Larks' Tongues in Aspic

Larks' Tongues in Aspicis the fifth studioalbumby the Englishprogressive rockgroupKing Crimson, released on 23 March 1973throughIsland Recordsin the UK andAtlantic Recordsin the United States and Canada. This album is the debut of King Crimson's third incarnation, featuring co-founder and guitaristRobert Frippalong with four new members: bass guitarist and vocalistJohn Wetton, violinist and keyboardistDavid Cross, percussionistJamie Muir, and drummerBill Bruford. It is a key album in the band's evolution, drawing on Eastern Europeanmodernistclassical music and Europeanfree improvisationas central influences.
At the end of the tour to promote King Crimson's previous album,Islands, Fripp had parted company with the three other members of the band (Mel Collins,Boz BurrellandIan Wallace). Collins has stated that he was asked to stay on with the new lineup of the band but decided not to.The previous year had also seen the ousting of the band's lyricist and artistic co-directorPeter Sinfield. Fripp had cited a developing musical and sometimes personal incompatibility with the other members;he was now writing starker music drawing on influences such asBéla Bartók,Igor Stravinsky,Jimi Hendrixand free improvisation.
In order to pursue these ideas, Fripp first recruited bass guitarist and vocalistJohn Wetton, a longstanding friend of the band who had lobbied to join at least once before but had joinedFamilyin the meantime. The second recruit wasJamie Muir, a free-improvising percussionist who had previously been performing in the Music Improvisation Company withDerek BaileyandEvan Parker, as well as in Sunship (withAlan GowenandAllan Holdsworth) and Boris (withDon Wellerand Jimmy Roche, both later of jazz-rock band Major Surgery).Muir occasionally played a conventional drum kit, but more often used a range of small percussion instruments.
On drums Fripp recruitedBill BrufordofYes. Another longstanding King Crimson admirer, Bruford felt that he had done all he could with Yes at that point. He was keen to leave the band before they embarked on theirClose to the Edgetour, believing that the experimentation-oriented King Crimson would be a more expansive outlet for his musical ideas. The final member of the new band wasDavid Cross, a violinist, keyboardist and occasional flute player.
Larks' Tongues in Aspicshowed several significant changes in King Crimson's sound. Having previously relied on woodwinds as significant melodic and textural instruments, the band now replaced them with Cross' violin. Muir's percussion rig featured eccentric instrumentation includingchimes,bells,thumb pianos, amusical saw,shakers, rattles, found objects (such assheet metal, toys and baking trays), and miscellaneousdrumsand chains. TheMellotron, a staple part of King Crimson's instrumentation since their debut album, was retained for this new phase, played by Fripp and Cross, both of whom also played electric piano. The instrumental pieces carried strongjazz fusionand European free-improvisation influences, and some aggressive portions verging onheavy metal.
The band's multi-instrumentalism initially extended to Wetton and Muir playing (respectively) violin andtromboneon occasion at early gigs. Wetton and Cross contributed additional piano and flute respectively to the album sessions. As Muir left the group in February 1973, shortly after the album was completed and before they could embark on a supporting tour,Larks' Tongues in Aspicwould be the group's only album to feature this lineup.
"Easy Money" was composed piecemeal, with Fripp writing the verses and Wetton later adding the chorus.
The name of the album came from Muir, who thought that the title aptly described the music. "It may or may not be an actual dish available at your neighborhood delicatessen," Fripp stated. "But what it means to me is something precious which is stuck, but visible. Something precious, which is encased in form."
The album spawned the concert staple "Exiles", whose Mellotron introduction had been adapted from an instrumental piece called "Mantra" which the band's original lineup had performed throughout 1969. At that time, as well as in late 1972, the melody was played by Fripp on guitar. In addition, a section of "Larks' Tongues in Aspic, Part One" was reworked from a piece entitled "A Peacemaking Stint Unrolls", which was recorded by theIslands-era band and finally released in 2010 as a bonus track on that album's 40th anniversary edition.
The album peaked at number 20 on theUKchartsand at number 61 in theU.S.In 2012Larks' Tongues in Aspicwas issued as part of the King Crimson 40th Anniversary Series, including the release of anexpansive box setsubtitled "The Complete Recordings". ThisCD,DVD-AandBlu-rayset includes every available recording of the short-lived 5-man line-up, through live performances and studio sessions.
In his contemporary review, Alan Niester ofRolling Stonesummarized the album: "You can't dance to it, can't keep a beat to it, and it doesn't even make good background music for washing the dishes," recommending listeners to "approach it with a completely open mind." He described the songs on the album as "a total study in contrasts, especially in moods and tempos – blazing and electric one moment, soft and intricate the next." While not fully appreciative of the music on the record, he complimented the violin playing as "tasteful [...] in the best classical tradition."
Bill Martin wrote in 1998, "[f]or sheer formal inventiveness, the most important progressive rock record of 1973 was...Larks' Tongues in Aspic", adding that listening to this album andYes'sClose to the Edgewould demonstrate "what progressive rock is all about".
AllMusic's retrospective review was resoundingly positive, marking every aspect of the band's transition from ajazz-influenced vein to a moreexperimentalone as a complete success. It deemed John Wetton "the group's strongest singer/bassist sinceGreg Lake's departure," and gave special praise to the remastered edition.
Robert Christgau's retrospective review gave a more ambivalent view, saying of the band's instrumental work, "not only doesn't it cook, which figures, it doesn't quite jell either."
In theQ&MojoClassic Special EditionPink Floyd & The Story of Prog Rock, the album came number 22 in its list of "40 Cosmic Rock Albums".
Larks' Tongues in Aspiccomes in at #20 inRolling Stone's"50 Greatest Prog Rock Albums of All Time" list.
The album is featured in the book1001 Albums You Must Hear Before You Die.
Theprogressive metalbandsDream Theaterand Murmurboth covered "Larks' Tongues in Aspic Pt. II". Dream Theater's version is featured on the special edition of their albumBlack Clouds & Silver Linings.