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 #1067 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1067 Sunday, 8 December 2002 Today's Topics: tattoo/ uk-us debate KC are fun Re: 41 pictures of a man in the city on TV 21st Century Schizoid Band - some detailed reflections New Belew tune King Crimson Compilation Krim TV Trigger Happy TV Supergoup news in EVO - Crim + related reign supreme! Up tour and rained out date Gabriel and Levin Re: the truth comes out request for bootleg info Mel Collins today Slightly off topic with AB reference collectors club 4 piece bands, K.C. of 2050 and K.C. on the H.OR.D.E Happy With Happy With Re: improv ------------------ 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: Wed, 04 Dec 2002 09:11:51 -0800 From: "dileep michael bagnall" Subject: tattoo/ uk-us debate Alexi, the musical note from 'Beat' would make a good tattoo. UK or US? 'Unique' doesn't have a country. One of it's homes is King Crimson. Kreem Fuj (Crimtastic!) ------------------------------ Date: Wed, 04 Dec 2002 17:14:20 +0000 From: "Anna Rose" Subject: KC are fun First of all: 'Trick of the Tail' and 'Duke' are not classics. 'Trick' has a few nice tunes (notably the chorus of 'Ripples') but nothing outstanding. 'Duke' is from after Genesis had officially gone crap. Anyway... I played 'Easy Money' in my music class and the response was, er, not exactly welcoming. Teacher: (trying to be complimentary because I have already played him some Captain Beefheart which he REALLY didn't like): 'Well, it's certainly different.......' Class: 'Turn it off! We want the teacher to play us Nat King Cole on the piano! This is terrible! It's even worse than the Pink Floyd!' What a bunch of cretins. Also, what are all these claims that Crim are not fun to listen to? It is not fun to dissect the music the way one dissects novels in English class (ie. 'taking it seriously') but listening to it is fun. Browsing CD stores is fun. I imagine that going to concerts is fun. Presumably people find reading and posting to this newsletter fun. Chatting to others with good musical taste is fun. Crimso are one of my favourite bands because their music is good and intriguing and exciting and experimental and it makes me happy. What's not fun about that? :-D (Have I made my point yet?) ------------------------------ Date: Wed, 04 Dec 2002 18:07:19 +0000 From: "Michel Champagne" Subject: Re: 41 pictures of a man in the city on TV "prof. Dawid" writes: >1. What the hell is the difference between "Pictures of a City" and "A Man, >A City"? Does anyone know? The biggest differences to me are the chords that open up both tunes. It's been too long since I knew how to tell notes apart but they're certainly different; the opening of "A Man, A City" sounds more dissonant to me, although those apparently settled on by the time it became the studio recording "Pictures of a City" on ItWoP are actually better choices, to my plebian ears at least. Not having any CDs to reference at the moment at work, I must say that I seem to recall that the rather subdued and jazzy midsection in PoaC is somewhat different in the original tune as well. And this is maintained throughout the subsequent live recordings of PoaC made by the 'Islands' band as well. The bottom line is of course that they are variations of the same tune at different times in its compositional history. At the time of the 1969 performances by the original Crimso, the tune was called "A Man, A City" and the title settled on when it was formally committed in the studio turned out to be different. Big whoop. Robert being the 9apparent) stickler he is for details (and that is not a bad thing in my mind), he chose to make the distinction now that his is in a position to do so. Of course, there are a few different versions of LTiA part 1 (e.g. Zoom Club, Beat Club, Studio) that exhibit similar differences; my assumption here is that the piece already had a name from the get-go and so it's always listed by that one name. This does raise another issue for me, however. Growing up in the mid-late 1970's listening to KC (really discovered them in '76), I was never aware that the band had performed 'Mars' live, and was dismayed that 'The Devil's Triangle' did not credit Holst at all. Of course, I seem to recall Holst's estate being rather anal in that they sued Isao Tomita over his electronic rendition of the entire "Planets" suite, claiming that he had changed the music around so much that he shouldn't have used Gustav Holst's name at all, so I figured that perhaps Fripp had approached the estate and was told to do his own thing and take credit as well. It always bugged me though, seeing how Yes had ripped off Holst (part of 'Jupiter' I think) on their second LP, (I think the tune is 'The Prophet'), ELP ripped of Bela Bartok and Leos Janacek BIG TIME on their first LP (The Barbarian is an admittedly excellent arrangement of Bartok's 'Allegro Barbaro' and Knife Edge is from a Janacek Sinfonetta I think) . . . and I wanted to believe that Robert was above all of that. But that was thirty years ago, and we all do things that, in retrospect, we cringe at the thought of, and I'm certainly not immune myself, so I'll give him the benefit of the doubt. He is, after all, only human. Notwithstanding a reviewer quoted in 'The Young Person's Guide to KC' praising KC's performance of 'Mars,' it was truly not until I heard the live performances on 'Epitaph' that I realized that they actually played it straight BEFORE 'The Devil's Triangle' appeared. So what's my beef? Simply put, 'Mars' by KC and 'The Devil's Triangle' by KC *are* two different pieces of music. The latter borrows a great deal from the former, to be sure, specifically rhythm and the main chord progression. But it also goes places vastly diffferent than the original composition, and it's easy to tell a performance of 'Mars' (e.g. from 'Epitaph') from a performance of 'The Devil's Triangle' (e.g on the 'Live in Detroit' club cd, I *think*). So why is the latter listed on the CD as 'Mars'? It's clearly TDT. Admittedly, this is a minor bee in my proverbial bonnet, but it's buzzing around in there nonetheless. Perhaps Robert's attempting to make reparations for appropriating Holst's handiwork in 1970 without giving him credit. I don't know. And I'm certainly not qualified to make any pronouncements on the subject, but it's interesting to think about it just the same. OK, I am done with my logorrhea for the day! Happy Holidays to all. Mike ------------------------------ Date: Wed, 4 Dec 2002 23:07:58 -0000 From: "D. Chinn" Subject: 21st Century Schizoid Band - some detailed reflections Hello there, For those who haven't come across it yet, my extensive review of one of the 21st Century Schizoid Band's autumn gigs in the UK is online in the Evo Music e-zine (where you'll also find a preview of "The Power To Believe", using notes taken from an advance copy). You can read the whole 21CSB review at http://www.geocities.com/evo_music/g-sch.html, and see how the band were on the night, and what they looked like, and what Steve Lawson's support slot was like. But I thought I'd also drop a few excerpts into ET to encourage a little more debate about the band and about what they're doing. So far most of the discussion re 21CSB has been theoretical - about whether the band are Crimson or not; or whether they are in fact "more Crimson" than the ongoing King Crimson are; or whether they have any right to the name and the "energy" which it may or may not represent. Or, indeed, whether or not they're just reactionary Crim quitters coming back to exploit their past. Which are all fine as topics, but a bit academic if you're not drawing on much evidence from the "hot dates" of the live tour. I'm sure we'll get some more feedback once the band get round to touring America. But to date few people have gone into depth yet about the way the band seems to work live, what their onstage chemistry suggests and how their raison d'etre manifests itself. Here are a few of my reflections on those topics, taken from the review. All opinions are my own, subjective, and possibly erroneous! ;-) On Ian McDonald: "...people's eyes are mostly on Ian McDonald, once King Crimson's prime musical mover. Who doesn't blaze as much as he did in '69 - it's Collins who steals the show on saxophone for most numbers. Nevertheless, watching McDonald proves to be the most interesting spectator sport of the evening. Just as with the original Crimson, he's obviously very much the emotional fault-line in the band. The one you feel would be most likely to storm out, wrench the music off the rails, or make it fly higher. McDonald's commitment makes or breaks songs tonight - sometimes he's worryingly withdrawn, and notably it's him draining the flavour from a nervous race through Cat Food (minus its deranged Keith Tippett piano explosions, it sounds like anxious psychedelic whimsy). On the other hand, he approaches In The Court Of The Crimson King as if it were an old flame he'd just met again, and fallen blazingly back in love with. His flute part for that is fantastic - at a stroke, catching up on any ground he's lost to Collins over the course of the evening. As I hear him play, McDonald seems like a man finding his way back after being lost for years and years in the ghostly shroud of a brief but incandescent legend. It's moments like these which bring the magic back to the Schizoid Band's efforts." On Jakko Jakszyk and his place in the band: "...they can certainly play the music. But can they reanimate it? Thankfully, yes, they can. And those of you who place their faith in the sacred talent of old troupers may be surprised to hear that much of this is down to the dedication of new-boy Jakko. When he's not exercising his wry self-deprecation, that is. "So, Jakko, what are you doing in the sodding band?" he asks himself aloud, before kidding us that it's the result of a reality TV contest - "Yes, I'm the 2001 winner of 'Prog Idol'." Joking apart, when he's faced with the canonised shadow of old Crimson, he honours it. Not note-for-note - after all, his exemplary guitar playing leans towards the outrageously fluid legato school of Allan Holdsworth rather than to Fripp's ferocious, devious drone'n'burn. But he makes a great case for himself as one of the best members Crimson never had, singing with enough soul and passion to outdo even Greg Lake. A conscientious character, he seems a little uncomfortable with the lascivious boy's-club lyric of Ladies Of The Road, however much he and the band dive enthusiastically into its 7/4 swagger (with Collins' lustful tenor sax to the fore). But I Talk To The Wind has rarely been delivered better: delicate and wistful, it's still an enchanting butterfly of a song amongst the band's roaring and rasping." And, finally, my take on the Crimson/not-Crimson/Fripp or no Fripp topic: "...Apparently, the Schizoid Band aim to write new, original material as well as celebrating its members talents outside Crimson. Whether they can integrate and focus it - or match it to Crimson's old standard of quality control - remains to be seen. Which brings me - at last - to the "King Crimson-without-Fripp" question. What has the subtraction of Crimson's iconic, ultra-focussed, controlling guitarist done to this recreation of Crimson music? Most evidently, it's caused the wholesale disappearance of that underlying, intractable Crimson willpower - that stubbornness in the face of crowd-pleasing, that sense Fripp has always presented (and cultivated) of trying to channel a musical force bigger than both himself and the band. This is a prospect which initially sounds appalling to anyone who's revered King Crimson's inspiring, uneasy border-walking, their committed discipline and the sense of risk which the Schizoid Band so conspicuously lack. The payoff, of course, is the different emotional territory which a Fripp-free band is at liberty to explore. Over the course of tonight's concert, it becomes clear the Schizoid Band are a team of oft-frustrated, outspoken romantics, now free to express themselves in a way that Fripp's passionate but neurotic compulsions would now never allow. McDonald's volatile on-off involvement with the music is part of this, as is Collins' proud smile and the untrammelled lyricism of his playing. It's in Michael Giles' twinkling eyes as he sings his way through the blissfully naive golden-age optimism of Tomorrow's People, and in Peter Giles' softly-thumbed, sleepy chording in his brief solo spot. Most of all, it's in Jakko's singing. Forthrightly, un-Englishly romantic in his solo endeavours, he tones nothing down for his role in the Schizoid Band; lending I Talk To The Wind a new level of naked melancholy and Cat Food a dose of consumer angst to steer it away from its puppet-show satire. It's this live connection with the more vulnerable spirit of Crimson music that fully justifies the Schizoid Band's existence as something more than a pension-fund filler for veteran proggies." OK, over to the rest of you... cheers, Dann Chinn http://www.collective.co.uk/misfitcity http://www.geocities.com/evo_music ------------------------------ Date: Wed, 04 Dec 2002 19:45:49 -0500 From: Michael Bennett Subject: New Belew tune Adrian Belew has a new song as a gift to his fans available for download from his site at: http://www.adrianbelew.net/ Check it out!! ------------------------------ Date: Wed, 04 Dec 2002 18:59:16 -0600 From: Jeff Bridge Subject: King Crimson Compilation I made a King Crimson compilation for my cousin and I find myself listening to it more than any other King Crimson album I own. Tracklist LTiA PT 1 Neurotica 21stCSM Elephant Talk live from B'Boom Thrak from the Vroom e.p. The Howler Level 5 from the Level 5 e.p. Fracture Starless I may have to make myself a copy before I mail his out. ------------------------------ Date: Wed, 4 Dec 2002 23:02:07 EST From: Guitar86rick at aol dot com Subject: Krim TV In issue #1065, Dave asked about any King Crimson TV appearances. The only one I have seen is their performance on the Beat Club on October 17, 1972. They played Larks' Tongues Part I (short version) but it is quite fun to watch. Jaimie Muir goes CRAZY playing drums, whistles, horns, and assortments (This is the only Jamie Muir video I've seen. I downloaded it off KaZaa. Just letting you know. Rick "Common sense is not so common." - Voltaire ------------------------------ Date: Thu, 5 Dec 2002 07:56:30 -0000 From: "Mike Dennis" Subject: Trigger Happy TV David Gargano posted in 1066 "I think Bobby Fripp should give the host a beating!" 'Bobby' Fripp, I think David is the one who should look out for a beating! Such name changing in the UK would only lead you into trouble (don't ask!) ------------------------------ Date: Thu, 05 Dec 2002 02:25:39 -0800 From: "dileep michael bagnall" Subject: Supergoup I'd like to see the following Supergroup. Any chance? Steve Hogarth (Marillion- Vocals) Robert Fripp (Guitar) Chris Squire (Yes- Bass) Michael McNeill (formerly Simple Minds- Keyboards) Stewart Copeland (Drums) Does anyone know what MM is doing now? Kreem Fuj (in this dimension) ------------------------------ Date: Thu, 5 Dec 2002 16:07:02 -0000 From: "Tiz @ Evo Music site" Subject: news in EVO - Crim + related reign supreme! http://www.geocities.com/evo_music/EVO.html carries news of : - King Crimson 2003 CD 'The Power To Believe' (mini-review) - UK gig - a Gong + a Soft Machine member performing - Adrian Belew - early albums finally reissued on CD - Bill Bruford - online radio interview, Saturday Dec. 7th - Bill Bruford's Earthworks - gigs in the UK, Turkey, U.S. - Tony Levin - new double live CD - John Wetton - solo CD 'Rock of Faith' - Jane Siberry - Xmas concerts + compilation CD - Iona - box set + solo projects - X-Religion - new CD completed + "Al-Bird" solo CD - Focus UK gigs well received + how to subscribe to receive EVO e-digests via e-mail ------------------------------ Date: Thu, 5 Dec 2002 11:45:03 -0600 From: "DiMaso, Phil (Elk)" Subject: Up tour and rained out date Hello, I've been reading about this rained-out gig and think I might be able to shed some light. I think it was either the summer tour of '83 or '84 (sorry, those times are a blur). Me and my wife were on our way to se KC at Poplar Creek in Hoffman Estates (a suburb just outside of Chicago, IL). It started to rain while on the way there, eventually getting worse. We were about ten minutes away when the radio announced the concert had been cancelled due to lightning. Needless to say, I was pretty bummed out, but we saw them on their next tour. In regards to PG's UP tour, I too was very disappointed. I've seen PG since '80, and I must say this was one of the worst concerts I've seen from him. The mix was terrible, the opening act, The Blind Boys of Alabama were awful. As the Chicago concert was the first of the tour, I don't know if his set list changed, but his selections of songs were BORING. I wasn't expecting a greatest hits tour, but for Christ's sake, would it kill him to play more UP TEMPO songs! The audience was mostly falling asleep or talking throughout the whole show. Some of the best shows I've seen have been from him-most of the tours from the '80's were phenominal! I think he's mellowing out too much in his old age. Cheers ------------------------------ Date: Thu, 5 Dec 2002 14:21:49 -0500 From: "Robert Bennett" Subject: Gabriel and Levin Hello all: I recently saw the Peter Gabriel show in Detroit (oh OK - really Auburn Hills). Unlike the criticism of the show at the Fleet Center, the bottom end at the Palace was very clear. You could actually hear Tony's bow hit the bass strings. Also, I thought the staging was excellent - and fun. The Secret World Tour was more intimate, but this show was very interestingly done, with each song seemingly having a personality all it's own. Here Comes the Flood, Barry William's Show and Growing Up were particularly done well. Don't miss it if you get a chance to go. Bob ------------------------------ Date: Thu, 5 Dec 2002 15:50:55 EST From: DrBaht at aol dot com Subject: Re: the truth comes out >Robert Fripp is completely full of crap I'm fortunate to have been in on the joke for the past ten years or so. I had the privilege to spend several hours in the company of Fripp, Gunn and the CGT. When the facade is let down and the joking begins, one may be taken aback at first. Then one realizes that Fripp is just another being on this planet, not divine or surely not any wiser than any other. He himself will admit that the "aura" is not of his own doing. It is projected onto him by those who enjoy his music and fall prey to the mystique that they themselves have given to him. That being said, he does enjoy the little head games that his fans allow him to play and has continued to play it to the hilt. The same could be said of singer/songwriter David Sylvian. His fans are just as much like cult-worshippers, yet he doesn't understand how it grew to become that way. bahtology ------------------------------ Date: Thu, 5 Dec 2002 22:39:13 +0100 From: xavery Subject: request for bootleg info I hope that no one will get too offended by my bootleg-concerning question... Sorry Robert, the damage has been already done. I'm looking for a bootleg(or any info concerning) from the KC/Tool tour. Especially for the one in which RF joins Tool for some improv. Please contact me privately. xavery ------------------------------ Date: Thu, 5 Dec 2002 23:39:22 +0100 From: "Alexander Off" Subject: Mel Collins today I don'know whether you know it or not - I don't know whether this was posted before but: If you want to know what Mel Collins does today check out the website of German private TV station Sat1. Mel Collins plays weekdays in the show band of the Harald Schmidt Show. Check out the flash animation: http://sat1.de/haraldschmidt/ Cheers Alexander ------------------------------ Date: Fri, 6 Dec 2002 13:00:13 -0600 From: wviland at thin-film dot com Subject: Slightly off topic with AB reference I have an itch to purchase a FZ video. A short search on the net makes clear: 1. Most are out of print 2. Some are very expensive 3. I don't know which one to buy Any informed advice would be appreciated. Also, since your here..... Does Adrian (most often) use standard tuning? ------------------------------ Date: Fri, 6 Dec 2002 20:27:51 EST From: Lesajima at aol dot com Subject: collectors club In a message dated 12/6/02 5:51:12 PM, et at blackcat dot demon dot co dot uk writes: > but I must admit, I've never had the money to invest in a membership with > KCCC. But, I do have all the official releases. I thought this was common knowledge. You don't have to join. You can buy individual releases now. Just ordered the double Detroit set of the Islands band. It was $17 including shipping. ------------------------------ Date: Fri, 6 Dec 2002 17:37:25 -0800 From: "D.C." Subject: 4 piece bands, K.C. of 2050 and K.C. on the H.OR.D.E Best 4 piece line up? Now that is easy. Fripp, Belew, Bruford, Levin Although I did like Projekct 1 and Projekct 4 Ronnie Lane hit his peak on the Faces A nod's as good as a wink to a blind horse. Question: Why did King jump off the H.O.R.D.E. tour of 96 before Califonia? King's last performance the H.O.R.D.E. was in Hershey, PA. 8/23/96 and Neil Young was on the roster. Interesting note: Bill Bruford did an FM radio interview backstage and he was asked his take on the collective improvisations of K.C. Bill negatively commented on the friendly dated artists, namely Neil which do not indulge in distortion or improvs. Glastonbury is a remote but probable chance. For the North America viewers however ABC In Concert will butcher and slaughter it to shreds upon its initial broadcast. Projeckt X contains a song which a variation of it made its way on to TCOL Ladies is an excellent compilation and a good idea to be distribute to the retail stores, which is where I purchased it. I personally think that if the other Club releases were available on the streets a number of them would be picked up largely by curiousity. The strength of K.C. lies not only in their compositions but also by their on going impact on musicians. This process of paying respect to musicians idols only goes as far as the listeners nose who only are made aware of current releases and what local radio exposes. This is where King fails. No exposure. Will someone try to use The Beatles or Led Zep's name in vein in 50 years time not to mention King Crimson? Let us all hope not.The music of tomorrow will most definitely sound mechanically grinded down to synthetic pulsating, heartless industrial schlock. Classical, jazz, progressive rock and Indian music is the definitve musical homework and this is falling on deaf ears. Any feedback or debates? ------------------------------ Date: Fri, 06 Dec 2002 18:06:55 -0800 From: " Jon Buckley" Subject: Happy With Happy With Happy With Happy With Having done the only honorable thing, and giving the recent Krimson etherogram a full "going over" for an extended period and, of course, doing so in the only generally accepted manner- that is to listen intently, with the full weight of attention, I must now comment for the general benefit or detriment of my fellow members of this blabberboard. I take on this task of commentary because, as they say, my cup runneth over. It in fact spills quite liberally over my keyboard. The more I listen to it, the more I like it. I do think it's good. Fact is, no matter how closely I study it, no matter how I take it apart, no matter how I break it down, it remains consistent. I wish the Crims were here to read this. I like it. And having said as much, further examination reaps so many delights for such a comparably short disc, one has to wonder how they could manage to distill the entire essence of the Greater Crimson into such a tiny capsule. To quote Harvey Korman in Blazing Saddles, "How did he do such amazing stunts, with such tiny feet?!?!?" As previous dutiful, and no doubt patient readers of my ramblings will recall, I had been a little less than fully delighted with the Construction disquette due to the fact that a certain "monotone" had descended upon that effort. This in itself notable as prior Crims made audio variety the signature of the band's recorded efforts. Or, to put it otherwise, Krimson was well known over the course of one album to be resplendent in divergence. The Construction of Light, to my very own old ears seemed to wallow in a very narrow sonic spectrum. The current effort, however, displays no such limitation, in my view. And in doing so firmly places even this small EP functionally within the pantheon of all prior Crimson, in such a way that it even recalls, as well as expands upon prior effort. Much to my continuing delight. I can hardly wait until February 2003. Fortunately I have Happy to tide me over. Also of note is Adrian's effort here. It has been my contention since the beginning of my responsible life, that Art, as divided from Commerce, or even certain forms of Craft, is known because it speaks the Truth. One of the ways to get to Art, other than by Craft, or even along side of Craft, is to be self-referential. Or, to put none too fine a point upon it, to take what one is dealing with- and deal with it. This is, of course Adrian's strength as a songwriter- and when he does so he usually comes up Aces. Discipline, as a disc, distinguishes itself not only because of it's high quality of musicianship, but also because of the fact that Adrian obviously reached deep down inside and coughed up one major psychological hairball for all to marvel at. While this fact is clear from attention to the details evident on the recording, it is quite instructive to read the diary entries and interviews from the period of time Discipline was forming. Adrian's difficulties with not only what to play, but how to play and what to say were so profound that the painful conditions of Work so to say, heated his personal cauldron to such a degree that when he finally submitted and decided to "just be himself" (after simply having nowhere else to turn) the resulting output was profound, personal (and therefore universal), honest, truthful, and brilliant. Much can be said here of the Happy disc, and it bodes well for the upcoming full-length effort. Happy opens with Bude. Brilliant choice, as it sets the stage for what is to follow. The lyrics deal with a man in a place, looking at what he sees. Pure self-reference, and a dynamite opener for what follows. Happy With- lyrically examines the "test-vocals" musicians sometimes put down when forming a song- that which stands in before lyrics are written it also describes the songwriter's situation. "Here I'll do this, and then I'll do this, and then, I'll do it again." Fabulous, funny, great stuff. Yup, this is the life of the professional musician- sort of silly isn't it? Really brilliant throughout. And of course this is what marks Crims so different from other Brand X variety musical gropes- this stuff is actually interesting for intelligent people to listen to. The song ends with a Bude reprise, but is the voice now saying, "In one small pane of my window, the ocean fits" (as in rages?) Has the meaning shifted? Frequently, water as a theme can represent emotion or the subconscious. Mie Gakure and She Shudders, I Ran, Clouds; lovely breaks and respites between numbers and moods. The fact that this band would spend this kind of energy and thought on pacing an EP is worth remarking. Filler? Certainly NOT! Eyes Wide Open brings back an acoustic feel, long missing from Krimson recordings. P@ mentioned the fact that Robert was able to accomplish quite an impressive acoustic sound on an electric. If I guess correctly, this may be it. I will also take the opportunity to digress (who- me?!?) and speak directly to those Elephant Talkers who feel the need to trash Adrian. I believe people who simply haven't the time, attention or capacity to understand what's actually happening here take this tack. Not only does Adrian do what was simply thought to be impossible, i.e., "If you're going to be in a band with Robert, you're NOT going to play guitar." WRONG. Plus, for all of Adrian's contention that he frequently doesn't (didn't) understand what Robert was on about, Adrian proves himself time and time again to be the best verbalizer of Work concepts that the Crims has ever had. I can point out Three of A Perfect Pair and Eyes Wide Open as examples- I leave it to you to find the rest. Shoganai. Provides a link in environment to the Lark's Tongues in Aspic Disc and Discipline in one move. Equally fitting on either disc, it's at home here. Are these guitars, drums, cymbals, bells or what? As some reviewers pointed out, Discipline was electric gamelan. Good to see Crimson take this one step further, one step back, and a shuffle sideways all at the same time. Potato Pie. Cat Food Blues anyone? Full-voiced great vocals. The sound of this disc is to be marveled at. Trey wrote that the sound of this band was amazing. What understatement. Trey's bass is fabulous. The production values of this CD are amazing. Each piece does more than slam into the listener- it opens up a sonic vista one can step into, and live within. Each tune is it's own audio environment. Lark's. It may be hoped dear reader that words would fail me at this point, and it might be understandable after listening to this title-fight of a composition. Robert has oft mentioned that he felt that studio recordings of Krims lacked the punch of the live Crims. Not any more it doesn't. I do prefer this take to the Construction discs by far. Jaw dropping every time I plate this one up. I have commented that P@'s drumming has the quality associated with the sound one might expect to hear of an entire drum kit hurled down an endless flight of stairs. Truly an awesome beast. Yup, I love Bill, but P@ belongs in this band. And, then there's Bob. At one point, after listening to a series of flawless, distinct cross-pick, the speed becomes too much for the machines to handle and the brief overdrive blurs the individual notes. I think I just had an eargasm. Followed by Ade. Good lord. Holy smokes. Look for me in the fifth row in Chicago. Center. Old Ears P.S.: Oh, #$#$%^$& I didn't really single Trey out more. Wish I had. The bottom is the anchor, and my knowledge of actual instrumentalism is such that I've run out of appropriate superlatives. Didn't mean to- because I haven't overlooked the SOUND. ------------------------------ Date: Fri, 6 Dec 2002 20:14:20 -0800 (PST) From: "J.R. Gattiker" Subject: Re: improv >Am I alone in thinking that a lot of KC improv is just plain irritating? >Some works very well, and when so attains a remarkable beauty. But most >seems little more than an opportunity to record and release material >relatively quickly and cheaply. Space Groove is the only bad KC (related) >CD I've heard. I was pretty disappointed with "Projekt Two", in fact it sent me away from KC for some time. I do feel somewhat cheated, because I previously had a sight-unseen ("sound-unheard"?) buying policy for RF work. It does feel to me like it was just "hey we got an hour recorded! might as well release a CD". Are the other "Projekt" releases different? But this reminded me of it, I'll dust it off and try again sometime. ------------------------------ End of Elephant Talk Digest #1067 *********************************