red Nightmare" was deployed by Wetton and Fripp in various improvs throughout 1974, which can be heard in the Starless and The Road to Red box sets. Lastly, "Providence" itself was an improv, taken from the group's show on 30 June 1974 in Providence, Rhode Island. It was released in its uncut form on several releases, such as The Great Deceiver box set and the 40th anniversary edition of Red itself. "Red" was composed solely by Fripp. In an analysis of the piece by composer Andrew Keeling, he describes "Red" as "an instrumental piece scored for electric guitar (multi-tracked in three layers), bass guitar and drums," as well as "one of the more muscular pieces of Robert Fripp's, in particular the deployment of open strings and heavily attacked and syncopated bass and drums." In an online diary from 2012, Fripp wrote about its development: "A motif; moved from [the missing piece] "Blue" to "Red": the opening and closing theme of "Red" itself. The driving, relentless figure that follows it, and the middle figure played by the basses, weren't enough for a complete piece." Once the track was put down Fripp recalled: "We played it back and Bill said, 'I don't get it, but if you tell me it's good, I trust you.' ... I said, 'We don't have to use it.' John was in no doubt: 'We'll use it.'" An unused variation of the song's middle section would later emerge in the writing rehearsals for Three of a Perfect Pair (1984). Though it went unused, it finally saw light as the middle section of the instrumental "VROOOM VROOOM" on THRAK (1995). "Starless" was originally written by Wetton, with the intent of it being the title track for Starless and Bible Black. At the time, the piece consisted only of the vocal section of the song, and Wetton claims that it got a "cold reception" from Fripp and Bruford. Later, an introductory theme was devised by Fripp and performed on violin by Cross, and two additional sections were added after the vocal, one being contributed by Bruford. The final section reprises various themes heard earlier in the song, and it also reuses a bass part which was originally written for "Fracture" on Starless and Bible Black. This early arrangement of "Fracture" can be heard on the Starless box set, as