Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #1033 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1033 Tuesday, 17 September 2002 Today's Topics: gallo's review of TCOL perhaps DGM should buy napster (file sharing) math rock math rock; ItWOP, Lizard, songs you 'hate' Re: Math Rock Egg Math rock Bruford in Brazil More on Vincent Gallo My Gaff on Gallo Re: The Devil's Triangle Re: Phases of Crim Re: USA I'm worried about Nuovo Metal USA edits file sharing Giles, Giles, Fripp, McDonald, Giles Re: Devil's Triangle Nature and file-sharing Re: title of the new crimson ep Re: THE POLITE FORCE by EGG ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com or use the DIY list machine at http://www.elephant-talk.com/list/ To ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.shtml You can read the most recent ten editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest system v3.7b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Mon, 16 Sep 2002 11:32:52 -0400 (EDT) From: William L Sallak Subject: gallo's review of TCOL dear ET community, first to say a brief "thank you" to all those who offered help regarding my thesis on the influences of minimalism in KC's music. it's been very helpful. i step out of lurking to comment on vincent gallo's "review" of TCOL. the r-word finds itself in quotes not out of blind KC worship (i find many aspects of TCOL to be difficult to absorb) but out of disdain for gallo's focus on himself rather than the album. first, i suppose that i tire of personal anecdotes about one's youth and the lengths one went to to demonstrate one's love for one's music. such reminiscences do little to boost one's musical credentials (since most of us have had some analogous experiences). second, gallo seems to make some binary distinction insofar as music that does not provide a life-changing, transcendental experience necessarily, as he puts it, "suKcs." if this were true, our education in western music would consist solely of bach, beethoven, and stravinsky, and most of the 700 LP's gallo hitchhiked with would also suKc. it disappoints me that such self-importance has turned a review of an album into a review of one's adolescence. sadder still, it's about on par with what rolling stone has to offer. comments to ET or to my personal email (sallak at uakron dot edu) are eagerly looked forward to. all the best bill sallak ------------------------------ Date: Mon, 16 Sep 2002 07:50:00 +0100 From: "Tom Lord" Subject: perhaps DGM should buy napster (file sharing) Very briefly, lest we create a new "Dead Thread": Mark & Josette write: > so it's ok to steal if it's done cheaply and easily? Where we would almost certainly agree is that authors deserve substantial economic support. It is a serious challenge of the modern era to figure out how to arrange that. The existence and charter of DGM helps to point out that traditional copyright alone has, for the most part, failed to achieve that aim, and even subverted it. To speak to your objection: Making a perfect copy of digital information is not, a priori, stealing. It lacks some essential properties of stealing: for example, it does not deprive the original possessor of that information of their own copy. A popular comparison is to a sandwich: if I obtain your lunch, you no longer have a lunch to eat; if I obtain a copy of your song file, you do still have a copy. Information is not tangible. Our intuitive notions of theft apply to tangible goods. It is easy to make mistakes when applying our intuitive notions of theft to intangible goods. Song files and music notation are, in their essence, information. Copyright "theft" is a complex and historically contingent legal construction based on an analogy that fails in the modern era. Detailed analysis of copyright laws rapidly becomes nation-specific, long, tedious, and (on mailing lists) tends to generate flames. I won't engage in such discussions on this list. I will point out in passing, especially for the benefit of U.S. citizens, that the constitutional support for copyright law is incredibly non-specific: congress has the right to enact laws granting authors "exclusive right" -- but the meaning of that phrase, "exclusive right" is not constitutionally determined, and must be (and is) continuously reevaluated and balanced with other constitutional guarantees in light of, among other things, the technological landscape and its implications. Arguably, constructing the "exclusive rights" in terms of the rights to copy, modify, and distribute made considerable sense in the era of the (rare, expensive, expensive to operate) mechanical printing press. It made a little less sense when the player piano came along. Less still with the tape recorder and then the xerox machine. With the Internet and computers -- it starts to become absurd, as numerous recent legislative acts and attempts here in the U.S. demonstrate. It is those extreme legislative behaviors that are ultimately necessary to continue to be able to reasonable call song-file sharing "theft". So which is better -- to reevaluate what is meant by "exclusive right"? or to forbid (under threat of arrest and jail) people from assembling chips to form a computer that lacks digital content management features? If you think that prohibition is reasonable, please consider the logistics of enforcing it. The saddest part, though, is the uncivil tone you took with, for example: so it's ok to steal if it's done cheaply and easily? Is that what you'd teach a child? _That_, to borrow your phrase, is a true example of "moral decay": an ad hominem attack in response to a gentle pointer to an alternative point of view. I will not follow up on this topic, on this list. -t ------------------------------ Date: Mon, 16 Sep 2002 08:02:09 +0100 From: "Tom Lord" Subject: math rock I wondered if my circle of friends had invented the term (not the practice), way back when. After some off list chat, I think what most likely happened is that we picked it up via some recording professional friends before the term became popular. I wanted to add a musical note: Most respondents are focusing on polyrhythms. Those are neat -- especially when there's a drummer able to trance well enough to play multiple rhythms at once -- but there's another aspect I like: You can also have a simple rhythm combined with a harmonic structure and/or melodic structure such that the number of chords in the harmony, the number of notes in the melody, and the number of beats in the rhythm are all relatively prime. If you do that, then you get an automatic song structure: the three elements, if started at the same time, progress through various relative phases before ultimately arriving at a synchronizing point (the product of the three relative primes) which is identical to the start of the song. For example, a different note of the melody will hit the stressed beats in each measure, which can give a very simple melody a very complex connotation in context. I find it fun to play such music, and ethereal to listen to. It's not just the rhythms -- it's the harmonic relations implied by the rhythms. (I'm sure there are countless examples of this kind of song structure, many of which are very well known to readers of this list.) I guess I have a "relative primality" bias in my math rock. -t ------------------------------ Date: Mon, 16 Sep 2002 14:56:31 -0400 From: David Vella Subject: math rock; ItWOP, Lizard, songs you 'hate' Hi, To whoever claimed to have 'invented' the term math-rock: I seem to recall hearing this term applied to the music of King Crimson back in the '70's. Am I imagining this, or can someone else corroborate it? To whoever nominated ITWOP as the least liked album: I wanted to respond to this, but was afraid I'd slip into lecture/rant mode. Now let me just say - go to ET #1029 and read Scott Steele's post on the subject. Thank you Scott for your level-headed response to this question which pretty much sums up my views also. [My vote for least liked crim album would be a toss up between Earthbound and Thrakkattak, although it is hard for me to say 'least liked' and 'crim' in the same breath. Oh please don't ask me to name a least favorite studio album - that would be way too painful...] And while we're here, let me record my vote for Lizard also - this album will always be near the top of my list of favorites... To whoever asked about Crim songs you hate: Well, hate is a fairly strong word. However, considering that my favorite crim material is perpetually in flux, but that I do in fact 'maintain' a short list of favorites, it stands to reason that i) I'd also have a short list of least favorite Crim songs, and ii) the entries on this list are also subject to change at my whim, as are my current favorites. Having said that, this is as close to a response as I can get to that question: a) For many years, I severely disliked 'Lady of the Dancing Water' from Lizard, but I rather like it now. b) I run hot and cold on 'Requiem' from Beat - but mostly cold... c) I'm not real fond of the version of 'Groon' on Earthbound, probably because I do not like the synthesizer treatment of the drums - it kind of reminds me of all the worst aspects of ELP. [note: on a recently discussed related question, I never minded the synthesizer treatment of the voices, however.] d) While we are discussing Earthbound, add 'Peoria' to my list of least favorites. Well, I like parts of it, especially Mel's parts, but sorry Boz, it does make a difference what I think about you. e) I used to like Thela Hun Ginjeet a lot more than I do currently. Maybe I'm just tired of hearing it all the time - they seemed to play it at almost every live show for a while there. Funny, they play Red all the time too, but I still like that one. Can't wait for the new EP. Cheers, David Vella ------------------------------ Date: Mon, 16 Sep 2002 15:34:13 -0500 From: "McLeod, Jeff" Subject: Re: Math Rock Math rock is thriving. I know that someone here asked if it was a common term. Here are two links for you: Saragashum (Red-era KC fans should love this darkly, aggressive instrumental stuff): www.mp3.com/saragashum Weak Music for Thomas (very math-y and angular): www.mp3.com/weakmusicforthomas I think that math rock stems from the same dissatisfaction with popular music that prog rock resulted from. Tired forms created new ones. Jeff ------------------------------ Date: Mon, 16 Sep 2002 22:02:28 +0100 From: Andrew Diane and Adam Robertson Subject: Egg My memory must be going, because it was only after I had sent my posting which appeared in ET 1030 that I remembered there is a fairly obvious connection between Egg and KC - Bill Bruford played in National Health with Dave Stewart and Mont Campbell from Egg in 1975/76 (the sessions were finally released in 1996 under the title "Missing Pieces"), and then of course Dave Stewart played on BB's first solo album and subsequently in his band in 1979/80. -- Andrew Robertson ------------------------------ Date: Mon, 16 Sep 2002 14:04:24 -0700 From: "Scott Steele" Subject: Math rock >Some friends and I once invented(?) the term "math rock" to describe music that is created through the mathematically clever composition of patterns. Polyrythms, even if their creators didn't think of them that way, are a classic example (relative primality, explained as music). I've been wondering if this term is in general circulation. Have others heard it? Yes I have. I first heard it used by young men who were jam-band fans who wanted to describe a band to me - they knew I liked King Crimson and thought I would be interested in this "math rock" band. - S. np: Ben Harper, Live from Mars scottst at ohsu dot edu ------------------------------ Date: Mon, 16 Sep 2002 20:10:08 -0300 From: Diderot de Britto Subject: Bruford in Brazil Hi, As you must had read on previous newsletter, Bill Bruford will be touring in Brazil (on Sep. 26th, at Directv Music Hall, Sao Paulo). Tickets are available at discount price (using VISA) ranging from $10 to $18 (best seats). None of my friends knows anything of Bruford, but if I say "Yes" and "KC", he becomes more familiar. There's no ad about the show in newspaper and I think only Crimheads will be there. Maybe some jazz lovers... By the way, Focus will be touring here next month (Toby, a connection). They will be releasing their new album, "Focus 8". For more information see http://www.progressiveworld.net/focus.html. My best to everyone at ET! Diderot ------------------------------ Date: Mon, 16 Sep 2002 19:37:52 -0500 From: "Buzz Fenner" Subject: More on Vincent Gallo I was pleasantly amused with the comments on V. Gallo reviewing tcol in ET # 1032. Brought back to memory an obscure movie he & his father produced (he starred in it) back in 1998 called Buffalo '66. The scene of a little voluptuous Christina Ricci (pre-eating disorder) tap dancing in the middle of a bowling alley to Moonchild from In The Wake of Poseidon was totally wack. So, at least Mr. Gallo has some exposure to KC other than recent releases. Buzz ------------------------------ Date: Mon, 16 Sep 2002 19:47:55 -0500 From: "Buzz Fenner" Subject: My Gaff on Gallo I said Moonchild was from Poseidon when I should have said ITCOTCK in my previous post. My bad, excuse the gaff. By the way, the movie is sort of a cult classic, but a "Masterpiece" (Gallo's opinion)? Come on! We should flame the guy. Buzz ------------------------------ Date: Tue, 17 Sep 2002 02:27:53 EDT From: VincentDeBoule at aol dot com Subject: Re: The Devil's Triangle >Listen to classic album "The Planets" by Gustav Holst, play the track >"Mars" then you will discover the real magic behind "THe Devil's Triangle" >It saddens me that someone refers to my favourite Crim track as "barely >resembles music"..... My first complaint with the Devil's Triangle is just that; it's not an original composition. Secondly, it's far too dissonant... and it's not even creatively dissonant like, say, Larks' Tongues Part 1. It's just a bunch of noisemaking that grates on my nerves. I love Holst's original Mars, but Crimson's recreation does nothing for me. ------------------------------ Date: Tue, 17 Sep 2002 02:42:51 EDT From: VincentDeBoule at aol dot com Subject: Re: Phases of Crim That was very well thought-out. I just wanted to add that the theme of balance is prominent in Lark's Tongues in Aspic as well, with sheer sonic chaos juxtaposed with moments of stunning beauty, shown in the album as a whole, as well as Larks' Tongues in Aspic Part 1 alone. Plus it clearly relates to the album cover, depicting celestial alignment. ------------------------------ Date: Tue, 17 Sep 2002 08:42:57 +0200 From: Laurent Masse Subject: Re: USA >Sorry if this has been flogged to death already, but I did a side by side >comparison of the first four songs on USA with the Providence concert on >TGD, and those are from same concert, despite what the FAQ page says. I've already said a lot on this subject. If you are not convinced yet, just listen to the beginning of Wetton's singing on Lament. In Providence (TGD), there is a distinct chuckle on "the crowd WITH MY guitar" that is not on the USA version (Asbury Park). And there were no vocal overdubs on USA. So if these are the same versions, what's the explanation? ------------------------------ Date: Tue, 17 Sep 2002 03:05:22 EDT From: VincentDeBoule at aol dot com Subject: I'm worried about Nuovo Metal I sincerely hope I'm proven wrong, but I'm afraid that King Crimson might be starting a downward spiral. The ConstruKction of Light is one of Crimson's weakest albums, being overly simplistic, lacking variety, having awful lyrics (not including ProzaKc Blues, but ESPECIALLY the corny Coda: I Have a Dream) and rehashing older Crimson songs. Not that it doesn't have its moments (I'm fond of ConstruKction of Light part 1 and FraKctured), but overall it was a very weak album. After hearing some of the material from Level Five, especially Dangerous Curves, which is downright horrible, I fear Nuovo Metal is going to be Crimson's worst album yet. I think this is due to a lack of inspiration, and the fact that Crimson is limiting themselves to one sound; I say they should put aside the electronic drums, and make better use of their MIDI synths. Again, I really hope I'm proven wrong, but so far, I've seen no indication that Nuovo Metal is going to be anything other than a disaster. I'd like to hear your opinions on this matter. ------------------------------ Date: Tue, 17 Sep 2002 09:12:31 +0200 From: Laurent Masse Subject: USA edits >I just bought it too and while I'm glad I have it. It is not the best live >set KC could have put out as a Live album, but I still love it. And I'm a >bit confused as to why certain things were done. There are at least 15 more >minutes, maybe even between 20-30 minutes of space left on the CD, so why >was the version of Easy Money cut? It's a horrible offense. They have a >copy of the setlist inside and it shows that they were going into an >Improv(or 'blow') from Easy Money. Unless the improv was an incredible >failure I don't see why Fripp would, especailly on the re-release, deprive >fans of the full experiance. Not only does it cut out the improv that was >to follow (or whatever was to follow) but it is now an incomplete version >of the song where the second half is missing. Well, it's a REMASTER, meaning they went back to the original masters which had the edits and cleaned them. There was no plan to remix the entire Asbury Park concert. ------------------------------ Date: Tue, 17 Sep 2002 11:13:44 +0200 From: "Mira International" Subject: file sharing Tom writes: It is a property of Nature that digital information may be cheaply and freely copied. It is only through the intervention of social institutions that it can not be freely copied, and often, those interventions operate via an ultimate and unlimited threat of violence. I would like to add to the discussion by putting the subject of file sharing in a larger historical context. We can say that the previous era had its stronghold in possession (wealth, money, power) which is physical and emotional. In the new era, life is building a stronghold in mind. File sharing and Internet are examples of the 'new' principle. A simple example made it clear to me. When the principle is possession, only one person can possess a thing. When he gives it away, the receiving person possesses it and the giver looses it. But when the principle is mind, it is very different. If you 'possess' an idea and you give it to someone else, it is not that you loose it. You still have the idea and the other person now also has the idea. It's a win-win situation. Many new inventions function according to this principle. A fax becomes increasingly more useful when more people use it. One operating system is much more useful (and therefore successful) if everyone has the same one. The Internet shows that giving away a product for free will make it much more successful than asking money for it. Sharing is a principle of mind and makes for success. It is in my opinion not intelligent to fight it. Its a bit like fighting time. Then what is the solution for loss of income? For instance: increase volume by lowering price. In other words make music more accessible. More people will enjoy it and promote it. Sometimes more money is made with by-products, like T-shirts and gadgets. We have a product in the Dutch market which has gained a market share of 50%. It is promoted by giving away free samples and through word of mouth (and without advertising). And surprisingly it is not a high-tech product, but 3000 odd years old. And the principle works. Robert ------------------------------ Date: Tue, 17 Sep 2002 10:57:17 +0100 From: "Paul Timms" Subject: Giles, Giles, Fripp, McDonald, Giles I was fortunate enough to find both the GG&F Brondesbury Tapes CD, and the newly remastered McDonald & Giles CD last week. The Brondesbury Tapes are interesting to say the least. A lot of tunes are fairly simple 3 minute tunes with a slightly jazzy edge to them, some of them resembling Syd Barrett numbers, particularly in the first half of the CD. It is noticeable that the later tracks show a more confident group of musicians, with the introduction of some McDonald/Sinfield tunes adding more bite. Some of the later tracks last longer and are musically more Crimson-esque, containing some jazzy improvisations. Probably the most interesting of all are the two takes of I Talk To The Wind, the first containing male vocals and the second female vocals. The basic tune is there, along with the flute intro, but obviously no mellotron. Also missing is the flute solo in the middle of the KC version. However the versions here are well on the way to becoming the KC version. The other track of interest is Why Don't You Just Drop In. This was modified by KC and used in their live set and shortened to Drop In. It appears on one of the live albums I think, maybe Earthbound? Another thing to note is the sound quality. Apart from the first track, the tapes were recorded in a homemade studio using a two-track recorder. The first track would be recorded onto, and then shifted onto the second track while additional vocals, guitar etc were being recorded. This could then be shifted back over to track 1 while recording another layer of music, and so on and so on. A very early and primitive form of multi-track recording, however they had some technical guy there to help them out and he ensured the recorder was set up precisely. The sound quality, although not to the standard of a professional studio, is therefore very good. Onto the McDonald & Giles album. If you don't have this album then I suggest you hunt it down, it's like a parallel KC album which sits alongside In The Wake Of Poseidon. It contains the original Cadence And Cascade tune - not too dissimilar from the KC version - but with new lyrics. The second half of the album, although split into 5 tracks, is an epic named The Birdman Suite. If the original KC line-up hadn't split up, this suite would most likely have made it onto the next KC album. Not much else I can say really, I've only listened to it once so far and I didn't know what to expect - I was just surprised how good it was! It says in the sleevenotes that McDonald and Giles have formed a new band called 21st Century Schizoid Band, along with Mel Collins and some other guy with a Polish-looking name. They are writing new songs and playing some old KC and McDonald & Giles tracks. Anyone know any more than that? Paul ------------------------------ Date: Tue, 17 Sep 2002 09:25:30 -0400 From: "Darin Lemieux" Subject: Re: Devil's Triangle > It saddens me that someone refers to my favourite Crim track as "barely resembles music"..... OK, maybe that was unnecessarily harsh. I will say, though, that while I don't like the Devil's Triangle, I do think that Mars is a Majestic piece of music. I have several versions of it at home, and find it simply awe inspiring. Why, then, do I not like Devil's Triangle? Basically I find Fripp tried too hard to remake Mars (or something like it), and in the process fell short of the mark. This is the same reason why Lizard is not liked by Fripp, I think. He wanted something grand, tried very hard to accomplish it, and it didn't end up sounding like what he had planned, but due to studio time constraints, budget, etc., he didn't have the time to re-work it into something that pleased him. Now, the "barely resembles music" comment was made at about 1am, and I was too tired to edit the message prior to sending - so yes I could've been nicer to the song. To better phrase my thoughts, and to be more true to what is really the case here, I will say: the song may be a veritable masterpiece for some, but I just don't like it. =) After all, it's opinion and not fact that is being discussed here. Take it easy =) Darin Lemieux Ps - anyone have thoughts on the track "Doctor Diamond" off of the Great Deceiver box set? ------------------------------ Date: Tue, 17 Sep 2002 13:54:11 +0000 From: "satan's right hand" Subject: Nature and file-sharing >----From: "David Reilly" >Subject: File Sharing is an element of Nature? >----...and file sharing may well be "the new radio" but "the old radio" >pays artists for playing their works. ACTUALLY, from Pat M in his diaries(I am not sure the date), there was a link talking about the people that record companies pay to get the songs on the radio. So "the old radio" (as Limp Bizquick proved) gets paid to play songs. Let the record companies fall. So what if we're not talking about this on a newsgroup because ITCOTCK didn't sell. That is bullshit. There are plenty of artists who don't sell mass amounts of material who still do all right, have newsgroups and don't live like fat cows. I belong to them and discuss them. The fact is that most record companies rip you off for what you get. I'm not saying DGM does this because I've been fairly happy with everything I've bought from them. But for all the Sony's, Elektra's, and David Geffen's of the world, I say forget about them. They are already stealing from the "artists" on their labels and the "artists" on those labels are too dumb to realize it or too weak to give up that aspect and do it themselves. Any money that the record companies get from a lawsuit with (example) Napster is not going to go back into the hands of the "artists" but into their own pockets. That is why there was a lawsuit filed on behalf of the "artists". Art is not some elitist camp for rich brats--you, me, and everyone else can do it just as well as the next chotch. Does this mean we HAVE to sell our souls for the money? There is no excuse. Fire away...Jeramaya "We don't have any photos of his weapons of mass destruction just yet but we have got drawings. In felt pen." ------------------------------ Date: Tue, 17 Sep 2002 14:05:19 +0000 From: abernethy_family at att dot net Subject: Re: title of the new crimson ep >>Perhaps it's a clever quotation; perhaps it's a deliberate irony. Does the >>title of the new Crimson EP strike anyone as being, well, odd? "Happy to Be >>Happy With What You Have To Be Happy With" sounds more like something Frank >>Burns from M*A*S*H would say--"It's nice to be nice to the nice"--than the >>title of a King Crimson work. Will this be the title of the new CD? Gad. This, to me at any rate, is a classic Belew lyric. Adrian has always been fond of word play (Elephant Talk, The Worlds My Oyster....). Hey and don't forget, this isn't just the title of the ep, it's the title of one of the songs on it! With any luck, you'll be walking around singing "Happy to Be Happy With What You Have To Be Happy With" for years to come. Happy Krimsoning! Scott Abernethy ------------------------------ Date: Tue, 17 Sep 2002 11:52:50 -0500 From: Craig Subject: Re: THE POLITE FORCE by EGG >After reading the postings about Egg, I got curious and tried to download >some songs, which to my surprise went pretty good. Then off to the record >store to see, whether the albums were still available, because they're >pretty good. And once more to my surprise I found that The Polite Force >is still available through a Japanese company. I got it ordered and now >I'm waiting for my shipment to come in. It's pretty expensive though ( >25,-). Paul Logman Totally worth it!!! I have this Japanese CD RE & it sounds superb, (but then so does my LP). 8^) (I think you will be *quite* happy w/ this one. It can be very much like earliest/best Softs at times, but is it`s own thing & a really nice one. Here`s some info on the LP .......... http://perso.club-internet.fr/calyx/calyx.html Whilst there,...be sure to look into the EGG-morphed band called................ Arzachel (The track "Metempsychosis" sounds like some ultimate kraut-rock freak-out! 8^D) .... Dave Stewart : "What happened with Arzachel was this : we - the members of Egg, that is - knew a guy who had a demo studio in Gerrard Street, Soho. This chap, Peter Wicker, knew a foreign gentleman called Zack, who had a record label and was anxious to release some of this "psychedelic" music which was currently fashionable. We knew how to play this psychedelic stuff, having spent many happy hours at the Middle Earth Club listening to bands like Love Sculpture and Sam Gopal Dream. A deal was struck. We were to record an album in an afternoon - hey, no problem ! - in exchange for a pitifully small amount of money that, at the time, seemed enormous. As we had just signed an exclusive deal with Decca, we thought it would be advisable to use a different name, so we settled on "Arzachel", the name of a crater on the moon that Mont spotted on an astrological poster on the wall of his toilets. We also called in our old mate Steve Hillage to play guitar, sing and generally make things even more psychedelic. We rehearsed for a day, then whipped out the album in about eight hours. On side 2, most of the stuff was improvised, and we ended up banging away on a final chord for about five minutes, all of us watching the hands of the studio clock. As soon as it reached quarter past, we knew we'd recorded enough material for an album, and brought the piece - entitled "Metempsychosis", yeah ! - to a merciful halt...". Originally the band was URIEL (w/ Steve Hillage on guitar).... no releases. Then they became EGG after he left, (3 releases)............... then ARZACHEL when Hillage rejoined briefly to make an LP to fulfill a contract for another record Also whilst there, see...KHAN, NATIONAL HEALTH, & HATFIELD AND THE NORTH ..........The Canterbury bands were an incestuous lot. ~C ------------------------------ End of Elephant Talk Digest #1033 *********************************