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 #118 D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 118, Thursday, 2 December 1993 Today's Topics: More info about new CD... Pass the earplugs! Re: Discipline #117 New Fripp disc?? What a Stick is ROLLINS/CRIMSON stick how to get crafty stuff album Belew/Vai more words from Mr. Bloom Under Milkwood :-) Chapman Stick Discography [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 26 Nov 93 19:40:40 -0500 From: javasque at entropy dot bph dot jhu dot edu (Jaime Vasquez) Subject: More info about new CD... Guess I forgot to give certain information that might help some of you get the new CD a lot sooner. The price is $14.99 plus 15% p&h (2.50 minumum). You can also get Gunn's "1000 Years", and the California Guitar Trio's "Yamanashi Blues" for 14.99 as well (both are autographed!). Hmmm... this is turning into a commercial for Possible Productions isn't it? Anyway, you can also get the video shot in Japan for $20.00. GC and Discipline stickers go for $3.00 and a RFSQ t-shirt goes for $12.00. Well, have fun with your X-Mas shopping. ciao, Jaime. [[ Thanks Jaime. The address again is: Possible Productions c/o Mark Perry 351 Magnolia Avenue Long Beach, California 90802 fax: 310-491-1945 Last night at the Sylvian/Fripp gig here in Manchester (U.K.) there were fliers distributed for the new album, giving a price of $25 which includes 1st Class airmail. This appears to be the price for international orders. It also says the CD is part of a "signed by the artist" series. Maybe if people do write off for the CD, they could mention they heard about it through Discipline? (er... that's _us_ not the record label -- here we go again! :-) Also distributed was a postcard announcing the Dec 6th UK release of a Darshan "mini album", featuring "remixes by _The Future Sound of London_ and _The Grid_". And it mentions another contact point: "For further news on David Sylvian and Robert Fripp, contact: Box CV744 14 Newbold Terrace Leamington Spa CV32 4ER U.K. Your dutiful editor has, of course, written. I'll naturally pass on anything they send me. -- Toby]] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Toby Subject: Pass the earplugs! On the subject of last night's S & F gig. I was astonished at the poor quality of the sound mix. It was DREADFUL!! :-( The Michael Brook opening set sounded _great_. The sound quality was fantastic (although his music leaves me a bit cold. It's technically good, sure, but "where's the soul?" as Ian Piumarta (fellow Discipline reader and Mancunian chum) said wistfully to me on several occasions.) The S & F sound was muddy, there was an audible buzz, things were crackling and distorted. Fripp's guitar was buried in the mix. And it was too loud. Yikes. I just hope all this wasn't deliberate. Anyone else who's seen this tour found anything similar, I wonder? Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 26 Nov 1993 14:31:35 -0400 (EDT) From: LENNBOB at delphi dot com Subject: Re: Discipline #117 >> When I came home Saturday, I found that my copy of the CWTA: Robert Fripp >> Laser Disk had arrived in the mail. Since I do not, as yet, own an LD >> player, I have not viewed this disc. (As least, I have a reason to buy one >> now.) I also received KC: Three Of A Perfect Pair, which I already have on >> videotape. So, you can imagine my delicious torment. I have these exciting >> disks which I cannot watch. Ah, but it will only make the viewing that much >> sweeter when it does occur. What are the labels and catalog nos. of these laserdiscs? >> Since the insert sheet is almost entirely in Japanese, I cannot pass on >> any more information. If you can send me a photocopy, I'll look at it and try to post a summary. (Kevin O'Conner 4427 5th Ave. NE #6 Seattle, WA 98105-6138) >> Mr Brook really was outstanding! If what Malcolm [Discipline 114] says >> about Brook's performance being even better in the studio is true, this is >> definitely something worth looking for. >> Unfortunately, the Sylvian/Fripp tour didn't stop in Seattle, but I have >> recently picked up Michael Brook's 1992 album, "Cobalt Blue", and this >> year's "Live at the Aquarium". Both are excellent. >> >> The only thing I began to wonder about, afterward, is this: Fripp seemed >> to be happy to 'use' David Sylvian as the 'spotlight kid'; he himself >> certainly wasn't subject to 'exposure' during the show; the focus was on >> Sylvian throughout. >From what I've read, this was true of the recording of the album as well: "[Sylvian's] album with the King Crimson guru, _The First Time_ [sic] is billed as a collaboration. The pair worked together as far back as 1985 on Sylvian's _Gone To Earth_ album, but they only began to improvise and write as a duo at the end of '91. However, it's clear who is in charge. According to Toyah Wilcox's husband, Fripp, "on this particular album, I'm being chaotic and David is more organized. He has a very focussed approach". Final mixing was left to Sylvian....At 47, this Crippen-like figure remains a genuine maverick. He has recorded with many of the pioneering pop stars of the last 20 years, notably David Bowie and Brian Eno on _Heroes_. During those sessions he enjoyed a looser arrangement than the one established by Sylvian. "Bowie would present himself in terms of a persona, but he didn't impose that mask on the musicians he was working with," he says, hands clasped together in an erect, priest-like pose. "Both Eno and Bowie had the sense to put me in a place and simply say 'go'. I prefer working with characters like that." (from _Vox_, July 1993) An interesting note, however. I went to three of last year's Sylvian/Fripp shows in Tokyo, and at the end of every one of them, young women would run down to the stage with presents and bouquets of flowers for Sylvian. At the second show I went to, Sylvian gestured to Fripp, who bemusedly stepped forward to accept the offerings. Kevin [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: wcsanil at ccs dot carleton dot ca (Anil Prasad) Subject: New Fripp disc?? Date: Fri, 26 Nov 93 17:45:46 EST Can someone please post details about the new Fripp disc. Is it going to be available in the stores or is it mail order only? [[ Appears to be mail order only, Anil. See above. -- Toby ]] --------------------------------------------------------------------- Anil Prasad wcsanil at ccs dot carleton dot ca NOTE: This account will be changing to aprasad at ccs dot carleton dot ca at some point in the near future. Could happen today, could happen next year. Ah, the joyous wonders of university admins. "Your band is a naive child. You are the parent, and the record label is a child molester." -- Tracey Bennet, New Music Seminar 1993 --------------------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 28 Nov 93 00:15:00 PST From: "Chris King" Subject: What a Stick is Someone asked last time out in Discipline, what is a Stick? The Chapman Stick was invented by--oddly enough--a guy named Chapman in Los Angeles sometime in the early 70's. Typically it has ten strings, though Mr. Chapman is selling a nifty twelve string model these days for those well-to-do Crimheads with $1600 to spare. On the standard model, there are five bass strings and five melody strings and it's played by tapping or hammer-on as a guitarist might describe it. Tony Levin is one of the more visible players, but many of us hard core Stick players would mention that he never uses the melody strings (well almost never) so you might want to check out players like Emmett Chapman, Jim Lampi, Marco Cerletti, Bob Culbertson, etc. to really hear its full range. Is it hard to play? Other Stick players might like to argue this point, but I think the way Gunn and Levin play is not overly difficult to pick up--probably as difficult as learning basic bass guitar. (OK--all you Gunn/Levin fans: please flame the h--- out of me starting now). The people using two hands independently on both melody and bass strings would find it a difficult instrument. After a year or so of intense practice, my solo stick versions of "Book of Saturday," "Talk To The Wind," "Cadence and Cascade," and "Fallen Angel" no longer cause my downstair neighbor Lisa's dog, Mickey, to howl anymore. Whether those songs will make the pretty girls sigh in local coffeehouses when I go live next year is still a question. Best Wishes, Chris King [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 28 Nov 1993 21:30:36 -0600 (CST) From: 26H3KESSLERR at vms dot csd dot mu dot edu Subject: ROLLINS/CRIMSON Here's something interesting: For any fans of Henry Rollins (former punk band Black Flag leader/current hard rockin' Rollins Band leader), he makes mention to Crimson in one of his spoken word albums. I think it is the one called "Live at McCabes." Anyway, he is talking about how he had a screwed up life when it came to relating to girls, and how everyone else was normal during his teenage years. He said that he felt like "21st Century Schziod man." I found that interesting. to any Rollins Band listeners, I think that they are quite crimson influenced, especially on "the end of silence." Anyone second that emotion? "1-2-3-4, 1-2-3, I wait any longer." bk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: tlkalka at mailbox dot syr dot edu (Terrance L Kalka II) Date: Sun, 28 Nov 93 22:04:13 EST Subject: stick A chapman stick is a ten stringed, fretted instrument that is played by two- handed tapping. It has been around for 2o (sorry) 20+ years. In addition, Trey Gunn is slated to play tenor stick, which is the original stick in a new tuning, and grand stick, which has two more strings. Hope this helps. Terry [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 29 Nov 93 10:22:17 CST From: oskardma at ukraine dot corp dot mot dot com Subject: how to get crafty stuff >I noticed when I saw a League of Crafty Guitarists show that they were >selling a variety of materials near the front door including T-shirts, >booklets and music. Anyone know if these materials are available directly >from League headquarters and how to go about ordering them? Try writing to Mark Perry's address and ask for his crafty catalogue. The address was in issue #117 also, but since you probably deleted it :-) here it is again: Possible Productions c/o Mark Perry 351 Magnolia Avenue Long Beach, California 90802 fax: 310-491-1945 Take care, david [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 29 Nov 93 14:55:25 -0800 From: David A. Craig Subject: album thanks for posting the information about the new record ... but does anyone have the prices for mail orders? (not having a fax machine and all ...) on another note, you say the "careful with that axe" laser disc has an EXCERPT from "the sheltering sky" ???????? have these people no shame? (shudder). by the way, for those who were unhappy they couldn't view their new acquisitions, you should know that laser disc players rent for not a whole lot more than vcr's, at least around here. call around! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Andy Wilson Date: Tue, 30 Nov 93 17:26:20 EST Subject: Belew/Vai Adrian Belew interviews Steve Vai in the January 1994 issue of Guitar for the Practicing Musician. They talk about their various experiences working with Frank Zappa, also they talk a little about the new King Crimson, and about Belew's work for Nine Inch Nails. Interestingly, Belew suggests that he and Vai do some work together. Also, readers may be interested that there are transcriptions of brief excerpts of Belew's and Fripp's playing in the following publications: "New Wave Riffs For Guitar" "Classical Riffs For Guitar" There are no complete song or solo transcriptions, just little snippets. One annoying factor is that the excerpts all say "...and it goes something like this...", presumably to avoid getting permission from the copyright owners to publish them. Andy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 30 Nov 1993 15:49:33 -0800 From: Malcolm Humes Subject: more words from Mr. Bloom My phone call to Michael Bloom asking for permission to post his review prompted him to send me a letter which he indicated I could share with the list. So here it is, intact, as I though exceprting only the Fripp parts wasn't fair... - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 12 November 1993 Hello Malcolm, Thanks for calling; here's a copy of the Fripp/Crimson review for your edification, as well as an example of the kind of editorializing I'm doing these days. You will nodoubt recognize my tolerance & forbearance from my net persona. :^) The reasons why Fripp is a whiner and I am not clueless were too involved and petty to get into print, but they involve things like Fripp professing to be hurt because his managers weren't going with him on the road. He should know by now that that's not their job! Their job is to arrange lucrative work for the artist, and that's best done by phone calls from a central office. The babysitting function is accomplished by a different functionary called a road manager. On the whole, I think Fripp has made out better than many of his contemporaries. While he doesn't have full control of his output, he at least retains enough control to, for example, forbid the release of records he finds embarrassing, like Earthbound and USA. Compare this situation to Paul McCartney, whose best work is owned by Michael Jackson, or Bill Bruford, who's a virtual slave of his managers - I bet you big money he'd never have done Symphonic Music of Yes if he had a choice in the matter. (I may find out for sure soon, I may do a phone interview with him on Tuesday.) Anyway, if Robert still feels abused by curt words from colleagues 20 years ago, he should ask Peter Gabriel for the name of a good therapist. And you can tell the net I said so. As for me, I'm still doing most of what I was doing, except the day job (and the net). Judas & Natasha Experiments got reviewed in the local Murdoch paper - as expected, they hated us, but for all the right reasons. We still have over 600 copies of the CD to sell; we'll probably take them to our graves. urban Ambience is planning to record some new stuff over Thanksgiving - we added a new guy, a sax & percussionist from Afghanistan, which is kinda taking us out of the Eno wanna-be camp and into a more ethnological forgery area; I know I'm dying to add new material that doesn't involve so many goddam guitar arpeggios. That's another reason I like doing marimba improvs so much [Bloom's other project lately has been him on marimba in a duo. -m] - I don't know any mellow marimba cliches to fall back on; it's still very fresh territory to me. I sat in with Richard Sinclair on 3 tunes - marimba on "Heather" and "O Caroline", and Indian temple bells & harmony vocals on "I Would Caravan For But Where" - my 15 minutes of fame. Please give everyone my regards, best of luck, etc. Yours, Michael Bloom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Under Milkwood :-) From: mike dot dickson at almac dot co dot uk (Mike Dickson) Date: Mon, 29 Nov 93 19:13:00 Organization: Almac BBS Ltd. +44 (0)324 665371 [D] In Discipline #116, Michael Bloom's article mentions that "We'll Let You [D] Know" was recorded live. I thought I should mention that other parts of [D] the album were also live: I can go slightly better than this; here is the entire source list for 'Starless And Bible Black'; 'The Great Deceiver' - AIR Studios, London (January 1974) 'Lament' - AIR Studios, London (January 1974) 'We'll Let You Know' - live, Glasgow Apollo (23 October 1973) 'The Night Watch' - introduction is live from the Concertgebouw, Amsterdam (23 November 1973) remainder recorded at AIR Studios, London (January 1974) 'Trio' - live, Concertgebouw, Amsterdam (23 November 1973) 'The Mincer' - live, Parc des Expositions, Zurich (15 November 1973) and overdubbed at AIR Studios, London (January 1974) 'Starless and Bible Black' - live, Concertgebouw, Amsterdam (23 November 1973) 'Fracture' - live, Concertgebouw, Amsterdam (23 November 1973) The tape ran out during the recording of 'The Mincer', hence the rather abortive finale. [D] The fact that music as incredible as "We'll Let You Know," "The Mincer," [D] and "Starless and Bible Black" were IMPROVISED is a testament to the [D] skill of the musicians in the band. Couldn't agree with you any more. They were probably the best live band in existence at the time. +--------------------------------------------------------------------+ | Mike Dickson [Team OS/2] Black Cat Software Factory | | mike dot dickson at almac dot co dot uk Fidonet : (2:259/17) | +--------------------------------------------------------------------+ --- ~ KWQ/2 1.2d NR ~ PANTHER *Freeware* Communications Software! PANTHER2.ZIP! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Chuck Ivy Subject: Chapman Stick Discography Date: Wed, 1 Dec 1993 23:07:26 -0600 (CST) The Chapman Stick Discography has been updated and uploaded to ftp.uwp.edu it can be found in the stick.chapman directory. It contains 86 full or partial listings of recordings containing use of the Chapman Stick, a guitar/bass-like instrument. Included are listings by such noted players as Tony Levin (with Peter Gabriel, King Crimson, Pink Floyd, and a dozen others), Emmett Chapman (the inventor of the instrument), Fergus Marsh, Alphonso Johnson, and many, many more. It is by no means complete, and I urge all interested to email me any additions, corrections, or suggestions to this discography. Thanks. -- . _____________________________ /:| / / : =| Chapman Stick | Chuck Ivy \:|___________________/__/___:_=| White Oak #240 | cei at po dot cwru dot edu ++ 2 years and counting | cei at math dot uh dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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.