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 #137 D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 137, Friday, 27 May 1994 Today's Topics: Re: Eleven Improvisations & other bootlegs Re: Future Sound of London broadcasts ... Live Earthworks Tony Levin spotting? Discipline #136 Future Sound Of London Re: Discipline #136 Fripp and eno BB and AH now in UK? Gunn's Shot! Ancient Flames... Fripp Announces KC Breakup--forms new "League"??! Fripp & Co. on WNYC More hot Crimson news! belew Steve Howe Speaks Out On King Crimson! Sylvian nearly in King Crimson Sylvian on The first day the first day [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 23 May 94 17:08:45 BST From: richard at wg dot icl dot co dot uk (Richard Barnett) Subject: Re: Eleven Improvisations & other bootlegs > Date: Fri, 20 May 94 15:57:51 PDT > From: John Relph > Subject: Eleven Improvisations > > I recently saw a new bootleg CD at a record store. It's called _eleven > improvisations_, by Robert Fripp, a recording of Frippertronics from London > in 1987. Has anybody heard this CD? If so, is the sound quality good? I > might buy it if the sound quality is good enough. i saw this on saturday at the "trans-pennine record & cd fair" at manchester's g-mex centre. there were a few other crimson bootlegs for sale, a couple of fripp & sylvian ones, and a couple of robert fripp string quintet (?) as well -- i ended up buying "kan-non power," which is (so far) very good. what crimson bootlegs are generally available? (is this in the/a discography/faq?). i've got a itinerary for the fair -- as its name suggests, it's largely confined to the north of the uk. if you're interested, contact me and i'll mail you a copy. -- richard ps: i'm only familiar with "discipline," "beat" and "three of a perfect pair" (and the beginning of "larks' tongues in aspic" -- would anyone like to suggest what i should get next, given that i like these a lot? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 23 May 94 11:39:28 PST From: Sean Finn Subject: Re: Future Sound of London broadcasts ... Greetings ... I'd be very interested in swapping tapes for either of the FSoL broadcasts, if anyone over there has one available ... thanks -- Sean (finns at ngc dot com) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Greg Maguire" Date: Mon, 23 May 1994 14:22:46 -0700 Subject: Live Earthworks >From: heck at husc dot harvard dot edu >The live Earthworks album would be a tour de force (I was there, I know), if >only it would be _released_. Hope this isn't old news. I got this through a new-realeases list I sub to. From: new-releases mailing list (new-releases at cs dot uwp dot edu) Lines: 782 Date: Fri May 20, 9:18am Chars: 42005 Subject: RELEASE: Recent and Upcoming Album Releases: 94-19 28 Jun * Bill Bruford's Earthworks Stamping Ground-Live! -- Greg Maguire [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 23 May 1994 15:20:25 -0700 From: rpeck at pure dot com (Ray Peck) Subject: Tony Levin spotting? I noticed that there is a "Tony Levine" (sic) credited as playing bass on Tom Waits' brilliant Rain Dogs. I assume it's Tony Levin (nosic), but does anyone know for sure? What a great conenction for those "how many steps can you get from one musician to another" chains so popular on r.m.bluenote! Fripp -> Tony Levin -> Marc Ribot -> John Zorn, etc. And he played for the Simon + Garfunkle Central Park reunion show, right? The possibilities are endless: Paul Simon to Tom Waits in one step! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 23 May 1994 18:08:21 -0700 From: rpeck at pure dot com (Ray Peck) Subject: Discipline #136 toby at cs dot man dot ac dot uk writes: >From: John Relph >Subject: Eleven Improvisations > >I recently saw a new bootleg CD at a record store. It's called _eleven >improvisations_, by Robert Fripp, a recording of Frippertronics from London >in 1987. Has anybody heard this CD? If so, is the sound quality good? I >might buy it if the sound quality is good enough. It is not Frippertronics, nor is it improvisation. It's an audience recording of the LoCGs. Sound quality is mediocre to bad, performance is pretty good. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 24 May 94 08:10:49 +0100 From: "Steve Moore" Subject: Future Sound Of London Brian wrote... > The concert started with a treated voice spouting some load of gibberish > about being a multimedia broadcast and how you could log in on phone > number (given precisely once, I believe) and receive visual images. > Assuming it was all part of the "let's sound terrifically state-of-the-art" > facade, I ignored it. Only to read in today's NME that it was true! And > (as the dj said) they were broadcasting live from their own (non BBC) > studio, down some digital transmission line to the Beeb. So was it? Or > were NME just falling for the bull? Did anyone else try this? There was some discussion about this on IRC last weekend, and also on CIX recently - apparently it was just a BBS number accepting e-mail only! I didn't try myself, but the consensus appeared to be that they were just trying to impress their audience by appearing familiar with the Internet. __Steve__ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 24 May 1994 09:48:28 +0000 (BST) From: Lager Lout on the Info Highway Subject: Re: Discipline #136 On Fri, 13 May 1994, heck at husc dot harvard dot edu wrote: >Has there been any news at all >of plans for a new Toyah album? If RF is reading, maybe he could ask her to >tell us all? Please? There's been a fair bit of activity recently, in contrast to the silence since her last release, `Ophelia's Shadow'. Apart from the usual rumours of when `Sunday...' will record anything new, these are the latest and upcoming releases... A compilation of older material taken mostly from early ('79 - '82) singles and EPs was released a couple of months ago. This contains a number of tracks which are otherwise difficult to get hold of, such as `Bird in Flight', `Tribal Look', etc. It's rather unimaginitavely titled `Best of Toyah', not to be confused with the '84 compilation. A new album, `Dreamchild', was released earlier this month, along with a couple of singles taken from it, `Now and Then' and `Out of the Blue'. The style of music is mainly dance/techno, which was a bit of an unwelcome surprise to me. Willcox does not contribute a great deal to the songwriting on this album, having co-wrote only one track. As far as I can tell, Fripp has no involvement with the album whatsoever. One of the singles features a remix by Tim from the Utah Saints. Another album is scheduled for release in the next few weeks, titled `Take the Leap'. If the demo, `Leap', is anything to go by, this is a much better effort than `Dreamchild'. The album shows a reasonably hard rock influence, mostly due to the backing band Toyah roped into the recording, `Friday Forever'. The demo has six new tracks, which aren't credited, as well as a number of older tracks which are given the same rocky, upbeat treatment. The production's a bit raw, although I expect that this will be polished up a bit for the proper release. Finally, she recently recorded something with a German (I think) jazz group called Kiss of Reality, although as this was a very limited release I've yet to see (or hear!) it. Cheers, Chris. Chris Hedley email: cbh at vodka dot wlo dot dec dot com Digital Equipment Corporation ltd phone: +44 707 374325 Welwyn, Hertfordshire, England fax: +44 707 374302 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Matthew C Gregory Date: Tue, 24 May 94 16:51:58 +0100 Subject: Fripp and eno Did anyone see the Observer interview with Eno two months back here in the UK? It mentioned Fripp and Enos latest venture which Eno said could end up with Bowies voice on it, does this put to rest the Fripp-Eno/Eno-Bowie confusion?not two albums but one. I may transcribe some of it to the list if anyone out there is interested. [[ Please do, Matt, thanks. -- Toby ]] It mentioned something about Fripp using a *rubbery and metallic* guitar sound and use of programmed precusion fusing elements of punk and avante-garde jazz. Intriguing. Matt gregory dot teaching at physics dot ox dot ac dot uk ##zero entendre## [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: C_HOARD%BAX dot compuserve dot com at cs dot man dot ac dot uk Date: 24 May 94 16:52:14 EDT Subject: BB and AH now in UK? Gunn's Shot! Ancient Flames... OKAY -- FOR ONCE AND FOR ALL: >From: MikelBiko at aol dot com >Despite recent assertions that Bruford is back, I have yet to begin to >believe. My first impression was that it was a mistake... I spoke to the label management at Caroline Records--I was almost as skeptical as you--but on several authorities, BB himself is touting the fact that he's back in KC. Paulo will be interviewing him later this week--and the publicist there is encouraging questions to be asked about BB's renewed involvement in KC--that's enough for me!!! My hope is Paulo will ask a few polite, but forward questions about BB's falling out with Fripp, and how the bridges were mended... Gee, it might be fun to ask BB about the impending reunion of UK! I'm not sure I'd dare though! What's really amazing about this solar-cycle in the s-t-c (space-time continuum) is that the entire progressive contingent of the 70s seems to be gathered up again out of all that cosmic debris--reuinions other than KC in the works or confirmed include: Happy The Man, Camel, Gong, Gentle Giant, and UK... A year or two from now, I hope we can all be swimming in a plethora of great new progressive projects... but I can't help thinking it's time for a really great younger ensemble to make a contribution in this genre, and take us all by surprise... **********thoughts on trey gunn's solo debut************** I finally picked up Trey Gunn's _1000 Years_ at Tower in Newport Beach--and while it's a bit uneven--all I can say is--WOW! This is certainly, in my mind, THE DEFINITIVE stick recording to date, by which all others pale. Gunn is very much the talented bass touchboardist Levin is--with a slightly less muddy/compressed sound--he covers a lot of ground, but is clearly as expressive as any stick player I've heard on the melody strings--ranging from the etherial to very Frippian, agile runs. A few of the tracks, I would classify as first-rate progressive fare, which in my book ranks this as a must for any hardcore KC enthusiast. Obviously Gunn's talents and duties were extremely subdued on the Sylvian/ Fripp project--but hearing this arouses a lot of excitement and anticipation for the new KC--the thought of more lead and atmospheric/chordal input from Gunn in the context of Fripp and Belew is--as Lovecraft would warn--the kind of sound that just might awaken Kthulu from the primordial sludge... Something wicked this way... Btw, great news on the new stick digest--I was feeling guilty for being a catalyst in the demise of the old one--but I suppose every good thread must run its course--and from the ashes of the old... ////////////////////////////////////////////////////////// What an amazing, epic thread--that ran rampant (probably still is) on a.m.p. -- some choice bits here on the old Wetton/Jobson theme ("Jobson After UK"/FYI)--beware, what lies beyond are some of your favorite horses beat and ground into crimson catfood: >mathias at tarkus dot ocis dot temple dot edu mathias thallmayer at Temple University, Steven Sullivan (sullivan@unix1) wrote: >UK1 was the last work Wetton did that was in the same vein as his >Crimson playing. If anything it's a little jazzier, especially on >those tracks you'd inexplicably jettison. > If you think Wetton's work on UK is ANYWHERE near as heavy, intense, or > complex as his work with KC, then you are the one who is on another > planet, not me. Fascinating--a bona-fide Holdsworth hater! I knew one had to be out there--maybe a few more will care to join into the howl here... Oh Jesus, who cares, huh? Two different bands, but UK (1) was more related to KC, IMO than anything Jobson/Wetton did afterwards--which was more in an ELP vein. I think--for *intensity's* sake--one can't beat _The Great Deceiver_--the improvs alone in that set would make a great topical KC single disc release, no? Speaking of intense, though, for me the track "Mental Medication" came pretty close to the spirit of the mid-70s, KC--and I'd argue Wetton's playing and singing on that track seemed to be a direct outtake of the "Deceiver" era KC... Flame away, if you will... >While I've explained before, I'll recap. The two Holdsworth songs suck, >especially "Mental Masturbation", which has one of the most annoying >melody lines ever created. "Melody fair", my ass. This songs is credited >to Holdsworth/Bruford/Jobson.... (flame, flitter, crackle...) >...I believe H/B have to be blamed for the sicking (sic) song itself. Notes: actually--Jobson told me Nevermore and MM were primarily written by Holdsworth, who worked out the "sicking (sic)" vocal" parts with Wetton, who had difficulties, according to AH with those trademark AH harmonies.... Holdsworth's guitar sound was not the single most intriguing aspect in the chemistry of that band--not only because it was a 180 degree loop from Fripp--but because that raw fluid abandon and molassas tone of AH at the time blew the ears off just about anyone I know who followed the prog-rock work of the likes of Fripp and Howe. So for all those who really liked guitar innovations, the following UK releases could be nothing but a major let-down. UK1, along with the Selling England/Lamb-era Genesis, the mid-70s GG, IMO, were the only other English examples that expanded and developed the artistic legacy of the early KC--in a spirit and on a level-- that rivalled KC... If our friend Mathias he really believes his own words, perhaps he can only can hear Bozzio's nuclear blasts--or tolerate that mechanistic/ Germanic sense of tick-tock rhythm, the one that Yanks Levin and Belew balanced-out so cunningly in the 80s KC. I'd never call Bruford (despite Earthworks) a "swinging" or "shuffling" drummer (although he worships drummers like Ed Blackwell or Max Roach)... But, though I really love BB's musicianship--he just seems incapable of grasping this fundamentally black-funk American approach to rhythm on the traps. The times I felt Bruford was closest to a true jazz sensibility on the drums were his chamber-percussion sections--all captured best on _Deceiver_ and harkenning back to one major influence: Muir. AFC PeterS (afcpeters at aol dot com) wrote: >mathias at tarkus dot ocis dot temple dot edu (mathias thallmayer) writes: >> What I object to is the belief that UK was Holdsworth's group when >> it was really Jobson's. >I don't think anyone is arguing that. It was mostly Eddie's band, or >Eddie and John's. What I've been saying is that, while Holdsworth and >Bruford may not have been the prime conceptualists, they were still >the most interesting part of the band. UK worked for me as a balance >between the four talents. When it devolved into a trio, it stopped >being a complex interaction between four unique artists, and ended up >as a power struggle between a pretender to the prog rock keyboard god >throne and a wannabe pop balladeer. It still worked as well as it did >because Jobson was talented enough to be the natural heir to Emerson >and Wakeman, and Wetton hadn't yet completely forsaken his rock roots >for pablum. (Bozzio didn't really figure; he was playing like a >session guy, and it could just as easily have been Simon Phillips or >any number of other technically adept drummers.) The world just >didn't need another prog keyboard god in the Emerson mold; at least, >not as badly as they needed a powerful team effort. The above graph--I had to post, because for me--Peters here--sums up U.K. about as well as one could hope. To quote BB after being fired from UK: "Eddie wanted it to become a cross between Gloria Gaynor and ELP!" I don't have particularly high hopes for the UK renuion with Simon Phillips most because of Wetton's post U.K. efforts and statements. But if the new KC can manifest a "powerful team effort" -- we'll all be amazed no doubt--still the six egos involved will make this one of progressive rock's most formidable challenges! Let's hope this isn't another Fripp clinic (not to slam them) -- but that this group stives to be a band--if they succeed, I hope they will not have to put up with any law suits for mass-audience hearing loss! A parting shot from/at Mathias (he'll never live this one down!): > In fact, in my opinion, the first Asia album was more progressive than > anything that Genesis has done. I wonder where KC fits into his hall of fame--no I don't! //peace--a theme, Chris\\\\\ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: C_HOARD%BAX dot compuserve dot com at cs dot man dot ac dot uk Date: 24 May 94 17:00:00 EDT Subject: Fripp Announces KC Breakup--forms new "League"??! <<<<<<<< Yes, this is absolutely *your* fault, Malcolm! >>>>>>>>>>>> Found whilst perusing the alt.antimatter.dimension Usenet--I can't vouch for it's authenticity, however... ********text of press release to follow********** (Para-Reuters/London, May 24, 1994): Progressive-rock founding figure, guitarist Robert Fripp held a press conferenece today announcing he is abandonning his previously announced plans to re-form the seminal art-rock band, King Crimson. Fripp announced that he had "a change of heart" after returning from a tundra retreat in the small Siberian republic of Tannu Tuva with fellow rock luminary, Jon Anderson (of Yes). Historians of this genre will recall that Fripp and Anderson's association stems from an early King Crimson recording, _Lizard_. "Given that every other band from that era is announcing reunion projects, and the warnings of various icons and spirit-guides, Jon helped me to confirm my doubts that perhaps the Crimson reunion would not be in the best interest of the biosphere," Fripp stated somberly. Fripp further stated that, "I would never rule out a future King Crimson project, but given the recent technological advances in our astronomical observing devices, and having thoroughly consulted the writings of J.G. Bennett, my charts indicate that the drive to 1994 was based on a false eclipse, and the decline to 1996 will actually end in May of the year 2000." When queried further on the relationship of cosmology to his plans to record with KC, Fripp recounted, "I'm sure you'll find this difficult to comprehend, but the a few weeks ago I was driving from Dorsett to Bath to have a chat with Peter Gabriel and Peter Hammill to discuss this recent analysis--and a presence in the car announced itself to me. To make a long story short, the entire landscape changed to that of a valley winding between immense snow-capped peaks, and the road soon ended at the gate of a magnificent castle; rather challenging in a Morris Midget, to say the least. The presence announced itself as the Crimson King, and invited me into it's court. "Later, whilst dining, it admonished me for being a few years premature. I remember being whisked away by helicopter against my will over the mountains, and the next thing I know I woke up in a tent. I stepped outside and there was Jon having some yak milk with his tea... Well the first thing I said was: 'Weren't you on tour with that ponce, Ravingbowitz, or whatever?' Jon told me--quite convincingly I might add--he was well on his way to becoming pure spirit, that Tony Kaye and Rick Wakeman had figured out how to program a hollographic simulation of Anderson for the Yes tour, and were donating his share of tour proceeds to his favorite ashram. 'It all worked out terribly well,' Jon told me, and added that after the Union fiasco, he could never stand touring with any members of Yes ever again. Fripp's long-winded story at this point, finally offered news that has every potential of impacting the rock world to the degree that the album _In The Court of the Crimson King_ once did-- if indeed it can be substantiated by the other musicians involved. "I'm not terribly fond of yak milk," Fripp mused contemplatively, "but Jon took my back to his hotel in Kyzil, and down at the bar I heard the most amazing singing--throat singing--actually, by an ancient Tuvan mystic by the name of Huun Uur-Urgev. The man could sing in four-tone polyphony, it was quite moving--in fact, Jon said it was the reason he was giving up singing. It was that moment that I realized the presence that was the King-- not Elvis, of course, was in the room with Jon and I and Huun. My mission became clear--to reform the group I'd originally intended to call "The League of Gentleman," and abandon the Crimson name for the time being; indeed, the entitie's only requirement was that the number of musicians in the band be greater than 10 and also a prime number. "When I got back to the hotel room, I immediately phoned up John Wetton, and said: 'I'm really keen on doing a grunge harmelodic big band project, along the lines of Ornette Coleman's Primetime meets... say Nirvana or Pearl Jam with some Lark's Tongue era added in for spice. I'm going to ring Jamie and Eddie next, and I hope you won't mind if I invite that confused shredder from Bradford, er-- --Helmsworth? But only on the condition he'll agree to try this violin trio section I have in mind with David and Eddie. I've already got Bill, Pat, Trey, Tony, and Adrian lined up. I've had a real inspiration here in Tuva, John--do you think you could put off this UK nonsense for another year--and by all means bring Simon Phillips along--we're absolutely going to need three drummers. I'd already asked Jerry, but I think I can take care of that.' "'Well I have to say, Bob,' (John said to me--I think he'd had a few, actually), 'This is all a bit sudden--and we've quite a good contract now with Victory and all that. I'll see about putting it off though--if you think this is really special. You'll have to get Tony to agree to be the one in advance who's responsible for breaking up altercations--if you ask me.'" Fripp claims he's now asked seventeen musicians to join new "League" project, which now officially includes--in addition to the planned new KC lineup--violinist/keyboardist Eddie Jobson, drummer Simon Phillips, keyboardist Kit Watkins, saxophonists Andy Shepperd, and Iain Ballamy, pianist Keith Tippett, trumpeter Kenny Wheeler, and vocalist Huun Uur-Urgev. A spokeman for Discipline Records, however, would neither confirm or deny plans for the "League" big-band. "We're still discussing this with Robert, but after all he is the boss around here." When pressed about the rumours that Fripp's new project would include three guitarists, three drummers, three horns, three keyboardists, one-to-three violinists, and one Tuvan throat-singer--the spokeman confirmed this was an accurate outline of Fripp's plan for the project. As for the third guitarist, he confirmed that "we have indeed discussed the possibility with Allan Holdsworth's management," but as of yet, the matter was "unresolved." Taking no more questions at his news conference, Fripp quipped as he left: "I never did make it over to Peter's and Peter's..." -------------- end press release -------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 25 May 94 1:33:30 EDT From: Michael Fitzgerald Subject: Fripp & Co. on WNYC Wow!! I was driving home the other night and just as I thought there was absolutely nothing on the radio, someone mentioned Robert Fripp..... New Sounds, an hourlong show on New York's public radio station, WNYC was broadcasting a program with Fripp and several Crafties talking and playing live in the studio. Present were two groups: The Annex (guitar and viola, names escape me) and the California Guitar Trio (3 guitars (surprise) names again escape me) also Fripp and Trey Gunn. Oh, and a singer, who performs the interludes at Guitar Craft shows, apparently. Topics of discussion included: Guitar Craft methods, beekeeping, the Alexander method, and no mention of King Crimson (that I heard, I came in shortly after the start). Performances included: Bach Prelude, Bulgur Wheat Bounce, The Moving Force, and a few others, including a Frippertronics work and a couple of vocal pieces. Fripp was thoroughly electric with Trey Gunn on stick. The others were acoustic. Unfortunately I was in my car, so I couldn't tape it. Maybe someone else did? Live performances from this show are rarely found elsewhere. Mike [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: wcsanil at ccs dot carleton dot ca (Anil Prasad) Subject: More hot Crimson news! Date: Wed, 25 May 94 19:39:19 EDT I did the Trey Gunn interview, and here are some tidbits I gleaned. The interview will appear in the next issue of i/e, after which it may appear on Discipline. It was a GREAT interview, with some amazing Crimson poop. Here's a few teasers: - Bruford is ABSOLUTELY, DEFINITELY in the new KC. He was first approached last February, and he's apparently working well with Pat Mastaloto. Apparently, he's thinking about ditching the electronic drums. - The EP has been finished and promises to continue the "new musical vocabulary Robert and I have been exploring since Sunday All Over The World." I've asked him what that means and he didn't know, he said it was beyond words. - Virgin is holding up the release of the Sylvian/Fripp live CD pending the possible signing of King Crimson. They're worried about "flooding" the market with Fripp related product if they sign Crimson. If Crimson DOESN'T sign to Virgin, Virgin will release the live disc. That's Gunn's prediction anyway. Regardless of who Crimson signs with, they'll maintain control over the recording. He says Crimson "hopes to blow the roof off the recording industry" by "establishing a new standard for the rights of artists" and by not "giving away the album to a bunch of businessman." - Crimson has no record label right now, except in Japan, where the mini-CD will be released through Pony Canyon. The tentative title is "Frooom" (sic) and it will be released in September. It's six tracks, and features two "monster" instrumentals, one "Belew ballad" a la "Matte Kudasai", one "rollercoaster" featuring rap-like vocals and a couple of other mindbenders (can't remember what he said about the other two). Crimson is only committed to doing this EP and a full album afterwards, and that's it. Gunn said there are no future plans for the group afterwards. - Discipline Records was established as a haven for Fripp et all to avoid the nonsense of the music industry and to have control of recordings remain in the hands of the artists. I get the feeling it was a reaction to the E'G fiasco. E'G and Fripp (et all) are still battling it out with regard to previous recordings ranging right up to Sunday All Over The World. None of the artists have been paid for SAOTW apparently. - Gunn is about to go out on tour with Toni Childs. He appears on her new CD (along with Jerry Marotta's brother, Rick). After that, Crimson go on tour in Argentina around september/october and then move on to RealWorld studios to record the whole album. - Oh yeah... I forgot this part... (is everyone sitting down?) when Crimson tours, they'll be performing material spanning the group's ENTIRE history.... how about 21st Century Schizoid Man? "Well... you never know, you never know." I'm getting into way too much detail here!! Check out i/e In June/July for more!!! />/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/> Anil Prasad | "There's lots of really miserable people wcsanil at ccs dot carleton dot ca | out there, but that doesn't necessarily ac922 at freenet dot carleton dot ca | make any of them artists. It just doesn't | work that way. There's nothing about being School of Journalism | happy or peace of mind that would ever kill Carleton University | imagination. In the end, it really helps it. Ottawa, Ontario | All a starving artist does is starve." Canada | -- Leo Kottke, March 5/1994 Subject: Steve Howe Speaks Out On King Crimson! Organization: University at Buffalo Well... I thought I'd throw my coin on the scale in favor of Bruford currently being involved with King Crimson in the studio. I happened to be chatting with with the "maestro" Steve Howe about Billy Currie and Bill Bruford being part of what he stated was a very comfortable touring band in an old interview and he said something very interesting. "Well, you know Billy 'as gone back to Ultravox again..., and Bill Bruford 'as flown over to work with the new King Crimson..." That was a shock to the system at the time, considering there were already two capable drummers in the project, but I was cheered to see the information was correct upon reading the previous digests. This happened quite recently, btw, at the Classic American Guitar Festival held in Dix Hills NY on May 16th-17th. Frank [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 26 May 1994 17:07:03 +1200 From: REGY241 at csc dot canterbury dot ac dot nz Subject: Sylvian nearly in King Crimson This came onto the Sylvain list, throught it might be of intrest to people here Darren On Thu, 26 May 1994, Hopkins wrote: > > I've just bought Sound on Sound magazine, which has a Sylvian interview > > about his studio techniques etc. I haven't time to type it all in (finals > > Can you tell me more about this magazine "Sound on Sound" ? > Which issue ? Is it UK or US ? It's the UK edition. Volume 9, issue 8. Address: Sound On Sound PO Box 30 St Ives Cambs PE17 4XQ A couple more quotes: "Robert approached me in late 1991 about whether I wanted to join a new King Crimson he was forming. Though very flattered, I decided that I didn't feel equipped to take on the whole baggage and history that comes with being a member of King Crimson. So instead we took the offer of the tour as an opportunity to write material for an album." "Improvisations are particularly important in collaborative work, because what's important there is the relationship between the musicians involved. Improvisation allows that to come into focus, how you react to each other in the spur of the moment. I enjoyed working in that way with Holger Czukay and Rain Tree Crow. It means that you're not bringing your own limitations in terms of structure and songwriting into the studio with you. On the other hand, what feels good whilst you improvise isn't always going to be interestin for other people to listen to. So we spent a lot of time working on pieces and developing them. It was a challenge to make them work for other people. Neither of us had thought of putting on a piece like Darshan... So there was a lot of restructuring going on in that piece, whilst at the same time I tried not to weaken the live performance that gave it its power in the first place. It was a way of combining Robert's and my approach to recording music, and a challenge that I enjoyed." Keyboards used on "The First Day": Fender Rhodes, Hammond organ, Korg M1 and Korg Wavestation A/D Barbieri (briefly interviewed in the same article about his taste in keyboards) uses Roland System 700 (a monophonic modular system through which he plays tapes, eg. of choirs or didgeridoos), Prophet 5, micromoog, Roland D50, Ensoniq VFX, Emax HD, Emu III. He doesn't use sequencers but records instead onto analogue multi-track tape. He doesn't do much sampling. Martin Lewis "Socks are like sex" Poulter [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Matthew C Gregory Date: Thu, 26 May 94 16:03:29 +0100 Subject: Sylvian on The first day This is in the latest issue of Sound on Sound, a British music tech mag. On The First Day: "Making this album was definitely a cahtartic experience, both for Robert and myself. It comes out of traumatic experiences, but it also resolves them. In the end healing takes place. In working on this album I really surfaced from the experiences of previous years and managed to move on. It was a turning point for both of us." "Once we had recorded [jean the birdman, firepower and 20th century dreaming], we faced the choice of adding some ballads or making a more dynamic album. We decided that the album should be more confrontational, so we put the quieter pieces aside for the time being, and will maybe record them on a second joint album." "This album was difficult to cut. It was cut seven or eight times before I deemed it passable. I felt that some of the sounds on the mixes were rather muddy, with a lot of flapping bottom end that wasn't necessary. So we tried to bring in clarity and edge. I don't find that mastering has become easier with CD's. CDs are a blessing because it made me want to cry to have to spend three months in the studio on a certain sound, and then have it masked by the surface noise of the vinyl. The quality of CD is wonderful, but it's still as difficult to come out of the mixing stage and tighten things up and create an overall sonic continuity for an album." On synthesiser presets: "It irritates me when I can recognise sounds on others people's records." Apparently, 'God's Monkey' started off when Bottrill used a DAT to record Marotta *tuning up his drums* !!! and then edited the sounds with a Roland sampler to form a groove. Bottrill's samples also appear on 'Darshan'. Sylvian is building a (v.expensive Amek-equipped) studio with Ingrid in their house in Mineapolis. He is contributing to her solo album and another Sylvian solo album "appears to be on the cards." "The job of editing and structuring the pieces on The First Day was largely down to Sylvian and Bottrill. Fripp[who] hadn't expected to write material in the studio, found the two Davids' attention to detail rather laborious and ended up coming in only when he was needed, in effect leaving the production to Sylvian and Bottrill." Matt gregory dot teaching at physics dot oxford dot ac dot uk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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.