1. Larks' tongues in aspic part one (13:36) 2. Book of Saturdays (2:49) 6.
Larks' tongues in aspic part two (7:12) This album for a long time was my least favourite of 70's Crimson albums because of Wetton's voice and totally weird sense of dynamics levels - only Exiles seemed of interest as well as Talking Drum but for the rest...
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I was simply not into it!! And then one day, A friend put this album as I was arguing (politics) with a girlfriend at 2AM, and the spark came, with the music blared out of the speakers at a very unreasonnable volume for the time of the night.
As I said , prior to this I only enjoyed Exile and to a lesser extent TD, but those crazy percussions that had turned me off in Easy Money started making extreme sense and I actually stopped in mid sentence (I was about to nail the coffin on the conversation/argument I was winning hands down) and yelled YYYYEEEESSSSS!!!
!!!
!!!
...
. She looked at me and sais , no King Crimson!!
But I was hooked, and asked for a repeat of the track. Needless to say that aftyer this repeat, this first thing I did was to go home with the borrowed album and played it twice before falling asleep. Tothis day , that famous coffin is still lacking a few nails, and I will galdly leave it that way!
! ;-) The 2 parts of Aspic became clear to me also but it is the incredible percussion from Muir on Easy Money that convinced me that this was probably the creative high point of this band. I still have a problem with Wetton's singing on Saturday but it is a short number.
Still nowadays, Exiles and Taking Drum are my fave on the album, but almost every track is now a pure classic on my mind. Posted Tuesday, February 03, 2004, 02:52 EST |
Almost perfect, this experimental work is still very important today for some of the bands within the so called "Zehul Music" in France and Belgium (MAGMA, SHYLOCK, ART ZOYD and so on). The title track is excellent and very influential, but also the song-format tracks like "Book of Saturday" and "Easy Money" composed by John WETTON, are not bad.
Highly recommended and one of their best ones!! Posted Saturday, April 03, 2004, 11:25 EST |
I 'm sitting here, waiting for "Larks' Tongues In Aspic, Part One" to explode all over again, convinced that CRIMSON is King.
For all intents and purposes, this is KING CRIMSON Part Two. ROBERT FRIPP assembled a new cast, including seasoned veterans that invoked the maiden voyage of the KING: JOHN WETTON, BILL BRUFORD, JAMIE MUIR, DAVID CROSS, lyricist ROBERT PALMER-JAMES. Not since the original Court has so much talent been brought to bear on the KING's vision.
In a sense, CRIMSON had handed the crown to EMERSON, LAKE PALMER after their debut, only to reclaim it on "Larks' Tongues In Aspic". The addition of WETTON (a GREG LAKE soundalike) and BRUFORD now aligned CRIMSON with ELP, enabling them to again make propulsive music at once pretty and profane. Lest they be overlooked, the roles of Cross and Muir are equally important, expanding the range of what might be considered music and giving "Larks" a decidedly Eastern and adventurous flavor.
Exotic percussion, violins, the mournful and otherworldly sounds of FRIPP's leads, strange noises, unconventional rhythms...
the musical objects in this picture are to traditional drums/bass/guitar rock what the Sistine Chapel is to a simple portrait. "Starless" might be the more stunning record, Red the more remarkable for its simple cunning, but "Larks" is no less luminous an achievement. The records that initially followed Court tried to replicate its sound and effect while expanding the experiment slightly (e.
g., adding orchestral elements). "Larks" is a reinvention of the band that stays true to their original mission statement.
"In The Court of the Crimson King" asked the musical question: How do we take the rock music of 1969 and push it as far as we can? "Larks" does the same, substituting "1973" for "1969", which as it turns out makes quite a difference. Every track on here is essential, though the improbably easy "Book of Saturday" and the caustic "Easy Money" have garnered the most attention over the years (in part because JOHN WETTON has kept them alive in his live repertoire).
It's something of a daunting appetizer, so start with "Court" and "Wake"; by then you'll have developed a taste for "Larks' Tongues In Aspic". Do yourself a favor and save for a nice digital remaster of this, since many of the passages are very quiet (moreso than any other CRIMSON release). Posted Saturday, May 01, 2004, 15:43 EST |
Ushering in a new era for the band, "Larks' Tongues in Aspic" shows a new solidified lineup after the personnel chaos of the previous albums, and a noticeably different approach- in my opinion, the best period of KING CRIMSON's history starts right here.
It's never a problem for Fripp co. to open an album, and "Larks' Tongues pt. 1" is possibly the most compelling of all their intro statements.
The rolling, tinkling percussion establishes the tension, which is given movement and shape by the dramatic string stabs and fuzzy descent that follows. Just as the thunderous climax is reached, the heavy riff explodes on the scene, instantly making music history (and sending chills improvisational sections kick in, but we're able to hear David Cross' incredible bowing, Wetton's wooly vocals. More personal and emotional than anything the band has yet done, the fine lyrics that Palmer-James provide give us a new dimension to the previously rarefied KC soundscape.
It's slightly out of place between the noisier aural epics of the rest of the album, but this brief song is no less full of instrumental delights. "Exiles" billows in like a slow-building storm, but then reveals itself to be plaintive rather than thunderous. The overall tone is evocative and lovely, like a more inspired and characteristically sublime.
The exceptional drumming serves as a good example of why Bruford was so essential to the previous YES albums, and Wetton's warm but ragged tones fit the new sound better than Lake (or Haskell, or Burrell, or Anderson) could but the song dares to follow brief, hushed tangents to create a more appealing and unpredictable structure. Wetton presents a unique bass presence that his predecessors often lacked, occasionally approaching Chris Squire's raspy brilliance, and Cross removes any doubts that a violin can work in louder, harsher passages. "The Talking Drum" further represents the new exotic influences, due in no small part to Muir's contributions.
Cross leads the movement as this unsettling, slow building track "Larks' Tongues pt. 2" is final, masterful evidence of the direction the band is taking; the unstoppable, hard-edged momentum on this song will be the blueprint instrumentals on "Discipline" and of course "Larks' Tongues pt. 3" on "Three of a Perfect Pair").
Despite the later efforts of metal and punk to roughen up the musical landscape, this is the still some of the heaviest and hardest music in any genre. Listen close because I can't risk being overheard by the "Court of the Crimson King" diehards..
.this Posted Friday, July 09, 2004, 14:37 EST |
It would have been easy for Robert Fripp to just give up on King Crimson after the collapse of the Boz Burrell era. He'd already successfully given birth to the genre of progressive rock and worked with many of the finest musicians of the 70s.
The mediocre Islands album appeared to be the end of King Crimson, but little did the world know that they were just getting warmed up. Fripp quickly assembled a new, even more impressive lineup and took his band in a new direction, adding harsh dissonance and crazed avant-garde freakouts to the basis of the progressive sound forged by the group's original incarnations. Helping him accomplish this were such names as drum virtuoso Bill Bruford, experimental jazz violinist David Cross and madman precussionist Jamie Muir, who promptly faded from the music scene after appearing on this album.
Rounding out the lineup was future Asia bassist/vocalist John Wetton, who provides the sole hints of accessibility within the musical chaos at hand. Right from the minimalistic introduction to "Larks' Tongues In Aspic Part 1", it's obvious that the band appearing on Larks' Tongues In Aspic has little in common with the digestable symphonic prog presented by early Crimson. The song eventually builds into a roaring experimental free-for-all demonstrating exactly what this era of KC was all about as well as any piece of music.
The madness eventually fades off into a chilling violin section and somewhat of a "false build-up" towards the end. It almost gives the impression that this new lineup presented their most abraisive, inaccessible composition first, simply to scare off any "casual" listeners. For better or for worse, things then proceed to enter "accessible mode".
The wonderful ballad "Book of Saturday" and the symphonic 8 minute prog composition "Exiles" both prove beautiful (albeit comparatively straightforward) and very relaxing breaks from the insanity of the introductory track. "Easy Money" sees a return to the abraisive distortion, but in a considerably more accessible form. It's a simple but catchy song with simple but catchy lyrics, made considerably more interesting by an excellent Fripp guitar solo.
From here it's back to the ultra-experimental jamming with "The Talking Drum", which builds from a quiet beginning to a noisy explosion at the end. Constructed around a bassline, the track eventually ends with Fripp and Cross almost battling it out as they cause their instruments to almost erupt in a climactic jam. The affair is then closed out with one of the most shamelessly complex compositions in the Crimson catalogue, "Larks' Tongues In Aspic Part 2".
This gripping instrumental is flawlessly performed and phenomenally constructed, managing to be impenetrably complex and yet still fairly accessible. Naturally, it ends the album the same way most of it took place..
. a loud freakout, followed by a fadeout and silence. Better things would eventually come from this incarnation of King Crimson, but Larks' Tongues In Aspic remains one of the cornerstones of the group's discography, and a landmark in progressive rock.
They would go on to tighten up their style on Red about a year later, but for a good combination pure unadulterated King Crimson improv craziness and mellow King Crimson progressive rock, Larks'...
is certainly not a bad place to turn. Posted Sunday, July 25, 2004, 00:35 EST |
Some years ago, when I was on a good way into prog, I purchased this King Crimson album. I already had their amazing 1969 debut album, and expected something in the same vein as that one, but when I gave my first spin to this one, I found out that this one was COMPLETELY different!
But I was not disappointed, in fact, I liked this one equally as much as their debut at that time. I listened to it over and over, and I never really got tired of it. It still remains as one of my favorites with them, only beaten by their debut (which I will most likely NEVER will get tired of!
). In 1973, KC already had been through six line-up changes. Bill Bruford from YES joined for this one as well as John Wetton, David Cross and Jamie Muir.
This album is completely different from their previous work. Harder and sharper around the edges, more experimental and technical than ever, even a bit avant-gardistic. There is hints of progressive metal and jazz-rock here too.
Very cool! The only real flaw is "The Talking Drum" which is a bit boring, otherwise this album is brilliant. 4.
5/5 Posted Saturday, November 20, 2004, 18:25 EST |
Before I say anything else about this masterpiece, go out and buy it, listen to it and then you probably won't have any need for this review! After the band was dissolved after the ever had. In between this lull Fripp was giving warnings to the music world that this would top any Crimson recording to date.
Deviating drastically from any other Crimson style this album both shocked and disturbed fans. A man named Jamie Muir was recruited by Mr. Fripp as part of his ploy to out do any other Crimson a album.
Muir operated a number of unorthodox rythmical threats. For those familiar with earlier King Crimson recordings you will see that the tracks become more complex and heavy. The bass playing of Jojhn Wetton certaily made KC a lot this was the beautiful violin of David Cross.
Fripp's guitar work becomes more dominant and Lark's Tongues in aspic Pt. I. Expect many more guitar experiments throughout this work.
laboratory which leads into the exciting finale Lark's Tongues in Aspic Pt II. Easy Money and have this in your collection you are not a fan of progressive rock music. I WOULD GIVE THIS MORE THAN FIVE STARS IF THEY WERE AVAILABLLE!
Even my high school music teacher said these guys knew what they were up to! Posted Friday, November 26, 2004, 17:33 EST |
Larks `Tongues in Aspic, weird name isnt it? If one thing we know and remember very well about King Crimson, it has to be it`s different line-up changes, i like them all, but the peak, the best could be this, at least for me, i have always dreamed about a concert of Crimson with Wetton and Bruford and Cross playing this stuff , and Bible Black`s stuff, because i feel very pleased and excited with this music.
So , the fact is, after another line up change, David Cross, Robert Fripp, John Wetton, Bill Bruford and Jamie Muir gathered to create a memorable album, which is for sure a masterpiece and loved by so many of you. Another thing, Peter Sinfield is not here, and he never came back! It starts with the first of several parts of Larks Tongues in Aspic, and personally i think it has been the best so far, despite i love Part 2 and the other ones, the opener song is a clear example of what progressive rock is , it is instrumental and long , an epic , starting with a very soft and calmed sound of percussions and kind of instruments, but it is progressing little by little, the sound is increasing by the time, the music and instruments are playing its`respective role, and suddenly all are there to create a magnific sound, which sometimes after that calmed sound becomes very powerful, with a crazy guitar playing , and a superb violin, which maybe is not so fast etc, but the quality of David Cross is showed at his best, it also could sound like an improvisation, which is not strange in KC, honestly, this song is marvelous, it has everything what a prog lover could wish (well, except vocals if you need them).
Book of Saturday is a beautiful song composed by John Wetton, so the first contact with vocals is shown here, the song could sound sometimes a bit relaxing and calmed with that soft nice voice, but it has alwasy the great guitar sound. Exiles is a superb song, reminding me to the early Crimson tunes when ITCOTCK was released, a song which also contains the superb and beautiful sound of Mellotron so characterized in Fripp`s career, which makes the song so much enjoyable to a prog fan, again with vocals and an amazing playing. Easy Money, hell, i can always remind the begining of this song, those bass lines and that nasty also annoying guitar sound, but for the oposite, it sounds great, and i always remember the first words which actually aren`t words, but i hope you get what i mean, a classic and reat song.
The Talking Drum and Larks Tongues in Aspic Part 2, are the last 2 songs of the album, which actually could make only one song, both songs are instrumental and great songs, when we can notice the elegant and superb drum playing of Bruford, and the amazing musicianship between them, these both songs are loved by all of us, of that im sure, maybe the best or my favorite parts of this album are the instrumental songs, not because i dont like Wetton`s voice, not at all, i like it, but i prefer this time those superb songs. So as you noticed i love and am very pleased with this album, quite a masterpiece. Posted Thursday, April 14, 2005, 12:59 EST |
The 2nd best album in this era of King Crimson.
The core group of Fripp, Bruford, and Wetton are here, along with David Cross (who made a guest appearance on Red, but here he's a member) on violin, and the borderline insane Jamie Muir on percussion. What you get on this album is some of the best music Crimson has created, but mediocre lyrics are The opener of the album, the instrumental masterpiece Larks' Tongue in Aspic Part One, is easily one of the best Crimson instrumentals. Starting off quietly with Mellotrons and Cross's violins, Fripp's buzz-saw guitar comes in the background around the 3 minute mark.
Muir's insane percussion also takes shape during this hectic minute of nirvana. When the main riff kicks in, the listener is presented with a thunderous guitar and off the wall drumming. Within the next few minutes, the guitar shallows out and Cross's violins take the forefront again.
Overall, a masterpiece that no one should miss. The songs with vocal are a mixed bag, the best of which is Easy Money. The music created on these varies as well.
The laid back music to Book of Saturday suits the mood. The agressive guitar on Exiles and Easy Money is also very suited for the mood presented. Wetton's vocals, while not as good as Red (My favorite vocal performances by him), are sufficient enough to sing the material written by Fripp and Palmer-James.
The other two instrumentals, the Talking Drum and Larks' Tongue in Aspic Part Two, are incredible Overall, this is a good addition to your King Crimson collection. The Red era of Crimson is my favorite, and I'm sure that there is something on this album that will please everyone.
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