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 #125 D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 125, Friday, 18 February 1994 Today's Topics: Friendly Fripp Trey Gunn Interview coming up (I think!).. Great Deceiver: request for info Tony Levin tune, FYI 'If in doubt, roll!' Primus & KC Re: Discipline #124 new info? Cheerful Larks' Tongues pointing out. . . Crunchy Frog The Deep Mystery of SARTORI Revealed. FZ, Fripp, Gabriel Discipline reply Bruford Live? drum info Re: Welcome to Discipline Re: Bruford Live? King Crimson toy line Bill's buds and Bob's snubs... Discipline #12? Primus covered Thela Hun Gingeet Seen in Atavachron... To Alan Rosenblum [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Hi everyone. Sorry this issue is late (again) -- and therefore rather fuller of material than perhaps fits comfortably in your mailbox. "What happened to the Good Ol' Days of regular weekly issues?" you cry. Sorry -- things have been rather hectic here recently, but I hope to be back to normal now. See you next week! -- Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 07 Feb 1994 13:24:53 -0600 (CST) From: ST3JV at Jetson dot UH dot EDU Subject: Friendly Fripp I've been reading a lot of horror stories about Fripp and thought I would write a different perspective of Mr. Fripp. I saw the League of Crafties here in Houston in '90 which was my only exposure to live Fripp. Seeing as how the club only allow 21 and over, I had to convince my parents (UUUGGGHHH!!!!) to come with me. I had not heard the League's music but I had the complete library of King Crimson on compact disc, so I was in for a surprise. Fripp was leading his group around the floor of the stage through the audience, thus breaking the barrier between performer and audience. I must commend him on this. When he walked in my direction, I was applauding and couldn't help but say something. I was 19, and had to respond to my hero but didn't want to come off as some dorky teenaged rock fan. I smiled and said: "Mr. Fripp!". He smiled, nodded and said "How do you do?" As never seen any of my other favorite prog rockers before this close, I was ecstatic. Fripp was certainly friendlier to me than the othe audience members who at times gawked and made comments about this 19 year old black kid and what was he doing here. It didn't matter because someone I admired acknowledged my prescence. At the end of the show, Fripp said that he was so delighted with the audiences behavior, we were invited to the second show free of charge provided we move to the upper deck. What an incredibly cool guy I thought. Anyway that is my two cents. Any e-mail is welcome, and sorry for the long post. You have my utmost respect Mr. Fripp! Its a shame that the year after{he had a Crafty seminar in AUSTIN and I DIDN't MAKE IT! Oh well...some day... Ted [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: wcsanil at ccs dot carleton dot ca (Anil Prasad) Subject: Trey Gunn Interview coming up (I think!).. Date: Mon, 7 Feb 94 21:55:20 EST If thinks go as planned, I should be doing an interview with Trey Gunn in the coming months. It will initially be appearing in i/e Magazine, but I'll post a proper transcription afterwards on the Discipline Mailing list, so you can see what got lopped out because of space/editorial reasons. I know painfully little about Trey Gunn's past endeavours. I hope to get educated in the coming weeks, but if anyone out there has some good questions and ideas to pursue for this interview, please feel free to drop me a line. Also, if you know some tidbits about Gunn's pre-Fripp work, let me know. Thanks, ~~~~~~~~~~~~~~~~~~~~~~~ aNiL pRaSaD wcsanil at ccs dot carleton dot ca [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 8 Feb 1994 04:50:08 +0100 From: " (Peter A. Flach)" Subject: Great Deceiver: request for info I'm new to this list, and I'm enjoying the many interesting pieces of information I found in the latest issues! I have a question for you guys about the "Great Deceiver" box set. I only came across it last Saturday: it costs 150 Dutch guilders (appr. $75). This is quite a lot of money, so I want to be sure before I buy it. Can any kind soul out there email me what s/he thinks of it? Roughly, I'm interested in the Larks/Starless/Red period and later, but not too much before that. Thanks in advance, --Peter PS. Last year I bought a bootleg CD called "Sleepless in Japan". Sound quality is relatively OK but not brilliant (a lot of distortion at times). If there's any interest I can post more details. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Mathews, Thomas J." Subject: Tony Levin tune, FYI Date: Tue, 08 Feb 94 08:26:00 EST On Peter Gabriel's "Various Artists - Plus from US" a 1993 Realworld release (Caroline 2372-2) there is a previously unreleased tune by Tony Levin playing solo Stick (multiple tracks) entitled 'Lone Bear.' Check out the entire 71 minute CD. The Daniel Lanois tune is a real bleeder. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 8 Feb 94 13:12:49 GMT From: "Steve Moore" Subject: 'If in doubt, roll!' Does anybody have any details of Bruford's book? ISBN/Publisher etc Thnaks in advance... ---------------------------------[Steve Moore]--------------------------------- Oramail : smoore.uk | Internet : smoore at uk dot oracle dot com | 'Questions are a burden to others skmoore at cix dot compulink dot co dot uk | Answers, a prison for oneself' Phone : (0344) 383722 | --------------------------------------o0o--------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: hallma at cda dot mrs dot umn dot edu (Michael A. Hall) Subject: Primus & KC Date: Tue, 8 Feb 1994 15:15:12 -0600 (CST) For what it's worth to KC fans who were previously talking about the band's influence on Primus, Rolling Stone #676 this month mentions that a Primus set from some sort of legal defense fund benefit included an instrumental rendition of KC's "Thela Hun Ginjeet." In a related story, Is anyone reading this familiar with an early 80s punk band called the Minutemen? If it's been discussed before, that's fine, but I've just started listening to them, and if they don't have a Crimson-esque sound, they at least share with the likes of Primus a Crimson-influenced sound. Food for thought, michael [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: phv at equalizer dot cray dot com (Paolo Valladolid) Subject: Re: Discipline #124 Date: Tue, 8 Feb 94 14:43:00 PST > After listening to all ten KC studio LPs intensely, I find only one thread > common in all the recordings- the apparent direction Robert wished the band > to be going. It seems as though Robert incorporates the philosophy of > Mssrs. Page and Hendrix in planning every note of a song (including planned > noises and effects and distortion). And I've heard many times that Robert > was a very demanding bandleader, one who kept a very narrow scope of the > way things _must_ be, with little margin for change. I know the > Wetton-period KC lps have many improved pieces on them, but my real > question is.....how much of those improvs were improvised and not pre- > planned? The very fact that Fripp would allow any improvs on his LPs > confuses me, especially since he's such a perfectionist when it comes to > things like form. Why would Robert just let his musicians "run amok" with > their instruments when in so many instances he is so perfectionist (almost > to the suffocating Steely Dan level). What I found baffling about the 1984 King Crimson profile in Musician was that apparently Fripp would put together the band, give an idea of what he wanted from them, allow them to piece the songs together from improvisations, giving them considerable freedom to do so, and then complain that the band wasn't doing what he wanted. He apparently never walked into the rehearsals with manuscripts of precomposed music; he expected the band to metaphysically "unite" into one entity to compose the music rather than have Fripp assigning everyone their parts in an exacting manner. From what I understand, most of the second side of _Three of a Perfect Pair_ was just a long improvised jam session which was cut up into "Industry" and "No Warning". Zappa on the other hand tended to write out everyone's parts and expected each band member to play his/her part exactly, except of course when improvised solos were called for. > fans of adrian belew might be interested in something i heard on npr today. > it was a beatles "guitar tribute" album called "come together" (cute, that) > containing, among other things (some wretched, some not :) ) a cover of > blackbird by belew. short, but very true to the spirit of the song. > instrumental, no vocals. It wouldn't have sounded out of place on a solo Belew album. Regarding "Sleepless", Tony Levin says in the same KC profile I mentioned above that he programmed the drum machine part. He also came up with the bass line. Originally, "Sleepless" had a much slower tempo until Levin decided to spice up his bass part with more speed as well as slapping/popping on his bass. -- Paolo Valladolid phv at equalizer dot cray dot com Cray Research Superservers, Inc. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Christopher M Savage Subject: new info? Date: Tue, 8 Feb 1994 18:22:57 -0500 (EST) I attended an Adrian Belew concert ("Absolutely Unplugged") last fall and he assured the crowd that, indeed, there WILL be a new album and tour with Crimson this summer. They are waiting for Tony Levin to get off tour with Peter Gabriel to start rehearsals. He previewed part of a song that will be on the album, a delightful ballad ala KC. Bruford will be replaced by Marotta and there "may" be a fifth member (unnamed but many of you seem to know). The album and concert tour are slated for the summer. Belew said the replacement of Bruford was Fripp's idea "after all, it's HIS band, isn't it?" It was based on "musical differences" and not because they couldn't get along or didn't like each other. I know that this is a newsletter devoted to KC but if anyone gets any news of Belew and/or the Bears/Raisins, please let me know. Thanks! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 08 Feb 1994 18:09:48 -0500 (EST) From: Ray Ashley Subject: Cheerful Larks' Tongues I have a few comments re: Discipline 124: >As for the Zappa / Fripp conversation that's been going on lately, I can't >hear the KC influence in "Republicans", but check out "Elephant Song" on >Cheerful Insanity, then listen to "I'm The Slime" and "Cozmik Debris" on >Overnite Sensation. While driving back from a Phish concert over the holidays, I was exposed to FREAK OUT for the first time. Although my emotional response to this work is too complex to relate here, my initail impression was that this was a work in the same vein as "Cheerful" but created independeantly thousands of miles away. Both albums are freshman efforts by the artists, and represent reactions to the industry, society, etc. >Has anybody noticed a similarity between the second movement of "Suite >No. 1" on Cheerful Insanity and the orchestral piece on Islands? To my ears, the music is obviously recycled One other thing, I read somewhere that the "Larks' Tongues..." expression was coined by Jamie Muir, after the band had collectively worked out part I. Ray Ashley [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 8 Feb 1994 15:48:18 -0800 From: rpeck at pure dot com (Ray Peck) Subject: pointing out. . . toby at cs dot man dot ac dot uk writes: >From: matrick at merle dot acns dot nwu dot edu >Subject: fripp vs. frank >Date: Fri, 28 Jan 94 17:22:03 CST > >In the Uncle Meat sessions, for example, it was well known that >not many of the musicians could even read music, they had to be showed how >to play the pieces by the seesion musicians. Man the Mothers of Invention >_could not_ play their instruments either! You think Fripp would've put up >with that? Fripp is so short tempered he probably w would've literally >thrown the musicians out of the studio (a rather funny imaginative sight, >mind you). I'd like to point out that Fripp taught Boz how to play bass when Boz replaced Lake as KC's singer. See the Young Person's booklet. >Date: Fri, 28 Jan 94 16:17:42 -0800 >From: David A. Craig >Subject: belew's blckbird > >fans of adrian belew might be interested in something i heard on npr today. >it was a beatles "guitar tribute" album called "come together" (cute, that) >containing, among other things (some wretched, some not :) ) a cover of >blackbird by belew. short, but very true to the spirit of the song. >instrumental, no vocals. Haven't picked this up yet, but I'd like to point out that there's also a version of "Michelle" by Allan Holdsworth. And that Adrian's recent acoustic CD has a cover of Lennon/McCartney's "If I Fell". [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 9 Feb 94 11:19:22 GMT From: Tony Brown Subject: Crunchy Frog Hello all I've always assumed that 'Larks Tounges in Aspic' was derived from the Monty Python sketch about the dodgy confectionary firm. Said firm had a box of chocolates whose centres included Crunchy Frog ("lightly killed baby frog"), Spring Surprise ("pop the chocolate in your mouth and two spring-loaded steel bolts pierce your cheeks"), and, unless my (and others) memory fails me, Larks Tounges in Aspic, as well as several other unpleasantries. But I could bewrong. Re. the Fripp/autographs discussion, leaving all else aside, when you've been onstage playing emotionally and physically demanding music for 90 minutes or more, and are feeling shagged out, maybe with a splitting headache, or some peev with others in the band (which judging by the Great Deceiver diary seems to be fairly often..), and all you want to do is sit down on your own somewhere, would you really want to have someone waving a piece of paper at you demanding your autograph, which is, after all, just a squiggle of ink on a piece of paper. Wouldn't you be tempted, just now again, to say bog off?. Musicians are humans like everyone else. Sometimes up, sometimes down, sometimes they don't know what to feel (spot the quote...). To expect them to behave politely and courteously to anyone invading their space at any time (when said person is proably behaving discourteously due to their excitement) is like expecting rational behaviour from politicians. Peter Hammill has covered this aspect of fan - artist relationships very well in his song 'Energy Vampires': "Locked in the dressing room .....uh oh, here they come.....vampires....". Cheers then Tony [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: billforth at aol dot com Date: Wed, 09 Feb 94 16:25:36 EST Subject: The Deep Mystery of SARTORI Revealed. Grasshopper: "Sartori" is just a typo of satori. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 8 Feb 94 12:45:31 EST From: David=Lane%HQ%Rational at Vines1 dot ratsys dot com Subject: FZ, Fripp, Gabriel matrick at merle dot acns dot nwu dot edu wrote: > Being a mild Zappa-phile, I thought I'd offer some insight into the > Fripp vs. Frank issue........ (I agree with much of your article, but I just have to nitpick on a few items) > [...]anything. In the Uncle Meat sessions, for example, it was well known > that not many of the musicians could even read music, they had to be showed > how to play the pieces by the seesion musicians. What? On Uncle Meat, the MOI *were* the musicians; there were no session musicians. > Man the Mothers of Invention _could not_ play their instruments either! Are you telling me that Ian Underwood, Artie Tripp III and Bunk Gardner couldn't play? > You think Fripp would've put up with that? Yes! Exhibit A: Boz Burrell, taught bass playing by Fripp after he joined KC. Exhibit B: Eno, who can't read music and is merely functional on the keyboard (like I should talk!). crawford at nesteggs dot com (Michael E. Crawford) wrote: [...] > Way back in nineteen & seventy-something, peter gabriel toured to promote > his first album after leaving Genesis. I saw the show in Dallas. Larry Fast > had a bank of synthesizers next to the now forgotten drummer, Robert Fripp > sat just offstage on a folding chair facing the band, & was introduced as > "Dusty Roads" [...] Wasn't that the tour for the second album "peter gabriel", not the first album "peter gabriel"? I taped a concert off the radio circa '78 that featured stuff from the first two albums, and had Fripp, from offstage, and unannounced, play on "White Shadow". - - - Dave Lane davidl at ratsys dot com DOS/4G: dos4g at ratsys dot com R a t i o n a l DOS/4GW (and DOS/4GW Pro): dos4gw at ratsys dot com Systems, Inc. 4G-based game developers: gamedev at ratsys dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: r dot dittmeier at genie dot geis dot com Date: Wed, 2 Feb 94 03:43:00 BST Subject: Discipline reply > From: phil at sonosam dot wisdom dot bubble dot org (Phil Verdieck (x246)) > Subject: King Crimson > 2nd Period (Call this bizarre experimentation > Circus (I think) > Islands Side I > These are two separate and equally off beat albums. My favorite one is > Islands. I'd recommend Islands. The vocalist is Mel Collins > (or was he the sax player), of special note is a song on Circus with > Jon Anderson. It is rumored he was a possible replacement vocalist. "Lizard" is actually the album with the "(I think)" notation; "Cirkus" is one of the songs. The song with Jon Anderson is "Prince Rupert Awakes". I agree that "Islands" is definitely much the better of the two albums, although "Lizard" has (IMHO) the best cover art of any Crimson album. But gee whiz, it almost seems as if Fripp was trying to alienate people with it. > 3rd Period > Islands Side II > Red > Starless and Bible Black > Lark's Tongue and Aspic > John Wetton on Vocals, A heavy jamming fusion sound. Great stuff. I > recommend Red, only because I know it so well. I have to get off my butt > and relisten to the other two albums. Although I love this stuff, some > friends of mine called Red " heightened appreciation for silence". Knowing all these albums very well, I'd also recommend "Red". In fact, it would get my vote as the best progressive rock album ever recorded. I'll also mention the two live albums. Although they're looooong out of print and not available on CD (to the best of my knowledge), you might find them at a used record shop if you still have one of those turntable thingies. "Earthbound" was recorded between "Islands" and "Larks' Tongues". Strange thing -- although it has the "Islands" personnel, it's much closer in feel to the Larks/Starless/Red stuff. "USA" is a live album released in 1975, after the band had broke up. I wouldn't consider this one a very high priority unless you're a fanatical completist (especially if you have the "Great Deceiver" box set). Pick it up if you happen to see it, of course, but "Earthbound" is really the one to actively search for. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] >From: RAMIZ at vms dot huji dot ac dot il@cs.man.ac.uk >Date: Wed, 26 Jan 94 16:47 +0200 >Subject: Anagrams and Discipline >Hello all, >1) For a long time now i've been trying to find out what stands behind > the name Larks' Tongues In Aspic (and don't ask me why :) > If there is a simple explanation that i don't know, i'd appreciate it if > someone would post it. > I am positive that this is another one of Fripp's anagrams, it must be. > I even got out some complete sentences out of it, but none of them seems > to be the "right" one to me. > I'm pretty sure of two things: the word KING should be there, and the > apostrophe means that the 'S suffix in there somewhere. > Other words that may appear: PICTURE(S), SATAN, RULE(S), ... > Ideas someone? Nothing so exotic as that, unfortunately. Eric Tamm tells the story behind the title -- After the band listened to a playback of one of the tracks, someone asked percussionist Jamie Muir what it reminded him of. He said, without hesitation, "Why, Larks' tongues in aspic -- what else?" A guy who would respond that way is someone I'd love to have in a band of mine. Of course, the question does bring up the possibility of a party game: How many words can you spell using the letters in "Larks' Tongues in Aspic"? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 11 Feb 94 10:20:58 EST From: David=Lane%HQ%Rational at Vines1 dot ratsys dot com Subject: Bruford Live? [I'm sending this to both the Atavachron and Discipline lists] I see that the Compact Disc Connection has the following for sale: EEG2107 BRUFORD*BILL STAMPING GROUND LIVE $12.93 EEG 9/93 As I recall, this was an Earthworks recording that was supposed to come out sometime last year, but was delayed or cancelled, as far as I remember. Is this for real, or a bogus entry in their DB? Has anybody heard it? What I'd *really* like to see is a follow-up to "Cloud About Mercury" or another Holdsworth/Bruford effort... - - - Dave Lane davidl at ratsys dot com DOS/4G: dos4g at ratsys dot com R a t i o n a l DOS/4GW (and DOS/4GW Pro): dos4gw at ratsys dot com Systems, Inc. 4G-based game developers: gamedev at ratsys dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 13 Feb 1994 19:48:15 -0500 (cdt) From: Guaranteed Eternal Sanctuary Man (John P Mohan) Subject: drum info Could any drummers out there tell me about Remo Legero series drums? I am considering buying a set. Thanks. JP [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 13 Feb 1994 09:16:43 -0400 (EDT) From: terry kroetsch f Subject: Re: Welcome to Discipline Crimso flashes: 1/ I actually ran out and found those Crimso covers 21st Century by April Wine (yes it's not bad), Court of CK by Quatro (yes it is really bad) and now feel crazy enough to copy those plus my nephew's reggae Easy Money (with his Vancouver combo Cozy Bones - do check these guys out) as well as the ELP 21st Century for anyone who sends me a tape and $2. I'm trying to think of other rarities that might fill that out. Some Fripp and Toyah? Any ideas? Terry Kroetsch 3 Regina St North #201 Waterloo, Ontario CANADA N2J 2Z7 tkroetsc at mach1 dot wlu dot ca 2/ I'm off to Morocco on Wednesday - a Satori in Tangiers? One hopes... 3/ Recieved my Fripp St QT and am TOTALLY bowled over by it. Actually, I'm speechless. The Gunn CD also wears well. 4/ It's 9:30 am AND i'M *FRETTING* - 3:00 recital where I will be performing a 2 piano arrangement of Holst's Mars from the planets. I'll be thinking of Crimson once again... 5/ So, has everyone rented Emmanual 2, the porno flick, which has Lark's tongue Part 2 as the soundtrack throughout? Fripp was very angry and I think successfully sued them for this but it is still available - the music is a remake by studio musicians - you've GOT to hear it... 6/ Q: How do I get a copy of Levin's Roadshow book - I'll do anything. And what of Wetton lately - anyone have an update or an address for info? BTW, I've ordered a pile of Crimson presskits - old and new, from a dealer I'll report when I get them. Glad to photocopy for interested parties. I also have a HUGE amount of NME/Sounds etc press clipping re: KC/Lake/Fripp since 1969. What sould I do with these? Does someone know how to enter these for archives? 7/ OK - this is it! My Fripp sighting include a jolly Fripp, icecream cone in hand, beautiful women on either arm entering AIR studios, London, 1976 (working on Young Person's guide). I'm not making this up: of course, he refused an autograph - he has only 2 hands. The other was backstage at the infamous Massey Hall concert captured on the Great Deceiver: he had stage clothes in travel bag and was awaiting his ride (the rest of the band whooping it up in the dressing rooms. I did ask for an autograph and was politely refused - in fact, he really tried hard to justify this and yet I was cool about it. I asked something about Eno and he was very pleasant and brief. About that show: some yelled *Fripp, what took you so long to come back to Toronto!* in the middle of a gorgeous improv and the piece was stopped (I guess because they were recording) and the concert took on a ferocoius quality after that. It was scarey. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Jeff Preston Subject: Re: Bruford Live? Date: Sat, 12 Feb 94 4:30:17 EST > [I'm sending this to both the Atavachron and Discipline lists] Ditto... > I see that the Compact Disc Connection has the following for sale: > EEG2107 BRUFORD*BILL STAMPING GROUND LIVE > $12.93 EEG 9/93 > As I recall, this was an Earthworks recording that was supposed to come out > sometime last year, but was delayed or cancelled, as far as I remember. Is > this for real, or a bogus entry in their DB? Has anybody heard it? It may be bogus; Compact Disc Connection carry no stock, and rely on their distributors to update their database (if I understand their blurbs correctly). I seem to recall someone mentioning on one of the Usenet newsgroups that this had been cancelled, but it's possible that it's been resurrected. Btw, the "9/93" in the listing means that it was released in Septemper, 1993... in which case I think it's likely that we would have seen the CD in stores by now if it had actually been released. > What I'd *really* like to see is a follow-up to "Cloud About Mercury" or > another Holdsworth/Bruford effort... Hear hear! It's a shame that they were unable to get adequate funding to do the project they'd planned to do this year. However, Allan seemed quite agreeable to pursue it at another time, so it may happen eventually. Jeff -- Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum =*=*=*=*=*=*=*=*= atavachron-request at msuacad dot morehead-st dot edu =*=*=*= [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 12 Feb 94 02:31:22 EST From: Subject: King Crimson toy line The KC toyline should include: 1.Jamie Muir action figure with swivel-arm battle grip, so he can hit all that stuff. 2.Robert Fripp figure with changeable hairstyles. 3.Adrian Belew doll. When you pull the string, he says "Talk, talk, it's only talk...." 4. SMIU (Small Mobile Intelligent Unit)- Some assembly required 5.A Crafty Guitar 6.A 21st Century Schizoid figure 7.A Court of the Crimson King action playset, complete with yellow juggler, purple piper, black queen, and Prince Rupert (I know, I know-wrong tune) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: C_HOARD%BAX dot compuserve dot com at cs dot man dot ac dot uk Date: 11 Feb 94 21:15:17 EST Subject: Bill's buds and Bob's snubs... Crimsonoids... I find it unbelievable some of you are concerned or rasigin questions about Bill Bruford having friends--as if he's been a difficult artiste terrible, and has potentially alienated everyone around him except for Jon Anderson... who's so peace-loving and messianic that no one could upset him... (that's probably not true). I've interviewed BB at least three times, been around him on other social occasions--he's probably (other than Holdsworth) the most humble of people who's ever been in a major (not to mention nearly all major) British prog-bands. He's one of those rare musicians who personifies a "perfect English" gentlemen--and I've witnessed his ill-temper upon occasion--and yet this glowing description of his personality still holds true. He generally loves mingling with his fans--takes the time to do so--and probably has more who countd the whole tale from BB and AH's perspective--and interviewed Jobson--I'd say Jobson and Wetton were the imperious ponces in this case; sorry if anybody out there really liked "Danger Money." Wetton must have worked too long with Fripp: Bruford lamented the fact that they insisted that AH--who'd played primarily fusion and jazz up to that point--to play the exact same solo every night! That was like a crime against nature to BB--and it was anyway. On to Fripp's personality--he's the kind of man--one wonders how/if he recreates. Whenever I've seen him in public--on a half dozen or so occasions--he's either pontificating or ruminating. I remember when Exposure came out, I was in college and interviewing him--he mesmerized a small crowd at Polygram with his intellectualizing. A friend who had a car at the time and I gave him a ride back to his hotel--which I found oddly trusting of someone who was visiting LA even back then... I don't remember too much about this--other than Fripp being reserved but congenial--extremely interesting--and controlling in how he directed the media proceedings. In a later Interview in 1980--at Warner Bros., I found him to be a lot more loose and friendly--less uptight than when he came out of his "Dusty Roads" shell with Exposure. He was willing to be patient with foolish questions, and quite engaging and excited about the Discipline album band--he described first rehearsing "Larks" with Levin and Belew--when they didn't know the tune at all--as a near religious experience, and realized then it was time to "begin the drive to 1984." I knew back then in his cool calculations, he would make three records--and then again disband KC in '84--but now I wonder if BB didn't harbor hopes it would continue well beyond that--I remember BB being disgusted that RF had twice disbanded the greatest rock bands he ever played with--and made noises that the second offense was not to be forgiven. And finally for those of you who have been snubbed by RF after shows-- I think RF is more than willing to engage his fans in conversation--I hazard to guess that after one of his performances just happens to be the one time one should not attempt to approach him. I remember RF saying in several interviews that musicians and whores have something very definitie in common in their professions--that they both have to sell off a part of themselves to make a living--I should find his exact words (which aren't handy here). Behind Fripp's controlled stage presence and menacing metallurgy--there is a (maybe overly) extremely sensitive, constantly self-questioning heart. But imagine an 18 year-old prostitute who's just taken a severe pounding from a sailor who's been long at sea--and that might somehow parallel his emotional state after a show--I'll have to ask Bruford about that sometime (who's all to beleaguered with 'hey Bill--why's Fripp so weird, huh?' type questions). I also mentioned in Atavachron--the AH digest--how I recall being with Holdsworth and Bruford (still friends!) after the Perfect Pair tour show in LA--and how Fripp seemed to snub everybody--AH was a bit taken aback and said to Bill innocently, "Jesus, what's with him?" And I think BB dismissed it like--"Never mind him--he's always like that after a gig." So I know it's not just fans--but sometimes other musicians (who are not particularly his fans) who've been snubbed--in particular, after shows. RF seems overly so--to want an occasion structured and orchestrated--I remember he signed several of my discipline items--poster, album, etc. with a nice big autograph in 1980--when I handed him "Young Persons Guide" -- he wrote "Boo!" in a caption coming out of the little king's mouth on the front cover... This was revealing to me. The occasion was to publicize the Discipline record. Fripp's an enigma within a riddle, not without a sense of humour; just don't impinge on his space when he's in one of his "rude comas." That's it for now... Hoard [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: heinrw at rpi dot edu (Bill Heinrichs) Date: Fri, 11 Feb 1994 15:29:14 -0500 Subject: Discipline #12? I am relatively new to this list. My first issue was #123. I have been a fan of KC & RF for quite some time. Therefore, I feel that I have to respond to some of views expressed. Firstly, "RF is an asshole." who cares! The man is not running for political office. He is a musician/composer, and one of the best I may add. Secondly, does anyone have any tour dates or general info regarding tours or studio release dates. Thirdly, I am sorry to hear that Bruford-Levin are not playing together with this setup. I caught those two playing an instrumental duet lasting close to fifteen minutes during the Anderson-Bruford-Wakeman-Howe tour. They looked like they were having so much fun that they were upset when the other musicians started to appear back onstage. Lastly, I am glad that I am on this list. For everyone hear has an appreciation for music as art. Mr. Bill heinrw at rpi dot edu Rennselaer Polytechnic Institute [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 15 Feb 1994 12:33:16 -0800 From: Malcolm Humes Subject: Primus covered Thela Hun Gingeet I noticed some Rolling Stone blurb mentioned that at the Oakland, California New Years show of Primus opening for Nirvana, Primus did a cover of Thela Hun Gingeet. Must've been an interesting feat for a 3 piece band. - Malcolm [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: phv at equalizer dot cray dot com (Paolo Valladolid) Subject: Seen in Atavachron... Date: Thu, 17 Feb 94 15:20:29 PST Found in Atavachron, the Allan Holdsworth mailing list. See, even famous people get brushed off my Mr. Fripp ;-) > To McCabe--thanks, friend--GREAT LIST. To Malcolm--my > sentiments too on Jamie Muir--I remember interviewing Fripp in > 80--he talked about Jamie with reverence, and I think on both > occasions I interviewed him (79 and 82...?) he went out of > his way to dwell on anecdotes about Muir--my impression was, > Fripp was very fond of Muir's time with KC--Bruford, by the > way, told me on several occasions Muir was a MAJOR influence-- > but I'm blown away--again--AH played with Muir??! Never knew > that! Please--some background! I do remember AH and BB hanging > out--still friends--after KC's 84 show in LA--and Fripp being > in his usual "rude coma" after the show; Fripp brushed off AH, > along with countless other industry luminaries and musicians > no doubt, (probably distressed at his playing--which was not > as good that night as some previous KC shows I'd seen). AH > didn't seem to mind--he never was a big Fripp fan anyway--he > always found Fripp a little too mathematical--too rehearsed in > his solos. Anyway, I'll ask about Muir--but Steely Dan and > the Breckers are old territory between us... Thanks Again. > > Hoardman Not surprising that Fripp and Holdsworth are not the best of friends; the two are almost polar opposites of each other... -- Paolo Valladolid phv at equalizer dot cray dot com Cray Research Superservers, Inc. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: phv at equalizer dot cray dot com (Paolo Valladolid) Subject: To Alan Rosenblum Date: Thu, 10 Feb 94 15:28:42 PST This is for Alan Rosenblum: I tried to reply to your email, but my message bounced. If you are reading this, then I can assume you still have Internet access. In that case, please mail me your new email address. -- Paolo Valladolid phv at equalizer dot cray dot com Cray Research Superservers, Inc. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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.