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To: newsletter at elephant-talk dot com
Subject: Elephant Talk #1075


               E L E P H A N T    T A L K

        The Internet newsletter for Robert Fripp
              and King Crimson enthusiasts

                       Number 1075

                  Sunday, 5 January 2003

Today's Topics:

   Re: Metal and prog...
   Re: Fripp encouters
   Who begets who: Enter Adrian stage (f)right
   Peter Gabriel's UP
   Vincent Gallo's Review fo TCOL
   Re: ProduKction
   ELP's 21CSM / Queen Crimson
   Re: Devil's Triangle/Mars
   Re: Peter Gabriel, Ticket Prices, and Progress
   Re: First Day outtakes
   Re: Lizards album, Fourth Wall
   Re: Correction? I Say Neigh, Sir!
   Flying Lizards
   Anagrams of "King Crimson"
   Re: Production
   I GOT THE NEW ALBUM, SUCKERS!
   Re: "Flakes" vocal
   Re: PG vs. KC
   Re: "Flakes" vocal
   Re: Subject: "Flakes" vocal
   Re: afield of Space Groove
   Re: slang / word play? ("The Great Deceiver" lyric)
   "Flakes" vocals, or how to get the right source!
   Re: "Flakes" vocal
   CGT's Christmas CD
   heroes
   Flakes vocal again
   Merry Kchristmas
   Fripp in a ball; valid criticism; what little common sense we had
   Re: Another Chorus...
   elephant talk
   Re: "Flakes" vocal
   Re: "Flakes" vocal
   KEITH TIPPETT - "Blueprint"
   Flawed Poseidon CD ?
   Progressive top ten
   larks' tongues part IV
   Early Crim videos

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Date: Thu, 19 Dec 2002 10:51:58 +1100 (EST)
From: Will Dayble <willdayble at yahoo dot com dot au>
Subject: Re: Metal and prog...

In regard to the ET post a couple of issues ago about Opeth and Mesh etc.

HERE HERE!! :)

Please don't forget the other people who are pushing the boundries set up
by people like Meshuggah etc...

Namely - Fredrik Thordendal's Special Defects - Sol Niger Within.  The
guitarist from Meshuggah's solo project, it is quite, quite amazing - and
honestly further up there on the progressive scale than anything I've heard
from King Crimson.  I know this is near blasphemous to say that on a Krim
mailing list, but honestly - there is nothing else like this out there, I
would SERIOUSLY suggest anybody who is into anything a tad chunky and odd
to check this out.

Also pushing the barrier of what the barrier-pushers are... well - pushing,
is a hardcore band called 'The Dillinger Escape Plan'.  They set new limits
of 'frantic' with their Calculating Infinity release, and then just
recently collaborated with Mike Patten to release a 4 track EP, which is
just AWESOME.

So.  Heh.  This was meant to just be a 3-4 line 'here here', but look what
happened.  But yes!  Sol Niger, Dillinger Escape Plan.  I've mentioned all
this before at some point, but really - it's the prog of prog. :)

=====
Will Dayble. ------------<|
Official nerd, ninja ----<|
And all round idiot. ----<|
www.innocentcabbage.com -<|

------------------------------

Date: Fri, 20 Dec 2002 15:39:27 -0500
From: "d." <d dot gosselin at johnabbott dot qc dot ca>
Subject: Re: Fripp encouters

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>We have heard many posts by people who have met / followed / spied on /
>been blanked by Fripp, how about those of us who have actively IGNORED
him
>or treated him as a private individual. Does anyone have any non-event
>Fripp encounters?

=20

Way back when=85 circa 1979=85 in Montr=E9al =85

=20

I was at a radio station promotion stunt: People had to jump into a pool
of Jell-O =A9 to get keys to win a car.

Pretty stupid.

Anyhow, at one point, someone announced that Robert Fripp had just
arrived from the airport.

(what for? I have no clue=85 promotion?)

My friend Richard and I rushed to meet him, as no one else around seemed
to care or know who he was.

=20

He shook his Jell-O maculate hand with us asking =93want some Jell-O?=94

=20

He seemed to me like a very humorous and joyful person.

probably is.

=20

=AB J'prends de l'=E2ge... mais j'vieillis pas! =BB

=20
Gilles Latulippe

daniel gosselin

dr_dagne at hotmail dot com <mailto:d dot gosselin at johnabbott dot qc dot ca>=20

 =20

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<div class=3DSection1><pre><font size=3D2 face=3D"Courier New"><span
style=3D'font-size:10.0pt'>&gt;We have heard many posts by people who =
have met / followed / spied on /</span></font></pre><pre><font
size=3D2 face=3D"Courier New"><span style=3D'font-size:10.0pt'>&gt;been =
blanked by Fripp, how about those of us who have actively IGNORED =
him</span></font></pre><pre><font
size=3D2 face=3D"Courier New"><span style=3D'font-size:10.0pt'>&gt;or =
treated him as a private individual. Does anyone have any =
non-event</span></font></pre><pre><font
size=3D2 face=3D"Courier New"><span lang=3DFR-CA =
style=3D'font-size:10.0pt'>&gt;Fripp encounters?</span></font></pre>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
lang=3DFR-CA =
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>Way back when&#8230; circa =
1979&#8230; in
Montr=E9al &#8230;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>I was at a radio station =
promotion stunt: People
had to jump into a pool of Jell-O =A9 to get keys to win a =
car.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>Pretty stupid.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>Anyhow, at one point, someone =
announced
that Robert Fripp had just arrived from the airport.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>(what for? I have no clue&#8230;
promotion?)</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>My friend Richard and I rushed to =
meet
him, as no one else around seemed to care or know who he =
was.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>He shook his Jell-O maculate hand =
with us
asking &#8220;want some Jell-O?&#8221;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>He seemed to me like a very =
humorous and
joyful person.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>probably is.</span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font></p>

<div>

<p class=3DMsoNormal><font size=3D2 color=3Dblue face=3D"Times New =
Roman"><span
lang=3DFR-CA =
style=3D'font-size:10.0pt;color:blue'>___________________________________=
___________</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dblue face=3D"Times New =
Roman"><span
lang=3DFR-CA style=3D'font-size:10.0pt;color:blue'>=AB J'prends de =
l'=E2ge... mais
j'vieillis pas! =BB</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dsilver face=3D"Times New =
Roman"><span
lang=3DFR-CA =
style=3D'font-size:10.0pt;color:silver'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb=
sp;
</span></font><font size=3D2 color=3Dpurple><span lang=3DFR-CA =
style=3D'font-size:10.0pt;
color:purple'>Gilles Latulippe</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dgreen face=3D"Times New =
Roman"><span
style=3D'font-size:10.0pt;color:green'>daniel gosselin</span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dgreen face=3D"Times New =
Roman"><span
style=3D'font-size:10.0pt;color:green'><a
href=3D"mailto:d dot gosselin at johnabbott dot qc dot ca">dr_dagne at hotmail dot com</a></spa=
n></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>&nbsp;</span></font><font =
size=3D2
color=3D"#0033cc" face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
color:#0033CC'>&nbsp;</span></font></p>

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RxVw98Vawq12xQ44q0cKtHFDWKGsKt4EtiuKt4q//9k=

------=_NextPart_000_0001_01C2A83D.FB108330--

------------------------------

Date: Wed, 18 Dec 2002 20:33:03 +0000
From: "lawrence moseley" <moseleylawrence at hotmail dot com>
Subject: Who begets who: Enter Adrian stage (f)right

Hi all,

On the continuing subject of Adrian's beginning of his twenty plus year
reign (more or less) as the voice of Crim... (I wonder what he thought about
David Sylvian...? Hmmm pointless speculation I think...)

I was reading in an autobiography of FZ that said FZ found Adrian gigging in
a bar in Hawaii. Suitably impressed, FZ asks AB to become a Mother. (Or
whatever... :D)

Adrian accepts but said he would honour his contract with the bar he was
playing before joining up with FZ and his cronies. Half an hour later he was
on his way... No sorry, just joking... Apparently FZ was really impressed
with ABs professionalism in contactual obligations.

Anyway sometime in New York City a certain RF was musicking and had got
acquainted with one David Bowie (c.1977/78) and Bowie knew this
four-to-any-many stringer called Tony Levin. Session acquaintance. Who is
also apparently a chum of AB's. Bowie needed an axeman for LPs and live work
and asked RF (known from being mutually British and reasonably
contemporary)who was duly acquainted with AB and RF played on DBs Heroes, AB
toured and appeared on DB's Stage. They decided to form a band and thus
history was reborn. Again.

Then there was Talking Heads (David Byrne trying to sound like AB and
everyone getting the wrong impression there...)who can also can tossed into
that mix, not to mention Blondie (contemporaries of the Heads) who were
working with RF here and there. Fade Away and Radiate that one...

This is why Pete Frame is so successful... nearly as bad as working out the
Purple / Rainbow/ Whitesnake / Ozzy/ Gary Moore / Thin Lizzy Family tree...

Merry Christmas

Lawrence

('What's email?' - Jerry Seinfeld)

------------------------------

Date: Wed, 18 Dec 2002 13:37:18 -0800
From: larry dot peterson at autodesk dot com
Subject: Peter Gabriel's UP

Whatever you've heard about this new album, you must listen to "Signal to Noise" before passing judgment.  This is one of those pieces of music that captures the moment very powerfully.  As far as I can tell, this is a great example of Fripp's "music that was waiting to happen".  The studio version is great, but the live performance is almost a religious experience.  Anyone who can create music this stunning deserves to be heard by everyone.  As far as the rest of the album is concerned, "I like it" - your mileage may vary.

------------------------------

Date: Wed, 18 Dec 2002 15:55:36 -0600
From: "John Spannaus" <jspannaus at austin dot rr dot com>
Subject: Vincent Gallo's Review fo TCOL

Anyone who is a fan of good music and good film should go rent the movie
Buffalo '66.   Directed, Written, Composed by and starring Vincent
Gallo..   Beautiful movie..   And features some great scenes with music
by King Crimson and Yes.

I just found this review of TCOL by the man himself..    It's a bit
rambly,  but interesting.    If you don't know who he is,   go watch
Buffalo '66 right now!

-----

REVIEW OF THE KING CRIMSON LP,
'THE CONSTRUKCTION OF LIGHT'
BY VINCENT GALLO, JUNE 5, 2000

I bought with my own money, well money I stole, my first Beatle album in
1967. The Beatles were the perfect band for a seven-year-old to get
interested in music, rock music. By the way, I never liked hippies, I
hate hippies, especially pot smoking hippies. Marijuana and socialism
were the evils of the twentieth century.

In 1974 I bought with my own money, well money I stole, my first King
Crimson album. It was their first album which had been released five
years earlier, 'Court of the Crimson King'. Almost twenty five years
later I would use a track from the album titled 'Moonchild' in my
masterpiece film 'Buffalo 66'. The song and the album are modern
classics. You know, in the sixties and early seventies people under
twenty-five years old controlled only a small portion of the economy.
They didn't spend so much money on things that would be mostly
insignificant in their lives. Bands could sell only a hundred thousand
copies of an album and have major impact worldwide. When I say the word
'impact' I really just mean that if a person, a band, a thing never
existed then the world would be different. Different in a real way, in a
way that allowed other people in the future to move forward in their
language and ideas to have capacity to think new thoughts.
Ronald Regan had impact. So did King Crimson.

When I started listening to King Crimson and some of the better
progressive rock bands then, it really felt like the ideas,
sensibilities, aesthetics and certainly the music were complex and very
new and had a real relationship with the most interesting younger people
of the time. Certainly all the work that I've done in my life was
effected by my experience with music at that time, in a real way. These
bands were not 'trendy'. I'm sure Fripp, the guys in 'King Crimson', the
band 'Yes' and certainly 'Genesis' had probably idolized several heroes
from their childhood. Who knows who those heroes were, it doesn't matter
because they were able to transcend all their influences, even their
whole ideas about being in a rock band.

When a mini-dwarf rich kid from Nashville like Harmony Korine flies
first class and moves to New York City's Soho in his 'plush safe'
apartment, running around town quoting Godard with lines like, "Fuck the
bourgeois", it's insincere, it's calculated, it's unoriginal, and it's
the worst thing in the world, 'trendy'. He already knows that he and his
boring girlfriend Connecticut Chloe Sevigny are going to be on the cover
of 'The Face'. He knows he'll get his run at The Angelica and be hip in
Japan. But no one will ever make an important film because they saw
'Gummo' or 'Donkey Boy'.

The only impact Harmony Korine will have will be on the lives of the
girls he slipped drugs to, got stoned and raped while they were passed
out. An autobiographical scenario he chose to include in his average
screenplay 'Kids.' I'll fuck your ass Cary Woods.

The friends who I went to see King Crimson, Yes and Genesis concerts
with, were the same friends who were hip enough to go with me to see The
Ramones' first gig in Buffalo, and the same friends who later dug
'Spoony G'.

Where do records go now? Where are they? Who buys them? And why do they
buy them? Did they listen to them? The whole thing? Or just the song on
the radio. And why don't they listen to them anymore? People do a lot of
shopping. Shopping to shop, shop shopping, shopping shop, shippidy shop
shopping. I had a storefront on Elizabeth Street one time, for one
month. As a conceptual joke I put some items in the window for sale. A
one-legged pair of jeans, an empty Evian bottle, a box of dirt, a rotten
banana, and an unused, but unwrapped, condom. The store was mobbed and
everything sold.

The new King Crimson album, 'The Construkction of Light,' will not have
real impact. It is not the best King Crimson record. If I had to chose,
I'd have to say I like the song 'Into the Frying Pan' best, even though
it's the most mainstream track. It's weird when a band that existed
outside of the mainstream does an album whose best track is almost a
radio song. A radio song in the year 2000.

---Vincent Gallo

------------------------------

Date: Wed, 18 Dec 2002 18:27:04 -0500
From: "Chris Holderfield" <dctalk at ameritech dot net>
Subject: Re: ProduKction

Great points made.

With the 'happy' album, I mostly listened to guitars at first....then I
started paying attention to drumming, and even on LTIA Part 4 it sounds a
lot better! It also sounds great on the title track. It seemed like on TCOL
that he was almost afraid to hit the drums every once in awhile, but this is
a great step forward.

I'm really looking forward to TPTB album, and think it's going to be
awesome. I haven't been a fan for a long time, but I feel this is going to
be the best since maybe Discipline. I've read some reviews and they're all
great!

------------------------------

Date: Wed, 18 Dec 2002 18:09:02 -0700
From: "Proginoskes" <proginoskes at email dot msn dot com>
Subject: ELP's 21CSM / Queen Crimson

Sandy Starr <Sandy dot Starr at spiked-online dot com>  wrote:
>
> Talking of ELP, what do people think of their brief version of 21st
> Century Schizoid Man on their Then and Now album? Flame away, but I
> think it's rather good with Emerson's keyboards on it. Not as good as
> the double trio version of the tune on Vrooom Vrooom, of course.

I was disappointed that ELP didn't do the complete bridge (with Emerson
playing the sax and guitar solos, of course). Before hearing this track, I
was imagining how it would sound, and it sounded MUCH better.

Concerning Queen Crimson: After listening to the 'Brondsbury Tapes', it's
even harder to draw a dividing line between Giles, Giles and Fripp, and
King Crimson, and I would probably consider Judy Dyble as part of KC. I
mentioned Paulina Lucas, because she appeared on an album by KC, which
makes a better example. (I had thought about this question a year or two
ago, and finally came upon her name.)
    May I assume that Robin Miller is a he?
    -- Christopher "HeKcman"

------------------------------

Date: Thu, 19 Dec 2002 03:07:52 -0800 (PST)
From: Michael Tanigawa <tanigawa at cadence dot com>
Subject: Re: Devil's Triangle/Mars

I understand that the James Gang had the same problems with Ravel's estate
that King Crimson had with Holst's.  In fact for many years Bolero was
deleted from the Bomber suite although it has been restored on the cd
release of "Rides Again".

------------------------------

Date: Thu, 19 Dec 2002 09:48:47 -0800 (PST)
From: Glenn Miller <profjgmiller at yahoo dot com>
Subject: Re: Peter Gabriel, Ticket Prices, and Progress

Dear Readers,

In ET 1072, Alexander Haas writes:

need I force someone to listen to Broadsword and the Beast

followed by Catfish Rising?

The question is posed in the context of a well-written paragraph addressing
progress.  I adore Tull.  I forget to listen to Broadsword and I had
actually forgotten how good it really is.  The harsh reality of a
back-to-back comparison to Catfish is nearly unbearable.

It was also instructive for me, for the years 1973, 1982, 1995, and 2000, to
compare Tull and Crimso.

            Tull                              Crimso

1973  Passion Play                  LTIA

1982  Broadsword                    Beat

1995  Roots to Branches            THRAK

2000  J-Tull Dot Com              TCOL

There was a time when Tull dominated my personal playlist.  More than
anything, the contrasts here explain why this is no longer the case.  The
year 1969 was special.  If you dont believe or know this, do the research
and pay close attention to the albums that were released that year.  From
that magical moment in time, Crimso progressed.  Tull never did.

Glenn

Yahoo! Mail Plus - Powerful. Affordable. Sign up now

------------------------------

Date: Thu, 19 Dec 2002 16:26:02 -0600
From: CRAIG <vdorje at ev1 dot net>
Subject: Re: First Day outtakes

>Subject: Re: First Day outtakes

>It is correct that nearly an entire album's worth of material was left off
>of The First Day.  This was mostly due to the emergence of God's Monkey
>and the seventeen minute Darshan (the road to graceland) late in the
>sessions.  I do believe that all of the completed tracks from these
>sessions have now been released.

>The Gift (originally titled Ascension) was included on Trey Gunn's solo
>disc 1000 Years.

If this is so, why are neither Sylvian or Fripp listed as appearing
therein?

>By the way, The First Day will always remain as my favorite "KC by any
>other name" disc ever released.  It's a shame that he turned down Fripp's
>offer to front the group, causing them to go their separate ways.
>Sylvian's gift for songwriting and his precise production skills would
>have undoubtably added another dimension to the group.

What to speak of his voice......  Hell YES! What a shame it never worked
out.

~C

------------------------------

Date: Thu, 19 Dec 2002 16:31:38 -0600
From: CRAIG <vdorje at ev1 dot net>
Subject: Re: Lizards album, Fourth Wall

>Back in the eighties I remember having several albums from a band called
>"Flying Lizards" and Fripp was featured on them.

>Question: Are these records availible on CD and if so where can I get
>copies?

Fripp was only on the second Lizards album, "Fourth Wall" (1981).  No CD
IIRC.........

~C.

------------------------------

Date: Thu, 19 Dec 2002 22:38:34 -0000
From: "Allan Merry" <allan dot m at virgin dot net>
Subject: Re: Correction? I Say Neigh, Sir!

Sorry to keep this going but in ET 1073 S.P.Goodman said:

>In ET #1071 - Same designation as the original "Enterprise" by the way
>(NCC-1071), I put forth:

>>>At least they called them THE Pink Floyd!  I haven't heard them referred
>>>to as that since the BBC broadcast-on-tape of an "Ummagumma" period
>>>performance somewhere round 1971 or so: I still fondly remember the
>>>announcer hushedly saying, "Roger Waters actually produces that effect
>>>with his own voice," referring to "One of These Days..."

>But "John Spannaus" jspannaus at austin dot rr dot com replied with a "happy"
>correction:

>>Sorry, being a Floyd-Fanatic, I have to chime in with a quick
>>correction....  The only vocalizations on "One of these Days" is courtesy
>>of Nick Mason..

>Well, thanks for catching that one, but NO, the mistake was the
>announcer's.  Of course it was Nick Mason, not Waters!  Even at age 13 I
>caught THAT one.  :)

>Perhaps the BBC was urging people to be more "hip", and this gaff came
>about in a desire to dispense PF minutae however erroneously.  It wouldn't
>be the first or the last time this happened in the press, whether British
>or otherwise... Alas, the vintage 1971 cassette has gone the way of, well,
>old cassettes.

If this is the same as the BBC recording I still have - in the form of the
Harvested
CD "Meddler(d)" which is basically a recording of the BBC show from the
Paris Cinema on the 30th Sept. 1971 the announcer is none other than John
Peel
and it is Nick Mason who is credited by JP and not RG. Worth trying to get
this
recording from the Harvested site www.harvested.com as it is brilliant
quality and
a great version of Echoes.  Hope this clears things up.

Allan

Confusion will be my epitaph

------------------------------

Date: Fri, 20 Dec 2002 05:25:01 -0800 (PST)
From: russell at whitworth dot com
Subject: Flying Lizards

> From: Mark Richfield <m_richfield at yahoo dot com>
Mark Richfield wrote:

  "Back in the eighties I remember having several albums from a band called
"Flying Lizards" and Fripp was featured on them.

  Question:

  Are these records availible on CD and if so where can I get copies?"

The album in question is "Fourth Wall".

At the time I bought it, I was suffering a major Crimson/Fripp addiction -
and set out deliberately to buy something completely unrelated.  Only later
at home when I first listened to it did I start to think "hang on - there's
something familiar about that guitar sound."  Check the sleeve notes
carefully... yep, I had failed yet again to buy a non-Fripp album.

I've still got my vinyl copy, so have no particular need for CD.  Haven't
listened to it for years though... so thanks for the reminder.  I think
I'll put it on now.

A quick Google search reveals mention of an out-of-print Japanese CD
release, and a comprehensive and glowing review:

http://pw1.netcom.com/~logan5/fldiscfourthwall.html

------------------------------

Date: Fri, 20 Dec 2002 18:59:08 +0100
From: "FS.Info" <fs dot info at c2i dot net>
Subject: Anagrams of "King Crimson"

Rearranging the letters of 'King Crimson' gives:
  Sick morning.
  Mock in grins.
  In grin mocks.
  Conk grim sin.
  Mining corks.
  Mining rocks.
  Mock in rings.
  In ring mocks.
  Grim 'n' on sick.
  Grin mock sin.
  King microns.
  Sick 'n' grim no.
  Is grim 'n' conk.
  Mock ring sin.
  Gin sick norm.
  Grim nick son.
  I'm. Conk grins.
  Grim nick 'n' so.
  On grim nicks.
  On grim snick.
  Mock 'n' rising.
  I'm. Conk rings.
  Grim sink con.
  Mocking 'n' sir.
  Skin grim con.
  Is mock 'n' grin.
  Risk 'n' coming.
  No! grim nicks.
  No! grim snick.
  Con smirking.
  Is mock 'n' ring.
  Smock in grin.
  Sic king norm.
  I'm. Scorn king.
  Kings micron.
  Mock 'n' I grins.
  Grin 'n' I mocks.
  Conk sign rim.
  Smock in ring.
  Grin sic monk.
  Snog rim nick.
  Crimson king.
  In corking Ms.
  Mock 'n' I rings.
  Ring 'n' I mocks.
  I'm. Kings corn.
  Conk sing rim.
  Sick gin on Mr.
  King coins Mr.
  Sic monk ring.
  Grim, non sick.
  Groin nick Ms.
  Grim con inks.
  In grim conks.
  I'm cronk sign.
  Rim nick song.
  Ink grim cons.
  OK 'n' grim 'n' sic.
  Mock rinsing.
  Coin kings Mr.
  Mock inn rigs.
  Coming rinks.
  Mock 'n' in rigs.
  I'm cronk sing.
  Rocking in Ms.
  I conk sign Mr.
  Coin king Mrs.
  Sic king on Mr.
  No! gin sick Mr.
  Gin 'n' mock sir.
  I'm. Sign 'n' rock.
  Incoming krs.
  Rig mocks inn.
  I'm. Cork 'n' sign.
  I snog nick Mr.
  I'm. King corns.
  Scoring mink.
  I conk sing Mr.
  In 'n' rig mocks.
  Ski 'n' grim con.
  I'm. Sing 'n' rock.
  In ming corks.
  In ming rocks.
  Sick go 'n' in Mr.
  Conk gins rim.
  I'm. Cork 'n' sing.
  OK in grim CNS.
  Conk grim Nis.
  Nick go in Mrs.
  Gink microns.
  I conk grin Ms.
  So gin nick Mr.
  Rim kings con.
  Ink's grim con.
  Groin sick Mn.
  Sick nor ming.
  Gin sick morn.
  King in corms.
  Grim kin cons.
  Grim 'n' in sock.
  Rig 'n' mock sin.
  Rock gin in Ms.
  Corking mins.
  Is mocking Rn.
  KCSI morning.
  Sock grim inn.
  I'm. Corks 'n' gin.
  I'm. Rocks 'n' gin.
  Corking Nims.
  On sick in mgr.
  On sick in MGR.
  Nock grim sin.
  No! sic king Mr.
  Conk grin mis.
  Ring in, mocks.
  On Mick grins.
  In mocking SR.
  Gnomic 'n' risk.
  Rink comings.
Learn about the Anagram Genius software that made these anagrams

------------------------------

Date: Fri, 20 Dec 2002 20:07:47 +0000
From: Craig Ward <craig dot also at virgin dot net>
Subject: Re: Production

I never did understand Sid Smith's comment about the "woolly" production of
TCOL. I always found it suitably dark and heavy when it needed to be, but
not short of a lightness of touch, courtesy of Mastellotto's electronic
drumming (which bugged me at first but later struck me as being the freshest
thing about the album - Heaven And Earth aside). I am equally puzzled by
some of the comments on this subject in recent postings. While I agree that
Beat could be better (and the only thing really wrong with it is the snare
drum sound - Bruford's snare should go piing! not pff), I can't find
anything wrong with Discipline. It sounds honest and unaffected and direct,
and I've never wanted any record to sound anything other than that. This is
why I have a particular fondness for Starless And Bible Black. The studio is
barely present in its production, and that much is audible. SABB is the
sound of 4 young men finding a unique musical vocabulary, no particular ego
dominating the landscape, no external pressures or influences audibly
bearing down on the project (in any negative way).
When the presence of a studio or a producer is audible in a recording, we
hear music ensnared in its economic context. The only truly honest audio
image of a band is a live performance recording. (This does not mean all
else is worthless - just not as honest). Production, as Thurston Moore once
said, is "just a record company's way of doing someone a favour". Music
produces itself, despite the interference of personalities.

I could go on, but it's Friday night and I fancy a pint.
More later, then.

Craig

------------------------------

Date: Fri, 20 Dec 2002 20:07:32 -0600
From: "John Spannaus" <jspannaus at austin dot rr dot com>
Subject: I GOT THE NEW ALBUM, SUCKERS!

Wooohoo!   I just managed to get a copy of the new album...  Yes, THAT
new album..  The Power to Believe..  I'm writing this after only ONE
listen,  so most likely,  many of my thoughts will change,  but here are
my first impressions.

    1)  "The Power to Believe (A Cappella)"  --  A NEW track..  Very
similar to the pseudo-haikus from the Happy EP..  But,  a little less
distortion on the voice I think   (or maybe just a different type of
distortion..  But don't worry,  they never ask "Do You Feeeeel Like We
Do?")...   For some reason,  it seems less "fillerish" than on Happy..
Cool intro.   The subtlety of this poem contrasting with the heavy
opening chords of the next track complient eachother greatly..    Up to
this point I thought the phrase "The Power to Believe" was a bit too
corny for my tastes,  but within the context it works..    Distorted
versions of this pop up a couple times throughout the album...

"She carries me,
Through days of apathy.
She watches over me.
She saved my life,  in a manner of speaking,
When she gave me back,
The Power to Believe."

    2)  "Level Five"  --  Most of us are already familiar with this
song..   I,  however,  have only very recently got the Live in Nashville
CD,  so I really don't know it too well yet.    Pretty similar to the
live track..  Either way, it definitely kicks ass.   But I can't shake
the Larks' Tongue feeling from my head when I listen to it..
Personally,  I like Larks Tongues 4 better,  but there is something
about the groove that makes them very similar in my mind.   Maybe its
just me..  Good track, nonetheless..   One of my favorite tracks on the
album, actually...

    3)  "Eyes Wide Open"  --  For some reason when I saw the "acoustic
version" label for the song on the Happy EP,  I expected the LP version
to be some crazy rocker..    Boy,  was I wrong.    It plays exactly like
the Happy version..    But is that bad thing?    Hell, no!     I dig
this song..    Good lyrics, too...   But, personally,  I think maybe the
"acoustic" version was a little bit better..   We'll see about that
after a few more listens..      Sorry to burst your bubble if you were
waiting for a "rocked out" version of this song...   One of the better
tracks, in my opinion..

    4)  "Elektrik"  --  Another song you probably know from Nashville.
There's a few differences,  but overall,  it's still the same song..
It's quite good,  but it doesn't flow as well as it could..    That's a
minor complaint, however, because it still rocks..    Probably one of
the better tracks.

    5)  "The Power to Believe II"  --  Hey, a NEW track!
Unfortunately, it's a bit boring..  It's actually just a slow intro to
the next track  (which is, ironically, ALSO an "intro")..   Not much to
say about it, really..

    6)  "Facts of Life (Intro)"  --  Another NEW track..   Hmmm....
I'm still a bit undecided about this one..   It's definitely a rocker..
But it takes a while before it starts sounding really inspired..
(Which is actually when the instrumental portion kicks in)..    Maybe
the problem lies in the lyrics..     They're just not very interesting.
And it's not that Adrian sings them poorly,  they're just not great
lyrics..     Kinda like the case with "Happy"...

    7)  "Facts of Life"  --  NEW track..    I'm not sure why the
previous track was called the "intro" to this one..   This track brings
the momentum WAY down,  and goes into an almost early-Floydian synth
avant groove..   But, uh, more electronic,  I guess..     This
eventually turns into a pseudo-eastern little melody (sounds like
Shoganai snuck in a little bit here)  while the "The Power to Believe"
poem is overlayed.     I'm definitely not saying it doesn't work,  but
it takes a while to get into..    It picks up some about half way
through and stays pretty strong until the end,  however..    I'm sure
there will be mixed responses to the two "Facts of Life" tracks..
We'll see, I guess..

    8)  "Dangerious Curves"  --  And right back into familiar
territory..   Another tune you'll recognize from Nashville..      A few
differences here..    First of all,  the guitar is always up front
(which I like)..    The intensity still takes time to fade in,   but all
the instruments fade in pretty much equally..   (In Nashville,  the
guitar was way behind for the first couple minutes)..      It's also
about two minutes longer than the live version..   And they make use of
it..       It's one of the better tracks,  but here's my complaint..
The whole structure of the song makes the listener think that this is
all one big intro to some crazy guitar frenzy rock out jam..    The next
track ("Happy") WOULD be the perfect fulfillment of this promise,  but
"Dangerous Curves" goes on about 30 seconds too long when it is fading
out,  and all the momentum is lost..    It's like,  what was the point?
Still a cool song, despite that..   One of the better tracks..

    9)  "Happy With What You Have to Be Happy With"  --  We all know the
song..   This version is a bit shorter,   which actually helps, I
think..    But I didn't see too many other differences..    Maybe the
contrast will become more apparent after a few listens..     But there's
certainly no surprises here..     It kicks ass,  but I don't care for
the lyrics..    I know everyone says that its a "clever observation of
modern music" or whatever..   But I'd rather hear a clever original than
a clever parody..

    10)  "The Power to Believe III"  --  Another NEW track..
Instrumental..     Starts off slow..   Picks up a little bit,  and then
ends..    It's not bad,  but it never really goes anywhere..   And as
soon as you think it MIGHT go somewhere,  it stops..     Maybe it'll
grow on me..

    11)  "The Power to Believe IV  Coda"  --  NEW song..  The poem once
again,  this time set to light music..   Great album closer.

So, all in all,  it's a good album..    But it's not perfect..    And
while you're anxiously waiting for it,   try to remember that you've
already heard about half of it (assuming you own Nashville) and, most
likely,  the other half isn't going to totally rock your socks off..
Either way, I'm happy to know that the Crims are still putting out
quality material in 2002,  but there's nothing as groundbreaking as
"Starless" or "21st Century Schizoid Man" to be found here..  On a side
note, I think Potatoe Pie should have made it onto this album..   I dig
that song..  (If you absolutely hated that track from the happy EP,
then maybe you'll view this entire album quite differently than I did).
As for any criticisms about the production,  I'll have to listen to the
album in my car or at home first..   The hifi I listened to it on had
small speakers and no sub..    Anyways,  buy this album when you get a
chance..   I'd like to hear what some other Eters think..   It certainly
makes me appreciate Nashville a lot more..

I also got Ladies of the Road today,  but I haven't listened to it yet..
I skipped through it, and some of the songs sound quality sounded pretty
crappy..   I'll post some thoughts on that when I get a chance..
(sorry for the rambling!!"
 .

------------------------------

Date: Sat, 21 Dec 2002 09:57:30 -0500
From: "Michael" <michaeljventura at hotmail dot com>
Subject: Re: "Flakes" vocal

In ET 1074, Eric Johnson wrote:

>From: eric dot johnson at dpsnc dot net
>Subject: "Flakes" vocal
>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.

Okay, here's the real deal, straight from Belew himself. It was during his
acoustic show, at The Paradise in Boston, MA, and he was taking questions
from the audients between songs. I asked him how he met FZ, and he told the
whole story about his band, "The Sweethearts," etc. The discussion then led
to his participation on the "Sheik Yerbouti" album, and Adrian explained
that he didn't read music, so after band rehearsal, he and Zappa would have
to sit together and work out his parts. As Ade was working out one bit, he
said it felt sort of like a "Bob Dylan" thing, and began doing the Dylan
impersonation, which Frank liked so much, he insisted on including it in the
show.
  Further evidence of this can be seen in the Zappa film "Baby Snakes." At
some point, Adrian can be seen with a harmonica, playing  cheesy sort-of
Dylan/Neil Young sounds.

Michael J. Ventura
michaeljventura at hotmail dot com
"Let the audio sodomy begin!" - Les Claypool, introducing Adrian Belew,
Columbus, OH, 11/19/2002

------------------------------

Date: Sat, 21 Dec 2002 10:51:17 EST
From: Campiglio4 at aol dot com
Subject: Re: PG vs. KC

Scott, what's wrong with smoking pot like a chimney? Does that make be
boorish?
Next time take a close look at the person yelling "Talk to the Wind", it just
might be some kid who doesn't know any better.
If you think that is the reason why some people feel that that KC has lost a
connection with some of their fans, I'd like to know what you're smoking.
Their music has become more of an acquired taste with every new recording and
Fripp falls back further in the shadows with every tour.
I suppose if Fripp plays from backstage on the next tour that will be fine
with you?
I guess if their is any commonality between KC & PG, it's the fact that their
audience is dwindling; they both played to half filled houses last time
around.
The good news: they both appear to have enough money to finance tours and
play music that they want....which is fine with me.
I don't expect either camp to appease the music industry for popularity
sake.....thank goodness.

------------------------------

Date: Sat, 21 Dec 2002 11:10:20 EST
From: Biffyshrew at aol dot com
Subject: Re: "Flakes" vocal

eric dot johnson at dpsnc dot net wrote:

>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.

It certainly is Adrian on the released version.  He is properly credited with
lead vocals (with Zappa) on _Sheik Yerbouti_.  After Adrian left Zappa's
band, Ike Willis took over the Dylan impersonation for 1980 performances of
the song, and Ed Mann did it on the 1981-82 tour.

Your pal,
Biffy the Elephant Shrew
"These insufferable Fripps, men who ought never to be trusted..."--P.G.
Wodehouse

------------------------------

Date: Sat, 21 Dec 2002 10:19:48 -0700
From: Guido Vacano <guido at eri dot uchsc dot edu>
Subject: Re: Subject: "Flakes" vocal

>
>
>Date: Wed, 18 Dec 2002 09:22:19 -0500
>From: eric dot johnson at dpsnc dot net
>Subject: "Flakes" vocal
>
>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.
>

According to whom? From _Frank Zappa: The Negative Dialectics of Poodle
Play_ by Ben Watson, page 355:

"The message of 'Flakes' collapses in on itself because it deftly
removes the moral core required for the 'protest' singer. It starts out
protesting at the poor quality of service delivered by West Coast
businesses, but when the song is turned over to Adrian Belew as Bob
Dylan impersonator, the absurdity . . . becomes so towering that it
blots out the original idea."

If that's not good enough for you, how about this excerpt from an Adrian
Belew interview?

"Q: How did the arrangements of songs evolve throughout rehearsals and
tours? Did they change dramatically?

AB : Yes, they did. They all changed a lot. Frank would try out all these
different types of arrangements and it was amazing to watch him completely
change the song. I learnt five hours of material, of which I would say a
good two hours was brand new. So he was trying out all these new ideas and
different ways. He would arrange a song about five or six different ways
before he finally arrived at it. In fact, the one I remember was
'Flakes'. When Frank showed it to me at home one night on a weekend, when
he sat and played it on guitar, it sounded like a lousy folk song (laughs),
so I started kidding about with it, singing it like Bob Dylan, and he said
'That's in the show.You're going to do it that way.'"

from The Crimson Twang Bar King: An Interview With Adrian Belew by Gary
Marks T'Mershi Duween #40 August 1994 copyright Fred Tomsett

This might be a difficult concept for some people, but a thing ain't
necessarily so, just because you FEEL it is!

BTW, Ed Mann's voice is almost, but not quite, entirely unlike unlike
Bob Dylan's.

Guido Vacano

------------------------------

Date: Sat, 21 Dec 2002 18:29:40 +0100
From: "Andrew Thiermann" <andrew77fc at hotmail dot com>
Subject: Re: afield of Space Groove

This will, thankfully be the last I post on this subject, as I would like
to see more talk about what others felt about the ProjeKcts and not
strictly people bashing on their opinions:

As I have stated in every post I have made on the subject of Space
Groove/the ProjeKcts, everyone is entitled to their opinions. I have my
opinions about the projeKcts and I stated them, and true the original
reason I posted about those said opinions is because I felt that saying
that the only reason they were released was to make money, ie RF and co
felt they could make a quick buck off the 'suckers' that buy all music that
has the name King Crimson.  I feel this opinion it incorrect, however, you
are entitled to have it.  Saying things like:

>My main points are intended to respond to someone saying that I don't
>have a right to an opinion on this matter, either because it's "not KC"
>(which I didn't say), or "it's not a serious release" (which it is), or
>"any negative statement indicates a naysayer who inherently has no
>right to an opinion" (which I'm not).

I never said you didn't have the right to have an opinion, I said I
disagreed with you, and that IS allowed.  In addition to this, because i
disagreed I didn't want others who haven't heard the ProjeKcts to think
that everyone did not like them, I feel that the most important thing in a
discussion is to have differing views and that is why I gave my views on
the subject.  That said, I hope that this 'opinion bashing' is finished, if
you or others, have anything to add to this discussion, as it has veered
far away from its intended purpose of discussing the ProjeKcts please reply
to me personally and don't take up anymore of Toby's time or others who
read ET.  Thank you and I hope that my explaination of reasons behind
posting is sufficent to stop you from bashing me in the future.  Thanks
again.

  Andrew

------------------------------

Date: Sat, 21 Dec 2002 12:52:26 -0600
From: CRAIG <vdorje at ev1 dot net>
Subject: Re: slang / word play? ("The Great Deceiver" lyric)

>This is poor writing and spelling; its not about King Crimson; its also
>homophobic and ugly.  I simply dont want to see this kind of stuff.  If
>this is what ET has become, then I dont want to see ET.

> [ It was an error on my part to publish the post you refer to. I hoped that
>  my comment to the post would ironically point out the fact that I felt
>  the "fagot" [sic] comment was pathetic and offensive. I regret that it
>  didn't seem to, for many people. I will not tolerate gratuitously
>  offensive stuff in ET, and in future I will get tougher on this. -- Toby ]

Agreed, (I have a number of good friends who are gay),... but this topic
recalls a lyric (written by King Fripp, IIRC), from Krimson`s tune "The
Great Deceiver" on STARLESS & BIBLE BLACK... you know the one...  "Health
food faggot with a bartered bride. Likes to comb his hair with a dipper
ride,..."... etc.  ...What was *that* all about???  (Certainly not the
British slang for a ciggarette)

~C

------------------------------

Date: Sat, 21 Dec 2002 19:56:06 -0200 (E. South America Daylight Time)
From: "Carlos Henrique Moller" <chmoller at terra dot com dot br>
Subject: "Flakes" vocals, or how to get the right source!

hi again!

Mr.eric.johnson whatever wrote:

"For the record, Adrian Belew does not perform the "Flakes" Dylan parody
with Zappa; it's multi-percussionist/vocalist Ed Mann."

well, despite of the fact i'm with the Sheik Yerbouti booklet opened right
now, where it says

2 FLAKES/Zappa

lead vocals: Zappa & Belew

i thought it would be a good idea to find out what was very wrong with the
above statement (the Ed Mann thing).

then i have also a good book, named Viva Zappa! (Dominique Chevalier,
Omnibus Press, 1985) opened on page 47/48:

"Another time, Zappa showed him (Belew) a song, part of which seemed so
Dylan-ish the Adrian could not resist singing it as such. The excellent
result, plus harmonica, is "Flakes", ('Sheik Yerbouti')."

so, next time, try a little deeper research....

Carlos Henrique Moller
Microsoft Certified Systems Engineer
chmoller at terra dot com dot br

------------------------------

Date: Sat, 21 Dec 2002 17:06:02 -0600
From: John Michael Beard <loungehound at earthlink dot net>
Subject: Re: "Flakes" vocal

At 02:19 PM 12/21/02 +0000, you wrote:
 >For the record, Adrian Belew does not perform the "Flakes" Dylan parody
 >with Zappa; it's multi-percussionist/vocalist Ed Mann.

Both Zappa and Adrian have commented in numerous interviews that Adrian did
the Dylan bit on Sheik Yerbouti; Zappa said Adrian did "a great Dylan
impression". You are correct about Ed doing it later.

John Michael Beard
www.loungehounds.com

------------------------------

Date: Sun, 22 Dec 2002 10:16:21 -0500
From: "Craig J. Clark" <cjclark at earthlink dot net>
Subject: CGT's Christmas CD

I bought the California Guitar Trio's "10 Christmas Songs" through DGM
last January but didn't listen to it until recently (for obvious
reasons).  Now, is it just me, or is that an uncredited Robert Fripp
playing the electric guitar solo in the middle of "Greensleeves"?  It
starts around two minutes in and lasts a good two minutes, which would
make it the longest sustained Fripp solo on record in some time, if it
is in fact him.

--
Craig J. Clark          "I believe -- so strongly -- in mayonnaise."
cjclark at earthlink dot net                                 --Elmo Oxygen,
http://home.earthlink.net/~cjclark                        denizen of
for the uneasily amused --> http://dada.warped.com       Schizopolis

------------------------------

Date: Sun, 22 Dec 2002 15:09:30 -0800
From: stgor at apricorn dot com (Steven Gordon)
Subject: heroes

What is so cool about the guitar playing on the song "Heroes?"  By
David Bowie?

------------------------------

Date: Mon, 23 Dec 2002 10:57:10 -0000
From: "Chris Hendrie" <Chris dot Hendrie at sanctuarygroup dot com>
Subject: Flakes vocal again

In response to this...

>Date: Wed, 18 Dec 2002 09:22:19 -0500
>From: eric dot johnson at dpsnc dot net
>Subject: "Flakes" vocal

>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.

I'm afraid this is wrong AB DOES sing the Dylan parody on Flakes. I know
this for sure because AB told me when I had the pleasure of meeting him a
couple of weeks ago in London. He went on to tell me about his first meet
with the former Mr Zimmerman and how Dylan said to him (I'm paraphrasing
here) 'I heard you do a pretty good me.'

***********************
Chris Hendrie
Product Manager
Sanctuary Records Group Ltd
Sanctuary House
45-53 Sinclair Road
London W14 0NS

Tel - 020 7300 6588
Fax - 020 7300 6590
Mobile - 07770 732 666
***********************

------------------------------

Date: Mon, 23 Dec 2002 12:23:56 +0100
From: "A.D." <alexandre dot demetriou at int-evry dot fr>
Subject: Merry Kchristmas

And a happy with what you have to be happy with new year.

------------------------------

Date: Mon, 23 Dec 2002 10:05:29 -0800
From: "Scott Steele" <scottst at ohsu dot edu>
Subject: Fripp in a ball; valid criticism; what little common sense we had

>> I dont expect Fripp to bounce around the
stage in a giant inflatable ball,

>i dunno, that would be kinda cool.....

If he did that, he wouldn't have to put up
the plexiglass sound deflectors.

>It is easier to denigrate at length than to
produce valid criticism (the word can be
both positive and negative).

Ain't it is.

>The set ended and Fripp got up and left. I
didn't notice if anyone else bothered him
but since he stayed for the whole set I
guess no one else bothered him.  I guess we
just used what little common sense we had
and treated him like we would like to be
treated while watching a show.  I told you
it was boring.

<standing ovation>  Thanks for your boring
story, it was really quite exciting.

>Supporting great independant art is a
responsibility and a pleasure.

<still standing, still ovulating>     - S.

np:  CGT, 10 Christmas Songs

scottst at ohsu dot edu

------------------------------

Date: Mon, 23 Dec 2002 13:47:15 -0500
From: Jim Bailey <jimab at rogers dot com>
Subject: Re: Another Chorus...

>Date: Fri, 13 Dec 2002 12:20:02 -0800
>From: "H b" <lizardluv at hotmail dot com>

>Solstice greetings to all:

And from me.

>There's the Talking Heads connection, where, I feel Adrian really
>developed his singing style(a Byrning influence).  There's some great
>playing on 'Remain In Light'...and don't forget the Frippish lines found
>on 'Fear of Music''s I Zimbra....

Do you mean those "Frippish lines" that were played by, um, Fripp?

Jim Bailey

------------------------------

Date: Wed, 25 Dec 2002 16:17:33 -0800
From: stgor at apricorn dot com (Steven Gordon)
Subject: elephant talk

During the song "Elephant Talk," after the verse beginning with D, who
plays the wailing guitar as they intertwine?  This is my favorite part
of the song.  Adrian plays it on the video "Three of a Perfect Pair:
Live in Japan," is it the same on the studio version?

Steven

------------------------------

Date: Wed, 25 Dec 2002 20:46:50 -0500
From: "Dave Lane" <chickyraptor at hotmail dot com>
Subject: Re: "Flakes" vocal

eric dot johnson at dpsnc dot net wrote:

>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.

When Belew was in the band, it was Belew.  On the album, it was
Belew.

      --Dave

------------------------------

Date: Fri, 27 Dec 2002 01:00:43 +0000
From: "Michel Champagne" <micheljch at hotmail dot com>
Subject: Re: "Flakes" vocal

eric dot johnson at dpsnc dot net writes:
>
>For the record, Adrian Belew does not perform the "Flakes" Dylan parody
>with Zappa; it's multi-percussionist/vocalist Ed Mann.
>

Well, with the beating that my memory has taken lately, I'm a bit gun shy,
but I think you're mistaken . . . at least as regards the version on the
1979 2LP set 'Sheik Yerbouti' on which this piece first officially appeared.
  The credits specifically indicate that Zappa and Belew share vocal duties,
and I specifically remember Adrian singing the 'Dylan' portion of the piece
live with FZ when I first heard it live on tour in 1978.  I do believe Mann
was also in that touring outfit however; I seem to remember some crazy
percussionist racing around the stage like a man possessed . . . perhaps he
took over the vocal parody duties after Adrian moved on?

Merry Christmas to all and to all a Good Night!

Mike

------------------------------

Date: Fri, 27 Dec 2002 09:36:04 -0600
From: Craig <vdorje at ev1 dot net>
Subject: KEITH TIPPETT - "Blueprint"

*Highly* recommended!
NOTE: There were actually two Ovary Lodge LPs after this..........
~C

KEITH TIPPETT - Blueprint (La Cooka Racha 146; UK) Along with the "Ovary
Lodge" trio album which followed it (think of this as Ovary Lodge "0") this
is one of the spectacular all-time classics [1972] of spontaneous
improv. The level of telepathy here between pianist Keith, bassist Roy
Babbington, Julie Tippetts on voice /guitar/recorder, Keith Bailey
percussion, and ultra-sensitive vibrationist [percussionist is the wrong
word for] Frank Perry is stunning: you really can't believe that these are
not written pieces...and you can't believe that it's purely acoustic
either, so incredible and beautiful is the array of tapestry and texture on
display here! And yet these disclaimers: "All music on this album is
improvised" - Keith Tippett; "The sounds are acoustic - no electronics are
involved " - producer Robert Fripp.

------------------------------

Date: Fri, 27 Dec 2002 17:27:04 +0000
From: hamm at attbi dot com
Subject: Flawed Poseidon CD ?

I've bought "In the Wake of Poseidon" (remastered), twice, and returned it
because of an apparent flaw in the pressing. The seconds are accompanied by a
loud and annoying tick at just after 7 minutes in track 7. Is this supposed to
happen? Does anyone else experience this with this CD? Is there some way I can
find a version of this remastered CD that doesn't have this flaw?

H E L P !

------------------------------

Date: Sun, 29 Dec 2002 06:45:30 +0000 (GMT)
From: Philip Johnston <philipjamesjohnston at yahoo dot co dot uk>
Subject: Progressive top ten

Hi there

Channel four(uk) are repeating the top ten of progressive rock this friday,
It features brief footage of the 69 hyde park gig amongst other
stuff. Crimso came in at number nine, just ahead of Camel!!

Best wishes

Philip

------------------------------

Date: Sun, 29 Dec 2002 00:03:35 -0800
From: stgor at apricorn dot com (Steven Gordon)
Subject: larks' tongues part IV

Who plays the solo near the end of the studio version of Larks' Tongues
in Aspic Part IV?

------------------------------

Date: Mon, 30 Dec 2002 17:59:13 -0200
From: "diderot-jr" <diderot-jr at bol dot com dot br>
Subject: Early Crim videos

Months ago I've found this DVD: "Beat Club Best Of '73 - Various", that can
be found at http://www.cdxpress.co.uk/acatalog/Online_Catalogue_B_31.
html.

It has Larks Tongues In Aspic (same version from KCCC?)  among others KC
related bands like ELP and Roxy Music. I don't know about the quality of
this DVD but I have the Tina Turner at Musikladen (or Beat Club) DVD and
it's fine.

I would like to know more, from anybody, about this DVD.

  Diderot

------------------------------

End of Elephant Talk Digest #1075
*********************************