Date: Sun, 4 Apr 2004 14:31:54 +0200 From: Sindri Eydal <ET04124 at elephant-talk dot com> Subject: Guitar
Hi!
I know that Robert uses his Fernandes Monterey a lot these days, but there's this another gorgeous Les Paul-alike guitar that Robert has been playing recently. Which guitar model is that?
Date: Fri, 9 Apr 2004 12:22:18 +0200 From: Maurice Vergeer <ET04007 at elephant-talk dot com> Subject: radio broadcast of live concert KC at North Sea 2003
Alas, the airing of the KC live concert at the North Sea Jazz Festival 2003 is postponed until July, 10th.
Best wishes
Maurice Vergeer
Date: Thu, 8 Apr 2004 15:44:03 +0200 From: "Girard, Serge JanBe Extern" <ET04133 at elephant-talk dot com> Subject: greatest guitar player EVER !
Hello All ET-ers !
About who is being the greatest guitaritst ever?
Actually a dumb question, because one cannot measure this quality. It is all a matter of taste and preferences.
For instance to me the 'best' and 'greatest' are :
Robert Fripp, Allan Holdsworth, the 3 Steve H's (Hillage, Howe, Hackett), Jan Akkerman, David Spinozza, George Harrison, Adrian Belew, Django Reinhardt, George Benson, Pierre Bensusan, John McLaughlin, Larry Coryell, Al di Meola, Path Metheny, Gary Moore, Steve Miller, Daevid Allan, Jeff Healy, Jimi Hendrix, Carlos Santana, Peter Green, Leo Kottke, Jose Feliciano, Frank Zappa, Philip Catherine and yes even Paul McCartney (love to hear him play "Blackbird"), Chuck Berry, Carl Perkins, Mark Knopfler, Keith Richard, John Mayall ... just to name a few, not necessarily in this order but depending on the song/piece being performed at the moment !
But... yet my wive believes I am the greatest guitar player ever in world... So who is right? She may be right, however possibly being almost the only one....Therefore one cannot really argue about this item.
Regards !
Serge Girard
Date: Tue, 6 Apr 2004 22:44:37 -0700 From: Ron Kamlan <ET04129 at elephant-talk dot com> Subject: Tony Levin returns
According to Adrian Belew's website, Tony Levin has rejoined The Mighty Crim as part of the new official version #7 of the band. Did anybody out there see this coming? And what has become of Trey? Regardless, I do think it's good.
Cheers,
Ron
Date: Wed, 07 Apr 2004 06:31:00 +0000 From: Michael H. <ET04130 at elephant-talk dot com> Subject: 21st CENTURY SCHIZOID MAN
there was a cd avaliable of all these different versions of the song whats the name of it
Date: Mon, 12 Apr 2004 20:05:47 +0100 From: Alan Gent <ET03728 at elephant-talk dot com> Subject: ENO re releases
Nice to see those out at last. Also check out Wrong Way up, which is not as far as I know a re release, but as a collaboration with John Cale, is an exceptional album. (Do we still call them albums, or discs, or what??
Alan
Date: Wed, 14 Apr 2004 06:38:36 -0700 (PDT) From: Simon Godfrey <ET03955 at elephant-talk dot com> Subject: Re: Bill Bruford and The Sheltering Sky
Dear Donald
The instrument that Bruford is brandishing on stage in the "Live at Frejus" video is a westernised version of an African log drum. Bruford also demonstrates this instrument on his own video 'Bruford And The Beat' during a sequence on composing percussion parts.
Incidentally, there is even a short sequence on the Bruford video which includes the Discipline line up of KC and Fripp extolling the virtues of our Bill and his playing methods. Catch it if you can find it.
Hope this is of use.
Cheers
Simon.
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Date: Wed, 14 Apr 2004 23:15:39 +0200 From: Andrzej <ET04158 at elephant-talk dot com> Subject: Black & white pictures
Hi CrimSons,
Lately I've found Iain Kitt's e-post about black & white pictures on a tv screen while watching some DGM dvd's and unfortunately I've got the similar problem, as described below:
"I've just bought a copy of the 'Eyes Wide open' DVD. However like my copy of the earlier 'Deja VROOM' it only plays in black and white on my DVD player (in colour on my computer). I live and bought it in the UK but my DVD player is supposed to be multi-region. Any suggestions as to how I can get a colour picture please?"
I know the solution :-)
It is a multisystem (PAL/NTSC) TV set !
All Crimson DVD releases are made (only) in NTSC colour system and some
(especially older) television sets are not adapted to decoding such
signal.
It does not matter that the DVD player is multi-region because a tv set
is not multisystem.
At present, majority of brand new tv sets are ready to receive NTSC/PAL
signal in colour.
Unfortunately there is no information about colour system on back sides
of (some) DGM DVDs covers.
Best regards,
Andrzej Samol
Date: Fri, 16 Apr 2004 03:54:03 -0400 From: ss109 m855 <ET04170 at elephant-talk dot com> Subject: Re: Arthur Brown's Kingdom Come
Gainsborough Lincs, if the information on Galactic Zoo Dossier is correct. There is an Andy Dalby song "Trouble" on this album which has been roundly criticized as hippie nonsense, although I think it's still quite good.
There is a tenuous link between Kingdom Come and King Crimson. In the booklet from the cd reissue of the eponymous second album, Brown credits Andy McCullough as having "played a great part in creating that early musical ethos". Unfortunately, McCullough quit before the first album was recorded. Apparently "he couldn't stand all the props on stage". Indeed the drumming on the Kingdom Come albums does not sound like McCullough whose style is easy to recognize (check out the Shy Limbs' "Reputation").
Mike
>If I recall correctly KIngdom Come guitarist Andy Dalby came from Derby
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Date: Sun, 18 Apr 2004 11:18:14 -0500 From: Paul Hubers <ET03362 at elephant-talk dot com> Subject: Elephant Talk Submissions
Is it possible to have the "ETPOST" already in the subject line when the "Post" link is used? How is someone going to know this needs to be done if they missed this notice?
Speed-O... Your "burnout" to a fast lap.
[ Done -- Toby ]
Date: Sun, 18 Apr 2004 16:18:36 -0400 From: Bill Sherman <ET04172 at elephant-talk dot com> Subject: What Night Wounds Time?
Regarding _Starless and Bible Black_, JacobVB asked:
==
The graphic on the album cover has partially obscured text, of which the words "this night wounds time," can be seen clearly. Is this from some text or merely construKcted for the album cover? Anyone know the story?
==
Short answer: read the Elephant Talk FAQ at http://www.elephant-talk.com/faq/faq.htm, specifically the answer at http://www.elephant-talk.com/faq/faq4.htm#q79.
Long answer:
The cover art for that album was specially done by Tom Phillips, a British artist who has also done covers for Brian Eno (_Another Green World_). The "this night wounds time" image is taken from Phillips's ongoing work _A Humument_, which is a book. Phillips buys copies of an old Victorian novel called _A Human Document_ by William Mallock, and uses the pages as a starting point for art. He covers them with paint and other artwork, leaving bits of text peeking through as a sort of found poetry. He uses this technique in other works as well.
There have been three different editions of _A Humument_ published; each one has some pages different and some the same as in the previous edition. Eventually the entire book will be gradually revised. Scans of every page of the first edition are available online at http://www.tomphillips.co.uk/humument/index.html, and you can see the original version of "this night wounds time" at page 222 (http://www.tomphillips.co.uk/humument/2/221230/images/h222a500.jpg).
_A Humument_ also has its own website at http://www.humument.com, where you can read more about it. Phillips's main website is http://www.tomphillips.co.uk where you can read about his other work.
Phillips also uses hand-drawn stencil-like lettering in lots of his works, and the interior of the _Starless and Bible Black_ gatefold is a good example of this.
-Bill Sherman
Date: Mon, 19 Apr 2004 16:28:12 -0400 From: Scott Daubenspeck <ET04040 at elephant-talk dot com> Subject: Suggestions on how to get Fripp's sound?
I'm looking for a guideline to imitating Fripp's guitar effects -- any time period really, though I'm especially looking for the Discipline album effects.
---
Scott Daubenspeck
Date: Wed, 21 Apr 2004 11:42:27 +0800 From: Errol Tout <ET04038 at elephant-talk dot com> Subject: soundscapes
I am confused.
RF's diary of Friday 16th April mentions soundscapes and the scary fact that '40 minutes of sustained droning shouldn't move me quite as it does. But it does. Formal musical analysis doesn't explain to me what they are, what they do, where they're going, where they come from.'
Yet this is something that RF has been involved in as a serious body of work for many years. Amongst other things, I understand soundscapes are a means of working as a musician, and still the best way of making a lot of noise with one guitar. I remain disturbed that RF cannot say 'WHY' he does them. I understand that very little in his life is arbitrary.
For what it's worth I happen to find them compelling. Or am I reading his comments the wrong way?
Errol H. Tout
Date: Fri, 23 Apr 2004 03:26:29 -0700 (PDT) From: Dan Wasser <ET04062 at elephant-talk dot com> Subject: Up The Hill ... which way?
If Robert happens to read this ...
Thanks for your diary entries and the photos. I really enjoy the updates about your Nashville trip.
Is "Up The Hill Forwards" an inside (well, maybe not so inside) joke on Bowie's "Up The Hill Backwards" ... or is it merely a coincidence?
Dan
(and, for what it's worth, "Scary Monsters" is one of my 10 Desert Island Discs along with "The Power To Believe" and "Sunday All Over The World." You don't want to know the other seven, do you?)
Date: Wed, 21 Apr 2004 23:10:04 +0800 From: Matthew Barker <ET04181 at elephant-talk dot com> Subject: Robert Fripp Diaries - Paragraph of the week
"sometimes i sense in your e-mails a quiet despair. this is an entirely reasonable response to our strange times, in my view, and is paralleled in my own professional life as a working player, much of which is a joyless exercise in futility. we persist, in faith, despite all evidence to the contrary that what we do might have value".
(Robert Fripp, email to a pal) Diaries - Easter 2004
What is interesting here is Robert's remark that we live in "strange times". Indeed we are, and Denys Arcand's new film, "The Barbarian Invasions", is suggestive of that.
Stanley Kubrick, in the Playboy interview of 1968, had this to say of our strange times.
"Man has loosened himself off from religion and has hailed the death of his Gods. The old imperative loyalties to the nation state are dissolving and all the old social and ethical values are now disappearing...
Man in the twentieth century has been cut adrift aboard a rudderless boat on an unchartered sea. In order to stay sane throughout the voyage, he will need to have something to care about, something that is more important than himself."
I feel very deeply that the melancholy, almost world weary sounds of Crim seem to be a lament for a lost world, an ideal world which seems beyond reach- inaccessible. Today, many intelligent, sensitive people feel terribly alienated in a world run by asses, apes and dogs.
The Barbarian's have invaded and as one of the characters in Denys Arcand's film remarks, "it will take a very long time before intelligence can enter society again."
Matthew Barker (Crim fan)
Date: Sat, 24 Apr 2004 16:09:04 +1000 From: "Keenan, Owen" <ET04053 at elephant-talk dot com> Subject: Unreleased Fripp album: show your support (changed URL)
Hi again,
The URL for the unreleased live SAOTW album thread at Dreamscape has changed. Anyone wishing to add their support can now go to:
http://dreamscape.1.forumer.com/index.php?showtopic=3D15=20
...then click the "add reply" button at the bottom of the page.
So, what are you all waiting for?
Many thanks to those who've already added their comments!
Cheers,
Owen Keenan
Date: Sun, 25 Apr 2004 11:27:44 -0400 From: Peter Key <ET04193 at elephant-talk dot com> Subject: Response to Who has King Crimson opened for?
I saw the 1973-'74 King Crimson four times, twice as a supporting act.
KC opened for Todd Rundgren (with an early version of what would become Utopia) at Irvine Auditorium on the campus of the University of Pennsylvania's in Philadelphia in the spring of 1973. The following spring, the night before Starless and Bible Back came out, it played the Spectrum in Philadelphia as the middle act in a three-band concert headlined by the Kinks.
I also saw KC headline a three-band bill in Pittsburgh in the spring of 1973 - the other two bands were Foghat (in the middle) and Spooky Tooth (first) - and headline a concert at Penn State University in summer 1974 at which the opening band was the Michael Stanley Super Session.
Although it was a rock band, that version of KC would have been better suited teaming with the era's fusion groups, such as the Mahavishnu Orchestra or Miles Davis' various bands of the period. The intricacies of its music and caliber of its players gave it much more in common with those groups than with Spooky Tooth or Michael Stanley.
Peter Key
Date: Thu, 29 Apr 2004 23:03:28 -0700 (PDT) From: Mike Billmann <ET02627 at elephant-talk dot com> Subject: What Adrian sings
Now that Crimson #7 is launched with Tony Levin I assume more material may be played from the 80's? My question...has Adrian ever sang anything from the 70's. They've performed RED but that's an instumental. Could he/Would he ever sing Starless? Would Fripp want to play it?
Mike
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Date: Tue, 27 Apr 2004 19:38:55 -0400 From: Dave <ET02388 at elephant-talk dot com> Subject: ProjeKct Three Interview from 03/03/03 at the Birchmere
Hey look what I found online. Apparently made form a bootleg from the notes at the bottom, so source withheld. Find it yourself.
********************************************************************
Fripp: This is a rare opportunity where one can meet on a...a more human, person to person basis than at high powered rock concerts. So, for this rare opportunity, ProjeKct Three are here to invite any questions that you might like to ask...but may I ask to, yes, good, house lights please, so we can see you as well as you might see us. Trey, who would you like to invite the first question from?
[Laughter]
Trey: [looking at someone directly] She's not raising her hand so... That guy's so earnest in the back, I don't think we should call on him, but I will. Go on...
Audient: I would like to know how've you rigged up the two guitar synths for Robert Fripp to use?
R: Trey, how have I rigged up my two guitar synths, please?
T: Actually, nobody knows the answer to question except for John....right there...
[Applause and calls for John.]
R: Excuse me...Sir, if you'd like to go over here...John, would you'd raise your hand please...John will give you all the answers you need and pro bably a few more besides.
[Sounds of exaggerated hesitation/fear (from Trey?)]
A: How often do ya'll practice?
A: They just did.
R: How often do we all practice?
T: I think this is our third gig in the last year and a half, we practiced about...ten days for it.
A: And that's it? No more?
T: You coul..s.....by some people's standard we didn't even rehearse ten days.
Pat: It took us three days to get through the first chunk of tunes, about eight tunes, so we didn't even run a full show until we got to about the second to last day or so.
T: You realize this was mostly improvised.
[Applause]
T: If you haven't then you're hell-bound.
R: Before I move to that question, might I differentiate, please, between extemporization and improvisation?
A: Please.
R: Extemporization is like versed poetry. Extemporization is what you do. In other words, it doesn't take off. Improvisation is when it comes to you at least half way and something happens. And Richard Williams, very good music critic in England, once told me, because we were both free-music and improvising-music, spontaneous-composition characters, and we used to go along to many of the same performances...and he once said to me, If one performance...in one performance, if one piece happens, that's a successful evening. I'd just pass that along. And then, when was the last time we ProjeKcted? I think it was at...the beginning of Nineteen ninety..th...nine....
T: San Francisco. With Tony.
R: I think it was ProjeKct...The Roar of P Four. And that roared! (1)^
A: When we will ever hear Deception of the Thrush in the studio?
Drunk A: Robert, we love you....but...tonight [?]...
['Whews' from audients]
A: Will we ever hear Deception of the Thrush in the studio?
R: I'm sorry, I'm not listening over here quite yet, I'm straining to get to the gentlemen here.
A: When will we ever hear Deception of the Thrush in the studio? It's.... amazing...
R: Trey.
T: I don't think you ever will. I think it's a live piece. That's me.
Same A: Can we have a Guitar Craft in the DC area?
A: Ooo, two questions.
[Fripp glares?, Laughter]
R: A question about Guitar Craft, sir?
A: Yes, can we have one in the DC area?
R: There's a request for a Guitar Craft course in the DC area. The quick answer is none are planned at the moment...there are Introduction to Guitar Craft courses now, because the level of students was so low. We needed...mainly because they became a week of detoxing.
[Laughter]
And the, the last course where we had...where anyone had welcomed Guitar Craft Level One was at Sassoferrato [?] in Italy in a monastery in January Two thousand and two. And when two of the students went down the hill and came back drunk, so drunk that they drove off the cliffside in the fog, and the monks were looking at us thinking: Is this the level of student that Guitar Craft brings to us?, we had to go another route. But, if you would like to travel, sir, there are courses available just for you.
[Discussion @ next questioner]
T:...invite....
*A: Question for Pat...(FOH)
P: There's three right there...
same *A: Question for Pat...
P: He's got...I'll take the guy in the back.
A: (BOH) Yeah, Pat, are you...
*A: (FOH) Pat, Pat, what are you listening to right now?
P: Nothing....
[Laughter]*A: The new drum sounds, the drum sounds...are you listening to a lot of new, like, Aphex Twin, Audoker, Warp Records?
P: No....no......um...well I can't pronounce it properly, so I'll call it 'Soul-Nigger', but I think it's Sol Niger, and it's the kid from Mushuga's solo record.
*A: Right...
P: I don't know exactly how you pronounce that record...it's awesome...and the new Eno record, those were the only two CDs that I brought for this ...
*A: What new Eno record? There's a new one coming out?
P: It's called 'Draw the Line, Draw the Circle' and that's all I brought. Mostly I listen to rehearsal tapes and gig tapes and try to...
*A: Lucky...lucky...
P: ...Yeah...well....it's not...it's...I'm looking for mistakes to make corrections.
*A: Thanks.
P: Should I take two?
R: Yeah.
P: The guy I actually meant was this guy here....yeah.
A: Ummm, The only ProjeKct Three release so far has been one that had considerable, I'm guessing, studio enhancements in the mixing...will there be, perhaps as a Collector's Club an unextricated ProjeKct Three, one that's just a show as was.
P: Yeah, I...I don't know for sure, but...
T: Not if he has anything to do with it.
P: No, no, I don't mind. I don't mind. Some of that stuff was chopped and some wasn't...and some of it actually...because it was on multi-track, we could take...and because we did some stuff with fixed tempo by using loops we could take two, three nights that were sort of similar and make an "A" and a "B" section. That's the chopping that was done on it. There weren't really overdubs on it, it was more...there were times when I could let Trey's bass continue and find another phrase where Trey had done some soloing in there and just ah, it's sort of like convincing, you know like [?lookin-just-saw-hear-about-it?] then to chop down it to the best five minutes of what we want. It's great fun.
R: These are the questions and answers that really test a lady's devotion to her man.
[Laughter]
What I will, if I may...is to get to...Bootleg Television was an attempt that came from David Singleton and DGM to make exactly this kind of situation available through download or CD order, by mail order. And at the moment Discipline is looking to recreate it's website along the model that we presented to Bootleg Television, but which got translated along the way and then finally closed in the high tech downturn. But hopefully within a year you can dial up the P Three or King Crimson performance or rehearsal or Club Release along this kind, of your choice, and get it downloaded...this is what currently DGM is working towards. There's a gentlemen right in the back there...yes, sir?
A: Yes, after you learned that Mr. Belew would not be joining you tonight, how long did it take you to decide what you would play tonight?...five minutes, six minutes?
T: What we decided isn't what we played tonight.
[Laughter, Applause]
R: If I might just...the first ProjeKct was ProjeKct...well the first live ProjeKct was ProjeKct One, the first actual ProjeKct was ProjeKct Two, but it was in the studio. But ProjeKct One met on a Sunday to see if the equipment worked. It didn't. So we went away and met and the first time we played together was on the Monday night, December the first, Ninety ninety-seven at the ProjeKct Cafe [sic] (2)^ in Camdentown, London. ProjeKct One was Bill Bruford, Tony Levin, Trey and myself. So then they're all pretty....loose...is that the word I'm looking for? Loose?
A: You're all very nice to take our questions, I hope I'm not being too f orward, but I was wondering if I...
T: We don't have to answer it, do we?
A: I was wondering if I could make a request, if you would play FraKctured or another tune before you took off this evening.
R: The gentlemen's asked us to play particularly an appallingly difficult piece.
[Laughter]
It's indeed one of the most difficult pieces I've ever played live which was written for that reason, actually, that I could never fall asleep on a show. But the quick answer is, for me, and I'd love to come out into the audients and listen to these two guys.
T: I'd like to hear you play FraKctured.
[Laughter]
A: It doesn't have to be FraKctured, it could be anything you like.
[Oooos....Cheering]
R: Don't get your hopes up.
[Laughter]
[Robert begins playing]
FraKctured with a "D"?
A: Whichever you like.
[continued playing]
R: No, that's actually, I'm combining two pieces...I've combined Fracture and FraKctured. That was the changes of Fracture but with the notes of FraKctured.
[Starts playing FraKctured]
A: There we go....
[Pat slaps legs during playing...Trey joins in doing their changes/timing breaks............................]
R: [breaks] Trey's solo....
[Cheers]
...abbreviated.
[Continues to play...into lead break...more leg slapping]
R: I want more money for more.
[Crowd goes nutz!] (3)^
R: Patty [?] has suggested that's quite enough. So is there a burning question?...preferably from a woman.
T: There's one! There's one!
R: Yes?
A: You guys are opening for King Crim...I mean you're opening for String Cheese Incident at the end of the month in Denver.
R: Yes.
A: So, number one, I have a hard time believing you're opening for anybody...
[Whews....oooos!]
A: But I just wanted you guys to be ready, because it's going to be great, the fans are going to get off. That's all.
R: King Crimson, yes, we're opening for String Cheese Incident and are ve ry happy to be opening for them, very happy we were to open for Tool.
[Cheers]
For me, I prefer opening. I far prefer opening, particularly to audiences for other groups that don't come with the expectations of what Crimson is. The other thing that being in the pocket, you never have to satisfy an audients expectations, it's not your job to make them happy. Ticket prices are forty dollars, and I mean, come on, they're astronomical. When the re's two of you going there and then you're going to eat food or drink or something, it really is far too much. So, if I pay forty dollars to see someone, I would really, really expect them to give me a good time, and because of that I would not be able to have a good time. So when you open for someone else you don't have to deal with that expectation. You can just get on and be who you are and get on and have fun.
A: I had a good time.
R: You might be very, very strange.
[Laughter]
A: That covers a lot of us.
A: This is about Trey's guitar, I want to know more about it, it's like a bass and a guitar.
T: It's a...it's a...she's asking about the guitars I play. They're...it is a ba..
A: No, that one.
T: That one.
A: The 6...12 strings.
T: It has 10 strings. There's 5 bass strings and 5 guitar strings. That's what it is, it's a guitar and a bass combined.
A: And it goes in different directions?
T: It goes in different directions.
A: Isn't it a Stick, or...?
A: No, it's a Warr.
R: Shouldn't we find questions from women? Yes, madam.
A: The outfits intrigue me, you know, looking at you guys, I'm like getting a...[?]...all the black...[?]...
R: We spent months planning that.
[Laughter]
This is a question to do with our stage outfits. And the designers we called in. To make sure they were all perfectly balanced, and that was even about Adrian's new silk tee shirts that he has to wash by hand.
[Laughter]
A: How different was it working with a producer on this album?
A: Machine.
P: It was great. There was somebody to keep me company. Some of these guys left early. We would be there tweaking. It's good. He, by the way, he.. .Machine had never heard Crimson, he never knew there was a Crimson bef.. .well, he had heard Crimson, heard of it, but he never knew there was any thing previous to Elephant Talk. So we got to bring those records in to him to give a little history...[?].
R: Machine has very, very good ears. Some of the best ears of anyone I've worked with. His father is a clarinet player with the New York Symphony Orchestra and...
P: His mother's a music teacher and his grandfather's a drummer. From the first drum school in New York, Manhattan School of Music? Something to do with that? A New Jersey kid.
T: Go on...
**A: What is a rubber bass?
T: It's an Ashbury Fretless Bass with rubber...silicon strings. I don't have one here.
**A: What songs is it featured on?
T: It's on Eyes Wide Open on the EP.
**A: Hey Pat, Shoganai, is that just you?
R: This gentleman has lots of questions, doesn't he? To those at this end of the hall who can't hear, the question was what's a rubber bass. This is where it began. Tony Levin brought one...can I tell the story?
T: Please.
R: Tony Levin brought a rubber bass into a King Crimson rehearsal at Studio Belew in Nashville.
A: Is it really rubber?
T: The strings are made of silicon.
P: You know what's interesting? You know where he got that bass? Because I know the story of where he got that bass. It was a gift from David Gilmour. He did some gigs with Pink Floyd and walked in and David was playing it and he admired it, he handed it to him. It burned up in his fire.
R: Yes, Tony had a fire in his garage.
P: Yeah, it burnt up all his memorabilia, all his old instruments, and so he put out the word to get another one of those rubber basses, the Ashbury which were like, two hundred dollars?
T: Maybe five.
P: It quickly drove the price up.
T: Yeah, because he was asking for it, they went up to about a grand. But I bought mine for two hundred and forty dollars at Musician's Friend. It's a copy, it's a remake.
R: And Adrian has one on the wall of his guitar room, now, in Nashville, too. But the story I was about to tell...Tony was coming up with these intriguing sounds from his little rubber bass and I turned and looked and it was upside down with the headstock on the floor. So the bottom of the guitar was here and the top of the guitar was there and Tony was playing it something like this. I only mention that because, Tony has a sense of play.
A: I really enjoyed the song where, the first time you laid the one of your guitars flat and you were setting up a bunch of loops and then you went into a really groove, a really nice groove, I wonder if you have a name for that song at all.
[Giggles]
T: You might be surprised to know I have no idea what you're talking about.
[Laughter]
I mean, sitting here trying to talk about what we did is absolutely impossible.
P: I would agree.
T: I can't even...[gesture]
[Laughter]
R: I remember Trey doing it, but I don't know when.
A: About mid-way through.
R: See, performance isn't rational. It's not rational, it's not sub-rational either, it's not quite irrational, but when it works, it's kind of trans-rational. Rationality must be involved somewhere, but if that's the level at which you're operating from, it really won't be musical. It might be interesting, it might be professional, but it won't be..it won't be the stuff I'm paying thirty dollars [something?]. (4)^
T: Ah....ah.....It's getting out of hand. How 'bout this guy all the way in the back. You!
***A (drunk from before): Hi. I'm a musician. You changed my life forever.
T: I wasn't even born when you were a kid.
[Crowd erupts in laughter]
R: [? I don't think anyone was.] So I'm telling a story, my: how I came to be a professional musician, very briefly.
***A: Well, wait a second.
R: All right, all right then he has a question, what is it, yes sir? T: You had your chance. ***A: I have always wondered, I have listened to all your albums, Robert, and you are...I listen to [Mauler? and] Stravinsky and I put you above them. This is how much I admire you.
R: All right, I'll tell my story.
[Laughter]
Unless you have a question, sir. I thank you for your kind words.
***A: Ah.....Adrian has laryngitis?
R: Or worse, he sounds terrible. He really is sick.
***A: Can he play the guitar?
R: Oh, no! I mean, he probably would if we said you're turning up and sent the van, he'd be on there now, sniffling away and looking wretched. He wouldn't be singing, he would only be playing guitar, but then he'd infect us.
T: And we'd lose a lot more of the tour than just tonight.
R: Then we'd be ProjeKct One point Five.
As: Tell your story....tell your story...
R: So now may I tell you my story....
As: Yeah!!!!
R: I began...thank you guys...tell me when you're bored...I began playing guitar December the twenty-fourth Nineteen fifty-seven. My mother and I spent the day combing guitar shops in the Bournemouthe area to buy me a guitar for Christmas. It was awful. Six years later when I was seventeen I came back from a holiday in Jersey visiting my sister who was working on the island as a hairdresser and I came back, I'd so loved practicing for hours and hours and hours and I said to my mother, I'm going to be a professional musician. My mother said nothing, she simply burst into tears. In later life, many years later my mother said to me that she never actually burst into tears. So, I can't honestly say that my mother did or didn't burst into tears; I know that I registered my mother bursting into tears. So I waited, four years later as a dutiful son, before finally I became a professional musician. My mother....my mother was afraid that when I got to be forty I would be bitter...and.....regret....my choice. Yes, I should've listened to my mother. Hey, I could have stayed as a real estate agent. [? So, you see I had] become a professional musician. It was worse.
A: Who are you guys favorite musicians?
T: You know I...I don't even know how to answer that question, but my new favorite record is the Willie Nelson's Demos from 1961.
[Mixed reactions from crowd]
P: Well, my list is too long, I couldn't even start.
A: Just name one.
P: John Lennon.
A: Any chance we might ever see a ProjeKct X tour?
R: ProjeKct X? That would probably be called ProjeKct Crim, if we ever did that. And right now, we're too busy with Crimson.
R: Make your choice.
T: There's a lady in [?] glasses
A: Why are you so shy?
R: Why are you so shy Trey?
[Laughter]
T: That's not a question for me.
R: Pat, you're a shy kind of guy.
P: I know, I know...it's something for a shrink. I always sat in the back ...I'm used to that sort of thing, which is great.
A: That was for Fripp.
R: Well, firstly, this is not quite a question, it's a statement...the st atement is "You are shy".
A: No, it's "why?".
R: If you say to someone, "Why are you shy?", you are not saying, "Are you shy?", yes or no or in between, Joan Bull will back me up. If you say to someone, "Are you shy?", you are saying, "You are shy, why?" This is a very different kind of question. Yes? Yes, all right, well with that out of the way we can move forward.
[Laughter]
The main concern, shall we say, of the artist, but really if we are all artists in how we live our life, is to be true, and we can only be true to who and what we are. And if you say to me, "Can I adopt a professional role and go out into the world and function, well, obviously, I've been now climbing into the back of bandwagons and setting off for gigs for 41 years and 9 months. So, if I'm shy, then obviously I'm not cripplingly shy.
[Laughter]
If you say to me, [nearly yelling in jest] "Why are you a private person with an increasing sense of your interiorization?:, I would say to you that this is not a question, it is a statement!!!!
[Laughter]
And I would take the first part of it "You are a private person, why?" I would say because it is fundamentally in my nature. Am I cripplingly private, no! I can go out in the world and function, I can get into the back of the busses with my buddies and set off to meet the public. But am I private? Yes. So, then I would move to the second half of that statement masquerading as a question "You are developing interiorization, why?!" I would say, well, at the moment I'm going through a change in my........ personal...process in which I am becoming increasingly private and interior. Does that mean being increasingly cripplingly private or, no! It's just that my self of sense [sic?] is deepening and it is private and interior. Why? Because that's who or what I am.
[Applause]
R: And....
T: We're done.
R: Thank you very much and good evening.
[Applause]
**************************************************************************************************************
Sorry there were spaces of this that just weren't audible. Please forgive spelling errors for equipment, towns, manufacturer's, etc. Thanks. This took long enough without try to research all that, too.
Date: Fri, 30 Apr 2004 18:09:01 -0400 (EDT) From: ebh4 <ET04207 at elephant-talk dot com> Subject: Dear ol' uncle bobby
It appears dear old uncle bobby has been plagued and angered by people selling shows for commercial profit on e-bay, et cetera. I don't know whether or not he is opposed to people recording the shows for their own personal enjoyment, or just others capitalizing off his hard work. If it is the latter, I can't say I blame him. If it is the former, I'm not sure where I stand. I do agree that when people pay more attention to their documentation of an event than just enjoying it for what it is, that is certainly disruptive, and unfair to that person, and the artist. However, in my personal experience, I was not able to attend an A Perfect Circle show in September, and was afterwards able to secure a recording of what I had missed. It meant a lot to me that months later I could hear the show I wanted so desperately to attend. Also, another APC show I did attend, I managed to get a copy of the show, and that is one of the most cherished souvenirs that I own. I don't mind any rough edges that might have occurred on the tape, because that was my personal experience with the group I admire greatly, and this allows me to remember it better long after the event has passed. I'm just wondering where RF is coming from.
Date: Tue, 04 May 2004 14:22:06 -0400 From: Michael S. O'Connor <ET04214 at elephant-talk dot com> Subject: Schizoid Band Tour
I went to the show in Atlanta and it was outstanding! I would have thought more people would have showed up though. Can anyone out there tell me what the deal with the live DVD is? I didn't see it on sale at the Atlanta show but a friend of mine who went to the NY show said he bought one. How can I get a copy of this???? Someone help me out please.
mike
Date: Wed, 05 May 2004 11:17:32 +0400 From: "Vladimir <ET04215 at elephant-talk dot com> Subject: The Russificated King Crimson
All Russian and not only Russian speaking ETers are invited to my site "The Russificated King Crimson". Its new address is http://indoor-games.narod.ru . I'll be very pleased for the lyrics from the Happy EP.
Vladimir Kalnitsky
vlad dot kalnitsky at mail dot ru
