01 novembre 2012

Specialissima edizione per il quarantennale di uno dei capolavori dei King CrimsonLarks' Tongues in Aspic: ne scrive John Kelman su All About Jazz e se ne dibatte in Progressive Ears.

Why is a box set of Larks' Tongues in Aspic important? Why is a box set necessary? The box has been advertized as including "every known note recorded note by the quintet lineup," and, between live recordings and remixes, there are six versions of "The Talking Drum" and "Larks Tongues in Aspic (Part II)," seven versions of "Easy Money," eight versions of "Book of Saturday" and "Larks Tongues in Aspic (Part I)," and a whopping nine versions of "Exiles," not to mention two live versions of "21st Century Schizoid Man"-the one and only track from a previous Crimson recording to make it into this group's repertoire.
Nine CDs collect a total of six live recordings-two previously released as part of the King Crimson Collectors Club, two previously only available as digital downloads from DGM Live, and two performances never before released. There's also the audio from Crimson's appearance on Germany's Beat Club television show (even more importantly, the video is included on the DVD-A and Blu-Ray discs as well, available commercially for the first time). The fidelity varies widely. There's plenty of lo-fi-all but one of the live CDs coming from audience bootlegs restored by David Singleton and Alex R. Mundy to their best possible fidelity, but still determinedly lo-fi. There's ok-fi, in the November 13, 1972 Guildford Civic Hall set, which comes from a restored a cassette tape soundboard recording. And there's close-to-hi-fi in the Beat Club set. But collectively, it's an opportunity to not only experience the short-lived quintet lineup of Larks' Tongues in Aspic in all its freewheeling, improvisational glory, it's also a chance to hear the album's six compositions coalesce over time, with some tracks considerably different at the group's first-ever live show at Frankfurt's The Zoom Club, compared to both the Portsmouth Guildhall show just two months later and, ultimately, the studio recording that was made between January and early February, 1973.