"Larks' Tongues in Aspic" is a suite of music by the English progressive rock band King Crimson. Spanning thirty years and four albums, the series comprises five parts, all of which carry unifying musical motifs. Parts I and II were released as the introductory and final tracks on King Crimson's 1973 album of the same name, part III was featured on their 1984 album Three of a Perfect Pair, part IV appeared on 2000's The Construkction of Light, the final part, "Level Five", was included on the 2003 album The Power to Believe. Despite breaking the naming convention, Robert Fripp, King Crimson founder and only constant contributor to the suite, insists that "Level Five" is part of the pentalogy. In 2011, PopMatters ranked the first part of "Larks' Tongues in Aspic" as the eighth best progressive rock song ever. "Larks' Tongues in Aspic, Part One", the longest entry in the pentalogy, was first released as the introductory track to the album of the same name. The song is guided by the shifting guitar of Robert Fripp, but it is in the tense violin of David Cross and the chaotic percussion of Jamie Muir that part I is defined.
The track goes through numerous varied acts and passages, with somber moments and a calm violin solo falling alongside periods of heightened aggression where Fripp's guitar borders on heavy metal and Muir's clangs reach cacophony. Bird calls, metallic clangs, breaking crockery and tin ripping are all featured in Muir's repertoire, along with his percussive contributions, he coined the title "Larks' Tongues in Aspic". In a 1991 interview, Muir said it was a "very admirable creative decision" for Fripp to work with him. Much of the track originated from full-band improvisations that began in 1971, with Cross calling it "grown" instead of written. Drummer Bill Bruford said the songs were "hell" to make given the deliberate lack of in-studio structure. An early version of part I recorded by the 1971 lineup appeared as a bonus track on the 40th anniversary edition of Islands under the name "A Peacemaking Stint Unrolls". While the first part is a many-sectioned, dynamic song, described as having a "kitchen-sink sensibility", "Larks' Tongues in Aspic, Part Two" is much more straightforward and riff-focused, with the sole writing credit going to Fripp.
PopMatters called the track a "roller-coaster of wrath and control". The main riff of part II, which emerged in 1972 during a live performance at Richmond, Kentucky, is heavy and driving, drawing its host album to a dramatic climax. While the guitar in part II may be the most obvious aspect, John Goldsby of Bass Player called the bass in the song something that "bass players will still be talking about four decades later". Fripp considered the first two parts of "Larks' Tongues in Aspic" as the refinement of his role as composer in King Crimson. According to Fripp, part I was conceived as the beginning of a King Crimson performance, part II as the end. "Larks' Tongues in Aspic, Part One" was performed from 1972 to 1974, predominantly in a shortened seven-minute version that left out most of the violin solo and protracted ending passage. Part I was not performed again until 2014; the new arrangement featured all of the violin segments played on guitar, save for the solo, performed by Mel Collins on flute.
Part II, persisted in King Crimson's sets throughout most of their career. Both the first and second parts of "Larks' Tongues in Aspic" have been met with critical acclaim. In 2011, Sean Murphy of PopMatters ranked the "Larks' Tongues in Aspic, Part One" as the eighth best progressive rock song ever, he revised his placement in 2017, putting part I as number fifteen and "Larks' Tongues in Aspic, Part Two" as eighty-five. Marc Malitz of Louder Sound judged the first part as the forty-second best progressive song ever. All credits adapted from Larks' Tongues in Aspic liner notes. Robert Fripp – guitars, Mellotron David Cross – violin, viola John Wetton – bass Bill Bruford – drums, woodblock Jamie Muir – percussion, autoharp "Larks' Tongues in Aspic Part III" was released as the closing track on 1984's Three of a Perfect Pair; this part marks a drastic shift in style from the previous two entries, thanks to being created a decade with two new people, Adrian Belew and Tony Levin, involved. Part III opens with the same melodic motif seen in parts I and II, but the rhythms and tones are different, with Bruford playing a mix of acoustic and electronic drums.
Greg Prato of AllMusic counted "Larks' Tongues in Aspic Part III" as one of his favourite songs from Three of a Perfect Pair. All credits adapted from Three of a Perfect Pair liner notes. Robert Fripp – guitars Adrian Belew – guitars Tony Levin – bass Bill Bruford – drums Seeds of the fourth part of the suite were gestating as early as 1995 and appeared as early as 1997 during the band's rehearsals at Nashville, it was not until 2000 that "Larks' Tongues in Aspic – Part IV" was released, appearing on the album The Construkction of Light. Like part II, part IV is guitar-driven, but it introduces new rhythmic and melodic motifs to the series, which would be explored further in part V. "Coda: I Have a Dream" shares some of the series' motifs, but features lyrics and vocals from Adrian Belew. Though "Coda" was performed live with vocals in 2000, it was performed live as an instrumental in 2001 and 2003. On The Construkction of Light, "Larks' Tongues in Aspic - Part IV" is divided into three identically titled tracks that segue into "Coda: I Have a Dream", followed by a minute of silence.
However, part IV and "Coda" are indexed together in live releases of the 2000-2003 period, as well as the "Expanded Edition" of The Construkction of Ligh
Assyabaab Salim Group Surabaya or Assyabaab Surabaya or ASGS was an professional football club from Surabaya, Indonesia. The club founded in 1930 in Ampel, Surabaya as Al-Nasher and joined NIVB competition in 1932 and changed their name to Al-Faouz during Japanese occupation. In 1948, the club changed their name to Assyabaab. Assyabaab was one of the best club in Indonesian football at 1960–1970 era. At that era, many of Indonesia national football team player come from this club; some players played in Hong Kong after they played for Assyabaab. The club performance decrease. After two decade hiatus from top-tier Indonesian football, Assyabaab promoted to the top level at Galatama on 1991; the club bought by Salim Group, was renamed Assyabaab Salim Grup Surabaya. They have better facility, their performance increase, they can hold in top-tier football league for several years. They advanced to the quarter final at the 1994–1995 Liga Indonesia Premier Division. An-Nasher Al-Faouz Assyabaab Assyabaab Salim Group 1990: Champion at "Divisi satu" or second level in Galatama 1991–1992: 13th place at Galatama 1992–1993: unknown position at Galatama 1993–1994: 3rd place in East group at Galatama 1994–1995: Quarter final at Liga Indonesia Premier Division 1995–1996: 9th place in East group at Liga Indonesia Premier Division 1996–1997: 10th place in East group at Liga Indonesia Premier Division