From kbibb at arastar dot com Tue Jun 14 06:55:37 1994 Date: Sat, 11 Jun 1994 22:57:26 +0800 From: Ken Bibb To: discipline%anthor at crash dot cts dot com Subject: Discipline #138 ----- Begin Included Message (t4) ----- D I S C I P L I N E The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 138, Saturday, 11 June 1994 Today's Topics: Frippertronic demo boots? Tony Levin / "Spin 1ne 2wo"?? re: Tony Levin spotting? Re: Discipline #137--Jon and yak milk b.s. Re: Cat Food Question/Tamm book notes on new Belew EP/Album Length "Return of the King" Re: musings on ticket prices Voiceprint/\Sinfield interview Adrian Belew Tour Dates The First Day Drums & AH Kiss of Reality CD New Standard tuning Fripp and Eno and Bowie New Crimson CD Clarification Fripp equipment Crimson CD-Release date update Bill Back in Crimso: Headline! Vinyl, The First Day, Toyah Toni Childs: The Woman's Boat Adrian Belew live at the 930 Club, DC 6/7 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] >From the editor: Hi everyone. My apologies for the delay in getting this issue out. I hope I find everyone well and happy. Due to the enormous number of USA subscribers we now have, and the mechanics of sending off so much mail across the Atlantic on a weekly basis, and our poor old mail machine here :-), we have instigated a major change in the USA distribution of the newsletter. This is now handled by Ken Bibb (many thanks to Ken). Would USA subscribers please register 'change of address' and 'unsubscribe' requests DIRECT WITH KEN at: discipline-request at arastar dot com (Non-USA subscribers, please continue to send adminstrivia to me directly). And, would everyone, USA or not, please continue to send all article submissions directly to me: toby at cs dot man dot ac dot uk Thanks for your cooperation! Best wishes to everyone Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 27 May 94 14:00:42 EDT From: "Mark E. Chase" Subject: Frippertronic demo boots? In the summer of 1977, I remember Fripp going around to record stores and doing demonstrations of Frippertronics. He also answered questions from the audience on a range of topics. Are there any recordings of these sessions out there? I recall he strickly forbid and recording or photography of the sessions. Thanks -- Mark * Mark E. Chase Voice (412) 738-2667 * Head, Media Services Fax (412) 738-2661 * A9A Bailey Library Internet: mec at sruvm dot sru dot edu * Slippery Rock University Bitnet: mec at sru dot bitnet * Slippery Rock, PA 16057 * * "When the going gets weird. The weird turn pro." HST [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: OTG%CSI dot compuserve dot com at cs dot man dot ac dot uk Date: 27 May 94 16:58:32 EDT Subject: Tony Levin / "Spin 1ne 2wo"?? There's a new (well, new-ish) release with Tony Levin that I saw an ad for in the British magazine Q. It was for a band called "Spin 1ne 2wo", and if I remember right - Tony was listed as a member. They hinted at the songs on the album, which all seemed to be "classic rock" standards ("Who Are You", "Crosstown Traffic", "White Room"). I can't find a soul who's heard of it, which of course is making me more interested. Do any of you folks know about this? If so, any clue as to where I can pick it up? Thanks. -- Owen Gwilliam otg at csi dot compuserve dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 27 May 1994 15:52:23 -0700 From: Malcolm Humes Subject: re: Tony Levin spotting? Ray Peck has been known to say things like: > 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! A Tony Levine also pops up on bass on a 1972-ish Charlie Mariano (a jazz horn player, for those unsure) and I always assumed it was the same guy. Maybe one of the earliest things he's on that I'm aware of. Tony Levin appears on a number of Yoko Ono releases too! I was browsing a friend's Ono box the other day and noted that on one of those lps, one with Bill Laswell and gang, I think, Tony only gets credit for "whistle". Maybe Laswell was jealous? - malcolm [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: sanderso at gac dot edu (Scott T Anderson) Subject: Re: Discipline #137--Jon and yak milk b.s. Date: Sat, 28 May 1994 14:22:48 (CDT) Again I rise from my usual silence to spout off. I hope to God no one (including whoever posted it) took that post about Robert Fripp being teleported to Siberia and Jon Anderson inspiring him to form a new "League of Gentlemen" featuring 17 or so prog old-timers seriously. I am frightened because the guy who posted it (sorry I don't have the name, but my system is a bit inefficient in that department--my computer system, that is) sounded pretty serious. Personally, I find it such a blatant load of crap that I nearly laughed out loud. I think it's safe to assume KC is still in the works. Scott T. Anderson sanderso at nic dot gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 28 May 1994 17:26:17 -0400 (EDT) From: James John Hannigan Subject: Re: Cat Food Question/Tamm book Hello all: Don't know if this has been discussed before: has anyone noticed the similarity of the bass line in "Cat Food" to the Beatles' "Come Together"? It would make sense chronologically (Come Together-mid '69, Cat Food-early '70), coupled with Fripp's supposed Beatles admiration. Also, just finished the Tamm book; as one person put it earlier, it does have its moments of pretentiousness (one wonders how he got such editorial freedom), but I enjoyed the discussion. After all, it's not as if Fripp/KC has been overanalyzed in the rock press or anywhere. Also, a great bibliography at the end if nothing else. I was surprised to learn that Fripp is a fan of early Elvis. JIM [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 28 May 1994 18:43:59 -0500 From: nash at chem dot wisc dot edu (John R. Nash) Subject: notes on new Belew In a recent issue, Mike Stok said... >All the vocals & instruments are by Adrian Belew, and this album is a >pleasant contrast to the Phil Collins solo album where Collins played >everything. I also like the included "trick" photo, which shows him playing all of the different instruments in his living room. (Several color-tinted b/w pictures pasted next to one another, with deliberate slight mis-alignment to show that that's indeed what it is.) Nice "Beat" poster, Adrian! >It could be interpreted as a 'personal' album, a few of the songs are about >travelling and being away from home (I See You, Here, Postcard From >Holland, maybe Dream Life), some are 'what's the world coming to?' songs >(Survival In The Wild, Peace On Earth, Burned By The Fire We make, Brave >New World, Futurevision), there's a 'love song' (Never Enough) and a couple >I don't have an interpretation for (May 1, 1990 and Fly). I have to have a closer look at the lyrics, but May, 1 1990 sounds about the time that his marriage was breaking up. "Fly" is easier -- it's about his fear of flying! A sequel to "I'd Rather Be Right Here," if you will. Other notes on the album, which has been well-reviewed by others on the list: - My CD player shows track indices. The pause between tracks 12 and 13 is listed as "track 13, index 0." This is standard for a pause between tracks; of course the pause isn't usually that long! When the music starts, the index changes to 1. - Initial impressions: the album hasn't jumped out at me, but it deserves more listens. I like "I See You" (heard on my local radio station :-), and I really like "Futurevision." Once again, many of the lyrics are of a personal nature; emotions are a good creative well for him. The Beatles influence is certainly still there, but the music is pure Belew. I thoroughly enjoyed his "Inner Revolution" concert, and I hope he can come by Madison this time around as well. (Just a stone's throw from Lake Geneva!) - Overall: worth picking up for Belew fans, certainly. His music has a tendency to grow on, me, and I expect that to be the case for "Here." It's only talk, -john -===-John R. Nash-==-nash at chem dot wisc dot edu-==-UW-Madison Chem. Dept-===- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 28 May 1994 22:38:40 -0500 (EST) From: MOONLIT KNIGHT Subject: EP/Album Length In the midst of all the lineup excitment, I must say one thing really strikes me: how the CD format has changed expectations of album length. In September we are getting a 6 song EP with a full album to follow. But look at Discipline: a 7 song record well under 40 minutes in elngth. But considered to be a very major recording. BTW, if the EP is done, did Bill play on the damn thing? I am interested to see what he has to offer in rock drumming, since his recent playing with ABWH and YES have been typically jarring and out-of-place sounding (this coming from a big Bruford fan). I have been wondering what his relevancy to rock is these days, but one thing to remember about him is that despite his soomewhat acerbic stance he is very much a team player, so his playing will probably have alot to do with how his aethetic reacts to the rest of the band. Jeff [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: toddc at loki dot stanford dot edu (Todd C. Merrill) Subject: "Return of the King" Date: Sun, 29 May 1994 15:11:04 -0700 (PDT) Rolling Stone, June 16, 1994, p 18: "Return of the King" by David Fricke Robert Fripp keeps his word [accompanied by a small black and white picture of Belew, Fripp, Bruford, and Levin (circa 1984???)] Robert Fripp is finally making good on something he promised in these pages last year: the return of King Crimson. "We're here in formation, 100 percent," the guitarist declares proudly during a break in recent rehearsals at a studio in Woodstock, N. Y. That formation is an unusual one, though, even by the venerable art-rock band's own rule-busting standards. The new Crimson are a double trio featuring all four members of the early-'80s lineup -- Fripp, guitarist Adrian Belew, drummer Bill Bruford and bassist-Stick player Tony Levin -- plus Trey Gunn, also on bass and Stick, and second drummer Pat Mastelotto, both of whom backed Fripp on his '93 tour with David Sylvian. The '94 model Crimson don't go into the studio to record their debut album for Virgin until this fall, but they're not exactly sitting around until then watching paint dry. A mini-LP of new material will soon be issued in Japan. Culled from the current rehearsals -- live improvisations, songs in progress, etc. -- the record is, Fripp says, "a calling card, not a love letter." In September, King Crimson will warm up for the album sessions (set for Peter Gabriel's Real World studios, in Bath, England) with three weeks of live shows in Argentina, including a nine-day residency at a 500-seat disco in Buenos Aires. And just what do the new Crimson sound like? Says Fripp with a laugh: "They music is about loving, dying, redemption -- and mature guys who get erections." Until next time... Todd toddc at loki dot stanford dot edu Sign in a farm-equipment dealer's repair shop: "We do three types of jobs: Cheap, Quick, and Good. You can have any two: a good quick job -- won't be cheap; a good job cheap -- won't be quick; a cheap job quick -- won't be good." [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: toddc at loki dot stanford dot edu (Todd C. Merrill) Subject: Re: musings on ticket prices Date: Sun, 29 May 1994 15:13:57 -0700 (PDT) In discipline#136, nash at chem dot wisc dot edu (John R. Nash) wrote: # would be in the range of $25-$35. As far as I've seen, the band has never # gone for extravagant sets with laser holography and flying pigs attacking # the audience, so that would tend to keep costs down somewhat. [...] # My feelings on the matter of the "show" vs. the "music": my favorite # concert videos are Stop Making Sense and Three of a Perfect Pair Live in # Japan, both of which had minimal "special effects." Pink Floyd, U2, and # Genesis are supposed to go all out with their shows; I don't mind paying # extra for such an extravaganza (if I can even get tickets). I hope that # Crimso will continue to show restraint in the staging of their show. Agreed. The last two shows I have attended, Rush and Pink Floyd, were completely different. Each cost $40, which included the outrageous ~15% TicketMaster, affectionately known as TicketBastard, charges. The Rush show was a wash -- decent light show, but the sound was absolutely terrible. You would think after ~20 years of touring Rush would have the sound for indoor arenas down. Nope. With earplugs, the sound was actually much more enjoyable! The Pink Floyd show, and I mean *show*, was a "don't miss," "once-in-a- lifetime" experience. I would gladly have paid double that (for slightly better seats, though), being the Floyd-head that I am. Have you ever seen a Floyd show? If so, you'll know what I mean...impeccable sound, quad sound, incredible light/laser show, and some theatrics thrown in for good measure. I agree with you that King Crimson, on the other hand, does not lend themselves to such extravaganza, and I would be disappointed if I were not able to sit quitely and listen intently to the complex music they create. Never having had attended a Crimson show, I have only once seen the _Three of a Perfect Pair_ video; I again would gladly pay the ~$30-$40 ticket price to attend such a concert with such a polite and well-behaved audience. But, I would pay that much only for the handful of bands I really like. Most bands which I might like to see, I forgo because the ticket prices are in fact so high. As an aside, these "handling charges" are getting ridiculous more than the concert ticket prices. ~15% to have some mindless cretin print you out a ticket from a computer? Come on. The service agencies probably make more money than the performers themselves. And, the tickets are very sterile and boring in appearance, quite unlike the very elaborate ones I've seen GIF's of from Europe where the stub becomes a nice suvenior. Who wants to keep a computer-printed ticket in their scrapbook? Blah. Until next time... Todd toddc at loki dot stanford dot edu Sign in a farm-equipment dealer's repair shop: "We do three types of jobs: Cheap, Quick, and Good. You can have any two: a good quick job -- won't be cheap; a good job cheap -- won't be quick; a cheap job quick -- won't be good." --- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: RAMIZ at vms dot huji dot ac dot il@cs.man.ac.uk Date: Mon, 30 May 94 21:41 +0300 Subject: Voiceprint/\Sinfield interview Last week i got the latest (and first) newsletter from the Voiceprint label ("contemporary, progressive, avant-garde and plain weird"). Following are a few excerpts which i thought may be of interest to this forum. *** The usual disclaimers apply *** [in brackets are my (Rami) comments etc.] - The re-release of Peter Sinfield's "Stillusion" CD (i.e. re-release of his 1973 "Illusion" LP with two bonus tracks and liner notes) is accompanied with a feature, including an interview. Excerpts: "Peter Sinfield [PS] wrote the lyrics for KC's 21st Century Schiziod Man; he also wrote Land of Make Believe for Bucks Fizz! The fact that as a professional he doesn't differentiate between the two 'artforms' shows where his continuing succes lies. In those heady days of the late 60s and early 70s, PS wrote lyrics for the first four KC albums, five ELP records and produced Roxy Music. He has gone to write some of the most successful popular songs of recent years, such as Cher's Heart of Stone [sic, this should've been Silicon i guess :o], Greg Lake's I Believe in Father Christmas and the aforementioned Land of Make Believe." [...] [about being annoyed with KC and recording "Still" in 1973] "I'd been annoyed about this falling out with RF - it was basically him or me [!!] - and since Robert was going off and making more aggressive, black iron noises I wanted to do something more wood and sweety, so I did. In fact, I went too far perhaps in some ways; probably too paster and watercoloury but that's what happens when you try and prove a point [!!]. And I'd never done this before with the help of friends. But I very much wanted to say this is the part of KC that was me." [... about the different styles in "Still"] "It's because I didn't really know what I wanted to do. It's a pity I never sat down and finished the second album because I'd found out what I could do by then." [... about the diversity of preformers he had written lyrics to] "It's because I have a low boredom threshold. I like investigating stuff. RF is someone who gets stuck in his ways and then follows it for a period of time; I'm a person who likes to jump about more. That's why it's always fun for me to write with someone else. It was a challenge to write the popular song for Bucks Fizz - it's very difficult, much more difficult than writing for Crimson where I could write any old nonsense and stretch it out [hmmm...]. To try and write things for BF, who didn't sing terribly well [i'd say they sang terribly period! remember the Eurovision winner 'Making Your Mind Up'?], keep it accessible and somehow make it a little extraordinary was very difficult. But I think Land of Make Believe in a popular music sense stands up against some of the Crimson things. They had bits of me in them that I wanted to say." [then he goes on to defend his popular lyrics and explains why are they not throwaway, and the level-art structure and etc.; i don't think he should do that, i.e. the defensive approach] [he's working on a book which would include a CD with various unreleased and live material on it] [he'd love to take a role similar to the one he had in KC, he says] "Absolutely. If only I could find one or somebody would ask me so I could see that they needed me t oadd the element they haven't got. Oddly enough Crimson needed me to put a frame round it - someone who understands words and music but can't quite do it themselves..." [he's involved in the making of a KC documentary] [about being bound to KC by his past membership] "One shouldn't try [to escape from the past], and if the music had any element of timelessness about it at all then one should be terribly pleased about that because it's very difficult to find a bit of art in the popular music animal." [about himself being an undisciplined writer] "The thing with songs is it is 10% inspiration and 90% perspiration [HA!]. I make notes of things I think of in a taxi or a bar or wherever I am... Those days [together with the musician he's working with] tend to start in the afternoon, and a couple of bottles of wine later you've either got something or you're just drunk! If you're lucky you've got something and you're drunk!..." [what is your favaourite song?] "...very fond of Heart of Stone [surprise!!]... it summed up my feelings three or four years ago like Epitaph did in 1969 when I wrote 'confusion will be my epitaph'. It shouldn't be my epitaph now; 'sometimes I wish I had a heart of stone is more how I feel these days. I'm not that confused, I just find coping with the world a painful process." - Interesting releases (CDs. I have more info if someone is interested): Upcoming next month "Miniatures", a compilation-sequence of 51 pieces none of which exceed 1 minute. Among the 47 participants are Robert Fripp, Robert Wyatt, Fred Frith, Andy Partridge [XTC] and the Ramones... Gordon Haskell's "Hambledon Hill" (1992) and "It's Only A Plot To Drive You Crazy" (1993), and a limited 20mins. radio session he made for Voiceprint. Michael Giles' first [and last?] solo "Departure" (1978) David Cunningham/Michael Giles/Jamie Muir "Ghost Dance" (1983) [?!] Tony "definitive edition" Arnold is involved in the mastering of some of the above CDs. - In another interview on this (interesting) newsletter Daevid Allen tells about the time Bill Bruford drummed for Gong: "... At one point we played with BB in Gong and Steve [Hillage] really enjoyed that but I loathed it because the only thing that ever changed was the acoustics. Bill was very quick to get all the complicated Gong music down but then he played it identically every night. It was disappointing to me and Didier [whotsisname] and other people who liked everything to be floating." Not a very nice thing to say about a great jazz-orientated drummer... I personally tend to doubt Allen's talent, but haven't heard enough from him (neither Soft Machine nor Gong) so i just pass it on to more knowledgeable members. - Oh... almost forgot... if you want to subscribe to Voiceprint's newsletters and catalogues ask for it at: Voiceprint P.O.Box 5 Derwenstide County Durham DH9 7HR England Ta da, o o ^ Rami p.s. many thanks to the listmembers who replied to my poll; sadly there aren't enough of you as to publish the results :-( thanks again. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: r dot derousse2 at genie dot geis dot com Date: Tue, 31 May 94 02:33:00 UTC Subject: Adrian Belew Tour Dates HERE is the Adrian Belew tour info so far... May 31 - Bloomington, IN - Mars Jun 1 - Louisville, KY - Phoenix Hill 3 - Atlanta, GA - The Variety 4 - Asheville, NC - Be Here Now 7 - Washington, D.C. - 930 Club 8 - NYC - The Bottom Line (2 shows) 10 - Philadelphia, PA - Theatre of the Living Arts 11 - Morgan, NJ - Club Bene 12 - New Haven, CT - Toad's Place 13 - Burlington, VT - Metronome 15 - Boston, MA - Paradise 16 - Portland, ME - State Theatre 17 - North Hampton, MA - Pearl Street 18 - New London, CT - El & Gee Club 20 - Buffalo, NY - The Icon 21 - Cleveland, OH - Wilbert's 22 - Detroit, MI - The Majestic 24 - Cincinnati, OH - Bogart's 25 - Chicago, IL - The Vic Theatre 27 - Nashville/Columbus, OH - TBA 28 - Indianapolis, IN - The Vogue 29 - Milwaukee, WI - Shank Hall 30 - Minneapolis, MN - First Avenue July 2 - Kansas City, MO - Grand Emporium 3 - Springfield, IL - The Atrium 6 - Boulder, CO - Fox Theatre 7 - Boulder, CO - Fox Theatre 8 - Telluride, CO - One World Cafe 9 - Santa Fe, NM - Luna Psychodots will open each of these shows and perform as Adrian's Band. Don't come late! Psychodots and Adrian Belew merchandise will be on sale at the shows - CDs and shirts! July dates TBA For specific show info (ticket sales dates, prices, door times, etc.) call your local venues. For general info call The Adrian Belew Fan Club at (513) 871-1500 or fax us at (513) 871-1510. =================== That was the note I just received from the Belew fan club. I've seen Adrian solo twice, and they are two of my favorite shows ever! In addition to great musicianship, he breaks down the walls between performer and audience better than almost anyone else I've seen, and he brings a good sense of humor to the shows too. The Psychodots are basically the other musicans who used to be in The Bears with Adrian, so that should be a special treat! His latest album, _Here_, is a pop masterpiece. Highly recommended to anyone into Beatles-esque music with a conscience and sense of humor! It will be great to hear some of those songs live in addition to his extensive catalog of Bears, King Crimson, and other solo songs. --Roy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 30 May 1994 16:59:09 -0700 (PDT) From: David Mechem Subject: The First Day Drums & AH Perhaps this has been discussed, but I have a question: How were the drums on the S/F album done. Are they all triggered samples? Drum machine? Real drums? I can almost always tell, but this has really been bugging me! The music groves much better than anything I've ever heard with a drum machine, and most of the drum sounds are too consistent to be from real drums. That's why I guess they are triggered. Can anyone enlighten me, as I am a mere bass player...? I didn't buy the S/F album until February. It's definitely the best _new_ album I've heard in quite a while. Had I known in time, I would have driven down to Berkeley to see them. Thanks to Toby for keeping the digest going! I'm new to it as of two weeks ago and have been trying to catch up on some of the back issues. Sometimes I have to check to make sure this is a KC/Fripp digest and not a Holdsworth one!! Holdsworth is fine, but I recall one post saying how Vai/Satriani/Lifeson/VanHalen suck because they incorporate AH techniques. I personally don't care for Vai/Satch/EVH, but sheesh, I always thought the best Holdsworth solo was on Jacob's Ladder by Rush ;) ;) ;) (my flame suit is on! just to let y'all know there's a Rush fan in the midst!) In a quest for Wetton's near-exploding bass tone, daveM dmechem at atmos dot washington dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Kiss of Reality CD Date: Mon, 30 May 1994 12:13:16 +1000 From: David Mitchell Someone mentioned this CD in the last digest... I saw these guys recently at a tiny jazz club in Melbourne. Then I went and saw them again, and I would have seen them again if they hadn't left town... The lineup was a Stick player, a guitarist and a drummer on an all electronic kit. I remember the guitarist was a local (Australian) and the Stick player was (I think) Volker Rehn, but I can't remember any more personal details. They were great. The guitarist played in new standard tuning, which I found fascinating (being a Stick player and guitarist) as his solos went _down_ the neck and he had an enormous range - made me want to try it myself someday! They played a couple of longish sets, and it was pretty outside stuff. Volker Rehn is the first Stick player I've seen who used the whole range of the instrument - he plays complex basslines and _very_ good melody lines on top of this. The guitarist played very tasty stuff throughout, and the drummer sounded like he grew up on the electronic kit, as he very rarely played "normal" stuff, but used it more as a rhythmic synth controller than anything else. Unlike a lot of bands playing outside stuff, all three guys seemed to have a pretty equal role in the music - there was no real standout as they were all excellent musicians who fitted their sound into the lineup well. I bought the CD at the first gig I saw, and it is a pretty good indicator of the live show, although the recording quality is a bit "brittle" (no upper mids?). Toyah Wilcox sang on a couple of tracks, but it's mostly instrumental stuff. In short: if you get the chance to see the show or buy the CD, do it! You'll either love it or hate it, but like most things musical, you won't know if you don't try it yourself. By the way, typing this makes me want to ask: Are there any tips on the net on Fripp's new standard tuning (CGDAEG)? I'm interested in trying it out, but would like to have a starting point (chord shapes/solo theory/whatever) as I don't really have the time to devote to working it out for myself...hmm, that sounds pretty bad, but it's probably true as well. Dave Mitchell [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: New Standard tuning Date: Tue, 31 May 1994 17:21:45 +1000 From: David Mitchell Does anybody have any info on this tuning, or know where it's posted on the Internet? I know the open strings (CGDAEG), but that's really about all. I'd be particularly interested in: - chord charts (save me the time of reinventing them) - theory behind why New Standard tuning is superior to conventional tuning and any discussions on this subject - comments from anybody using it, or anybody who's been on the Crafty Guitar courses I've got a fairly crappy Strat copy sitting idle right now, and I'd like to give Standard tuning a try, but the time investment to work out all this stuff is a bit daunting - hey, any help would be appreciated! Thanks in advance Dave Mitchell [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Matthew C Gregory Date: Tue, 31 May 94 14:49:17 +0100 Subject: Fripp and Eno and Bowie I found this in the UK observer newspaper supplement 27 Feb 1994, a two page interview with Eno primarily about his home environment where he has his small home studio and Network terminal. This is a section about Fripp the rest is on the eno-l list which i recommend highly to those interested in Fripp. eno-l-request at udlapvms dot pue dot udlap dot mx with the message in the first line of text subscribe eno-l ########################################################### "Out this month is The Essential Fripp and Eno, a useful catch-up collection of his early collaborations with guitarist Robert Fripp. However, when i mention it to him, he looks vaguely bored. Instead he reaches for a tape of the stuff they've been doing in the last few months.'it's a really interesting sound'." "He's so keen to get the stuff out, he says he's thinking of using it as the backing tracks for the new Bowie album. So how come the two of them have renewed their collaboration?" Eno;"Davis asked me. I wrote to him saying what i thought would be an interesting direction for music to take now. I sort of said i'm not really interested in doing anything other than that. And he said yes." "He finally puts on the track he's been searching for. A guitar sound that's both rubbery and metallic crashes around over a stuttering beat which manages to mix jazzy virtuosity with a punkt rawness. Eno nods his head. 'I'd like to have voices on this, and i think David's could be the voice'." ######################################################### Matt Gregory gregory dot teaching at physics dot oxford dot ac dot uk ##170707000## [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: DINOKILLER at aol dot com Date: Wed, 01 Jun 94 03:48:06 EDT Subject: New Crimson CD Clarification Here's a few points about the new Crimson CD. According to RF, the new CD is likely to have 7 tracks on it. It will be mixed at Real World studios mid July. It is being released in the US on Discipline Records by Possible Productions. The new CD titled (at this time) "Vrooom" will have a release date of mid to late October. There will be a limited Signature Series available with all 6 members signing . If you're NOT on Possible Productions' mailing list and would like to receive the new order form please send your name and address to: Possible Productions---351 Magnolia Avenue---Long Beach, California 90802. If you have purchased something, trust me , you'll get the flyer. I am looking into having the ability to take credit card purchases. I feel sure that I'll have it before September. Unfortunately, it appears PP will not be able to take credit cards from outside the US. ( It has something to do with credit card theft) By the way, a credit to the quality of Robert's fans; there has only been one bad check since I've run the merchandise for Guitar Craft and for Possible Productions. We really aren't what society considers to be the "average". Cheers to all of you on that note!!! To all of you Fripp / King Crimson enthusiasts who weren't interested in buying the collection I had for sale as a whole: This collection is now available piece by piece. If you would like the List, please email me for more details. This list is 15 pages long, front and back. It is illustrated with lots of rarities that even John Relph and his epic discography might be missing. EMAIL me at :dinokiller at aol dot com ---Mark Perry--- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 1 Jun 1994 16:20:46 GMT From: "jay_kuhn at mcimail dot com" Subject: Fripp equipment Hello all, Does anyone know the current setup fripp is using (amp, guitar ect.) ? I assume when Fripp is doing a Frippertronics thing, he's using a digital repeating sample thing instead of tapes now? Thank you. Jay Kuhn \----------------------------------------- ---v---- \ "I just looked at it and it blew up!" e-mail: Jay_kuhn at mcimail dot com \ -- Neil, from The Young Ones. or: Jkuhn at cheeta dot cs dot mci dot com \---------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 1 Jun 94 18:24:15 PDT From: jeffmelt at sherpa dot com (Jeff Melton) Subject: Bill Back in Crimso: Headline! The big news according to Rolling Stone is that Bill Bruford is back in Crimso! Our kindly Fripp type has been keeping that one up his sleeve so it appears. It would also explain the quiet Earthworks camp. Maybe Anil Prasad's Bruford interview from the past year had some positive impact (in that the communication between Bill and Robert was re-established). I hope this is not just some mis-info from the magazine: Could you confirm, please? Thanks in advance, jeff melton [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: heck at husc dot harvard dot edu Subject: Vinyl, The First Day, Toyah Date: Sun, 5 Jun 1994 22:52:05 -0400 (EDT) First, let me thank all of those who replied to my request for info on London used vinyl stores. I'm back from my trip with about 20 records, a mix of new and old, including _The First Day_, _Darshan_, _Kneeling at the Shrine_ (I've got two of these--write if interested), and four Toyah albums: _Toyah! Toyah! Toyah!_, _Love is the Law_, _Minx_, and _Desire_. The copy of _Desire_ is not perfect, though--if anyone has a copy, vinyl or CD, with which they'd like to part.... An odd fact about _The First Day_: The song order is not the same on vinyl as on the CD. In particular, "Brightness Falls" comes after "Jean the Birdman" on vinyl, instead of at the end, so the last tune is "Darshan". I've not yet listened to it all the way through, so I've no idea what that might do to the overall feel. I'm supposing though that the reason for the difference is the vinyl format: It'd be hard to put "Darshan" and "Brightness Falls" together on Side 4. There has been a bit of talk here, in the past, about early appearances of Fripp on Toyah albums. On _Desire_ (1987), there is a song credited to Wilcox/Fripp, and it sounds as if Fripp is playing on this song and at least one other. (My copy has no performance credits--does anyone else know such info?) Also, though Fripp is not credited on _Minx_, I'd not be terribly surprised to be told that he appears there. There are some parts he could be playing. ------------------------------------------------------------------------------ Richard G. Heck, Jnr. HECK at HUSC4 dot HARVARD dot EDU ------------------------------------------------------------------------------ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 7 Jun 94 22:49:04 PDT From: John Relph Subject: Toni Childs: The Woman's Boat My memory deceives me, as usual, so I don't remember if anybody has posted about the new Toni Childs album entitled _The Woman's Boat_. Apparently Mr Fripp contributes guitar on at least one track, and Peter Gabriel contributes something as well. Any more info on this album? The discography awaits, digital jaws open, devouring Frippian information like Jonah's whale, digesting raw data and putting forth pure Frippian excreta. And now back to your regularly scheduled programme. -- John [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: CptnApathy at aol dot com Date: Wed, 08 Jun 94 22:56:49 EDT Subject: Adrian Belew live at the 930 Club, DC 6/7 While waiting for the show, the DJ played Bruford's "Hells Bells," which gave us an idea of the surprises we were in for for this evening! Although the bar lacked a certain... ambience (actually tidiness is probably a more appropriate word...), Adrian and the band ddin't seem to mind at all. For those of you who do not know, the opening band, "The Pscyhodots," are Adrian's backing band as well (saves on the cost of hiring an opening band I guess...). Others may also recall that Adrian and these fellows were in a litte band known as the Bears. Anyway, these three easily held their own against Adrian; the musicianship of each was very apparent to all. I highly recommend that you purchase their CDs. You probably would have luck by contacting Adrian Belew's management; they have offered them in the past. Anyway, Rob Fetters (guitarist/vocals) did his trick of using an inflated balloon as a crude "voice box" by pressing it up against the guitar and screaming into it! I had seen him do this trick during the "Inner Revolution" tour, but it was still very enjoyable. Bob Nyswonger (bass) was very nimble, and could probably give Tony Levin a run for his money, technique-wise. Chris Arduser (drums/vocals/mandolin) was also in fine shape. Adrain was also in true form that evening; he seemed a lot less tense than during the Inner Revolution tour and had a lot of fun with the audience. I will not go into the setlist, as not to spoil it for others. I will say that the set had about 70% of material from the new album, as well as favorites from past albums. With the entire Bears lineup there, it was inevitable that they would play some Bears tunes. Those of you that can find their works, do yourself a favor and pick them up! However, if people are curious you can email me at CptnApathy at aol dot com and I will be happy to send you the setlist. At the show, Adrian admitted that King Crimson WAS reformed. His exact words were "We've recorded some stuff, so we're committed now." He said that the band had "two sticks and four drumsticks." Unfortunately, I didn't get the chance to talk to him more About it after the show (he was signing CDs and the like) for I had a train to catch. In conclusion, I have to say that this was a thoroughly enjoyable show! Those of you that have a chance, do yourself a favor and see him. --Jeremy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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. ----- End Included Message -----