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 #134 D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 134, Wednesday, 4 May 1994 Today's Topics: KING CRIMSON OFFICIAL LINE-UP Islands Cover For inclusion in Discipline Re: Discipline #133 Re: two of a perfect pair Discipline #133 Definitive Editions Bruford back in KC??? Re: Discipline #133 Editing, etc. Re: Fripp and Jimi Robert Fripp autograph; my "brush with greatness" Elliot Sharpn recent / new albums Versions of _Disengage_ Re: Discipline #133 In defense of Asia/New Crimson lineup Re: #2(3) Discipline #133 KC minialbum caroline records Mystery Stick Busker probably Jim Lampi New Belew? Is it true? Reply to msg about New Belew Re: King Crimson in stu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 30 Apr 94 00:40:09 EDT Subject: KING CRIMSON OFFICIAL LINE-UP The new line-up is Adrian Belew Bill Bruford Trey Gunn Robert Fripp Tony Levin Pat Mastelotto This is the line-up that will tour in Argentina in September. I am also pleased to announce that Possible Productions will have the King Crimson mini LP culled from the sessions that are in progress in New York. I will send you more information as soon as I have it. Mark Perry [ -- Thanks to Mark for providing this official information. ] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 94 13:13:19 PDT From: 29-Apr-1994 1608 Subject: Islands Cover I've seen a few posts to Discipline about the cover to "Islands". The nebula cover was used for the Island release in the UK I believe, while the cover on the Atlantic release was used only in the US. Why, I have no idea. Perhaps a UK correspondent could confirm. This practice of different covers for diffrent countries wasn't unusual at the time. I bought a cassette copy of the album in South Korea in 1975 that had the nebula cover, and the 1976 edition of "The Encyclopedia of Rock" shows the nebula cover in the KC entry. At that time, the Atlantic release was still in print and still using the white cover. All reissues since then (the EG half-speed masters, the EG compact disk and the Caroline remastered CDs) have used the nebula cover art. Brian Rost rost at tecrus dot enet dot dec dot com 508-568-6115 DEC, Hudson, MA ******************************************************************************* " " - Marcel Marceau ******************************************************************************* [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: telemaster at aol dot com Date: Fri, 29 Apr 94 16:19:43 EDT Subject: For inclusion in Discipline On the Tamm Book: I spoke with Fripp about two years ago about the Tamm book, which was fairly new at the time. He said that he would not recommend the book to anyone except that he felt the chapter on the Crafty workshops (I believe it's chapter 12) was a very good account of what one is like--that anyone considering attending would benefit from reading the Tamm account to get an idea of what to expect. Fripp also told me that he did had refused to cooperate with Tamm and that he had asked Tamm not to write it. I have to differ with Fripp on this. I found--and I believe any Crimson/Fripp fans would also find--the book worth reading and having on the shelf. It is not only a history but a very descriptive discography--plus it's the only book-length treatment we've got. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 1994 13:54:02 -0700 (PDT) From: GORNYJA at whitman dot edu Subject: Re: Discipline #133 From what I understand about the Islands LP, the original vinyl issue had the painting and the gatefold with lyrics inside, and the inner sleeve had the picture of the nebula. At the time, I didn't buy this album because of the fact that the lyrics were there, and so I bought the Editions EG collectors edition re-issue. It simply reversed the roles. The nebula photos went outside, and the inner sleeve had the island from the front and the lyrics. (It also was a poor recording, compared to CD, and the labels were printed on the wrong side of the record, i.e. Side A label was on side B. I've never been especially fond of the album, simply because it didn't really seem to say too much, although I find that Sailor's Tale is a nice break from the rest of the album. On the subject of Fripp and the efficiency of musical expression, I truly believe that much energy is wasted on performance "style." I find that I play differently walking and sitting down and standing, and I have always preferred sitting. It's the way that allows me to focus on solely the sound, rather than worrying about chords or what other people are doing. However, this is clearly difficult to do in a band situation, where it would be nice for musicians to play tightly. But, I also believe that there is a certain connective template that creates itself as musicians work more with each other. It's something that defines "your sound" but it also gives you the freedom not to have to try and keep up with anyone else. You are no longer playing for each other and waiting on each other, but working within a parameter that defines what everyone is supposed to be doing on their own terms. Jimi Hendrix was an excellent performer. As a performance artist, he is awesome and splendid and does things that Fripp wouldn't do. However, I get the impression that Fripp is not an actor, but a musician, and so creative impulse works within him in a way that is focussed and tight as music for music's sake. And just because he doesn't act chaotically doesn't mean he has no creativity. Indeed, many of his pieces which most people would call random and chaotic are actually surprisingly orderly and balanced. That's something that is quite a rarity to find in music nowadays, and something that I believe makes music work well with the audience. It's far easier to have a productive and intelligent conversation with someone who is focussed enough to speak clearly and use correct grammar, than it is to talk with someone who chooses to speak in mixed language or by random association or by a personalized sign language. Whether it is more artistic to speak either way depends on your aim in speaking. I think it is the same way with music. If you enjoy the performance because of the acting and stage show, then Fripp would be boring. If you were looking for intellectual intricacy, control and the connection between chaos and order, Hendrix may not be for you. I don't think, IMHO, that it is quite fair to judge someone's artistic ability because they don't match up to what you are looking for. The creative impulse can be directed in an infinite number of ways, and it can all be interpreted as art if you are within the same mindset as the person who creates it. Jacob Gorny gornyja at whitman dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 94 14:53:09 PDT From: "John Relph" Subject: Re: two of a perfect pair >Was I the only one to smile when reading that a second drummer had been >added to the new KC? Of course -- you need two "normal" drummers to >replace a Bill Bruford! Then again, if you believe all rumors, then there >are now three drummers in Crimso.... heh. Rumours aside, there WILL be three drummers in the new Crimson. Mr Mastellotto, Mr Marotta, and Mr Belew! Belew does the drumming on most of his solo work, and did some drumming for Crimson in the past. And Crimson has had two drummers in the past, although I suppose it would be fairer to Mr Muir to characterize him as a percussionist (and madman). Anybody pick up the new Belew album? -- John Now back to our regularly scheduled broadcast. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 1994 14:56:54 -0700 From: rpeck at pure dot com (Ray Peck) Subject: Discipline #133 >PS in regards to David Altemir's "two drummer" discussion, don't forget >about Yes on their Union tour. Bill Bruford and Alan White drummed together >for most of the show. Bill played an all electronic drum kit while Alan >played a conventional kit. It made for some very interesting interplay! It made my cry to see Mr. Bruford up there playing with White, who has become another average "get a big sound and THUD! THUD! THUD! drummer", much like Carl Palmer has. It also made me cry to see Steve Howe play beautiful artistic solos, and then hear Rabin get all the applause for his hackneyed shredding drivel. Not that I don't like shredding: I love Steve Vai. But Rabin was technique without music, like White was. But that's another group. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 94 16:06:04 MDT From: pmartz at dsd dot es dot com (Paul Martz) Subject: Definitive Editions In Discipline #133, arnold at lumina dot com (Brian Arnold) sez, regarding the remastered _Exposure_: > Then play the originals. I prefer the variety and the mutability of music, > but I prefer the new take, and I am glad to have been able to experience > both versions. Anyone interested in the original can hunt down the > original LP recording at their favorite used record shop. Watch out. The definitive edition remastered version is also available on LP. Don't buy it by accident if you are looking for the original. -paul "Eno is the one, Eno's the one to take pmartz at dsd dot es dot com One hundred percent for your stomach's sake... Evans & Sutherland Bubbly bubbly Eno!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 1994 22:00:26 -0400 (EDT) From: Michael Kelly Subject: Bruford back in KC??? I know this sounds like hopeful babbling but in an interview in the current issue of RAYGUN, Adrian Belew makes referance to Bruford and Mastoletto as being the 2 drummers in the new KC. Did I misread this or is it true? I really enjoyed Marotta's drumming while with Gabriel but found his work on The First Day to be fairly uninteresting. I would much rather see/hear BB in the new line-up. Is there any talk of an Earthworks tour to support the live album? I am really looking forward to the album as I was at one of the two shows at Nightstage in Boston which were recorded. LATER.......... MLK [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 29 Apr 1994 21:59:34 -0400 (EDT) From: LENNBOB at delphi dot com Subject: Re: Discipline #133 re: Daryl Hall's Sacred Songs album Sacred Songs was recorded in August 1977, but wasn't released until March 1980, apparently since RCA felt it was too different from Hall & Oates, who had been enjoying another surge in popularity at the time. Roughly speaking, Fripp's influence is stronger on side A (which contains "Urban landscape" and "NYCNY"), while Hall's is the more prominent on side B. The album is available as a midline-priced (Y2000) CD in Japan (BMG Victor BVCP-2091). re: Kings Chapter 2 I'll be waiting to hear more about this. I just got Kings earlier this week, and it's great (although somebody should have shthe Japanese "First Day" bootleg... re: Bruford in the new KC Adrian Belew is quoted in an interview just out (in Ray Gun, I think) that the new KC lineup will include two drummers -- Bill Bruford and Pat Mastelotto -- along with himself, Fripp, and Tony Levin, and Trey Gunn. Kevin lennbob at delphi dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 30 Apr 94 01:56:11 EDT From: Subject: Editing, etc. Hello, Disciplinarians! I'd like to throw in my thoughts regarding the discussion on the pros/cons of the edited "Starless" and other tracks. My first "Starless" was the edited version, and it is a very moving piece, no doubt. The second half is far more powerful live than on RED, I think. But the essential mood of the tune is not lost in the edited version. On the other hand, the edit of "Fracture" sucks. All the development is cut out. I never liked that tune until I heard the complete version. Would someone please ask Fripp why the KC mini-album is only going to be released in Japan??? :( And finally, regarding the debate on two drummers in the new band: King Crimson has never let me down before. I trust them not to this time as well. If Robert Fripp feels that the creative force of KC is present in the sextet that is now rehearsing, that's good enough for me. Peace Terry [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 30 Apr 1994 18:03:16 -0400 (EDT) From: James John Hannigan Subject: Re: Fripp and Jimi Wish I knew my Fripp/Jimi conversation over the Hendrix list would be reprinted for all the KC maniacs to see! Would have been more careful with what I said :) Please direct all criticism (and agreement too) to: thefly at sils dot umich dot edu Jim hannigan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: mikelbiko at aol dot com Date: Sat, 30 Apr 94 18:58:41 EDT Subject: Robert Fripp autograph; my "brush with greatness" This is my first post to the list; great stuff! Not the usuall gibber-gabber I find on some of the other prog lists. Found some very illuminating and informed perspectives in issue #125. Thought you all might like to know that on the Marillion/ Fish list (Freaks at bnf dot com) a recent poll revealed that the favorite non-Marillion song by subscribers was "Starless" by KC - and I thought I would be the only one to pick that tune! I was astounded! On a related note, the Fripp book by Eric Tamm includes a comment by the author on "Starless", relating how he was moved to tears by the utter perfection of the piece. I cannot agree enough! "Red" has to be (IMHO) the greatest piece of "shredder prog" ever recorded. I can only hope the new band will be able to rekindle the power that the "Red" period ensemble was able to muster. But then, I guess that would be akin to lightening striking twice in the same place. Nonetheless, hope springs eternal.... Anyway, my main reason for posting was to relate my story about asking Robert for an autograph. KC performed their first ever Seattle show as part of the Discipline tour. The played a tiny hall called The Showbox (and played "Red" in their set, one of my all-time concert memories) and after the show, I saw Robert at the edge of the "backstage" area. He was apparently talking to a student of his, and after they had concluded their conversation, I meekly asked "Mr. Fripp" if he would mind signing an autograph for me. He politely responded "I'm sorry, but I've just signed a piece of my work" (I assume he meant the performance) and turned away. I was very dissapointed, until a friends' husband found me standing amid the crowd. He was a local rep for W.E.A. (Warner/Elektra/Atlantic) and he presented me with a fully autographed promo copy of "Discipline" that he had gotten from the band, as well as some other autographed goodies. After pulling me back down to the ground, he escorted me backstage, and introduced me to Tony and Adrian, who I chatted with for 10-15 minutes. Bill and Robert were nowhere to be seen. I have a different perspective on Bruford's absence from the new KC line-up: I had read that Robert is not working with Bruford because Bill is still handled by E.G. Management, and until that is changed, Robert will be unable to work professionally with him - I assume we are all aware of Fripp's problems with E.G. Is this perhaps the reason for Bill's non-presence in the new project, or does someone know for sure that there are other (more personal) disagreements between the two? That's about it for now; sorry about the long post. I also have a 40 page list of prog audio/video (many Hi-Fi stereo) shows to TRADE (I do not sell! Trades only!) Send a 59 cent self-addressed stamped envelope for a copy. I cannot send via E-mail, so please don't ask. 59 cent SASE to: Mikel Orsborn 317 SW 112th St. #314 Seattle WA 98146 U.S.A. mikelbiko at aol dot com "You get used to it...." Marillion [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: pvallado at sdcc5 dot UCSD dot EDU (Paolo Valladolid) Subject: Elliot Sharpn Date: Sat, 30 Apr 94 17:09:59 PDT In response to an inquiry about Elliot Sharp: Elliot Sharp is a composer, instrument inventor, saxophonist, and guitarist. His music incorporates ideas appropriated from modern classical composers such as Iannis Xenakis and Stockhausen, rock music (notably Jimi Hendrix), and ethnic musics from around the world (in particular the exploration of polyrhythms, circular breathing technique, and harmonic overtones). Sharp works with a variety of ensembles; from his own rock/new music group Carbon to the Soldier String Quartet to improvising ensembles. The instruments he has designed seem to reflect his fascination with overtones: the pantar, an amplified zither-like instrument struck with mallets; the slab, similar to the pantar, but strung with bass strings; a mutant violin-like bowed instrument; and his favorite axe, a double-neck guitar/bass with generous lengths of string behind the bridge for koto-style bending and strategically placed wires which alter the location of the natural harmonic nodal points on the two fretboards. This fascination with overtones has also resulted in Sharp's highly developed technique of extracting high-speed cascades of harmonic notes by two-handed tapping and the ability to sing very very low notes like a Tibetan monk. A sampling of his work: _Larynx_. A two-movement long form composition featuring the "orchestral" edition of Carbon, with *four* drummers, the Soldier String Quartet, and others. _In the Land of the Yahoos_. Mostly electronic in nature, with Sharp triggering samples from MIDI guitar plus guest musicians. Parts of this album are very funny, from the way Sharp twists around some of the sampled speeches. _Cryptid Fragments_. Sharp restricts his playing here to a MIDI controller called the Thunder, which is designed to be controlled by one hand. It has pads that are both positional and pressure sensitive that are laid out in an arrangement that accomodates the way the human hand spans out. He uses this device to control signal processors which affect the sound of violins being played in real time. _Datacide_. Featuring the "rock band" version of Carbon. 16 short tunes, some with Sharp's menacing vocals. The closest Sharp ever comes to playing pop music. Some of these tunes are reminiscent of "Red" or "Indiscipline", featuring Sharp's no-holds-barred intensity and virtuosity. He also plays soprano sax on a cut or two, not really soloing but using circular breathing to establish repetetive but interesting rhythmic lines. _Westwerk_. A live recording of a stunning solo performance in Westwerk, Germany. My favorite track is "Gargoyle", which begins with Sharp's nearly subsonic voice evoking the track's namesake in my mind, a truly evil sounding voice; and then follows up with multi-layered guitars achieved by some sort of delay-looping device and free improvising on soprano sax in a manner reminiscent of Albert Ayler. -- Paolo Valladolid pvallado at sdcc5 dot ucsd dot edu ----------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet newsletter |\ |dedicated to the discussion of music technology as applied to | | |guitar and other stringed intruments. To subscribe, send email | | ----------------------------------------------------------------- | \ \| ----------------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 30 Apr 1994 21:15:22 -0400 (EDT) From: CHOSSMAN at apollo dot davidson dot edu Subject: recent / new albums There seems to have been more than a few hints at a Sylvian & Fripp live album in the works, and it reminded me of the increased outpu of Fripp recordings in recent years. I take it S&F and the other planned releases will be available through Possible Productions? Is there someone in the "house" who is connected enough with P.P. to post to Discipline when they become available? Notice the "Live in Japan" motif in Fripp's live recordings. Why is this? Also, the "only available in Japan" preview of KC is a little unfair. But judging from the set lists in Frame by Frame, Mr. Fripp seems to enjoy a rather large following in Japan. Again, anyone have any guesses? I want to throw in my three cents (inflation) about Jerry Marrotta. He has been pretty harshly criticised on the digest for four-square drumming on _the First Day_, but I would like to draw attention to the credits. The album is mixed by Sylvian and David Bottrill (Peter Gabriel' engineer). I have noticed that the drums are usually the first thing to go in remixing. Darshan sounds like it has a drum amchine running through it. Another possibility: Remember Fripp 's Discotronics period. The one song (can't remember the name) where he keeps up a complicated ostinato for about 15 minutes? When Robert Fripp plays something over and over manually, he is lauded, but god forbid if a drummer should . . . I'm also reminded of the long-form ambiant pieces of Fripp&Eno. I feel like Darshan falls into this category. It's a little abrasive, but I find that it really can entrance. In further defense of Marotta: check out Suzanne Vega's album 99.9 F Degrees. That will renew your faith in his playing. take care, Chad [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 1 May 94 02:04:56 -0600 From: dalton at isidis dot colorado dot edu (lizard man) Subject: Versions of _Disengage_ In Discipline #131, it was written: >> To see [Hammill's vocals on Exposure's Disengage] diluted the >> way they were in Mr. Fripp's alternate choice was sad, indeed. To which Brian Arnold responded, >I prefer the Definitive take; frankly I can't listen to the original, it >was unnecessarily grating; a bad choice in the first place. The original poster also said: >> I prefer the originals. They have a life of their own. To which Brian admonishes, >Then play the originals. Umm, Brian, I think you are missing the point. Some of us *can't* play the originals, and had bought the _CD_ for that purpose. I would be happy to buy both discs, but the more intense, Hammill version is simply unavailable to those of us who do not have phonograph systems and/or mint condition LPs. I think Malcolm's suggestion, releasing a CD5 containing the other versions, would allow everybody to have their cake and eat it too. --lizard man PS Just thought i'd interject an opinion about the truncated "Starless:" i personally find the vocal section to be somewhat dated, and the instrumental part to be timeless...if i was making a compilation and had to choose a place to cut it, guess where i'd choose...? Just an opinion. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ottari at ismennt dot is (Ottar Isberg) Subject: Re: Discipline #133 Date: Sun, 1 May 1994 13:59:56 +0000 (GMT) Dear Discipline Readers ! I was very glad to hear that KC was back into studio again but sorry to hear that they are not going to release the stuff until next year. What is Mr. Fripp thinking ??, he has let us wait for this to happen for 2-3 years now, I mean we don't live 1000 years. Fripp will be 48 when the record finally comes out which is rather high for a creative musician. In my opinion this is a rather high age to be creative. IN the age 20-30 the best work is usually done and to be creating interesting things at 48 is no mean task. Fripp is no mean artist either but he is human (I think). I just hope that KC will burn on this record and better the 1981-84 stuff which in my opinion is much overrated music. Why do people like this soulless polyrythms or whatever it is called. There is though a little soul in Beat. I look forward to the collaboration record with Eno. This could be the stuff we need to survive a KCless year after having listened to the Final day to much (he burned there). I do listen to Evening Star at work when I am alone (the other ones can't bear it for a second) and the effect of it is always positive, the music envokes many new ideas when I am developing new things, like a programming solutions. According to MOJO interview we have raised Fripps interest in Internet, letīs get him connected. And finally to FRIPP: Come and play a concert in Iceland ! The energies here should enhance the creative force. Bye Orn Orrason Multi-Detector Systems FAX (354 -1) 11273 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 1 May 1994 16:52:13 -0600 (MDT) From: Robert Bartz Subject: In defense of Asia/New Crimson lineup Someone mentioned Asia and John Wetton's attitude towards music nowadays, and I'd like to speak about this a bit. I caught a radio show about a month ago called "In The Studio" where they interviewed Wetton, Geoff Downes, and Carl Palmer about the recording of the first Asia album and other factors concering the group. First off, Wetton commented that most of the critics said it wouldn't work, despite the enormous amount of talent in the band. Once released, of course, it was a tremendous success. Most reviewers were saying why the band should NOT work, but then would comment in one or two lines, "Oh by the way, this album is really good." Carl Palmer made another interesting point. His view of the music scene back then(1982) was that it was time to get away from the 15-minute songs and move on to something else. Also, and I tend to agree with this as a songwriter myself, he commented that for him it was actually harder to write, say a 4-minute song, than a 15-minute one and say the same thing. That's essentially what Asia was doing, and if like the "power pop" that they did, then Asia did an excellent job of doing so. So it wasn't progressive, does it mean it can't be called good music? I disagree with that, although progressive tends to have more of the talent than other kinds of music. Regarding the new KC lineup, it sounds great!!! The 80's lineup was the first KC I heard, and liked it immediately. It wasn't really until I head Fripp's "Exposure" did I really appreciate his playing and songwriting ability. As has been said before, I compare him to Zappa in many respects, but is still his own persona. Well, I've rambled on long enough. Oh, incidently, Mark Isham played trumpet on Patrick O'Hearn's "Rivers Gonna Rise" CD (for those who don't know, Patrick played with Zappa from 1976-1979, and later with Missing Persons). It's amazing how many people have played with everyone. Too bad it's not like that anymore, or so it seems. Bob [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: bworkman at aol dot com Date: Mon, 02 May 94 01:39:03 EDT Subject: Re: #2(3) Discipline #133 Ken dot Stuart at tigerteam dot org said: >I listened to "UK" and "Danger Money" AGAIN and I still don't understand >why anyone bothers. >I have both (=all?) Jobson solo albums, and I think he is at best a >mediocre session musician, certainly not anyone with anything musically >to say. I can't blame Fripp for pulling out of UK. >And, to my ear, Bruford's drumming on UK is easily his least inspired of >any his recordings. >I give UK - 3 out of 10 and Danger Money - 1 out of 10. >(And don my asbestos suit :-) ). For the most part, I agree regarding Jobson although I think UK/UK was the high point of his career. I nearly fell out of my chair at the Bruford remark though. UK/UK is my #1 all time favorite Bruford album. I think it's the very best showcase of his work. His drumming makes this album more than just an average prog rock album. Many times I have listened to this album from beginning to end ignoring everything but the drum parts. It's almost as though the drumming is the melody, and everything else is background. I never much cared for Danger Money, it sank like the load it is. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 02 May 1994 16:13:40 +1000 From: keens at pitvax dot xx dot rmit dot edu dot au (Jeremy Keens) Subject: KC minialbum question for RF why is the KC minialbum being released only in japan? will mean collectors/fans will need to pay extra $ for import, even if they can get access to them. Will the tracks also appear on the album - probably not. its a bummer jeremy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 03 May 1994 10:02:44 +1000 From: keens at pitvax dot xx dot rmit dot edu dot au (Jeremy Keens) Subject: caroline records a small plug/appreciation for caroline records. some may remember my note about four weeks ago re great deceiver. it was sent to me by my sister from america to australia. when it arrived, case four contained a second disk 2. i wrote to caroline records asking if i could send them the excess disk and get a disk four. yesterday - about 4 weeks after i wrote - i received a FREE disk four in a box four from caroline. now thats what i call customer service. RF seems to have got on the right label!! jeremy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Eliot Miranda Subject: Mystery Stick Busker probably Jim Lampi Date: Mon, 2 May 94 15:46:22 MET DST >Date: Tue, 26 Apr 94 14:18:18 BST >From: br at inf dot rl dot ac dot uk >Subject: The mystery busker > >I have (at least!) one question for now: late last year, I was shopping in >Oxford's Cornmarket, when I came across a busker who was playing and >advertising the Chapman Stick (there was a board next to him with some of >the history of the Stick on it; no I can't remember any of it, alas). He >was playing a laid-back jazz piece, but with a full multi-voice arrangement >- lovely! It was great to see one being played up close. However, I >didn't recognise the player (nor did I interrupt to ask questions!) > >Some time later, when The Last Day came out, I realised that the photo of >Trey Gunn looked not unlike the guy I saw in Oxford. I don't suppose >anyone knows whether it *was* Trey Gunn? Alternatively, maybe you know it >couldn't have been him because he was elsewhere (can't recall which month, >but it was sunny which must narrow it down a lot:-) Or maybe you could tell >me who it was? My bet is that it was Jim Lampi, an American stick player who has done some high profile busking in Denmark Street (London's main instrument shop street) paid for by the shops there. He plays the stick through a pair of Yamaha effects boxes, a 500 for the treble and a 500B for the bass. He has released a CD, TV Weather, but for me its not a patch on his live busking. ---- Eliot Miranda email: eliot at ircam dot fr IRCAM, 1 Place Igor Stravinsky Tel: +33 1 4478 4096 75004, Paris, France Fax: +33 1 4277 2947 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Bill Moxim" Organization: Univ. of Alabama at Birmingham Date: Mon, 2 May 1994 11:53:49 CST6CDT Subject: New Belew? Is it true? I've been excited and waiting and not seeing anything! Has anyone any further information regarding this post from Discipline #128? >from David Bohnsack: >...And then they brought up Adrian. Together, they played Burned by the >Fire We Make, I See You, and a few other songs from the New Adrian Belew >disk. It will be titled "HERE" (as in: I'd Rather Be Right Here) and it is >due out April 8. He also announced that he will be touring with the >Psychodots in support of the album starting in June. I guess this puts the Is it true?! New Belew?! I've been searching my local shops here and I simply don't SEE it! This is ponderous... +------------------------------------+-------------------------------+ |Bill Moxim | Programmer II | |Internet : bmoxim at epi dot soph dot uab dot edu | Univ. of Alabama at Birmingham| |Compuserve: 76114,467 | Department of Epidemiology | +------------------------------------+-------------------------------+ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Bill Moxim" Organization: Univ. of Alabama at Birmingham Date: Tue, 3 May 1994 08:59:10 CST6CDT Subject: Reply to msg about New Belew NOTICE: A small correction re:my earlier post... >Is it true?! New Belew?! I've been searching my local shops here and I >simply don't SEE it! This is ponderous... Yes I found it - haven't bought it yet, but it's been found! Anybody hear it yet? -bill- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: KEN dot STUART at tigerteam dot org (KEN STUART) Subject: Re: King Crimson in stu Date: Wed, 04 May 1994 03:39:00 GMT Organization: Tiger Team Information Network (510) 268-0102 From: KCONGDON at NYX dot CS dot DU dot EDU To: ALL Subj: Re: King Crimson in stud Date: 94/05/02 ================================================================ afcpeters at aol dot com (AFC PeterS) writes: >Yes. >> Also, another so far un- substantiated rumor is that Bill Bruford is >> back with the group. Can this be true? >No. >Peter Stoller The newest issue of Raygun has an interview with Adrian Belew in which he makes the statement that Bruford is back in the group. --- * UniQWK v2.0 * The Windows Mail Reader / Tiger Team Buddhist Information Network / / Modem (510) 268-0102 info at tigerteam dot org / [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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.