LARKS' TONGUES IN ASPIC

I suppose I am at level 2 going into this one. I had it on LP years ago, but never got into it back then. But as songs pop up sometimes from my streaming library, I am developing more appreciation for it. I was in a band in the late 90s with a drummer who was a big KC fan. We did attempt Easy Money a few times, but it never really gelled. (We also did a cut down version of 21st Century Schizoid Man?minus the middle super complicated bit) which worked. But I'll say I've developed a liking for LTIA, Pt. 2 in particular in recent years. Let's see how I feel about the rest of it.

Track 1 - Larks' Tongues in Aspic, Pt. 1

We begin with some Kalimba and gradually some tingling bell sounds join in. This is an extremely slow buildup .At around 3 minutes in, guitar & David Cross' violin or viola (not sure which) joins in with some rhythm. A big heavy riff begins at 3:40, but only briefly. After some more strings, the riff returns. Then after some wild Fripp leadwork, they get into a funky groove with Fripp's wild playing over the top at around 5:00. Bruford and Muir go crazy on drums & percussion while Wetton goes wild on wah-wah bass. Quite a bit of a cacophony which settles down at around 7:45 with a mellow violin part. At times it is so quiet that it is almost inaudible. Rhythm begins to build at around 11:45 and very gradually increases in volume. By 12:30 there is the peak of the crescendo. There are some sounds that sound like someone has the TV news on or something, but I don't know what is being said. Wetton has a bit of a bass feature which gives way to arpeggiated guitar. The song fades out with some high-pitched bells. It was an interesting ride, to be sure. Personally, I'd have liked more to have been made out of the big riff near the beginning. But what do I know, this album is considered to be a classic more than half a century later.

Track 2 - Book of Saturday

Mellow jazzy guitar chords are joined by Wetton's vocals and a subtle bass line. A reverse guitar solo comes next, followed by violin. Wetton sings another verse thereafter with violin.

A short mellow piece with nice vocals from Wetton.

Track 3 - Exiles

This one fades in with sounds I can't quite identify. There are lots of sound effects, including some that sound like seagulls. By 1:55 there is a melody with a light rhythm section, acoustic guitar & a violin solo. Wetton begins singing at around 2:25. Cymbal rolls lead to Cross' string instruments. The melody returns at around 3:25. Fripp adds a guitar solo after the 6-minute mark. Things sound like they are fading but then there is a crescendo near the ending.

Track 4 - Easy Money

A syncopated distorted guitar part with a steady, almost march-tempo beat underneath begins this one. Nonsense vocaleases in harmony join in. There is a nearly a Capella verse with minimal guitar accompaniment, and a bit of percussion. The phrase "Easy Money" is accented and followed by odd percussion bits. The second verse has a bit more accompaniment. An instrumental section follows. Fripp improvises a solo over the rhythm section, with some various percussion. The harmony vocals return around 6:30, then Wetton delivers another verse with more intense instrumentation. A maniacal laugh closes things out.

Track 5 - The Talking Drum

We begin with wind sound effects. There is a sound that sounds like a passing horn of some kind. Soft bongo (or similar) drums sound like a galloping horse. As we pass the 2-minute mark a rhythm begins to fade in on bass & drums. Cross comes in on viola (I believe) at around 3 minutes. By 4:30 Fripp is playing sustained parts along with Cross. Things gradually get louder as we go. I believe a fuzz bass has entered the picture as well. At some point I believe Cross switched to Violin. Screeching noises close the track out.

Track 6 - Larks' Tongues in Aspic Part 2

This is my favorite track on the album, by far. Nice tight playing. There is an opening set of riffs followed by the main theme. The intro part returns around 2 minutes and Wetton plays a monster bass fill. At around 2:45 the main theme returns, but quieter, then begins a gradual buildup. By around 3:30, some crazier sounds join in, but then Fripp establishes a new riff for Cross to solo over. The main theme returns at around 4:45. Cool drumming is featured around 5:30. At around 6 minutes the band hits a big chord and holds it for about 30 seconds. Everything seems to fade out with around 30 seconds remaining.

OVERALL IMPRESSIONS:

With the exception of track 6, this album just never clicks with me. I know many KC fans rank it as one of their finest, but it just isn't what I'm looking for. I don't hate it, but I don't love it either. I'll give it a 3.5 overall, but it'd be much lower without track 6.

Clicking 3, but really 3.5.

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