Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: Discipline #113 D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 113, Saturday, 30 October 1993 Today's Topics: Primus <=> King Crimson Belew's Beatles tribute Re: Adrian Belew acoustic tour new standard tuning chord tips Discipline Three of a Perfect Pair video For Sale: The Acoustic Adrian Belew Sylvian & Fripp Review, Berkeley [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: phv at equalizer dot cray dot com (Paolo Valladolid) Subject: Primus <=> King Crimson Date: Tue, 26 Oct 93 13:38:11 PDT The bass line in Primus' "Jerry Was a Race Car Driver" sounds a lot like Tony Levin's Stick part in "Elephant Talk". -- Paolo Valladolid phv at equalizer dot cray dot com Cray Research Superservers, Inc. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 26 Oct 1993 21:58:01 -0400 (EDT) From: Student Manager & MagTape God Subject: Belew's Beatles tribute >Blackbird (beatles song.....someone mentioned a CD on NYC records where him and > other artists perform instrumentals of beatles songs so belew did > the one he had on the CD...except his CD version he said had all > sorts of synths etc....if anyone knows how to find this CD please > let me know) The CD is NYC6004, _Come Together: A Tribute to the Beatles_. It also features Allan Holdsworth, among others. I found all this out from the CD Connection BBS. If you haven't used this before, just telnet to HOLONET.NET and login as CDC. Their prices are (mostly) good and service dependable (at least so far). They have this disc for $13.16. About the name for this here list: I like "Discipline", but see why you might want to change it; I really dislike "Elephant Talk", 'cos it seems even more limiting; I really like the "In the Wake of the Crimson King" -- that's my vote if the name gets changed! --dave dcosta at drunivac dot drew dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Michael Murphy" Subject: Re: Adrian Belew acoustic tour Date: Tue, 26 Oct 93 16:14:28 EDT Sorry if this is a repeat, i just can't remember if i've already asked this here. But if i have, i haven't gotten any responses yet, so anyway... Could anyone tell me if Adrian has any dates in Florida or Atlanta, Georgia on this tour? Or else, could you tell me his most South-eastern date (or just the whole American tour schedule, if you know it)? I'd sure love to see this show, but i have a bad feeling that he's not coming anywhere within a DAY'S drive of here... Thanks in advance. -Michael [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 27 Oct 93 09:33:17 CDT From: oskardma at ukraine dot corp dot mot dot com Subject: new standard tuning chord tips Dudley writes: >Having tuned one of my guitars to the New Standard Tuning and finding that >I quite like it for "lead" work, I was sort of wondering how rhythm >guitarists handle it. After spending a full 23 seconds trying to figure out >how to produce chords, I gave up (short attention span...). So, I thought >to myself, "Why reinvent the wheel? Surely someone else has the answers by >now." Does anyone have any tips on producing new standard chords? Yes. Lengthen your attention span. :-) :-) david [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 27 Oct 93 16:27:14 -0500 From: eichsted at mentor dot cc dot purdue dot edu (Jeff) Subject: Discipline You can't imagine how happy I was to that there is actually a place to discuss the music of KC/Robert Fripp. Where I'm at (Purdue University) few have ever even heard of King Crimson, let alone Robert Fripp. Hopefully here someone will be able to answer the following questions: 1) How long ago were the albums USA and The Young Person's Guide to King Crimson taken out of print? 2) How hard is it to find these albums at say, a record convention, and about how much do they cost? As to the change of name for this newsletter, I think that it should be left as Discipline. Maybe it's just me, but I think that Discipline sounds a bit more "serious" than "Elephant Talk" or the like. Let's remember that Fripp/KC is real music rather than just a rock band. Jeff Eichstedt eichsted at mentor dot cc dot purdue dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 28 Oct 1993 18:14 CST From: SANDERSO at gacvx2 dot gac dot edu Subject: Three of a Perfect Pair video This weekend I got to see for the first time Robert Fripp in live action. A friend of mine has a copy of the Three of a Perfect Pair video. It was a stunning experience. (I am sure that those of you who've seen Fripp in concert are not impressed, but for a small-town hick like myself it was an experience--the only ex-KCer I've seen in concert is the plumpened Greg Lake.) It gave me a whole new perspective on Fripp and KC as a whole. I discovered, when Fripp made a particularly unflattering face while soloing at the end of Larks' Tongues Part 3 that he is indeed a human (not the deity my imagination had led me to believe), and nonetheless a very admirable one. I like him more than ever now. (I have to admit that his onstage antics on the Great Deceiver set, plus his hilarious "Saga of Rodney Toady" had already warmed me up quite a bit.) I was also stunned by the flurry of fingers exhibited by all four members (raising them again to divine status). My respect for all four was increased immensely, particularly for Adrian, as I had tended to assume EVERY guitar part I liked must have been Fripp. Tony Levin is a remarkable musician, moreso than I had previously estimated, and Fripp and Bruford proved themselves worthy of my long-time admiration. I particularly enjoyed the candid profile sections, in which Bill showed off "the same jacket that brought you Larks' Tongues in Aspic," Tony showed us all that Les Claypool was not the originator of the "Sartori in Tangier" lick, Adrian displayed his paranoid schizophrenia, and Robert gave us a taste of "Fracture," never swaying from his metronome click. In all, this is a HIGHLY recommended video, and though it is probably not available on the market any more, it is worth seeking out. (Unfortunately my friends copy is an illegal one, but he would [as would I] have paid three times as much for an original to support Fripp and his colleagues.) Good show! I can't wait until the new KC tours. I'll fly to Timbuktu if I have to to see them! Scott T. Anderson sanderso at gacvx2 dot gac dot edu "But Rodney did not want to meet fat and ugly girls, so instead he bought rude books... with rude pictures in them." --Robert Fripp, "Saga of Rodney Toady" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Oct 1993 18:59:17 -0400 From: Mike McNally Subject: For Sale: The Acoustic Adrian Belew A couple of weeks ago I attended the acoustic Adrian Belew show at the Majestic Theater in Detroit (music was great, question-and-answer got really tiresome, crowd behavior was shameful..) and while I was there they were selling copies of his new limited-release CD, "The Acoustic Adrian Belew". Of course I picked up a copy for myself and while I was at it I thought it would be a good idea to pick up an extra in case someone who couldn't make it to the tour wanted one (as far as I understand there are only 2000 copies and he's planning on selling them all on this tour, which only covers part of the U.S. and nowhere else.) He was autographing the CDs at the show but I didn't feel like standing in line to have him sign it since I was interested in the discs for the music they contained and not for proof of some brush with fame or for any increased collector value so the disc that is for sale is unsigned. Here's the deal: I have an extra copy of the disk which I will be happy to see go to a good home. I'm not interested in making money off of it but wouldn't mind something for my trouble so the disc will go to the most interesting offer of $15 U.S. currency (exactly what I paid for it), postage costs to mail it to wherever it's going, and "something neat" (something that I'd be interested in and might think was cool. This something should not be anything that would cost more than $2.50 U.S.) If you're interested, please email your offers to mcnally at css dot itd dot umich dot edu -mcnally. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Oct 93 16:57:42 PDT From: "John Relph" Subject: Sylvian & Fripp Review, Berkeley David Sylvian & Robert Fripp, Zellerbach Auditorium, Berkeley 28 October 1993 with Michael Brook We arrived at the Zellerbach in plenty of time, unlike most of the attendees. So we were able to get our seats before Michael Brook took the stage. I also took the time to buy a concert tee-shirt, a lovely purple item with the Sf logo on the left breast and graphics describing the tour on the reverse. I did not buy one of the concert programmes, although they were very nicely done, very high quality graphics. One expects no less from Mr Sylvian. For those of you ignorant of Michael Brook, he was the guitarist with Martha And The Muffins (later known as M+M), the Canadian pop group responsible for the song "Echo Beach" and others. He has since been doing a number of more ambient and new age styled projects, including solo projects and work with Brian Eno and others. He has also made some contributions to electric guitar effects, including the "infinite guitar", an effect that The Edge of U2 used ad nauseum. Mr Brook played five or six solo songs, accompanied by samples of his playing that he built up on the fly. He started out the set by saying that he was still on Tokyo time, which meant it felt like four in the morning to him. He made interesting use of guitar synthesisers and delay effects, so that sometimes he was playing rhythm and other times sounded like a string section. His song "Cora" sounded like the African harp of the same name, but he added, `not as good'. He played a minimal song called "E.R.R." which he said stood for "Echo Repeat Revelation", because a specific echo effect inspired the song, which used an offbeat rhythm against a delay to give a syncopated, and ofttimes interesting effect. (I believe the people behind me said something about it sounding like Pink Floyd.) Mr Brook also mentioned that it was the custom in Japan to bring gifts for the performers (and that they would willingly be accepted). The only thing that detracted from an otherwise pleasant, although not outstanding, performance was the fact that at least two-thirds of the audience arrived during his set, talking and making noise as they found their seats. I think Mr Brook (and the audience who chose to listen to him) deserved more respect than the arriving audience showed. After a half-an-hour interval David Sylvian & Robert Fripp took the stage. Mr Sylvian was dressed in a natty outfit, stylish trousers and vest over a white shirt; he played a Steinburger guitar. Mr Fripp wore one of his usual Japanese- styled blouses with wide sleeves; he had two Gibson Les Paul guitars, one black and one blonde, although he played the black guitar exclusively. Jerry Marotta, on drum kit, was wearing an Einstuerzende Neubauten tee-shirt. Mr Brook, who was also part of the band during the main concert, was wearing a white shirt and dark trousers; he played the same guitar he had played as the opening act, and in the same place on stage. Trey Gunn was wearing something so nondescript that it doesn't bear describing. They launched directly into "Jean the Birdman". From that point it all becomes a blur in my memory. I know they played "Darshan", "The First Day", "Gone To Earth", "Brightness Falls", "Earthbound - Starblind", "Every Colour You Are", "River Man" (I'm not sure of this one), "Firepower", "God's Monkey", and they might have played "20th Century Dreaming". But of in what order they were played I am totally forgetful. "Gone To Earth" was nearly unrecognisable in a new pop setting, only the lyrics knew for sure. "River Man" was wonderful; it was nice to hear it live in a powerful setting, and Mr Gunn provided the harmony vocal. Oddly enough, Mr Gunn also chanted "F I R E P O W E R" during the performance of that song, though I would have guessed Mr Sylvian from listening to the record. "The First Day" is a lovely ballad, very nicely performed, featuring subtle touches of melodic guitar on Mr Fripp's part and understated underpinning from Mr Gunn. During one piece Mr Marotta played a small shaker with one hand while providing a sparse and delicious hip-hop beat with the other hand and one foot, playing almost solely a sampled snare and his heavy kick bass drum (but my mind can't tell me which piece this was, any help out there?). But the highlight of the evening had to be "Darshan". The crescendo of this piece featured Mr Fripp and Mr Brook exchanging high-powered slashing chords (possibly `diabolus en musica'), clashing and harmonising with equal power, preceded and followed by amazing solos on Mr Fripp's part. His fingers moved as I have never seen, and he has become a student of the tapping method, something which I believe he has only dabbled with in the past. He used the tapping technique extensively during the show. He also picked lead runs at excruciating and unbelievable speed, never missing a note. I know I had a hard time believing it. On the record "Darshan" seems to last far too long, but on stage, it took on a whole new dimension, becoming a vehicle which transported the band, and the audience, to another level. And I do believe Mr Sylvian, Mr Fripp, and company, had a good time making it happen. (I know I had a good time.) Did I mention that the concert was surprisingly loud? Mr Brook's performance was at a pleasant volume, but when Sf took the stage, their first blast put me back in my seat. There were only a few spots during the show where some particularly grating noise made me want to cover my ears (usually produced by Mr Fripp). Afterwards, since Jennie and I (and our ears) were tired, we did not stick around, so I'm sorry I didn't get to meet any fellow netheads. Maybe next time. After all, it wasn't that long since the Robert Fripp String Quintet performance. -- John [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] To join this mailing list or have your thoughts in the next issue, please send electronic mail to Toby Howard at the following address: toby at cs dot man dot ac dot uk The Discipline archives are available on ftp.uwp.edu, in /pub/music/lists/discipline. The views expressed in Discipline are those of the individual authors only.