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 #1245 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1245 Saturday, 7 October 2006 Today's Topics: ET edit for Tool Review (none) Re: Soundscapes gear Fripp Meets Strummer Boz Obituary from Hunter Mott Group Re: Boz french versions of King Crimson: informations || GIG NOTICE: Fractal, Headshear, Bill Walker play the Attic, Santa Cruz CA PROG'OPOLIS - VINCE AND DAISY CALL IT QUITS: MILLIONS IN SHOCK ------------------ 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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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: Fri, 29 Sep 2006 15:03:02 -0700 (PDT) From: Joe Bazile Subject: ET edit for Tool Review Concert Review: Tool's prog pleases populace Thursday, September 28, 2006 By Manny Theiner Prog rock is back. The slumbering, lumbering behemoth of '70s arenas has awakened in the guise of Tool, a Lollapalooza-era band that has stayed true to its muse of heavy, moody rock since its inception in the early '90s. The dedication seems to have paid off with a loyal following of fans, mostly in their 20s and 30s, who packed the Petersen Center on Tuesday night. Yes, Tool is a progressive rock band, not just metal or hard rock. All the signs are there: odd time signatures (I counted measures of 5, 7, 9 and possibly 11), multi-part six-minute-plus songs, and arty visuals courtesy of computer-generated videos and lasers. The group also takes a long time between album releases and has toured with King Crimson. But the boomers who grew up on Yes, Genesis, and Rush weren't out in force, because Tool's prog is filtered through the bleaker mind of Gen-X, touching upon grunge, goth, metal and hardcore punk. Los Angeles-based post-hardcore quintet Isis was a solid choice as tour support. Its muscular "intelli-metal," with prominent, ominous keyboards, extended song length, and buried, gravelly vocals, reflects the influence of underground heavies Neurosis and Godflesh, while the instrumental, atmosphere-laden sections harkened back to '90s shoegazers such as Slowdive. When vocalist Maynard James Keenan (also a member of alternative supergroup A Perfect Circle) emerged wearing his cowboy hat, the crowd erupted, and Tool's gloomy fun was afoot, beginning with the familiar metallic riffs of "Stinkfist" from its triple-platinum 1996 release, "Aenima." Tool barrelled almost nonstop through a predictable set list that mirrored the other shows on the tour, playing most of the tracks from its latest release, "10,000 Days," bookended by two more selections from "Aenima" (including the title track as closer) and two from 2001's "Lateralus." Keenan never roamed much of the gleaming white stage, preferring to maintain his solitary perch to the left of the drummer. Highlights included "The Pot," with projections that looked like marijuana smoke and a noticeable smell in the facility which WAS, and the double dose of "Wings for Marie" and "10,000 Days," which slowed the proceedings to a brooding, contemplative drone. Combined with beams and smoke, the explosion of color and majestic minor-key dirges resembled Bauhaus meets Laser Floyd, displaying the full potential of this band's dynamic power and draining so much emotion from the band that it had to briefly pause afterward for a group hug. "Vicarious," another song in 5/8, used spacey synths and soft pink and blue lights to channel the spirit of the cosmos not unlike Tangerine Dream. Marring the experience were the dull reverberations that always seem to plague arena venues like the Petersen. To anyone who didn't know the bulk of Tool's lyrics (and admittedly, there seemed to be few who didn't), Keenan's vocals were almost completely unintelligible at the back of the venue. Someone should ask Keenan to use his perceptive "third eye" and some of his training as a former interior designer to improve the place for concert sound. Until then, it deservedly merits Sports Illustrated's recent mention as the "Toughest Place to Play." (Manny Theiner is a freelance writer. ) Joe's View: Man it's been three days since the concert and the emotions and "sweet hang over" is still with me. I agree with most of the above, an awesome time! And tomorrow I get to go out and try to spear a deer, what an awesome week! And people say there is no GOD!? The first thing I noticed was that there was a rack system looking like Crimson's Robert Fripp's. I assumed it was the guitarists. It was the bass players. The bass player Justin Chancellor had a set up extremely similar to Fripp and even did a song seated at a stool. Both he and the guitar player did several soundscapes similar to Belew, Gunn, and Fripp. The start of the show I would of swore Robert and Trey where back stage performing the opening soundscape AKA Peter Gabriel Concerts of the 1970's. Chancellor IS Jimmy Hendrix on bass! We had great seats close to the stage on his side, and Maynard was so cool! The clarity was poor on louder pieces. They didn't do SOBER, and ANGELS ON THE SIDELINES, but who cares Anemeia, Schium, The Pot sure made up for it. Schium's ending was magical. It was as someone hit the fast forward button with Eddie Van Halen precision. This one was something I've never seen before. I couldn't believe what I was seeing. This was one of several goose bump moments. King Crimson, you know I have to go here, the Crimson element/magic was all through the Tool show. While each band member in the past admitted to using many of Fripp's/Belew's/Crimson riffs, I was surprised by how many in concert and on line references there were. Doing a search of "TOOL & Crimson/Fripp/ Belew I was surprised by the countless examples of Tool paying homage to Crimson. Here are a few examples: "Kids are going to come and see King Crimson and say hay Tool really ripped these guys off. But we said all along they are a huge influence on us."- Maynard "King Crimson is pretty much who we ripped off over the years. Don't tell anyone, especially them."-Maynard BASS PLAYER, March 1997, Jason Sites: "Although they could have gone with just about anybody in the industry, they chose King Crimson/Peter Gabriel veteran David Bottrill." "We met a lot of people who were kind of the hot producers of the moment, and they all seemed to be able to do a good job-but they had a lot of attitude. We wanted someone who could push the sounds a bit, and we all enjoy King Crimson; that's how we came up with the idea of using David. This new material is a bit broader and more sonically challenging, so we didn't want to use someone who would just nail down a heavy rock sound. He was really the right person." -Justin Chancellor Interview San Diego Union Tribune by John Schroder: "Tool's tension-and-release-filled music draws from neo- heavy- metal thunder, alt-rock textures and Goth-like moodiness. It also aspirers to the polyrhythmic intricacies of King Crimson, the pioneering English prog-rock band that was Tool's special guest for part of its summer tour this year, which included a sold-out show at SDSU's Open Air Theatre. "They're a huge influence," Keenan said of Crimson, whose guitarist, Robert Fripp, joined Tool on stage at their joint SDSU show. (Tool's Carey had earlier drummed with Crimson for its closing number.) "The beauty of what they have to offer," Keenan continued, "is they've always kind of said: `We're merely a stepping-stone. Just take what we've done, and go to another level with it.' "And, hopefully, thats what's happening with people who are responding to what we're doing. I hope they're hearing where we came from and where we may end up, but also where we went wrong and what we're missing, so they can push things farther.""- Maynard / Interview San Diego Union Tribune by John Schroder Example during the show beside the opening soundscape: STINKFIST was a consistent Frame BY Frame interweave and time signature. (Tool even had a Nugent Stranglehold lick in Wings for Marie-I think.) Most of the new material had extremely familiar time signatures and soundscape elements reminiscent of Crimson. This was was my first concert since March of 2004 in Detroit to see Crimson, so I was expecting a let down. The Detroit show was my favorite concert ever. After the Crimson Detroit concert I came to the conclusion that Fripp or the Crimson magical fairy had to shut them down for a while, because they couldn't peer into the future as team for a time being. They Peeked! This SEEMS to be Fripp's/Crimson mode of operation. The exceptions are the IN Court of the Crimson King (1969) and Discipline (1981) mach's. Usually they peek at the last album. In Court OF and Discipline both were too innovated and powerful to push the envelope upon. IMHO! So imagine my surprise when I witnessed this kind of timing, teamwork, and power! Coincidently I bought the King Crimson 2004 Tour Souvenir CD in Detroit. In an interview on the CD Fripp states touring with Tool was one of the two best touring experiences he had had in his thirty years as a professional musician (The other a 3G Tour with Joe Satrionie). The sonic part of the Tool show was a disappointment. The Peterson is a concrete building that is a gymnasium which is a horrid place to hear musicians of this extraordinary quality. You could see these guys are world class players. The most physical band I've seen live! That is a reason why the absences of Angles and Sober were not a disappointment to me. If they did any more tunes they would have lost years off there lives. An extremely mentally and physical demanding band! I really enjoyed this night! A week I'll never forget! On a side note while buy an Augustiner Beer the lady told me I was the oldest person she carded that night. She asked me what I was doing there. I told her I was there to "keep an eye on my son" (lie) Joe ------------------------------ Date: Sun, 1 Oct 2006 17:14:08 -0500 From: Jeff B Subject: Goldmine Goldmine (the record collector's magazine in the US) has King Crimson on the cover of its latest annual 'Prog' issue. It also features an article about King Crimson (1972-74) and one about Adrian Belew's 'Sides 1, 2 & 3' albums. Add to that Keith Tippett and Julie Driscoll, ELP and more. It is worth picking up. ------------------------------ Date: Sat, 23 Sep 2006 15:20:40 +0200 From: Karl Boman Subject: Re: Soundscapes gear With regards to Robert Fripp's various guitar equipment through the years, I recommend my Fripperies site at http://kboman.digitaldistractions.se/fripperies/ - it has pretty much all information avaliable on the internet on this subject gathered, sorted and somewhat analysed, including the current soundscapes rig (with detalis straight from John Sinks himself). It is in a slight need of updating though - there have been developments in the guitar area and the power source is in all likelihood a Furman. One of the "unknown" units in your list is a Sound Sculpture Swtichblade midi switching device and the top pair of Eventides are H3000/H3500's with the bottom pair both being H8000A's. As the man noted in his diary, "I am not an Eventide endorsee, I just use a lot of them". For all things looping I can't enough recommend Looper's Delight - it's a website and mailinglist at http://www.loopers-delight.com. Lots of help and opinoins are availiable on all aspects of looping and everyone from David Torn all the way down to me is welcome to contribute and ask questions. I hope this helps! All the best Karl 2006/9/16, Elephant Talk Mailing List : > Date: Mon, 4 Sep 2006 09:10:38 -0700 (PDT) > From: Jorge Antonio Gonzalez Fortuna > Subject: Soundscapes gear > > I have a deep interest in the sounscapes technique of Robert Fripp, and > I would like to setup a cheap vst based version of his hardware. Of > course the freeware vsts I use are no match to the Eventides sonically > but I am most interested in the use of long delay lines and the musical > phenomena that can be created with repetition and layering. > > Could somebody help me to identify the gear in this photo?: > > http://www.dgmlive.com/vision.htm?show=1071&id6 > > At this time this is the gear I have identified: > > 2U Eventide > 2U Eventide > > 1U Eventide Eclipse > 1U unknown * > 1U Roland GP100 > 1U unknown * > > 2U Eventide > 2U Eventide > > 1U Power Source > 2U empty > 1U Power Source > > 4U Storage ------------------------------ Date: Sat, 23 Sep 2006 20:08:27 -0400 From: Jordan Clifford Subject: Fripp Meets Strummer I recently read an extremely interesting article in the Prog Rock edition of "Classic Rock" magazine (I think that was it, anyway) about the differences and similarities of 2 of the most influential musicians in rock music from their own mouths. In an interview dated back to the early 80's (right when Fripp was forming Discipline, later just the next incarnation of Krimson), the two rock icons of seemingly opposite sides of the musical spectrum relate ideas about their respective genres and music in general. The article and interview is wonderfully insightful; a chance meeting I never dreamed would take place. Joe Strummer is quoted as saying (well, I'll paraphrase) "King Crimson is the closest thing to what we're trying to do", or something along those lines. The issue also features pieces on today's Prog or "Prog" band and some good stuff about the glory years of prog. ------------------------------ Date: Sat, 23 Sep 2006 19:48:27 -0700 (PDT) From: Gerard York Subject: Boz Obituary from Hunter Mott Group Raymond "Boz" Burrell passed away in Spain on Thursday. One of the original members and bass player in Bad Company has died. Raymond "Boz" Burrell passed away in Spain on Thursday, according to Swan Song Records. "Boz" was a member of King Crimson before becoming one of the most famous bassists in the world as a founding member of Bad Company. The musician left the band in the 80s to pursue other ventures, but returned for a reunion tour in the summer of 1999. "Boz" Burrell Biography King Crimson has produced enough alumni, amid its myriad membership changes, break-ups, and re-assemblies over the decades to fill a decent sized symphony orchestra. Robert Fripp may be the Crimson mastermind, and Greg Lake its most familiar ex-member as a singer, but singer bassist Boz Burrell is right up there with Lake as the most successful ex-member. Born Raymond Burrell and known simply as Boz for much of his pre-1970's career, he became a progressive rock hero as a member of Crimson and one of the most famous bassists in the world as a founding member of Bad Company. For a decade before any of that, however, he paid his dues, working in a succession of promising but unsuccessful '60s bands as a vocalist, mostly in a rock and white British soul idiom. In 1963, Boz was singing with a band called the Tea Time Four, whose line-up included Ian McLagan, later of the Small Faces. They evolved into the Boz People, before he exited for the Sidewinders, a quartet whose line-up included Mark Charig, the future cornet player on King Crimson's Lizard, Islands, and Red albums, and Soft Machine alumnus John Marshall. Burrell subsequently turned up in Feel For Soul, which lasted thru 1968. That same year, he recorded a cover of Bob Dylan's "Down In The Flood" for EMI's Columbia label (credited simply to "Boz")--the track is sung and played in a slightly archaic folk-rock mode, backed by a band that included Ritchie Blackmore, Ian Paice, and Jon Lord-moonlighting from the early Deep Purple-and ex-Outlaw Chas Hodges. It couldn't have sounded much different from his next recording venture. In 1971, Boz got his break into the big time when he joined King Crimson, an occasion for which he learned to play bass from Robert Fripp. This version of Crimson's line-up dissolved at the beginning of 1972, but not before they'd toured the world and built a bigger following than any of the members (save Fripp) had ever played to before. Burrell, along with drummer Ian Wallace and saxman Mel Collins, made a jump to Snape, an outfit organized around Alexis Korner and Pete Thorup. Snape only lasted until the end of 1972, and then Burrell made the smartest move (financially, at least) of his entire career, becoming a founding member of Bad Company. Bad Company sold tens of millions of records and were the quintessential mid-1970's hard-rock supergroup-they were loud and they could play a good riff for all it was worth, and Burrell's bass (Fripp had taught him well) shared the rhythm section chores with Simon Kirke across five continents-he also wrote the occasional song, such as "Gone Gone Gone" from the 1979 Desolation Angels album. Burrell was back in Bad Company for a second go-around in the late 1980's with Brian Howe on vocals, but wasn't aboard for two subsequent mid-1990's tours by the reformed band. In the 1990's, Burrell has played on Alvin Lee's Best of British Blues '96 Tour, which also included Eric Burdon. In 1999, he toured with Scottish blues singer Tam White, and during the summer of that year, he participated in a reunion of the original Bad Company for the first time in 20 years. ------------------------------ Date: Tue, 26 Sep 2006 15:41:12 -0400 From: "Eden, Scott C Mr Contractor MONROE" Subject: Re: Boz I was sad to read Hammer's post that Boz Burrell has passed away. He had a great voice for Crimson. ------------------------------ Date: Sat, 30 Sep 2006 19:49:53 -0700 From: Nic Roozeboom Subject: || GIG NOTICE: Fractal, Headshear, Bill Walker play the Attic, Santa Cruz CA || Oct 11th Fractal, Headshear, Bill Walker play the Attic Please join us for a thrill-packed evening of progressive rock music, on Wednesday, October 11, with Bay Area artists Bill Walker, Fractal and Headshear deftly perturbing the impressive acoustics of the Attic in Santa Cruz. - Where: The Attic, 931 Pacific Ave. Santa Cruz, CA 95060 - When: Wednesday, Oct 11th 2006, 7pm (doors at 6pm) - Web: http://www.theatticsantacruz.com - How: 8 dollars at the door (stay tuned for ticket promo's!) Bill Walker http://www.y2k6loopfest.com/bios.html Bill Walker is one of the most sophisticated guitar players active on the West Coast of the United States. His breadth of styles and wide technological range gives him a broad musical palette that he applies to every different musical setting with tremendous lyricism and taste. Armed with an array of electric and acoustic guitars, and utilizing state of the art looping and sound processing technology, Bill has taken the one man band concept in a bold new direction by creating lush, multi-layered guitar ensembles, otherworldly sounds, and textures. He has an impressive range of style and timbre: from searing electric leads to beautiful lap steel slide guitar, guitar synthesizer, to beautiful finger picking steel and nylon string acoustic guitars, he runs the gamut of style and taste. Bill is also a warm and engaging performer, blending humor with serious musicianship. >From Santa Cruz, Bill has enjoyed a 25 year performing, recording, touring and teaching career that has spanned rock, pop, jazz, RnB, blues, world beat, and a host of other genres, Including stints with drum legend Babatunde Olatunji, RCA recording artist " Opafire" and New Wave provocateurs "Tao Chemical". He has shared the stage as a supporting act for many renowned acts including the Tony Levin Band, Marotta /Griesgraber, the Neville Brothers, King Sunny Ade, Ali Farka Toure, Thomas Mapfumo, Youssou N Dour, Michelle Shocked, the Psychedelic Furs, the Thompson Twins, Missing Persons, Johnny Clegg, Kenny G, Cher, Huey Lewis and the News, and a host of others. He has just recently completed his first film score and is completing his first solo CD of live looping-based music. Headshear http://www.myspace.com/headshear Hailing from San Francisco, Headshear is an unadulterated guitar band skirmishing into instrumental strangeness. Perhaps described succinctly as post-Prog, Headshear creates challenging music resplendent with odd meters, polyrhythms and complex harmonies. Imagine if string quartets had their heyday after the advent of electricity, distortion boxes and digital delay and one integrated it with rockpunkjazzdrums you might get Headshear...from the quiet and beautiful to the loud and cacophonous. Headshear debuted their inaugural self-titled album in September 2006. Fractal http://www.fractal-continuum.com http://www.myspace.com/fractalcontinuum The music of Fractal is electric - sometimes heavily riffing, sometimes lyrical and delicate. Occasionally complex but, above all, filled with emotional intensity. Fractal revels in the art of creating richly textured, layered sounds, making extensive use of challenging musical structures. "Fractal absorbs me. What more can I say." (Paul Strong, drums and implements, Fractal). Influenced initially by King Crimson and Radiohead, Fractal has developed its own unique conceptual style that underpins intense, moving songs with spiraling soundscapes and harmonies over precarious rhythmic terrain. Formed in 2000, their instrumental debut CD "Continuum" was released in 2003 to welcoming reviews, and is currently recording their second, inevitably epic CD, "Aftermath." ------------------------------ Date: Mon, 02 Oct 2006 04:18:05 +0000 From: progopolis Subject: PROG'OPOLIS - VINCE AND DAISY CALL IT QUITS: MILLIONS IN SHOCK VINCE AND DAISY CALL IT QUITS: MILLIONS IN SHOCK written by Fooney Freestone, DISASSOCIATED PRESS 2 HOURS AGO SALT LAKE CITY, UT World famous internet radio hosts Vince & Daisy Font shocked listeners of their show Saturday night, announcing that their two-year run as DJ's on the Dividing Line Broadcast Network will come to an end October 28. Citing good relations with station management, the couple stated: "We are not leaving because we're pissed off at anyone--we're just a little burned out." However critics of the most successful husband-wife duo since Lucy and Ricky say there is much more to the story than meets the eye. A recent inquiry into travel agency records near their Salt Lake City estate turned up evidence of half a dozen recent trips made by the couple to Helsinki, Finland--and sources are saying Vince Font, 36, has petitioned local courts to change his first name to Daphne. Even stranger tales abound--from co-workers who say the couple have given their employers notice of resignation in exchange for high-level posts within the Department of Homeland Security, to neighbors who claim to have witnessed the couple building "some sort of craft" in a makeshift hangar in their backyard. The announcement made on Saturday night's "Prog'opolis" appears only to have created more rumors than it dispelled, and the public outcry over Vince and Daisy's imminent departure has been immense and far reaching. Eric Burdon, former front-man for the 60s rock group The Animals, has released a remake of the band's classic song "Baby Please Don't Go", altering the lyrics and the title to reflect the sentiment of thousands. "Daisy Please Don't Go" debuted at #19 on Billboard's Top 100 new releases today, and it is said that even King Crimson maestro Robert Fripp has offered to allow his photograph to be taken onstage in exchange for the rescindment of the couple's decision to retire. At present time the whereabouts of this enigmatic and eccentric duo are not known, and messages left with their press agency have not been returned. Point, click, and listen: Show page: http://www.thedividingline.com/p Stream the show: http://www.thedividingline.com/parchive.pls Download the archive: http://www.thedividingline.com/archives/parchive.ogg PROG'OPOLIS #76 (09.30.06) Marillion - Between You and Me (5.53) Eagles - James Dean (3.37) Riverside - Second Life Syndrome (15.40) Alistair Henry - The Momentary Dementia News (8.39) Porcupine Tree - Halo (4.38) THE GRAVY TRAIN Pink Floyd - The Happiest Days Of Our Lives (1.20) Pink Floyd - Another Brick In The Wall Part II (4.00) Pink Floyd - Wish You Were Here (5.16) REQUEST Pink Floyd - Shine On You Crazy Diamond Parts VI-IX (12.29) REQUEST Pink Floyd - Run Like Hell (4.20) REQUEST Pink Floyd - The Gunner's Dream (5.03) REQUEST Pink Floyd - Astronomy Domine (4.12) REQUEST Roger Waters - What God Wants, Part III (3.56) Pink Floyd - Empty Spaces (4.42) Pink Floyd - Cymbaline (4.49) Steve Hackett - Ace Of Wands (5.25) October Project - A Lonely Voice (4.21) REQUEST Fish - View From The Hill (6.40) David Sylvian - The Boy With The Gun (5.18) Variant - When The Light's On (4.16) Cake - Never There (2.44) Damon & Naomi - We're Not There (5.07) Genesis - Snowbound (4.29) Fractal - Friptomoogosity (5.10) Pinnacle - Information Overload (10.22) The Sad Song Co - Into The Hills (3.32) Adrian Belew - Matte Kudasai (2.18) King Crimson - One More Red Nightmare (7.10) Peter Hammill - Lost And Found (7.11) Jon Astley - Jane's Getting Serious (4.24) David Bowie - Starman (4.13) h - Life On Mars (live) (4.18) King Crimson - Larks' Tongues In Aspic, Part Two (7.08) REQUEST Dire Straits - Your Latest Trick (6.34) ------------------------------ End of Elephant Talk Digest #1245 *********************************