Larks’ Tongues In Aspic is the Fifth Album by the English Progressive-Rock Band King Crimson. Though frequently credited with “inventing” the genre, King Crimson never fitted into most of the common progressive rock clichés. No cheesy concept albums, no sci-fi escapism, not too much overblown soloing, no horrible “rock” renditions of Pictures At An Exhibition (*coughcough*). In fact, starting with guitarist/mellotron player/leader Robert Fripp’s first from-scratch lineup rebuild in 1973, they turned into an increasingly strange beast, marrying brain-melting heavy rock to European-free-jazz-esque playing disciplines and souping it up with plenty of exotic influences and instruments. For Larks’… Fripp sought a different sound than all the previous Albums, he dropped the characteristic Saxophone and woodwinds, and brought to the Band the principle of Improvisation. Fripp also brought Drummer Bill Bruford along. Bruford was already an experienced Musician, having just recorded Yes’s Close To The Edge (He left the Band due to being confident that he had done all he could there and wanting to expand his Musical competences even further. Crimson’s new Jazz-Fusion Improvisational Sound was exactly what he wanted). This is often considered to be one of the Finest examples of the Sound of King Crimson and numerous times associated with the Cosmic-Rock sonority. There have been four “official” (Studio) parts to the song which is named after the Ralph Vaughan Williams‘ composition The Lark Ascending. I say official because, due to the improvisational nature of the band, countless live variations exist. For this post I will feature live renditions of each part and list the versions in order.