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Larks' Tongues In Aspic
|Price:||CDN$ 20.00 & FREE Shipping on orders over CDN$ 25. Details|
Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Larks' Tongues In Aspic, Part One|
|2. Book Of Saturday|
|4. Easy Money|
|5. The Talking Drum|
|6. Larks' Tongues In Aspic, Part Two|
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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Top Customer Reviews
"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.Read more ›
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.
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.Read more ›
Most recent customer reviews
Except for a few exciting moments this was disappointing both for the quality and the involvement of the music chosen. Read morePublished on June 21 2014 by This is not a review it is a comment on Amazon setting ates. Before rendering a review read the book
This is obviously a mishap from the manufacturer, not amazon nor its sales...This double CD was shrink wrapped and sealed, but only contained disc 1. Read morePublished on Jan. 7 2014 by Brian Baggett
One the best early 1970's progressive record...leadind the way for the next ELP, Genesis, and others...and the road to Red..!!
The 5.1 mix from S. Wilson is awesome. Read more
This latest and arguably most anticipated remix of the early King Crimson albums is an exercise in wondrous excess. Remixed for 5. Read morePublished on Feb. 14 2013 by Marty From SF
One of Crimson's best just got a whole lot better. This set stretched across 15 disc has it all. Great live CD's, a Steven Wilson 5. Read morePublished on Oct. 30 2012 by Stephen Bieth
This review is of the original album - I can't speak to the quality of remastering or anything technical. Read morePublished on April 2 2005
I was recently very bored so I was searching through my dad's box of vynils and came across Larks tongues in Aspic. Read morePublished on June 16 2004
this line up makes music ahead of their times...
any lovers of new king crimson like "the power to believe" will fall in love with this music. Read more