Customer Reviews

Larks Tongues in Aspic - 30th Anniversary Edition Remastered

5 star:		(25)
4 star:		(9)
3 star:		(1)
2 star:		(3)
1 star:		(1)

 

 

Once again, King Crimson shifted lineups, only this time it was far more dramatic-- after having toured without lyricist Peter Sinfield, the entire band left, leaving Fripp on his own. A blessing in disguise, the band that assembled for this recording was full of such musical muscle and subtlety that they were able to turn out what may be the best of the King Crimson material (its a tough call, there's a number of stunning albums by them). This is also the first Crimson formation not to feature a saxaphone. Joining Robert Fripp (guitar, mellotron) are David Cross (violin, viola, mellotron), John Wetton (bass, vocals), Bill Bruford (drum kit), and Jamie Muir (percussion). Lyrics this time were handled by Richard Palmer-James-- getting away from the imagery of Peter Sinfield allowed the band's songs to flourish in different fashions.

But also allowing the band to flourish is the delicate balance they created-- Muir as a percussionist would play everything from mouth harps, thumb pianos, and chains slamming against gongs created his own dynamics without the influence of everyone else, likewise Bill Bruford at the kit could manage both power and subtlety, whereas Cross' violin and Wetton's bass were in opposition, both in register and in expressiveness-- Wetton is a brutally aggressive bass player. Fripp somehow counterbalanced all of this.

In many ways, this is also the band shedding their progressive rock leanings in terms of the traditional "prog" sound-- there's not the emphasis on harmonied instruments, mellotrons, etc. The approach is a lot cleaner and in many ways far less limiting.

A couple of the tracks here have their origins in the past-- the album opener, "Larks' Tongues in Aspic, Part One" (themes of which showed up in Crimson improvs from Fripp's guitar in '71/'72), is a signal of the future, from its delicate intro percussion, aggressive violin lines, and explosive guitar riffing, this clearly illustrates something else is happening here. Dynamically challenging, musically complex, and capable of both directness and subtlety, the piece is a sign of brilliance to unfold, both on this and throughout the album. Structurally, its looser than any of the previous instrumental Crimson material, when you want a musician to explode, he does. Also developed from older material is "Exiles"-- the opening theme was originally performed by the '69 band live as "Mantra". Both this and "Book of Saturday" are the ballads on the record-- "Book of Saturday" illustrates the softer side of the band, pretty violin figures and delicate guitar are the highlights of this piece. "Exiles", having its old origins, has a slightly older feel to it, almost similar in content to "Epitaph" or "The Court of the Crimson King", the piece has a more timeless quality to it brought about by the use of the mellotron as a highlight rather than a driving force. Wetton's voice is full of passion that was too often missing in the earlier band.

The second half of the album, as though to underplay the dynamic complexity and delicacy of the first half, is aggressive-- the band assumes a muscular stance right away with the obnoxious and stunning riff on "Easy Money"-- Wetton sings largely unaccompanied but the band falls upon themselves with a furious nature. A laughing box fades and "The Talking Drum" begins-- quiet a first, then building a repeated bass figure under which percussion work thrives, a soaring, aggressive, almost insistent violin lead bleeds into sustained guitar phrases from Fripp until almost like the train hitting the breaks-- the squeal arrives, and the piece transforms into the mighty "Larks' Tongues in Aspic, Part Two". Probably the highlight of the album, Larks 2 is a driving and insistent guitar riff in 9, phrases that turn each other around, and an explosive bridge, the piece boils over and is pure magic.

For fans of unique and powerful music, look no further, this album is genius. Probably difficult to get into if you're not ready for it, but without a doubt some of the most stunning rock music ever recorded.

Along with Islands and Starless and Bible Black(see my review) this is the absolute peak of King Crimson. In 1972 King Crimson (the Peter Sinfield era) completely dissintegrated after a disasterous tour that produced the subpar live album Earthbound. Many believed this to be the end of King Crimson. However this was not the case a year later Larks Tongues in Aspic was released to the world and what an album it is. Completely departing from Crimsons former somber symphonic style, Lark's is an avant garde masterpiece that is absolutely drenched in darkness as well as beauty. Kicking off with the blueprint to every extended instrumental King Crimson has done since is LTIA part 1. This song show Fripps new found approach to songwriting, slowly building tension that ends with an explosive climax. The entire song is a roller coaster of sounds ranging from David Cross's beautiful(and more than a little sinister) violin soloes to Fripps Sabbathesque guitar passages, this song is more than a little strange. Even stranger is the fact that the song is followed up by a short ballad(Book Of Saturdays) that is the complete musical oppisite of the opening song. Exiles follows and is the second best song off the album. This song like the last song is a wonderful ballad driven by violin, mellotron, and Fripps acoustic guitar. John Wetton does a great job with the vocals. Easy Money is a fantastic rocker loaded with distortion and a great solo from Fripp. The Talking Drum is pretty much just an extended intro for the final song on the album but its a great build up. The closing song is LTIA part 2 which in my humble opinion is King Crimsons best instrumental. Alternating between heavy distorted passages and an absolutely awe inspiring interlude, this song is the reason i bought the album.
The musicianship on this album is top notch with all the players being virtuoso's at their instruments you would not expect the playing to be as tight as it is as tight as it is but in fact for an album that was part improvised this is some of the tightest group interplay I have ever heard. Wetton also does a great job at singing in the very few spots on this album that have vocals. Overall this is one of the greatest albums ever made and deserves to be in any serious music collection. This album is the very definition of Progressive.

To worship at the sonic temple of King Crimson always meant dispensing with preconceived notions, and Fripp and company proved more than ready to lay waste to their more staid contemporaries on this 1973 masterwork.

The recording itself, which won technical awards way back in 1973, is clear as a bell: every nuance from Jamie Muir's eccentric percussion to John Wetton's vocal growls comes through crisply (Wetton no doubt a better vocalist for his going at it with Roger Chapman during his stint in the mighty Family before joining KC). Bill Bruford obviously loved this band, and unfettered of the art-rock formula that Yes was starting to fall into, he unleashes some powerful drumming that, along with Wetton's meaty bass lines, help hold together this sonic supernova. David Cross sometimes plays against Fripp's leads with great effect, his violin swooping and soaring like a flying prehistoric reptile chasing its next meal.

And Fripp, well, praise be to whatever the source of his muse here, for it is both balm to the jaded nerves of those disenfranchised by the corporate takeover of FM radio and anathema to the lobotomized program directors who have laid waste to creative playlists.

I'm keeping a star back because the two versions of the title track sometimes veer off so far that the music dissolves into a vapor. Still the explosiveness of Easy Money clears the mind and feeds one's bellicose instincts, while Exiles calms the soul of the wanderer and hermit found somewhere deep down in us all.

Like any King Crimson outing, "Larks Tongues in Aspic" is not everyone's cup of tea, but everyone needs to sample this one as a reminder of the power of imagination fueled by technique.

Bob Fripp really found a winner in Bill Bruford for a drummer. His technique is a highlight to this album,such as his odd time signatures and using rimshots on tracks such as "Easy Money" and "Larks Tongues Part 2". John Wetton gives a solid performance on vocals in his raspy delivery and, of course, Fripp shows is masterful guitar work. The only weak portion is the "Talking Drum" which is the free improv playing, which is listenable and still quite good, but not a song to pick a favorite part. The rest is flawless. "Larks Tongues Part 1" can be sweet one minute and blowing your mind another. The two guitar riffs are just so heavy, really awesome work. Never ceasing to amaze, it gets quieter and the violin comes in and at the end, it playing gets more frantic and voices come from the background. "Book of Saturdays" is a short, melodic song with no drums. It holds on it's own as the singing and guitar intertwine to give a lamenting feel. "Exiles" is a beautiful song where the violin really shows and like "Saturdays", the singing is top notch thanks to Wetton. "Easy Money" is where Bruford shows his chops on the drums like I mentioned before with correctly placed bass and guitar to give it a more hard edge than that of the others. "Larks Tongue Part 2" is the best example oof musicians playing off each other. Both Fripp and Bruford shine on this instrumental and it is the best way to end such a classic album. Definite recommendation along with the rest of the King Crimson Catalog from '69 to '74(In the Court of the Crimson King to Red).

I don't mean to imply that this is the best of all albums; I merely mean to say that there is nothing I would change about this album. Everything it sets out to do it does flawlessly.

The only unfortunate thing about the album is that it's very difficult to listen to while travelling. The volume ranges from eardrum-pounding to the barest whisper, so it's best listened to in a quiet room with top-of-the-line speakers or headphones.

This is a masterpiece of progressive rock, and indeed of music in general. I recommend it to anyone with an attention span.

After four amazing albums. In The Court-Islands. King Crimson or Robert Fripp said so long to Peter Sinfield, and invited some new members to join the lovely King Crimson.
John Wetton-Bass vocals
David Cross-Violin viola keys mellotron
Jamie Muir-Percussions various instruments
Bill Bruford-Drums
and they caught lightning in a bottle just like they did in 1969. And created Larks Tongues in Aspic an amazing album that would define there mid 70s sound and be the seed to future Prog Metal. Every song is great amazing improvs some brutal jams and some beautiful ballads.

SONG BY SONG
"Larks' Tongues in Aspic, Part One"- This is amazing the first 3 mins are sorda pointless but once Cross comes in your in for a roller coaster ride from prog metal hell. Fripp is very brutal on this track and Bruford and Muir are out of this planet, after the amazing drumming you hear some more great work from Cross, then the ending which is very haunting and if you arent prepared you may jump. 10/10

"Book of Saturday"- Nice ballad short it's hard to believe this is after L.T.I.A. part one. Still it's a nice song. And Wetton and Cross rule this song. 9/10

"Exiles"- One of my favorates, this song is amazing some weird little noises at the beginning. Then gets good and Wetton sings his soul out very good and haunting. The violen work is top shape but it's David Cross his violen is always top shape. The song is better live but this version is still outstanding. 10/10

"Easy Money"- Progressive, fast and rocking what more could you want this song is great whisper vocals but that changes. The Percussion can give you a good laugh but it's very good and adds a very unique touch to the song. The last couple minutes of the song are the best, then you hear some nice laughing kinda like Indoor Games on Lizard but well more sinister business man like. 10/10

"The Talking Drum"-After you hear nice laughing you get to The TAlking Drum which is also very amazing. Starts out quiet and get's louder and louder and louder. The violen gives me chills. The drumming, bass and guitar are just as good. Then at the end well make sure to turn it up really loud.=) 10/10

"Larks' Tongues in Aspic, Part Two"-after the talking drum it gets to this heavy prog metal closer to a amazing album. This is a song by Fripp and it is amazing one of the heavier if not heaviest songs I've heard from that time in music. Has some great well everything this is the perfect King Crimson song. And is a amazing closer that leaves and impact. 10/10

OVERALL 10/10
Buy this if your a fan or are looking for a amazing place to start in the great world of King Crimson.

With this album King Crimson sheds the gothic melodrama of earlier progressive groups and invents its own inimitable genre. Bill Bruford, whose idiosyncratic, off-kilter, but always right-on emotional percussion forms the backbone of the album. His pulsing, shimmering syncopations are enhanced by John Wetton's thrumming bass, overlaid and brought into sharp focus by Robert Fripp's powerfully creative musical innovations. Unlike many so-called classics of the era this album still sounds fresh and original 35 years later.

"Larks' Tongues In Aspic" is King Crimson's aspiring masterwork from 1973. By this time, the band had gone through nearly half a dozen line-up changes in less than four years with guitarist Robert Fripp being the only mainstay through it all. In late 1972, Fripp hit upon something special when he assembled a fresh new line up to record this album. The line-up of Fripp, bassist/vocalist John Wetton, violinist David Cross, drummer Bill Bruford (who had recently left Yes) and percussionist Jaime Muir (who would leave King Crimson shortly after this album was made) became the band's second classic configuration and would create what many would consider the best material under the King Crimson band name.
"Larks' Tongues In Aspic" is bookended by its lengthy instrumental title track. The first part which opens the album is a nearly 14-minute tour-de-force which combines free-form experimentalism with jazz-fusion, classical and even heavy metal influences. It's quite extraordinary that the band can combine these many genres into one piece of music and still sound coherent.
"Book Of Saturday" is a simple 3-minute ballad which is quite the opposite of the previous track. Although King Crimson has never been a singles band, this track would have worked out great as one. It's melodic guitar parts and soaring vocal work from Wetton suit this songs contemplative mood.
The 8-minute "Exiles" sounds as if were an outtake from the first King Crimson album "In The Court Of The Crimson King". John Wetton's vocals have a sound reminiscent of Greg Lake while Fripp's guitar and mellotron work are straight out of "Epitaph" from the aforementioned album. Cross adds a definite Classical influence with his violin playing and also plays flute on this track (though it's not credited. Wetton also plays uncredited piano).
The latter half of this album is considered by many to be its most memorable as it includes the timeless Crimson classics "Easy Money", "The Talking Drum" and the second part of "Larks'" title track.
"Easy Money" has a slight blues influence and deep groove which leads into a solid group improvisation. Fripp gives a wrenching guitar lead here while Muir litters the track with various percussion abstractions and noises.
"Easy Money" leads into "The Talking Drum" which is a giant 7-minute crescendo beginning at an extremely low volume but builds until the track is literally screaming from the speakers. This track is a solid demonstration of the band's tight musicianship. Bruford, Muir and Wetton lock into a repeated rhythm pattern which Cross and Fripp improvise over. As the track reaches its peak, it cuts into a brief snatch of violin and guitar screeching which leads directly into the next and final track, "Larks' Tongues Part 2".
"Larks' Tongues Part 2" has remained an active part of King Crimson's live repertoire since it was initially released on this album. Like the previous track, "Larks' Part 2" shows of the bands high-class musicianship and their ability to stick together through radical dynamics and time signatures. Everyone in the band is in top musical form here. And you just gotta love that `trash-can' ending to this track.
With all due respect, "Larks' Tongues In Aspic" is King Crimson's second magnum-opus (the first being "In The Court Of The Crimson King") and is an essential classic for fans and musicians alike. The powerful musicianship and experimentation of this band is unparalleled. All of the King Crimson line-up's have had great musicians in them however, as mentioned at the beginning of this review, Robert Fripp did something special when he assembled the "Larks' Tongues In Aspic" line-up in 1972. That special something is forever preserved on this album.
A Progressive Rock Classic and an essential King Crimson title.

This album is a treasure mostly because the sound is unique to anything you will hear. No other artist will be able to imitate this sound, and even this very band, in any other lineup, couldn't imitate the sound. And it is definitely a cool sound.

This is a great album to introduce yourself to King Crimson. The sound is very accessible, but remaining extremely experimental and artistic.

The whole thing has a very dark and sinister tone to it, which definitely adds to the value of the music in my opinion.

The album definitely isn't for everyone, and may put you in a weird mood if you listen to it too many times, or for too long, but I cannot deny that this is a class album.

Also, don't judge the album solely by the samples that are provided on any website. :)

The songs change quite a bit throughout.

Although perhaps a bit biased, I really like the three albums the band released following In the Court of the Crimson King (1969); even though a lot of folks feel that the quality dipped a bit. However, I think most people can agree that with Lark's Tongues in Aspic (1973), the band found renewed energy. This album also marked a point where the band started exploring some of the heaviest music they would release.

The lineup at this point included bandleader Robert Fripp (electric and acoustic guitars; mellotron; and electronic effects); John Wetton (bass guitar and lead voice); Bill Bruford (drums); Jamie Muir (percussion); and David Cross (violin, viola, and mellotron). A lot of critics feel that this was the finest progressive rock lineup ever assembled, and I pretty much agree. The individual performances and ensemble work are breathtaking - these guys were all superb players. Bill Bruford details throughout why he is one of the top drummers in progressive rock and rock in general (incidentally, Bill Bruford had bailed on Yes right in the middle of their 1972 tour to join King Crimson and play on this album). On the heavier pieces, John Wetton plays his Fender bass with the treble all of the way up and with a slightly distorted tone, making for a very percussive playing style that meshes perfectly with Bruford's playing. During the lighter moments, he contributes some very clean and understated counterpoint and his vocals are also excellent. In addition to the dizzying speed with which he cross-picks, Robert Fripp unleashes a range of sounds on the guitar, sometimes anguished, occasionally mellifluous, but always to the point. In amongst all of this chaos, the delicate and wavering violin of David Cross adds a very nice acoustic element to the music, some of which can be overbearing at times.

The music on this album juxtaposes sections of virtual silence with passages of bone-crushing volume that makes for an interesting study in contrasts. This is most effectively demonstrated on Larks Tongues in Aspic (Pt. I); which is a piece of music that could very easily knock you out of your seat with the louder passages if you concentrate too hard on the quieter sections. The rest of the album features soft, mellotron-soaked songs (Book of Saturday and Exiles); a punchy and aggressive Easy Money; an exercise in percussion-based minimalism (The Talking Drum); and the quite nearly violent Larks' Tongues in Aspic (Pt. II). The musicianship is of course, stellar throughout and the arrangements are exceptionally good.

All in all this is excellent stuff and is very highly recommended. Also recommended from this period of KC is Starless and Bible Black (1974) and Red (1974).