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 #1214 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1214 Saturday, 3 September 2005 Today's Topics: More gibberish obscure crimson pieces: help? Chromatic Fantasy (Tab) Champaign-Urbana and Perfect Pair? Robert Fripp's solo soundscape concert in Somerville Re: Mike's (ET02520) reply to 8 Armed Monkey review TUNER (Pat Mastelotto & Markus Reuter): CD review, comp and ask a question i Fripp Island Fair Warning ------------------ 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: Thu, 18 Aug 2005 06:04:28 +0100 From: Harvey, Mark London Examiners Subject: More gibberish In response to Kevin Brunkhorst, nothing as such dictates that contemporary Western music should have arrived at a scale consisting of 12 tones of equal temperament. However, there are certain factors that make the invention and adoption of 12-tone equal temperament as the prevalent scale probable, if not inevitable. I apologise if I'm patronising Kevin by running through what I guess he may already know, but for the benefit of those who don't know this stuff, here goes . . . The best analogy can be made with imperial measurements. Imperial measures tended to arrive at bases of 12, 16, 60 and so on rather than, say, seven,13 or 17 because of the integral divisibility of these numbers. Base 12 is particularly handy, because if you're dividing up a day or a length, or whatever, you can easily divide it into two, three, four or six. This is possibly one of the reasons why people can still feel more comfortable using imperial rather than metric measurements. The reason why 12 notes in the octave is more usable than other choices of number is not exactly the same, because music is based upon geometric progression (e.g. 1, 2, 4, 8, 16, 32, 64 . . .) rather than arithmetic progression (e.g. 1, 2, 3, 4, 5, 6, 7 . . .) but it's similar. Take a fretless guitar. Put in a fret at the octave (2:1). Put in a fret at the perfect fifth (3:2). Put in a fret at the perfect fourth (4:3). If you now want to put in more frets which get closer to each other in an even pattern up the fretboard, you need to use a multiple of 12 (you have to move the ones you have already put in ever so slightly, but your ear won't hear too much difference). The point is this: you can, of course, put the frets in wherever you like, and produce whatever music you like, but some combinations have more aesthetic logic than others. It's possible to assert at one and the same time that different cultures and histories have produced different musics with different scales, AND that the 12-tone equal temperament scale is particularly playable, without falling into the traps either of asserting that the whole thing is entirely arbitrary or of being guilty of some form of Western cultural imperialism. Take the rules of chess. You can change the rules and play it whichever way you like. You might, for instance, want to play "People's Chess" - where the ruling class goes at the front and the pawns go at the back. The problem is that you'll quickly find that it isn't much fun to play as a game - though it is quite fun to watch two ruling classes annihilate each other leaving the pawns to live happily ever after. You don't have to be a mathematical Platonist and assert that equal temperament is "discovered" rather than invented. You can (as I do) be a fan of that path of philosophy of mathematics from Fregean logicism to Hilbertian formalism and see mathematics as, as someone said, "a game with meaningless marks", and still say that some meaningless games you set up in mathematics are going to be more practical (i.e. for "applied" mathematics) than others. Once, like Pythagoras did, you discover the ratios which make harmony work (principally 2:1, 3:2, 4:3) certain things follow pretty much axiomatically: that eventually someone willl come up with equal temperament, and that they'll get bogged down by the bedevilling appearance of the tritone ((sq rt2):1). This is a property of the mathematics, not of history or cultural variation. >From there it is by no means an unreasonable hypothesis to suggest that if you imagine some intelligent aliens in a faraway galaxy (yes, them again) who have evolved some means of picking up the frequencies at which the objects around them vibrate (such as ears), that they may well have invented music, that they may well be wrestling with the problem of the tritone, and that there may well be some non-mainstream band who have made a career out of playing music which heavily features the tritone in order to produce disturbing and unconventional musical effects. It's certainly not inconceivable, but I believe less likely, that it might happen the other way around, and that these hypothetical aliens would bop a round or weep to Schoenberg but find Elvis emotionally sparse. And the relative failure of attempts, such as that of serial music, to retrain the way our brains emotionally process music demonstrates precisely the limits involved, whereas the independent invention of the pentatonic scale by widely different cultures (Greek, ancient Chinese, Celtic, Japanese - that's all the Hirajoshi scale is, incidentally) is evidence of a non-arbitrary tendency towards convergence around basic harmonic principles. I don't think it can be true that our emotional response to music is entirely learnt and brought from outside the music. It's rather a product of a dialogue between the aesthetic logic inherent in the music and the culture and history we bring to it, both elements being inseparable. I can't make Agadoo or The Birdie Song sound sad by singing sad lyrics over the top of them, or Starless sound happy by singing "Push pineapple shake the tree" to it. The effect I'll create instead, in both cases, is something quite disturbing. So, many people find post-1973 King Crimson music "emotionally cold" and "angular" not just because it's relatively culturally unfamiliar but also because of Fripp's deliberate decision to use such scales as, and especially, whole-tone scale, which is bereft of conventional emotional resonance because of its tonal properties. In particular, the notes available are equidistant and equivalent, denying any opportunity for the music to "breathe" by tightening and loosening in tension or to resolve satisyingly into the keynote. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Kevin, I apologise for the "sideways dig". It was meant as lighthearted ribbing rather than as a cue to gradually exponentiate the level of insults. In the interests of spirited but polite debate not descending into abuse, I'll refrain if you do. The jibe was half-directed at myself, anyway, as I can be a partial the odd bit of (well-thought-out) poststructuralist gibberish myself. But if you're going to bung Jung and Lacan together in the same breath, you might as well bung together chalk and cheese, or palmistry and Trotskyism. The danger is that it may convey a certain intellectual indiscriminateness. I think it was psychoanalytic writer Adam Phillips who wrote, "Disciples are the people who haven't got the joke." - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - But, while we're on the subjects of octaves, Lacan and King Crimson, there may be a discussion to be had here about Guitar Craft and the "authoritarian personality". It seems to me there are parallels between the way Fripp runs the Guitar Craft seminars and the way Lacan used to run the Ecole Freudienne de Paris. We have a school. We have seminars. We have a focus on one teacher who's the person the students really all came to see. We have, as Eric Tamm commented, rather less inspiring tutors authorised by him who just don't have the same charisma to occupy the position of "subject presumed to know". Most of the critiques of Lacan (such as Roberto Speziale-Bagliacca and Francois Roustang) focus on the phallocentrism of a doctrine which demands either outright acceptance or outright rejection of increasingly absurd propositions. When Lacan drew his impenetrable mathemes on the board or constructed his topological knots from bits of paper, isn't this like the way in which Fripp uses the Gurdjieffian/Ouspenkian nonsense about octaves? Ouspensky in the case of Gurdjieff, Jacques-Alain Miller in the case of Lacan, seemed to be epigones who took the stuff all rather too literally. Speziale-Bagliacca accuses Lacan of ignoring the maternal function of the psychoanalyst. This is perfectly true. It leads S-B to insert Lacan into the tradition of the authoritarian personality, his main example being Mussolini. I think what S-B misses is that what's different about Lacan is that in amongst all the stuff about castrating fathers, Hegelian absolute masters, the transference and the subject presumed to know can be found precisely the elements which make a critique of the very same doctrine possible. Fripp is an intelligent man. I can't believe he subscribes to Gurdjieff's theory about octaves literally, but must rather see it as a means to a mystical end (after all, the idea there is a bigger leap in a semitone interval than in a tone interval is bizarre). With both Lacanianism and Guitar Craft, it's not so much acceptance of the dogma that is important but rather the way that traversing the transference-love one has towards the masterful "subject presumed to know" and emerging out of the other side allows one to be strengthened - they ought to work, as Lacan described psychoanalysis, as a "prophylaxis for dependency". - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - And just to finish on a completely different note, I've just discovered through the internet what happened to the fantastically talented drummer that I used to play Rush covers with in a band back in my school days. He went to Marseilles, set up a drum school, and is currently touring France with a superb band called Watcha-Clan. They don't have a UK distributor, but you c an order their second studio album "Le Bastion" through Mosaic Music Distribution, and I thoroughly recommend that people do. With respect, Mark Harvey ------------------------------ Date: Wed, 17 Aug 2005 21:22:35 -0700 (PDT) From: alex miller Subject: obscure crimson pieces: help? hi. i got a cd from a friend of mine that was burned from his computer with a lot of obscure music on it. he says these two songs are king crimson, but he doesn't know what they are called. they are very good, and i've looked through all the crimson albums i could find and sampled them, but can't find these songs. they are both instrumental. the first is 5 minutes and 8 seconds long. it's the most percussive guitar sound ive ever heard, and it's all looped. its the same guitar sound the whole way through, which is this tribal 1-2-3 1-2-3 pounding. it's all picked very precisely, and occasionally takes a break from the original sound to move in a decending pattern with all (3?) guitars at once. there ends up being bass and tribal sounding drums in the back, and the whole thing ends up with the original 2 or 3 overlapping guitar tracks going by themselves for a minute. the whole thing is basically messing around with arpeggios in weird rhythms with a looping system so all the guitars are playing around each other. the second is the complete opposite. instead of a heavy pounding percussive noise, this one is about the softest fading guitar sound i've heard. it's pretty much summed up by the word "ambient," and is written around the theme, which is a pattern of natural harmonics on the guitar as follows: e-------------12----------------------------------------- b----------------------------------------7-----5--------- G-------7--------------------------7--------------------- D---7---------------------------------------------------- A--------------------------------------------------------- E--------------------------------------------------------- there is a very fuzzy, floating guitar sound coming and going with dynamic presence, and some kind of organ/keyboard in the back--but very faint.it ends by fading out, and the whole thing clocks in at 7 minutes and 33 seconds. im sure its not on these albums: in the court of the crimson king, starless and bible black, larks tongues in aspic------------and i've looked at these and didn't recognize anything: red, thrak, discipline, lizard. any info would be appreciated. thanks. ------------------------------ Date: Sat, 20 Aug 2005 13:45:56 +0200 From: Cyril Subject: Chromatic Fantasy (Tab) This is a transcribed version for J.S. Bach's "Chromatic Fantasy" played by Robert Fripp. Althought it is not a KC or RF composition, I hope it may be of interest for fans who love this part. I didn't include rythm, if you listen to the version in "The Bridge Between", you should have a good idea about how to play it. Try it very slowly at first, one lick at a time, then a little more fast and legato. it is somewhat hard to remember and some licks don't "fall under fingers". don't forget to breath deeply while playing ! Feel free for comments, ideas, critics, etc... Chromatic Fantasy (Bach) ====== Intro (somewhat fast) E||------------------9-10----------------------------------------12-----| B||----------8-10-12------13-11-10-8-----------------------10-11--------| G||---7-9-10-------------------------10-9----------9-10-12--------------| D||---------------------------------------12-11-12----------------------| A||---------------------------------------------------------------------| E||---------------------------------------------------------------------| |---------------12-13-15-13-12----------------------------------------13-----| |------12-14-15----------------15-14-12-------------------------14-15--------| |---14----------------------------------14-12----------------14--------------| |---------------------------------------------15-14-12-14-15-----------------| |----------------------------------------------------------------------------| |----------------------------------------------------------------------------| ====== 1st Section (quite slowly and on pace) |--------13-------15-------17-------18----------15-| |-----15-------15-------15-------15----------17----| |--------------------------------------14-18-------| |--12-------14-------15-------17-------------------| |--------------------------------------------------| |--------------------------------------------------| |--18-15----------------------13-------15-------17-|--------18----------------------------------------| |--------17----------------------15-------15-------|--15-------15-14----------------------------14-17-| |-----------18-14----------------------------------|-----------------15----------------------15-------| |-----------------17-15-14-12-------14-------15----|-----17-------------17-14----------14-17----------| |--------------------------------------------------|--------------------------16----16----------------| |--------------------------------------------------|-----------------------------17-------------------| |--------13-18-------------12-17-------------10-15-|--------------9-13-------------11-------10-----| |--15-17-------15-------15-------13-------13-------|--11-------11------10-------11-------10------8-| |--------------------17----------------15----------|--------14---------------12-------10-------9---| |-----------------17----------------15-------------|-----14---------------12-----------------------| |--------------------------------------------------|-----------------------------------------------| |--------------------------------------------------|-----------------------------------------------| |--9-------10-----6-----5-----6-----5-| |-------10------8-----5-----8-----5---| |----10-------7-----6-----7-----6-----| |-------------------------------------| |-------------------------------------| |-------------------------------------| |------6---------------7-------------|--------------------------------------| |----6---9-6-------6-9----------10-7-|--------------7-10--------8-6---------| |--7---------7-4-7-------7----8------|--8---------8-----------7-----9-7---7-| |--------------------------10--------|----10-7-10--------10-8-----------6---| |------------------------------------|--------------------------------------| |------------------------------------|--------------------------------------| |--7-------------------------------|------------------------------------|---------------------------------------| |----6-5-------5-6---------5-6-----|------6---------------7-------------|---------------------------------------| |--------7---6-----7-----6-----7---|----5---8-5-------5-8----------9----|-----------------9--------7------------| |----------7---------6-7---------6-|--7---------7---7-------7----8---11-|--8---------8-11--------7---10-6-----5-| |----------------------------------|--------------9-----------10--------|----10-7-10--------10-9----------8-7---| |----------------------------------|------------------------------------|---------------------------------------| |----------------------------------|-------------------------------------|----------------------------------| |------------------5---------------|-------------------------------------|----------------------------------| |--5-------------6---6-------------|-------------------------------------|----------------------------------| |----8-4-----5-8-------8-5---------|-------8-------------7-----------5---|----------3-----------------5---5-| |--------6-5---------------8-6-5---|-----8---11-8------7---9-6-----5---7-|--4-----5---5-2-----3-6-3-6---6---| |--------------------------------9-|--10----------10-9---------8-7-------|----6-5---------4-3---------------| |-----------------------------------9-| |--------------------8---8-11----11---| |--5---5-8---6-9-6-9---9------12------| |----5-----8--------------------------| |-------------------------------------| |-------------------------------------| ===== 2nd Section (same rythm - i divided here for memory purpose) |-----------15-13-12-------12-18-17-15----------15-| |--------14-------------14-------------------14----| |-----15-------------12-------------------15-------| |--------------------------------------------------| |--------------------------------------------------| |--17----------------------------------17----------| |--13-12-------12-18-17-15-------------------------|--------15-17-13----------------------------------| |-----------14-------------------14-15-17-18----14-|--15-18----------17-15-14-------------------------| |--------12-------------------14-------------14----|--------------------------15-14-------------------| |--------------------------15----------------------|--------------------------------17-15-14-12-------| |--------------------------------------------------|--------------------------------------------16-13-| |--------------------------------------------------|--------------------------------------------------| |-----------12----------------------------------12-|--------------------------------------------------| |--------14----15-14----------11-------------14----|--15-14----------11-------------------------------| |-----12-------------------12----14-12----12-------|--------------12----14-12-------------12-14-------| |--------------------11-14-------------------------|--------11-14-------------------12-15-------12-15-| |--12----------------------------------12----------|--------------------------12-16-------------------| |--------------------------------------------------|--------------------------------------------------| |--------------------------------------------16-17-|--19-16-17-19-------------------------------------| |--------14-15-------14-15-17-18----14-15-18-------|--------------15-17-18-12-13-15-------------------| |--13-14----------14-------------14----------------|--------------------------------13-14-16----------| |--------------15----------------------------------|-----------------------------------------12-14-15-| |--------------------------------------------------|--------------------------------------------------| |--------------------------------------------------|--------------------------------------------------| |------------------------------------|----------------------------------|------------------------------------------| |------------------------------------|------------6-5-------------------|----8-6-5-----11-10-8------15-14-12-------| |----------------6-7-6-9-7-6---------|----------------7-----------------|----------7-6---------10-9----------14-12-| |--9-10-12-6-7-9-------------9-7-5---|------------------8-7-5-----------|------------------------------------------| |----------------------------------8-|--7-5-4-7---------------8-7-5-4-7-|------------------------------------------| |------------------------------------|----------5-----------------------|--5---------------------------------------| |--13-12----------16-13-12-------12-17-12----12----|----------------------------------5-5--|------------------| |--------15-14-12----------15-14----------14----14-|-----14------10------------------------|------------------| |--------------------------------------------------|--14----14-9----9----9-----------------|------------------| |--------------------------------------------------|------------------11---11-7------------|------------------| |--------------------------------------------------|----------------------------7---0------|------------------| |--------------------------------------------------|------------------------------9--------|------------------| ====== last run (fast and legato) |------------------------------15-17-18-17-15-13-12-13-15-13-12----------12----------------------| |---------------------15-17-18----------------------------------15-14-15----15-14-12-------------| |------------14-15-18----------------------------------------------------------------14-12-15-14-| |---14-15-17-------------------------------------------------------------------------------------| |------------------------------------------------------------------------------------------------| |------------------------------------------------------------------------------------------------| |-----------------------------------------------------------------------| |-----------------------------------------------------------------------| |--12-10-9-10-12-10-9-7-6-7-9-7-6---------------------------------------| |---------------------------------9-7-5-8-7-5-------5-------------------| |---------------------------------------------8-7-8---8-7-5-4-5-7-5-4---| |---------------------------------------------------------------------7-| |------------------------------------------------------------------| |------------------------------------------------------------------| |------------------------------------------------------------------| |--------------5-----5-----------------------5-7-8-7-5---7-5-------| |--------5-7-8---8-7---8-7-5-----------5-7-8-----------8-----8-7-5-| |--5-7-9---------------------9-7-5-7-9-----------------------------| |----------------------------------------------------------------------| |------------------------------6-8-6-8-10-5-6--------------------------| |------------------------6-7-9----------------6-7----------------------| |----------5-7-8-7-5-7-9--------------------------7------7-------------| |----5-7-8------------------------------------------8-10---8----8-7----| |--9---------------------------------------------------------10-----10-| |----------------------------------------------------------16-17-16-14-16-16-16-17-| |--------------------6-----9-7---12-10-9-15-13-12-18-17-15-------------------------| |--------------7-5-----9-7-----9---------------------------------------------------| |--6-----9-7-6-----9---------------------------------------------------------------| |----9-7---------------------------------------------------------------------------| |----------------------------------------------------------------------------------| |--17-22-17----17-------13-------10-------------------------------|-------------------|| |-----------18----18-15----15-10----10----10------6---------------|-------------------|| |--------------------------------------10----10-7---7---7---------|--7----------------|| |-----------------------------------------------------7---7---7---|-------------------|| |-----------------------------------------------------------8---8-|--5----------------|| |-----------------------------------------------------------------|-------------------|| ------------------------------ Date: Sat, 20 Aug 2005 17:11:45 -0400 From: Josh Chasin Subject: Champaign-Urbana and Perfect Pair? When KCCC #21 came out, someone posted a way to combine these (Champaign-Urbana) sessions with Three of a Perfect Pair to combine all the music into one album. As I recall it was artfully done. If anyone still has that, could you post it or email me directly? Thanks. ------------------------------ Date: Sat, 20 Aug 2005 13:37:29 -0400 From: Eric Malone Subject: Robert Fripp's solo soundscape concert in Somerville I hope this is the correct place to post this missive. Apologies if I'm mailing at too great a length and to the wrong place. I attended Robert Fripp's solo soundscape concert in Somerville Massachusetts on 24 June, 2005. Curiously, my seat was in the middle of the very last row in the "orchestra" section, so that I viewed the audience, looking through and over them, toward Mr Fripp on stage. The Somerville Theatre contains a cinema as well as a very intimate concert hall. As Mr Fripp took the stage, there was an outburst of hoots and hollering accompanied by applause, and the hooting and hollering continued as Mr Fripp began his performance. Immediately, audience members turned to speak to one another, chattering with speculation about Mr Fripp's equipment set-up, previous King Crimson performances they'd attended, etc etc, many audience members also checking their cell phone messages while they chattered and commented to one another. I couldn't help but hear & see this. Within fifteen or twenty minutes, several persons began to leave their seats, so that all the people between them and the aisle had to stand to allow them to pass--they were going to the concession stand for soda and popcorn! When they returned, all the persons in the row had to stand again to allow them to return to their seats. This went on, more or less, for the duration of the performance. I tried to allow my attention to acknowledge the behavior of the audience without detracting my focus from actively listening to Mr Fripp's soundscape performance. Yet the atmosphere created by the audience disrupted the presense of Mr Fripp's music; as an active listener, I had to admit the scattered attentions in the concert hall as an actual part of Mr Fripp's performance, as the collective attention of the concert hall was not gathered with Mr Fripp's attention, but diffused in a kind of dissociative, "attention deficit disorder" which somehow presumed to be "present" yet was not. A peculiar paradox. The collective attention of the audience was actually self-involved, and not in active participation with Mr Fripp's performance. Yet all of these people ostensibly were attending the concert to support Mr Fripp's music. The noise & vibration of the swinging doors, with people going out to purchase snacks, and then returning, was constant. Certainly Mr Fripp must have been cognizant of the audience behavior, yet he focused completely on his playing, such that I was able also to focus and be present with him in spite of the generalized absense of active listening in the concert hall. The "four quarters maintainers" (I assumed they were persons from guitar craft courses) invited by Mr Fripp to help maintain the integrity of the performance, actually illuminated/made visible, those persons in the audience who were actively attentive. I found this striking. What was especially striking was that Mr Fripp's plectrum technique is so solid, I could hear the actual sound of the guitar string being picked, as if the guitar was not amplified. This was clearly & distictly audible, clear & crisp, beneath the sound system, guitar synthesizer programs, and constant fidgety commotion in the room. To maintain the ability to keep music alive in the moment in such circumstance is, to my sense, something akin to (successful) field surgery. As an audience member, I required perhaps 10-20 minutes to acclimate to the audience environment, accept it, and remain focused within it. Fortunately the music overwhelmed my dismay with the behavior, or lack thereof, of my fellow "audients." A particular low-register motive from Mr Fripp seemed to settle the audience somewhat, as it cycled through the several loops. When Mr Fripp's soundscape concluded, he cheerfully opened the occasion up to questions, asking particularly to hear from women in the audience, one of whom asked if Mr Fripp would play with Peter Gabriel again in the near future. Mr Fripp took the occasion to raise the quality of the question with a considered and generous reply, such that his answer made the question seem to be a great deal more than it was. I was impressed. And relieved. I was reminded of John Cage's ability to address not-so-burning-questions with an equanimity that raised the question to a more substantive & nourishing state. This seems to be, actually, the continued presence of music, making itself vital to the world. One fellow, waving both of his arms in a "burning question" manner, actually asked Mr Fripp, "Which of the Roche sisters did you have an affair with--was it Maggie, Terry or Suzy?" To my--again--surprise, Mr Fripp did not reply with exasperation, contempt, irritation, or offense, but gave a poignant statement about what it means to do meaningful work with people and then find oneself looking back upon that work twenty or thirty years later. One question from the balcony actually addressed the music that had been present, and that presence was continued in Mr Fripp's reply. Mr Fripp stated that he has determined audiences can only take 40 minutes of soundscapes. I would have been happy to listen for 2 hours, with perhaps a short intermission, although not with that particular audience. Flash photography or not, it's remarkable to me that music can enter the world where the ostensible audience seems more preoccupied telling itself what a good time it's having, tho not really listening, but having a good time (?). Mr Fripp could have turned up the volume, plugged in the fuzzbox, and dazzled all present, with blistering up-tempo stock-chops, but what he did was take a risk in establishing an atmosphere for reflection and contemplation, where we might hear and see how we hear and see as we do. I came away from the concert with a sense that Mr Fripps's performance addressed not the phenomenal realm, but the noumenal realm, where imagination, not fantasy, lives. I hope this is a useful posting to Elephant Talk. Best wishes & futurity, --Eric Malone Shutesbury, Massachusetts ------------------------------ Date: Mon, 22 Aug 2005 20:51:53 +1000 From: Owen Keenan Subject: Re: Mike's (ET02520) reply to 8 Armed Monkey review KTU's 8 Armed Monkey is released on the following dates according to Pat's guestbook Sept 5 or thereabouts on Rockadillio Records: try Amazon UK Sept 1 or about on Westpark Records: try Amazon Germany Oct 1 about on Thirsty Ear Records: try Amazon USA or DGM USA Sept 7: order at digelius dot com And Amazon has the following details at http://www.amazon.com/exec/obidos/tg/detail/-/B000AMJDFQ/ref=pd_rate_ft / 103-3051019-8940603?v=glance&s=music#product-details Release date: September 27 Hope that helps. Cheers, O! ------------------------------ Date: Mon, 22 Aug 2005 21:01:39 +1000 From: Owen Keenan Subject: TUNER (Pat Mastelotto & Markus Reuter): CD review, comp and ask a question in an interview! Following on from my recent KTU review... KC's own Pat Mastelotto and Centrozoon's Markus Reuter have teamed up as Tuner with the CD Totem. You can read my review of the CD at http://www.projekction.net/textonly/thread.php?topic_id=2549 Also find out how you can win a copy of the CD at http://www.projekction.net/textonly/thread.php?topic_id=2535 (open to Projekction members only) And ask Tuner a question! See the details at http://www.projekction.net/textonly/thread.php?topic_id=2543 (open to Projekction members only) Why not check out Projektion? No need to register if you select the text only option, but registration is free & does have its advantages (see above) Cheers, Owen A member of http://www.projekction.net ------------------------------ Date: Tue, 23 Aug 2005 14:07:58 +0100 From: MOREMAN Dave Subject: Fripp Island Hi, Readers may find this amusing! FRIPP ISLAND http://frippislandresort.com/history.html "Captain Fripp was a big powerful man whose reputation as a skillful sea warrior marked him as a fearful foe. For reasons unknown, Captain Fripp never gained the notoriety of Blackbeard and other scurrilous pirates of the time. Being a privateer of sorts made it possible for Captain Fripp to take sides with any nation paying the highest price for his services." A little more mercenary than RF I feel! Regards Dave ----------------- Dr. Dave.Moreman Room 110a, Mellor, Faculty of Health and Sciences, Staffordshire University, ST4 2DE, United.Kingdom ----------------- email : dave dot moreman at staffs dot ac dot uk visit our distance learning website : http://www.staffs.ac.uk/schools/sciences/distlearn/ tel : 00 44 (1) 782 294776 ------------------------------ Date: Sat, 27 Aug 2005 00:00:49 +0000 From: tbreen23 Subject: Fair Warning In hopes that Mr. Fripp might read this, I send this warning to him. Our local paper ( The Washington Post ) is running ads for a show on Sept.26th at the Club 9:30 ( reads Porcupine Tree w/ Robert Fripp ). The Club 9:30 is the smokiest venue I've ever been to. In March of 2004 I saw Dream Theatre there and it took me three days to wash off the nicotine-stench from my body. ....Just thought Mr. Fripp should be warned..... Aside, is there anyone who would like to sell a couple cds I'm having trouble locating. 1) Eddie Jobson's Zinc and Theme of Secrets 2) Soundtrack to the movie Stalingrad ( by Norbert Schneider ) Thanks, tmbreen ------------------------------ End of Elephant Talk Digest #1214 *********************************