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To: toby at cs dot man dot ac dot uk
Subject: Discipline #139


                   D I S C I P L I N E

         The Internet newsletter for Robert Fripp
               and King Crimson enthusiasts

            Number 139, Saturday, 18 June 1994

Today's Topics:

                         Myrbein
                    'Radio On' help!!
                    First Day ordering
   Fripp, FFWD (The Orb) and The Future Sound Of London
                       Guitar Craft
                  My reassessment of UK.
                      Spin 1ne 2wo
                   Cloud About Mercury
                   Kiss of Reality CD
                           Gong
                   Crimson mini-CD news
                   album cover musings
              Adrian Belew/Psychodots review

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From: hoh at approve dot se (Goran Larsson)
Subject: Myrbein
Date: Sun, 12 Jun 1994 00:01:03 +0200 (MET DST)

On a limited edition CD (only 1000 copies) named "Myrornas krig" by
a strange Swedish group called Myrbein I found this:

track 13:  Larks' tounges (sic) in Aspic part II (6.21)
           By Robert Fripp
           Recorded september 1993 in Stockholm.

Did Fripp play in Stockholm in september 1993 or is this a very good
"copy" of the real thing?  If it is real, what is this bootleg doing
at the end of a "normal" CD?  A bit confused...

--
 Goran Larsson              Phone: +46 13 155535  FAX: +46 13 160533
 Approve AB                        +46 589 12810       +46 589 16901
 hoh at lorelei dot approve dot se          ...!uunet!mail.swip.net!lorelei!hoh

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Date: 10 Jun 1994 18:08:00 +0100
From: MPE at hop dot dinoco dot de (Michael Peters)
Subject: 'Radio On' help!!

From the end of the seventies I remember a black+white movie called 'Radio
On' (*not* Radio Days). It was a Wim Wenders-like sort of road movie with
that special late-seventies feeling to it, and a soundtrack consisting of
Kraftwerk, Bowie, and also Fripp (with 'Urban Landscape' and assorted music
from the 'Exposure' album).

I haven't seen the movie since but I liked it a lot. Is there anybody out
there who has a copy?

-M

Michael Peters
mpe at hop dot dinoco dot de
CIS 100041,247

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Date: Sun, 12 Jun 1994 02:31:38 -0400 (EDT)
From: LENNBOB at delphi dot com
Subject: First Day ordering

HECK at HUSC4 dot HARVARD dot EDU writes:

>> 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. <<

Of course, Mr. Heck is thinking of "Bringing down the light".  "Brightness
falls" has always followed "Jean the birdman" on The First Day, regardless
of format.  "Bringing down the light", on the other hand, is only included
on the CD version of the album.  It does not appear on the cassette,
either.

Kevin
lennbob at delphi dot com

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Subject: Fripp, FFWD (The Orb) and The Future Sound Of London
Organisation: IRISA / INRIA
Date: Sun, 12 Jun 1994 17:41:20 +0200
From: Eric Rutten <Eric dot Rutten at irisa dot fr>

Hi there,

The "Trance Europe Express 2" sampler is out and features one track by FFWD
(basically The Orb with Robert Fripp): has anybody heard it? how does it
sound like?

The Future Sound Of London's new 2CD is out also, and features "guitar
textures" by Fripp on one track. The presence of Fripp is very discrete,
but I really like the disk all the same: fine ambient house all along.

That's it ...

Eric

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Eric Rutten                        |		    room: 221 (Green 338)
IRISA / INRIA		           |		   phone: +33 99 84 72 33
Campus de Beaulieu   		   |		     fax: +33 99 84 71 71
F-35042 RENNES CEDEX - FRANCE	   |		  e-mail: rutten at irisa dot fr
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Date: Sun, 12 Jun 1994 19:27:09 -0500
From: mkopelbe at students dot wisc dot edu (Murray Kopelberg)
Subject: Guitar Craft


Hi, are there any other Guitar Craft participants out there?  I would like
to find out what you have been up to!  Please contact me at
mkopelbe at students dot wisc dot edu

Thanks!

Murray Kopelberg

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From: mathias at tarkus dot ocis dot temple dot edu (mathias thallmayer)
Subject: My reassessment of UK.
Date: Mon, 13 Jun 94 4:06:34 EDT

First, I would to say to Chris that Crimson happens to be one of my
favorite bands. It was because of the Crimson connection (and also Jobson's
work with Curved Air, etc.) that led me to UK. I had wondered what would it
be like if Emerson had replace Lake and Palmer with Wetton and Bruford. Of
course, UK didn't answer that question but nonetheless produce much great
music. Wetton and Chris Squire are my favorite bassists. Bruford one of my
top drummers.

And of course, Fripp is the No. 1 guitarist for me. I wish he had played
with UK instead of that annoying Holdsworth.

In regards to my remark about Asia, I said it partially facetiously. I was
getting tired of people denigrating Asia and I also believe Genesis,
although good, is over-rated.

---------

My Reassessment Of UK

I have recently obtained a CD of the UK concert at Penn's Landing.  I did
attend this concert and have heard tapes of it, but not in a long while. I
also have the Paris performance of the Danger Money band.  Listening to
these live performances I have had to reassess my postion on the band.

If you think that I've changed my mind on Holdsworth, guess again.  Penn's
Landing has only confirmed how annoying and out of place he was with UK.

No, the person I owe an apology to is John Wetton. I had said that his work
with UK was nowhere near as good as his work with Crimson. This is true
only regarding the released recordings. Live, in concert, he was every bit
the fiery player he was with KC. Why he was subdued on the albums is a
mystery to me. In Holdsworth case, his over-indulgences were kept in
check. In Wetton's case he was overly restrained.

In regards to Bozzio, he does an excellent job of drumming with the band
(as I've said before). But listening to him perform material from the first
album, I believe he acquits himself admirably (who talks like this? ;-) )
filling Bruford's shoes. I don't understand what people have against the
man.

Also, the UK band performed live three pieces that would later be recorded
for the Danger Money album: "Caesar's Palace Blues", "Carrying No Cross",
"The Only Thing She Needs".  These pieces are remarkably similar to the
versions that were recorded (with Bozzio replacing Bruford and the
jettisoning of that dead-weight, Holdsworth).

I can't understand how people who enjoyed the first album claim they were
"disapppointed" by Danger Money. Half of the album would have been the
same.  I think that many listeners put too much emphasis on Holdsworth's
contribution to UK and on the two disposable songs on DM. The albums are
much more similar than they are dissimilar.

--
Mathias

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From: Clive Backham <clive at gandalf dot uk dot mdis dot com>
Subject: "Spin 1ne 2wo"
Date: Mon, 13 Jun 94 16:17:02 BST

Feedback to a couple of items in Discipline #138:

Owen Gwilliam asked for information about "Spin 1ne 2wo".

I replied to an earlier question about this, so may as well say the same
thing again. Spin 1 2 is primarily a Rupert Hine project, and he plays
keyboards. Tony Levin plays bass, Paul Carrack is on it (vocals and a bit
of Hammond). I can't remember the names of the guitarist and drummer. They
cover a lot of rock classics. It is all done *very* professionally: note
perfect, dynamics just-so, rhythms accurate to the
millisecond. Unfortunately, it has no soul. The thing is just too
sanitised. Over-produced is a word that springs to mind. The copy I have is
from Italy, on Columbia (part of Sony, I believe, as if anything wasn't
these days). Catalogue number is 473-910-2.

Rami wrote:

> - 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.

I think that Bruford's short time with Gong was just another gig to him.
It happened in early '75, shortly after the Crimson split, when Bill seemed
to be guesting with various bands while trying to decide what to do next.
I have two theories as to why Bruford didn't try improvising in Gong:

1. He couldn't relate to their musical style, so just played what he'd
   learned. Gong played fairly complex stuff, but in a rather undisciplined
   way, especially live. I wouldn't ever suggest that Bruford can't jam,
   but he does seem to enjoy some kind of solid foundation (however obscure
   the time signature might be).

2. This possibility is more contrived. Perhaps Bruford recognised the
   musical inability of some of the band's members, and mistakenly
   thought that varying things would make life too difficult for them.
   Ironically, it appears that bumbling about was the way that Gong made
   such charming music, and what should have sounded like a dog's dinner
   came out as a gourmet meal. At the time, Gong had only two seriously
   talented musicians: Steve Hillage (guitar) and Didier Malherbe (sax/
   flute). (Pierre Moerlen, probably Bruford's equal on the drums, was
   of course on sabbatical during this period).

As far as Daevid Allen's talent is concerned, he is certainly more talented
as a poet/storyteller than a musician. His real strength lies in his
lyrics, which veer between harmless silliness and savage attacks on all
manner of organisations (religion, big business, etc). That said, he is a
reasonable guitarist and singer. Just because he is not a virtuoso musician
does not mean that he is unable to recognise whether other (more talented)
musicians fit in. We don't disparage Brian Eno in this respect.

Clive Backham
McDonnell Information Systems, Hemel Hempstead, UK
email: cbackham at uk dot mdis dot com

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Date: Mon, 13 Jun 94 13:53:46 MDT
From: pmartz at dsd dot es dot com (Paul Martz)
Subject: Cloud About Mercury

I keep hearing about an album called "Cloud About Mercury" which has, among
others, Bill Brufurd on drums. However I can't find this anywhere, don't
know the name of the band, and no one working in local record stores has
heard of it (huh, big surprise). So, if anyone has any tips on where I can
pick this up, please let me know. Thanks.

   -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!"

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Subject: Kiss of Reality CD
Date: Tue, 14 Jun 1994 15:19:17 EST
From: Peter Evans <pe at imta dot com dot au>

toby at cs dot man dot ac dot uk writes:
> Subject: Kiss of Reality CD
> Date: Mon, 30 May 1994 12:13:16 +1000
> From: David Mitchell <davidm at hparc7 dot aus dot hp dot com>
>
> 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...

Umm, well, they broke-up and the drummer and stick player went back os :(

> 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.

Well, I can help with the guitarist.  His name is Dave Pittaway(sp?), he's
a Crafty and is currently teaching at Mainstreet Music in Greensbrough
(Melb. Aust).  I've also heard word of him running a few Crafty style
courses here in sunny Australia.

Luckerly, Dave is talking about reforming the group (with a different
drummer/bassest :) in the near future, so look-out for them in Brewery
Lane, the Rainbow or any of the other Jazz/Prog.  venues in Melbourne.

> 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.

A quote from Tamm's book might save a few strings here :)

'Because the new tuning calls for the second string to be tuned a full
 fifth higher than in old standard tuning, and the first string a third
 higher, it was not uncommon for strings to break when Crafties tuned up.
 I found Fripp's explanation for this mundane operation of the laws of
 physics and metal stress exasperating and mystifying: he said the guitar
 whose strings snapped was not 'ready' for the new tuning. He suggested
 those guitarists whose strings were breaking should somehow mentally
 prepare themselves and their guitars to accept the new tuning, and that
 then the strings would hold. I objected heatedly: why didn't we just use
 lighter-gauge strings specifically engineered to be tuned at higher
 pitches, which would also result in considerably less string tension,
 especially on the unwound second string, which was so tight that it was
 a real bitch to play? Fripp responded testily, "I'm telling you, it's
 *not* the string gauges that are causing strings to snap," ending all
 discussion on the matter.

'When I went home the following week I went to the music store, purchasing
 a selection of gauges, and restrung my guitar intelligently for the new
 tuning, resulting in a marked improvement in tone and playability.
 Fripp has since reconsidered the matter and Guitar Craft Services now
 offers custom sets of rationally gauged strings
 (11 13 23 32 46 56 and 12 15 23 32 47 60).'

Pete
-------------------------------------------------------------------------------
Peter Evans                   Email: pe at imta dot com dot au, ...uunet!imta.com.au!pe
                              Snail: In-Mar-Tech Australia Pty. Ltd.
Phone:  +61 3 696-4009               10 Boundary Street
Fax:    +61 3 696-7449               South Melbourne, Vic, 3205, Australia

    "All the troubles of man are caused by one thing, which is their
    inability to stay quietly in a room"

        Blaise Pascal
-------------------------------------------------------------------------------

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Date: Tue, 14 Jun 1994 11:13:42 -0600
From: David Ewing <david at avalanche dot com>
Subject: Gong

Rami wrote:

> - 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.

I'm a big fan of the Daevid Allen / Steve Hillage era Gong.  I had almost
forgotten of the brief stint when Bruford played in this band.  Do you any
bootlegs of this exist?

Even though Bruford is now playing in a jazz context (Earthworks), I have
never thought of his playing as being very jazz-like (not as airy-
sounding, more precise).  I can see how Allen and Didier Mahlerbe (sp?)
(aka Bloomdido Bad De Grasse) would feel this way.  Don't get me wrong, I
love Bruford's playing, I just can see how it might not mesh with the
floating sound of Gong.  One of Gong's first drummers, Pip Pyle, who went
on to play with Hatfield and the North and National Health was superb at
playing in this fast, light, jazzy style.  He only played on the first(?)
Gong album "Magick Brother, Mystick Sister" (not Gong at their best) if I
remeber correctly.  If you haven't heard Hatfield and the North, do
yourself a big favor and get their two CD releases "Hatfield and the North"
and "The Rotter's Club".  Other fine Gong drummers, who played on Gong's
great Radio Gnome Invisible Trilogy ("The Flying Teapot", "Angel's Egg",
and "You") were Laurie Allen (aka Lawrence the Alien) and Pierre Moerlen
(aka Pierre du Straussbourg).  After David Allen and Steve Hillage left,
Moerlen turned Gong into a much less interesting fusion band, however.

As to Daevid Allen's talent, it's hard to put a finger on.  Sure, he's not
a great musician or singer, but the music that he put together with Gong
was really wonderful.  He's definetly an eccentric - a real space age
hippy.  As far as his contributions to Soft Machine, I definetly prefer the
incarnation of the Softs right after he left - the "Third"-era band -
Robert Wyatt (another drummer in the jazzy style, btw), Hugh Hopper, Elton
Dean, Mike Ratledge.

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From: wcsanil at ccs dot carleton dot ca (Anil Prasad)
Subject: Crimson mini-CD news
Date: Wed, 15 Jun 94 23:04:50 EDT

Just finished transcribing an interview with Trey Gunn I just did.  (Which
will appear in the next issue of i/e slated for July. And by the way,
expect a special Crimson issue of i/e towards the end of the year featuring
interviews with many other members and other mouth-watering Crimson info.)

Here's a few tantalizing bits of info on the new Crimson mini-CD called
"Frooom" or "Vrooom" depending on who you talk to. It comes out on Pony
Canyon records in Japan in October, and in limited quantities through
Discipline records in the USA.

It's six tracks. There's one "Belew ballad" in the vein of "Matte
Kudasai". One "quirky, spazzy song with rapping vocals" called "Cage". One
"funky off-the-wall tune" that "most people won't be able to associate with
King Crimson". There's one monster isntrumental in "the Red vein", and
there's another monster instrumental titled "Thrack". The last track will
likely be an improvisation piece, but Gunn's not certain about this
yet. There aren't any track titles for the rest yet (although since the
interview happened several weeks ago, this may have changed.).

Hope this has been of use to some people.

/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>/>
Anil Prasad               | "People feel Barney's unthreatening, but
wcsanil at ccs dot carleton dot ca   | he could lead grown-ups to drugs."
ac922 at freenet dot carleton dot ca | -- Michael Viner, author of
Ottawa, Ontario, Canada   |    "Final Exit (for Barney)"
</</</</</</</</</</</</</</</</</</</</</</</</</</</</</</</</</</

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From: Mark2u at aol dot com
Date: Wed, 15 Jun 94 22:59:00 EDT
Subject: album cover musings

Kudos to Toby Howard and all of the individual contributors for this
exemplary newsletter!  Discipline is true delight.  I am a long time
Crimson/Fripp devotee.  This is my first post to this newsletter.

Nothing earthshattering here, just some musing regarding a trend I noticed
quite a while ago regaring the artwork for the KC albums.

I generally regard KC as having 3 "eras" (soon to be 4, I hope!): The Larks
Tongues/Bruford period (my favorite), the early years, and the ultra-tight
80's foursome.  At a glance, it's pretty easy to see the similarity in
cover art among albums from the same era.  The early years marked with
elaborate, rather medieval-looking graphics, Larks/Bruford years marked
with a cleaner, more mimimalist design, and the 80's marked with even
cleaner icon-based design.  And of course you could draw correlations
between the music style and the artwork style (or with popular culture
trends for that matter) but that is not where I am headed here.  No, in
fact I am looking at something even more trivial.

Consider the color schemes for each of the studio albums in series in each of
the eras:

1: Red (Court), Blue (Poseidon), Yellow (Lizard), Black (Islands)
2: Red (Larks), Blue (Starless)......................................Black
(Red)
3: Red (Discipline), Blue (Beat), Yellow (3oPP)

See any trends?

Assuming Mr. Fripp doesn't make any self-conscious trend reversals, the new
album will red in color.  The big question, of course, is will the design
be less simplistic/iconic than the 80's series or more simplistic/iconic
(is that even possible?)

Given that the lineup will include 6 or more musicians, I assume the
musicial trend is moving away from simplicity and that that will be
reflected on the cover.  Remember - you CAN judge a book by its cover, but
you stand a good chance of being wrong.

So much for the trivia.  When do we get access to important information like
tour dates?!  Can't wait!

Mark Stevens (Mark, to you)

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From: Andy Wilson <ajw at Think dot COM>
Date: Thu, 16 Jun 94 16:42:30 EDT
Subject: Adrian Belew/Psychodots review

REVIEW: Adrian Belew with the Psychodots
The Paradise, Boston MA, June 15, 1994

The opening act was the Psychodots, which is the Bears sans Belew.  Their
songs are, like the Bears material and much of Belew's, well crafted pop
songs with echoes of the Beatles along with the incredible guitar playing
of Rob Fetters.  Chris Arduser is the drummer, and plays mandolin also,
with Bob Nyswonger on bass.  All of the Psychodots are good singers, which
enables some nice vocal harmonies.  The Psychodots returned after their set
as the backing band for the headliner.

Belew opened with some of his trademark guitar synthesizer work, which had
the audience immediately captivated.  Interestingly, quite a bit of the
guitar solo work was left to Rob Fetters, underscoring the fact that he is
one of the most underrated guitarists in the business.

The material was a mixture of stuff from the latest Belew solo album, Here,
along with older Belew solo material and a handful of songs each from the
King Crimson and Bears repertoires.  As a tribute to his former mentor
Frank Zappa he did a brief a capella rendition of "City of Tiny Lites" from
Sheik Yerbouti, a Zappa album that Belew played on.

Adrian is doing a great job of promoting the upcoming King Crimson
incarnation.  The audience went crazy when they played the Crimson numbers
(Matte Kudasai, Elephant Talk and Heartbeat).  The arrangments were very
close the the album versions of these songs, which really amazed the
audience that the guys from the Bears could pull them off so well.  Anyway
Belew took the opportunity to get people excited about the new Crimson.  I
have a feeling that the new incarnation will far surpass the 80's version
in popularity for several reasons.  One is that Belew has developed quite a
following with his solo work, in addition to the high-visibility Bowie tour
of a few years back.  Another is the not-insignificant radio airplay of the
Fripp/Sylvian stuff.  The clincher is the popularity of Tony Levin on the
Peter Gabriel tour, where he received an enormous amount of applause when
he was introduced to the audience.

He also got a plug in for an album he played on with Boston resident Reeves
Gabrels in a band called the Bentmen, by introducing himself as Des (Bill
Desmond, leader of the Bentmen) and the band as the Bentmen.  Unfortunately
Reeves was unable to attend the show because he was playing a show with his
band Modern Farmer across town, although Des, keyboardist Kathy Desmond and
guitarist Crazy Eddie Nowik were there to represent the Bentmen.  The
album, Patient Zero, is slated to be released in the fall.

The show was worth it for the King Crimson songs alone.  It was also worth
it for Rob Fetters' guitar playing alone...this could go on and on...

Andy

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                   ----- ADMINISTRIVIA -----

** POSTINGS
      Please send all postings to Toby Howard, at toby at cs dot man dot ac dot uk.

** SUBSCRIPTIONS/ADDRESS CHANGES
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** LEGALESE
      The views expressed in Discipline are those of the
      individual authors only.

Thanks for reading Discipline!

Toby Howard
http://www.cs.man.ac.uk/staff-db/toby-howard.html

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