Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #1209 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1209 Sunday, 29 May 2005 Today's Topics: ZUM TOUR ESPA=?ISO-8859-1?B?0Q==?=A - ITALIA 2005 King Crimson Influences Starless variation What's that sound ? Re : Serendipity La 1919 Re: silence is golden Re: questions to those... emotional substance Re: New Fripp Solo Performances? And LCG? KC not emotional? Give me a break. Top 50 ("silence is golden") KCCC #29: (the '74 live Starless Fripp On Tour Sublimal King Crimson influenced 80's Fripp In Long Island NY ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send *all posts* to newsletter at elephant-talk dot com ** Posts intended for the newsletter should have a subject prefix of ETPOST ** Posts intended for an individual newsletter contributor should have a subject prefix of their ET 'Ticket Number', shown at ETxxxxx in their 'From:' line in the newsletter. 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The ET TEAM accepts no responsibility for the views of authors of posts. ET is produced using John Relph's Digest system v3.7b. If you'd like to donate to the upkeep of ET, please press the "Donate" button at ETWeb. ------------------ A I V I R T S I N I M D A --------------------- Date: Tue, 24 May 2005 22:35:13 +0200 From: Luciano Pietrafesa Subject: ZUM TOUR ESPA=?ISO-8859-1?B?0Q==?=A - ITALIA 2005 Hola a todos de la lista de contactos de ZUM, Estamos muy contentos en anunciar el ZUM TOUR ESPAAA - ITALIA 2005. Luego de nuestros Aoltimos conciertos por EEUU durante los pasados meses Marzo y Abril presentaremos nuestro nuevo material durante esta gira que comienza el 25 de Mayo en el "CA-rculo de Bellas Artes de Madrid" y se completarA! el 22 de Junio en el "Museo Revoltella" de Trieste, Italia. La gira serA! grabada, y el material quedarA! plasmado en nuestro nuevo album "Angel Suite" que se publicarA! a fines de este aA~o. Las fechas de los conciertos estA!n disponibles en http://www.zumguitars.com/performance_esp.html Ademas estA!n publicadas las fotos de nuestros ultimos Tours por Argentina, Chile y EEUU. Puedes verlas en http://www.zumguitars.com/photo_esp.htm ZUM TOUR ESPAAA ITALIA 2005 - 25 de mayo, MiAcrcoles - 20:00hs CA-rculo de Bellas Artes- Sala Fernando Rojas junto con IMA TENKO / KIRAZA - BUTOH, danza japonesa contemporA!nea tel: 913605400 C/AlcalA!, 42 Madrid, EspaA~a http://www.circulobellasartes.com - 26 de mayo, Jueves - 16.00 hs RNE.3 - Radio Nacional EspaA~a junto con BIG TIME Discopolis con JosAc Miguel LA3pez Este broadcast va a ser transmitido por internet. Para escucharlo puedes visitar este link - 26 de mayo, Jueves - 20:00hs CA-rculo de Bellas Artes- Sala Fernando Rojas junto con IMA TENKO / KIRAZA - BUTOH, danza japonesa contemporA!nea tel: 913605400 C/AlcalA!, 42 Madrid, EspaA~a http://www.circulobellasartes.com - 1 de junio, Miercoles - 22.00 hs. Sala Clamores junto con BIG TIME entrada: 15 a~ Tel. 91 445 79 38 Alburquerque, 14 - Metro Bilbao Madrid, EspaA~a - 3 de junio, Viernes - 23 hs Ever Diagonal 353 - Verdager tel: 93 427 9022 Barcelona, EspaA~a - 4 de junio, Sabado - horario a confirmar Teatro Municipal Mercat de les Flors junto con GENTE COLGADA, trapecio tango C/ Lleida, 59 tel: 934261875 Barcelona, EspaA~a http://www.mercatflors.org - 8 de Junio, MiAcrcoles - 21.00 hs JardA-n del Palau Robert junto con IMA TENKO / KIRAZA - BUTOH danza japonesa contemporA!nea Passeig de Gracia, 107 (Diagonal -Paseo de Gracia) tel:932388091 Barcelona, EspaA~a http://www.gencat.net/probert - 9 de Junio, Jueves - 21.30 hs La Paloma Entrada:15 a~ en taquilla, 12 a~ anticipada Tel. 93 301 68 97 Tigre 27 Barcelona, EspaA~a http://www.lapaloma-bcn.com Anticipadas en: Music World, c/Tallers 1. Barcelona Pan y Musica, c/San Elies 39. Barcelona - 11 de junio, Sabado - 23.30 hs. Sala Mariscal junto con BIG TIME Girona, EspaA~a - 12 de junio, Domingo - 14.00 hs Bodega SaltA3 C/ Blesa 36 - Paral-lel tel: 93 441 3709 Barcelona, EspaA~a - 17 al 19 de junio Workshop with The Italian Circle Rolo, Italia mas info en el link noticias - 21 de junio, Martes - 22.00 hs Teatro Auditorio (a confirmar) Trieste, Italia - 22 de junio, MiAcrcoles - 22.00 hs Museo Revoltella Trieste, Italia No te olvides de visitar periA3dicamente la secciA3n "noticias" donde salen todas las informaciones referente a publicaciones de prensa y a talleres y cursos sobre la Nueva Afinacion Estandar ( NST - New Standard Tuning). Si quieres acceder directamente haz click aqui:http://www.zumguitars.com/news_esp.htm Para obtener mA!s informaciA3n sobre ZUM pueden visitar nuestro website a la siguiente direcciA3n http://www.zumguitars.com Para contactarse con nosotros lo pueden hacer a: info at zumguitars dot com Un saludo, Luciano ------------------------------ Date: Fri, 20 May 2005 15:54:55 -0700 From: Andrew Fox Subject: King Crimson Influences Hello Just listened to the excellent Coldplay Parachutes album from 2000. Has anyone else noticed that track 8, a song called High Speed contains moments where the bass line sounds exactly like Catfood from In The Wake Of Poseidon. Could Chris Martin be a secret Crimhead? Also, have Radiohead ever admitted that King Crimson or Robert Fripp are an influence on their recorded work. Just listen to the tracks... Just, My Iron Lung, Airbag and Myxomatosis. On the last album 'Hail To The Thief' on the song Where I End and You Begin it's as if Mr Fripp is actually playing frippertronics from the early eighties. Are there many other recognised new bands who are influenced by King Crimson? Best Wishes Andy Manchester, UK ------------------------------ Date: Sat, 21 May 2005 09:18:45 -0400 From: Keith Handy Subject: Starless variation > Date: Fri, 29 Apr 2005 22:03:14 -0400 > From: R. Eric Young > Subject: Starless 6th & 8th notes > > Why is it that the live recordings of "Starless" have David Cross > playing the sixth and eighth notes of that gorgeous, familiar 14-note Fripp > theme (played on guitar on the studio version) descend to an A flat rather > then Fripp's inclining B natural note? I do not know that much about > theory, none in fact, If you know what a semitone is, you can't say "none". > and am not professing to be some wizard or > know-it-all. Still, this fabulous theme, so Frippian, is almost wrecked for > me every time I hear Cross play it his way instead, at the opening of the > song. Even at the end of these many live recordings of "Starless" Robert > goes UP to that sweet semitone bend, up B flat to B and back First of all, I think you're off by a half-step overall; you may want to check the tuning of your instrument or the speed of whatever you're listening to. As far as I know, all the live versions pre-date the studio version, so perhaps A G A G was the original, and the bend up was an enhancement that won out in an unconscious "survival of the fittest" manner. Often times, "throw-away" embellishments wind up being fixed, essential parts of a song. I doubt a lot of conscious thought was put into this one note. -Keith ------------------------------ Date: Sat, 21 May 2005 08:41:12 -0400 From: Allan Okada Subject: What's that sound ? On the original League of Gentlemen LP version, does anyone know what instrument Fripp uses on the songs Pareto Optimum I, Pareto Optimum II and Ochre ? Is it a keyboard or the Roland Guitar Synth ? He also used it on a piece called Volo Ergo Sum for the Recorder Three compilation record and other rare tracks in that time period. The only Frippertronics live performance I know that he used it was at the ICA Theatre show on Sep.28, 1980 in London England as I can hear it on a live recording. Did anyone attend that show ? Perhaps they would know the answer. AO PS - please visit my Fripp & Eno / Frippertronics live recordings archive ... http://home.cogeco.ca/~frippertronics/Frippertronics.htm ------------------------------ Date: Sat, 21 May 2005 07:46:37 -0400 From: iteration zero Subject: Re : Serendipity > Mark Harvey writes: > > Isn't it great when you buy a CD you know nothing about, on the off-chance, > and it turns out to be fantastic? Sorry if this is a bit off-track, but I > just wanted to tell everyone that I bought an album for 33.99 from that > rather good shop on London's Berwick Street, simply because, as a > socialist, the title "La 1919: Giorni Felici" naturally appealed to me, and > because at that price there wasn't anything to lose. > > The cover artwork is horrible, but when I opened it up and saw that on the > inside was "a special thank you" to their influences, including Frisell, > Bowie, Sylvian, Zappa, etc, I started to get excited. > > It's in Italian, by a couple of blokes I've never heard of called Piedro > Chianura and Luciano Margorani. I mention it because I'm sure that other > Crim enthusiasts will really like it. It's got some Belew-style guitar > solos, some ProjeKct Three-type drum loops, some "Lizard"-style > brass/woodwind accompaniments, and some sublimely weird chord > progressions. If you want something halfway between the modern incarnation > of Crimson and the Faust of "Faust IV", I truly recommend it. Who are these > people? They only have one album listed on the All-Music Guide and there's no bio. Here's the review from that site... "On Jouer. Spielen. To Play, La 1919's nucleus (Luciano Margorani on guitar, bass, and loops; Piero Chianura on samplers and synthesizers; Roberto Zorzi on guitar) is joined by two all-star avant-garde drummers: Charles Hayward (first five tracks) and Chris Cutler (last four). This album was recorded live in Italy on two separate occasion in April 1991 and in May 1992, hence the different drummers. This Italian band approaches free improvisation from a progressive rock perspective. The beginning of "Hanno Seppellito l'Uomo Sbagliato," with its 6/8 drum pattern, clavinet riff, and twangy guitar, could share affinities with some material by the best bands from the Canterbury scene (National Health, for instance). But through slightly sloppy transitions and a certain degree of uncertainty permeable to the music, one quickly finds out this is improvised material, even though it is riff-based for the most part. The first half of this album floats somewhere between avant-prog and experimental atmospheres (like the moody "Sheffield Wednesday," which includes some recitation by Hayward). On the tracks featuring Cutler, the music tends to be closer to Cassiber than Henry Cow. Overall Jouer. Spielen. To Play can give the impression of a bad jam band or of an avant-prog band trying to free itself from structures, but not quite succeeding. A record of tepid interest." And if you check out the label it was released on, Materiali Sonori, you'll find it's a record shop in Italy and they offer three La 1919 albums. Here's the link: http://www.matson.it/html/byletter.asp?letter=l Enjoy! Christopher ------------------------------ Date: Sat, 21 May 2005 14:06:19 +0100 From: Alan Crumlin Subject: La 1919 Mark Harvey was asking recently about an Italian band called La 1919. I have one of their CD's called "Jouer, spielen, to play" I only bought it because Charles Hayward of This Heat is on it. (Also Chris Cutler) It certainly would appeal to Crimson fans being a mix of improv and industrial - powerful stuff! If Mark wants to contact me at alan at crumlins dot co dot uk I'll give him more info ------------------------------ Date: Tue, 24 May 2005 07:58:59 -0500 From: brad cook Subject: Re: silence is golden > Date: Sun, 01 May 2005 23:01:55 -0400 > From: David Kirkdorffer > Subject: silence is golden > > But now, with all the hoo-ha surrounding it, and > being the focus of two Fripp postings to ET in two weeks (after at least > five years of disengagement) who isn't curious to see what it's all about? Me. brad cook ------------------------------ Date: Tue, 24 May 2005 23:30:45 +0200 From: Wiebke_und_Jorg Subject: Re: questions to those... emotional substance Hi, > 2) Several of my friends (most of them knowing a lot about music) have > said/thought/felt that KC is "interesting" music, but without any real > "emotional" substance. It leaves you - as they say - very impressed, but > not affected. What is your take on this ? Is there a truth in it ? Or is > the emotional essence of KC just so strange and unusual, that a casual > listener wont notice it ? Has RF ever said anything about this issue ? I was very much moved by certain works of "avantgarde" composers John Cage, Karlheinz Stockhausen, Luigi Nono and a more obscure composer called Karel Goeyvaerts. In case of Stockhausen, Nono and Goeyvaerts, the pieces I refer to were based very strictly on serial (=mathematical) procedures and formulas, Cage's piece I have in mind simply is a product of chance operations (executed by a computer) - all somewhat sounding pretty "abstract" (and sooo beautiful...). This music was meant to move loads of air molecules around people's ears for a specific time and was NOT meant in any way to transport or evoke emotions; but its pure & somewhat "inhuman" beauty just did that for me (and of course for many others, who dig that stuff) - and this is obviously a very subjective reaction. ... and not very different to my reception of KC-music: especially some of those pieces many might call "formalist" or "chromatic guitar exercises" (as opposed to the countless diatonic/pentatonic guitar exercises all around us) reach certain places in my heart, that music oozing with obvious emotions never even gets near to.* But again: totally subjective. I meet many people who unwittingly approach more complex music with their intellect and think they don't "understand" it, next usually call that music "intellectual" and amidst all that "intellectualism" sometimes don't see the wood for trees, when it comes to the inherent sensual beauty of the music in question. This might sound ashaming Fripp-opportune now, but isn't it - in a way - up to the listener to fill music with "emotional substance"? The music catalyses that (more or less obviously, more or less directive, more or less wittingly - just accordingly to the taste/intentions/convictions/abilities/bank account of the originating musician). Hey, but that's so great about arts: everybody does with it what he or she does. (haha, and everywhere's the best seat :o) Joerg Fischer *Ok, I'm so much into the Dresden Dolls these days, and their music is SO full of drama and very obvious emotion... - so obviously I love that highly dramtic approach too, it's just another cup of tea. Btw: Does anybody around here know them? (just curious, that's why I mention them ;o) ------------------------------ Date: Wed, 25 May 2005 01:03:38 -0400 From: belewgirl Subject: Re: New Fripp Solo Performances? And LCG? I have plans to go see Fripp's solo perforrmance at Imac in Huntington next month so there seems to be a tour going on! I hope he gives out pins again, although you have to ask him an intellegent question in order to receive one (; I really look forward to seeing him again. I also have an question that may have been answered in the past here although it escapes me if it ever came up or is a known fact. In regards to Robert Fripp and the League of Crafty Guitarists: what ever happened to them? Do or will they ever tour around again? I saw them years and years ago at the Bottom Line (now extinct). Man, what a show! What I wouldn't give to hear those guys Thanks- and by all means, go see RF solo if he comes to your neighborhood... Suzanne ------------------------------ Date: Wed, 25 May 2005 08:41:15 -0500 From: wviland Subject: KC not emotional? Give me a break. >Date: Wed, 18 May 2005 15:11:56 +0200 >From: the rainfall years >Subject: Questions to those who know. >2) Several of my friends (most of them knowing a lot about music) have >said/thought/felt that KC is "interesting" music, but without any real >"emotional" substance. It leaves you - as they say - very impressed, but >not affected. What is your take on this ? Is there a truth in it ? Or is >the emotional essence of KC just so strange and unusual, that a casual >listener wont notice it ? Has RF ever said anything about this issue ? For some reason I'm compelled to respond to this. I can only imagine that the critics behind a notion like this have expectations that prevent them form hearing the real "monster" (energy and suspense) behind KC. When I play KC for acquittances that don't particularly like it, I usually find that it is to "hard" for them to listen to. I seems they appreciate the artistry, but they don't like having to "work" as a listener. Most people listen to music very passively, as if it should be in the background of there life. KC turns this inside-out. It demands your attention, and will keep coaxing you in, trying to put life in the background. It is simply NOT for the "casual listener". I think of my wife, who has had to put up with KC for many years. While driving somewhere with her, I threw in some KC (I think it was "The Howler") When she gave a big sigh and said "Great... this is just what I want, people driving around listening to this." She was obviously feeling intoxicated (by the music) and felt it was dangerous to drive while listening to it. To many people "emotional substance" is strictly tear jerking lyrics that they can relate to. For a few (including myself) KC is the definition of emotional music. A sonic roller coaster. At one moment a gentle brook flowing through a grassy field, then BLAMO!!!! the whole F@#kcing thing blows up in your face. You can listen to it a million times and still be thrilled by the suspense. And I'll bet it's not an "issue" for Robert. Wade L Viland Information Technology Manager Thin Film Technology Corporation tel: (507)625-8445 x 52 fax: (507)625-3523 http://www.thin-film.com ------------------------------ Date: Wed, 25 May 2005 12:31:37 -0400 From: Gary Davis Subject: Top 50 Hi, folks: The latest Artist Shop Top 50 is posted and you'll find plenty of Crimson and related titles there. 1. Van der Graaf Generator Present 5. Bruford, Bill Feels Good to Me 8. Bruford, Bill One of a Kind 9. Wetton, John & Geoff Downes Icon (European) 19. Giles Brothers Live 1962-1967 21. Cross, David Closer than Skin 24. Bruford, Bill Bruford Tapes 25. 21st Century Schizoid Band Live in Japan 26. Sylvian, David Good Son vs. The Only Daughter, The 29. Hammill, Peter Incoherence 30. Emerson Lake & Powell Live in Concert 35. Bruford, Bill's Earthworks All Heaven Broke Loose 41. King Crimson In the Court of the Crimson King (Original Master) 46. Fripp & Eno Equatorial Stars 47. Eno, Brian More Music for Films 50. 21st Century Schizoid Band Live in Italy And here are some excerpts from a recent newsletter that might be of interest here. Available now on our Fie! page Van der Graaf Generator/Present ....import double CD Most fans thought it would never happen. But Guy Evans, David Jackson, Hugh Banton and Peter Hammill have reunited as Van der Graaf Generator. This is not a nostalgic reunion to relive past glories, but a coming together of new experiences and fresh perspectives for the creation of new music as well as new live performances, the rebirth of a phoenix! During the studio sessions the muse was so generous that the result was 16 new Van der Graaf works spread out over a double CD. Present is being released by Virgin/EMI who have resurrected the Charisma label for the occasion. "One CD consists of the songs/structured pieces which we consciously rehearsed: "Every Bloody Emperor," "Boleas Panic," "Nutter Alert," "Abandon Ship!," "In Babelsberg" and "On the Beach." The second CD features an hour's worth of improvisations. These have always been a feature of Van der Graaf playing and are quite whacky.... I recommend taking these at about a half an hour at a time; it's really like being locked in the room with us." - PH Newly released from Summerfold/Winterfold Bill Bruford/One of A Kind Bill recorded his debut album as a leader in 1978- "Feels Good To Me," but it wasn't until the conclusion of an 18-month spell with the band UK that his vision of a more permanent outfit bore fruit. Joining Bill and guitarist Allan Holdsworth in "Bruford" was bassist Jeff Berlin and keyboardist Dave Stewart, both of whom had also made key musical contributions to Feels Good to Me. Key tracks on One of a Kind include Hell's Bells, Fainting In Coils and Five G. This re-issue of "One of a Kind" has been re-mastered, and includes a previously unreleased bonus track-- "Manacles." As with all the albums in the Winterfold series of releases, "One Of A Kind" comes re-packaged with a bonus disc containing music from the contrasting Summerfold catalogue and an exclusive interview with Bill Bruford. soundbite - Bill Bruford's Earthworks/Dig? Following three studio albums with the 80's King Crimson the band decided to take a hiatus and around late 1986 early 1987 Bill formed the band Earthworks. The band would be something different in jazz circles however as it would feature electronic drums rather than the traditional acoustic set of drums normally found in a jazz band. Earthworks Mark 1 also featured horn players Django Bates and Iain Ballamy alongside upright bassist Mick Hutton who was subsequently replaced by Tim Harries. The contrast between the acoustic front line of Bates, Ballamy and Hutton/Harries was a strong and powerful contrast to the electronic percussion supplied by Bill Bruford and the band received many critical plaudits. This recording of Earthworks second album, Dig?, has been re mastered and includes two bonus tracks: Emotional Shirt and Pigalle. As with other albums in the Summerfold series of releases, Earthworks comes re-packaged with a bonus disc containing music from the contrasting Winterfold catalogue and an exclusive interview with Bill Bruford. soundbite - Available now from Noisy Records David Cross/Closer than Skin In contrast to earlier David Cross CD's, mixing vocal and instrumental tracks 'Closer than Skin' was conceived from the start as a 'book of songs'. With music by David Cross and bassist Mick Paul the album's lyrics have been written by Richard Palmer-James who wrote the words for King Crimson's 'Larks Tongues in Aspic', 'Starless and Bible Black' and 'Red' albums. The album features newcomers Arch Stanton (a singer from Dublin who makes it all sound easy, negotiating the often difficult vocal lines with a relaxed sophistication) and Lloyd on drums (who underpins the everchanging musical scenario with a calm authority). The other musicians surviving from previous albums are David (prominent on electric violin), Paul Clark (on blazing rock guitar) and Mick (solid and singable) on bass. The contrasts evident in earlier work are drawn even more clearly in these songs, hard edged riffs sitting next to soft choruses, but the words of Richard Palmer-James constantly challenge our confidence in the persona presented. Identity is repeatedly confused so that we never know if the feelings are real or if they're 'Only Fooling' (track 4). Coming Soon from Ryko and associated labels Brian Eno/Another Day on Earth Award-winning musician, producer and cultural icon returns with his first song-based solo album in over 20 years! Best known in the field of music, but an active lecturer, visual artist, writer, political activist and futurologist, Eno's discography as a musician, producer and artistic collaborator includes some of the most acclaimed recordings in the history of modern music. Artists as seminal yet varied as John Cale, David Byrne, Laurie Anderson, David Bowie, U2, Peter Gabriel, Robert Fripp and many more have chosen to work with Eno. He is one of the most sought after figures working across the spectrum of modern music. A landmark release for the Hannibal label, Another Day On Earth marks Eno's long-demanded return as a solo artist. Mostly written and recorded over a period of four years, this album is a unique combination of words and soundscapes by one of comtemporary culture's most iconic figures. Each track has its own unique structure and atmosphere and the overall work is one of subtlety, vision, idosyncracy and maturity. Coming soon from Materiali Sonori Centrozoon/Never Trust The Way You Are Featuring Tim Bowness (No-Man) and Pat Mastelotto (King Crimson). From German label Resonancer. New project of the No-Man singer Tim Bowness. Electronics, songs, good rhythms. Gary ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com artshop at artist-shop dot com phone: 877-856-1158, 330-929-2056 fax:330-945-4923 INDEPENDENT PROGRESSIVE MUSIC!!! ************************************************************** Check out the latest Artist Shop newsletter at http://www.artist-shop.com/news.htm ------------------------------ Date: Fri, 27 May 2005 13:02:18 -0400 From: Dan Buxbaum Subject: ("silence is golden") KCCC #29: (the '74 live Starless In the last ET, when David Kirkdorffer mentioned "silence is golden" I thought he was referring to the quiet and attentive audience in Heidelberg, March 29, 1974, which is just one of the reasons why i find the most recent Collectors Club disc so enjoyable. (actually it commences with the "surprising" version of Starless. What follows here is a cut-and-paste of the mini-review i recently posted on the Discipline Global Mobile website for the disc--don't know if it's been posted there yet--but here it goes again:) ---- This cd really takes off and enters the realm of 'classic live 73/74 Crimson' with an 'eye opening' version of Starless and then continuing on through the end (not really counting the 3 min. cut version of Fracture which closes the disc). After the 2nd improv enters its ending 'atmospheric' section--with Robert Fripp quietly & intently improv soloing, & with what appeared to be the beginning of The Night Watch about to occur, things take an unexpected turn, with Bill Bruford playing a slow rimshot drumbeat, leading a quick change to mellotron and the beginning of Starless instead. This early in the 1974 tour version of Starless has become my favorite version of this classic piece. The surprising & unexpected entry infuses the whole song (and those that follow) with a jolt of freshness and superb in-the-moment performances by the group. (BB provides his thrilling counterpoint spurring his bandmates on.) This version of Starless has a "not knowing what's coming next" element to it that makes it more exciting (imo) than later more 'cut-and-dried' live versions and the stately studio performance. (Sure John Wetton muffs a couple of lines, but the ensemble playing is truly superb and 'alive' with the "sound of surprise".) Starless is then followed by a very passionate & accurate The Night Watch. Lament and Easy Money are also heavy-duty greatly energized versions carried through on the momentum of what preceded. (From Starless through Easy Money could have easily ended up on 'The Great Deceiver' in terms of superb sound quality and skillful performance, imo. The earlier versions of Dr. Diamond and Exiles are similar to the Stanley Theater Pittsburgh disc on the 'TGD' boxset (with a very, very slight lessening of sound quality), and therefore aren't 'essential', resulting in my rating of 4 stars rather than 5, but from that supercharged Starless through the end, this cd has become a permanent fixture in my cd player! (58 minutes.) -- P.S. I never got around to picking up the Mainz disc for whatever reason, so any comparisons to this one would be appreciated. Something about the Heidelberg show attracted me--maybe it was the location of Starless in the middle of the set order--signified to me that this cd was worthwhile and different (different enough to someone who purchased "The Great Deceiver' on the day it was released), and i was not disappointed! -- "The things that are best always fall outside categories." -- Robert Pinsky ------------------------------ Date: Tue, 24 May 2005 19:33:07 EDT From: RLTOWLER Subject: Fripp On Tour Greetings all, yes Mr Fripp is playing a mini tour... Below is the NY Show which I will be attending. ......There are also a few shows listed in Ma. Ticketmaster had the full list. Basement dwellers let's be on our best behavior. Like Curly from the three stoodges would say..".Culture, Why Certainly..yuk yuk yuk." Bob T. Robert Fripp Concert Hall @ the New York Society for Ethical Culture, New York, NY Thursday June 23, 2005 8:00 pm ------------------------------ Date: Tue, 24 May 2005 16:44:29 -0700 From: dbchetkin Subject: Sublimal King Crimson influenced 80's Just thought I would throw a few odd spin off's of King's impact. Sketches of Fripp and Belew can be heard throughout Oingo Boingo's Dead Man's Party album; especially on the title track. The most understated attempt at the double guitar assault I came across from the 80's was largely overlooked aside from KROQ who spun Counting Backwards from the Massachusetts college girl led band Throwing Muses who rarley ever got any airplay at at time when indie bands actually were played on mainstream FM. Their last album with both step sisters Tanya Donnelly (The Breeders and Belly) and Kristen Hersh on guitar called "The Real Ramona" released in 1991 featured a song "Hook In Her Head" with the intro weaving an interesting and well arranged counter guitar pattern which strikingly resembled the Discipline era. The album in general displayed decent guitar playing and melodic compositions along with driving rhythms. Well worth checking out. ------------------------------ Date: Fri, 27 May 2005 08:44:12 -0400 From: mike mcgrath Subject: Fripp In Long Island NY In ET #1208, Jordan asks about if Robert Fripp is on tour or was that one random show in CT. Don't know if he's on tour per se, but if in the NYC area he is playing at the IMAC Theatre (http://www.imactheater.org/) in Huntington, NY on Saturday June 28th. As advertised "Soundscapes: Words & Music". Mike Bayside, NY ------------------------------ End of Elephant Talk Digest #1209 *********************************