King Crimson-Lark's Tongue in Aspic
The title should give it all away. This is one of the more pretentious albums that King Crimson released. Having said that, there are many lovely moments on this album which make it one of my favorites.
On this album, King Crimson are...
Robert Fripp-guitar/mellotron
David Cross-violin/mellotron
John Wetton-bass/vocals
Bill Bruford-Percussion
Jamie Muir-Percussion
Having released "In the Court of the Crimson King" (1969), "In the Wake of Posiedon" (1970ish) and "Islands" (And I really have no idea when that was released), Robert Fripp was looking for a different sound. He removed the brass instruments and mellotron (almost a signature sound of the last three releases) from the mix and instead went for a pared-down avant garde sound.
LTIA (part 1)
This is a hugely disjointed track. It begins with a buildup of what sounds like xylophones, with natural harmonics on the bass guitar and some other kind of percussion being added to the mix as it progresses. Musically, this is a very clever section, with polyrhythms and complex harmonies building tension. Unfortunately, it comes across (even after repeated listens) as a load of plinking. This gives way to David Cross' violin playing staccato notes, and Robert Fripp's guitar playing being fairly scary and incredibly heavy. This is again built upon with Jamie Muir doing a very good impression of falling down stairs (and then landing on the bike at the bottom as he starts messing around with horns). After this, Fripp plays a bunch of random notes. Lovely. The bass comes to the fore, playing another heavy part (through a distortion that I've only ever heard John Wetton use, and I have no idea how to do it, which is a pity because it sounds great). After this, David Cross' violin launches the piece in yet another completely different direction, and he starts playing a beautiful solo, which transits nicely into the next song... (2/5. Points off for sheer wankdom, points on for the fact that it, like all King
Crimson, it has its moments.)
Book of Saturday
This, being a song which flows well and so forth, is probably my favorite on the album. It opens with a riff without distortion, and then John Wetton begins singing. I love John Wetton's voice. It's kinda like Peter Gabriel-by no means perfect, but perfect is boring. Violin suppourts the guitar well, and the percussion is perfectly understated (not something you can usually say about Jamie Muir). Robert Fripp's famous backward guitar solo is lovely, and the whole song adds up to brilliantness (if that makes any sense. It doesn't. Ah well.) (5/5)
Exiles
Another ballad. Like the early King Crimson, this is full of mellotron. It starts off with some wierd noises, and then the mellotron comes in playing some kind of minor key thingimy, which is joined later by the violin. When the violin come in, it switches from minor to major, and this part always sends shivers down my spine, which is cool. The rest is mostly Jonh Wetton's lovely voice being lovely, and the Robert Fripp does a great solo which rocks. Yay. (4/5)
Easy Money
This song begins with a heavy guitar part being held together by David Cross playing mellotron, and some fairly simple drumming which goes well with the music. Then the instruments drop out, and we're left with just vocals. Then the instruments start plinking. You'd think that they'd have learned after moonchild but no. However, with the vocals, it sounds good because there is a tune involved which is always nice. Then they start to improvise, and this fades out to reveal a sound like a fly trapped inside a jam jar. I seriously think that King Crimson got bored a lot in the studio and started messing around and then just decided to stick it on the album. It's the only explanation for a lot of stuff. However, this improvised bit is good up until the fly. And live, it's even better. Check out the version on USA. (3/5)
The Talking Drum
Lots of people dismiss this track as boring, but I personally think it's the best build-up track I've heard. It starts with some odd drumming and then the bass cmes in with a very simple riff. By the end of the song, the guitar and violin are trading lines off each other and it sounds wonderful. Then the customary explosion leads us into... (5/5 by the way)
LTIA (part 2)
This is a lot better than the first. For a start it has structure. It starts with one chord played over and over again by Fripp, and then the bass comes in, and Jamie Muir is doing some stuff, and then it suddenly drops in tempo and volume, and Robert Fripp is playing in 5/4 while everyone else plays 4/4, which gives an interesting effect. This happens a few times, and then some more stuff happens, and John Wetton plays some amazing bass fills, and then there's a huge climax which I never get to hear because my version is on tape, and that bit got cut off. (5/5)
I think this is a fairly hit-and-miss album, with parts being great, and other parts being plain boring. However, that is to be expected from an album with so much improvisation. I give it a 3/5 because I have to be in the right mood to listen to it.
