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Larks' Tongues In Aspic


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Larks' Tongues In Aspic + Red (30th Anniversary Edition) + Starless And Bible Black 30th
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Product Details

  • Audio CD (Oct. 14 2011)
  • Number of Discs: 1
  • Label: Panegyric
  • ASIN: B00065MDSG
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record  |  DVD
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Bestsellers Rank: #12,098 in Music (See Top 100 in Music)

1. Larks' Tongues In Aspic, Part One
2. Book Of Saturday
3. Exiles
4. Easy Money
5. The Talking Drum
6. Larks' Tongues In Aspic, Part Two

Product Description

Fripp's guitar met with the violent violin work of David Cross on this 1973 LP, recorded after this lineup had been touring like crazy in late '72. Wetton's melodic bass, Bruford's maniacal drums and the stellar percussion work of Jamie Muir rounded out this killer Crimson incarnation; they do both parts of the title piece; Exiles; Easy Money , and the rest of the LP, all beautifully remastered!

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Customer Reviews

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1 of 1 people found the following review helpful By Louie Bourland on Feb. 22 2004
Format: Audio CD
"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.
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1 of 1 people found the following review helpful By Eddie Konczal on Dec 4 2003
Format: Audio CD
How did they do it? 4 years and 4 lineups after essentially inventing progressive rock with "In the Court of the Crimson King," King Crimson finally lived up to the promise of their 1969 debut. They had to rip up the playbook to do it, however; "Lark's Tongues" is every bit as fresh and innovative as their first album. While most progressive rock bands were perfecting their style (ELP's "Brain Salad Surgery") or summarizing past successes (Yes' "Yessongs"), King Crimson courageously broke with their past in search of a new style.
For Crimson Mark V, Fripp recruited ex-Yes drummer Bill Bruford, veteran bassist/vocalist John Wetton, and violinist David Cross. Percussionist Jamie Muir added his unorthodox talents to this record before departing for a Buddhist monastery. Many have rightly considered this the finest array of talent assembled by a progressive rock band.
In many ways, "Larks' Tongues" is even more impressive than Crimson's debut. This album marks the band's successful entry into the realm of improvisational instrumental composition. The mind-blowing opening title track is an unprecedented long-form exercise in progressive deconstructionism. "The Talking Drum," Arabesque in rhythm and tone color, builds magnificently to a chaos of guitar pick slides. The abrupt segue from this into the chunky power chord intro of "Larks' Tongues in Aspic Part 2" might be the most euphoric moment in the Crimso discography. The rest of "Part 2" deftly brings its hypnotic main riff through an series of ascending key changes, before culminating in yet another grand climax of controlled chaos.
The more traditional, vocal-based numbers impress equally. Jamie Muir's irreverent percussion highlights the whimsical rocker "Easy Money.
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1 of 1 people found the following review helpful By Joseph Galván on Oct. 29 2003
Format: Audio CD
Okay, first things first. This is probably the best Crimson album period. The amazing dynamics exhibited here by Fripp et al. is simply amazing.
The first track and its subseqent opening show signs of the influences of early minimalism. 1973 is really important in the development of minimalism, with Philip Glass, Brian Eno and Steve Reich and a couple of others at their apexes. Fripp's open-mindedness into new stages of harmony is seen from the get go in "Larks' Tongues Pt. I" and in the last track as well.
David Cross' immense neoclassical overhaul of harmony through strings is something really remarkable here. By far this is the most pastoral of 70s Crimson, simply because the "Cross sound" is so peaceful and seems to me a throwback to the folksy sounds that defined Crimson and a lot of other indie bands in the late 60s, when they were just beginning to find their musical language.
I must say that although the prevalence of minimalism is not as defined as, say, the "colors" albums of 80s Crimson, nevertheless the vision is there. It's kind of like looking through a crystal ball in the future of Crimson when one listens to this album; you can hear the band progressing into the bright new world of minimalism without necessarily forgetting the neoclassical and serialistic roots that brought them there in the first place. I can hear a little bit of every great modern composer here; first I hear Stravinsky, then Messiaen, and then finally Pendereki. So all in all this is one of the most intriguing albums I've ever listened to.
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