Discipline #145 (as text)

22 August 1994



From: Robert Fripp
To: Discipline
Subject: News
Date: August 18th. 1994.

[[ In the following letter from Robert, you'll notice an email address is given, for ordering Discipline Records releases (European enquiries only). Udo Dzierzanowski, the office manager at Discipline Global Mobile, has asked me to point out that while he welcomes orders via email, and requests for information about Guitar Craft, he is _not able_ to respond other inquiries, or enter into the kind of discussions that we feature in this newsletter.

Thanks
Toby ]]

Discipline Global Mobile,
PO Box 1533,
SALISBURY,
Wiltshire, SP5 5ER.
(44)722 781042: fax.
73064,1470 at compusserve dot com

Dear Team,

    It seems that a number of contributors to Discipline have had difficulty
obtaining The RFSQ: "The Bridge Between". And if they have had difficulty with
that, then Trey Gunn is going to be hard to find. So, I have taken the decision
to address mail order seriously as a part of the activities of Discipline Global
Mobile, i.e. Discipline (GM) Records.

	So, from today onwards we are prepared to accept orders for Discipline
titles from throughout Europe in two currencies: L sterling and US$ at the
exchange rate of L1.00 = $1.55. Sterling would seem to be the most obvious for a
UK based company, but we have accounts in both currencies.

	Orders may be by UK cheque, or money orders. We are not able to process
foreign cheques or converting currencies other than L and $ and are intending to
set up credit card facilities in the near future.

	We shall accept orders immediately and send out CDs (only) when pressed
(for the 3 current titles) or at the official release date for forthcoming
titles. I recommend immediate ordering so that we are able to stock sufficient
numbers of all Disc. Glob. Mob. titles.

	This is the catalogue for which orders may be immediately received,
prices to include postage & packing within Europe:

1.	King Crimson: "VROOOM" mini-album (31'04")
		(release November 8th.)
	L10.00
		This is the new Double Trio formation

2.	Robert Fripp: "Soundscapes - Live In Argentina"
		release November-ish
	L12.00

3.	The Robert Fripp String Quintet: "The Bridge Between"
		available
	L12.00

4.	Trey Gunn: "1000 Years"
		available
	(TG is a member of King Crimson and The RFSQ)
	L12.00

5.	The California Guitar Trio: "Yamanashi Blues"
		available
	(The CGT are members of The RFSQ and The League of Crafty
        Guitarists).
	L12.00

6.	The California Guitar Trio: Second Album (to be titled)
		release December-ish
	L12.00

7.	Robert Fripp & The League of Crafty Guitarists:
		"Live In Europe"
		release probably January
	L12.00

	Possible Productions (California) is available to take orders for North
        and South America:

	Mark Perry, Possible Productions (California),
	351, Magnolia Aveue,
	LONG BEACH,
	California 90802;
	310-491 1945: fax.

---------

You might be interested that FFWD (of which I am either the first or
second "F") is currently No.1 in the Music Week Independent Album chart
this week, and that Sylvian / Fripp: "Damage" (a live concert recorded
last December) is available on Virgin from September 25th. The RF:
"Soundscapes - Live In Argentina" (74'30") will be available at about
the same time as VROOOM and is STUNNING! This is the modern form that
carries on from "Frippertronics" but is a quantum leap forward.

I'm off to Tokyo this Sunday for extensive King Crimson interviews, a
Sylvian / Fripp installation in the P3 arts space (below a zen temple)
on the theme "Redemption" and Guitar Craft (Japan) II.

Subject: Sarah Hickman (????)
Date: Mon, 15 Aug 94 07:44:18 -0400
From: "\"\"William N. Furman\"\"" <wnf at adm01 dot rfc dot comm dot harris dot com>

Last night on the radio I heard a recording by Sarah Hickman (?) that had Jerry Marotta, Adrian Belew, and Tony Levin playing on it. Does anyone know who Sarah Hickman is, The name of the album, etc.

------------------------------------------------------------------------------
William N. Furman-Principal Engineer  *     internet:  wnf at rfc dot comm dot harris dot com
Harris Corporation,RF Comm. Group     *     Phone:     (716) 242 3553
1680 University Avenue                *     Fax:       (716) 325 1572
Rochester, New York, 14610  U.S.A.    *
------------------------------------------------------------------------------

From: David=Lane%HQ%Rational at Vines1 dot ratsys dot com
Date: Mon, 15 Aug 94 11:05:16 EDT
Subject: re: Rare pre-KC stuff?
> My first posting here... Long live the King!

Welcome aboard!

> Anyway, to the point.  I recently picked up a copy of 'The Cheerful
> Insanity of Giles, Giles and Fripp' on CD.  Interesting, to say the least.
> It's an album they recorded about 1966, before the KC machine got going.
> Anyway, if anyone's interested in a copy, get in touch with me.  No charge,
> of course - not trying to make money, just trying to share a rare (?)
> recording with fellow Kc fans!

Tsk tsk tsk! That's not particularly rare, and since it's readily available thru normal commercial channels it's a no-no. You better watch out or Fripp will make an example of you in some future box set liner notes.

It is quite enjoyable, though, on a different level than KC. Sorta like a cross between KC, the Moody Blues (not too surprising, given the label) and a bit of Monty Python thrown in...

Hey, anybody know if Gabriel is done with Levin yet so that KC can get going on some new releases? Sheesh, I like PG & everything, but fer crissakes he's been holding up KC for two years now! If I was Fripp I would've just brought back Boz.

--
davidl at ratsys dot com
                    "Hratche Plche, Hratche Plche" --Frank Zappa

From: dhollist at iphase dot com (David Hollister)
Subject: Unpronouncable again
Date: Mon, 15 Aug 1994 11:25:00 -0500 (CDT)

Thanks to all who answered me about this. I honestly haven't even looked at the album for quite a while, but when everybody mentioned EGG records, it did ring a bell. I certainly had no ideas of selling it. Regardless of the sound quality, I like it.

--
David Hollister   Software Engineering
dhollist at iphase dot com
Interphase Corp.  Dallas, TX  214-919-9303

From: aaron at minster dot york dot ac dot uk
Subject: Re: Discipline #144
Date: Mon, 15 Aug 1994 17:22:06 +0100 (BST)

JC Harris writes...

> wondering what the heck Tony Levin had on his fingers to play bass?

In 'Guitarist' magazine of about six months ago (which has a picture of Tony Levin on the front) he is interviewed at some length and questioned about the technique. He uses lengths of dowelling with loops on for his fingers and taps the strings to obtain a more aggressive sound (allegedly in an attempt to sound more like Chris Squire). To make the most of the technique though he had a custom three string MusicMan bass made with wider string spacing.

Aaron Turner aaron at cs dot york dot ac dot uk
Date: Mon, 15 Aug 1994 10:25:31 -0700
From: Malcolm Humes <malcolm at wrs dot com>
Subject: Hammill imitates Fripp etc

Rami:

> Last week i received a tape of the VdGG show help in the Marquee club back
> in 29/7/76. In between almost every two songs (btw the gig is very very
> good at places and pretty bad in others) PH does a Fripp imitation
> apparently trying to restore RF's English west country accent...  I don't
> know how often has he done that and i can tell you that from the little
> i've managed to understand RF is getting a very cold shower here :*> The
> best one is probably the one where PH goes "my, my" in the wake of Easy
> Money... i didn't realize it was Fripp saying that there.

This reminds me of some VdGG concert recording I've heard where there's some audience cheer to "BRING OUT FRIPP! BRING OUT FRIPP!" to which Hammill responds with something like "Fripp has been trying to bring out Fripp for years and if he can't do it we certainly can't!" - Does anyway recall the exact quote or performance this was from?

- malcolm


Date: Mon, 15 Aug 1994 14:31:15 -0400
From: "Mike . Brown" <ah026 at DAYTON dot WRIGHT dot EDU>
Subject: Belew/Psychodots

I'm new here so pardon if this has been discussed. In the last digest, someone asked about the Belew "Never Enough" single. It does have tracks not on the _Here_ album. The tracks are from _The Acoustic Belew_ album released through the fan club. I received my single at the Cincinnati Belew/Psycodots show in June. They were passed out to the first so many people in line.

_The Acoustic Belew_ album is limited to 2000 copies.

Also, someone asked about the availability of Psychodots releases. Here in SW Ohio, they are pretty plentiful. However I don't know how many other stores carry Stugglebaby releases. Noteworthy does not.

Nice to be here. The main reason I joined was to keep up on Belew and his related projects. I have some Belew/Psychodots/Bears/Raisins rarities for trade. Looking for more.

Mike


Date: Mon, 15 Aug 1994 17:27:59 +0000 (BST)
From: Lager Lout <cbh at vodka dot wlo dot dec dot com>
Subject: Re: Toyah,  anyone?
> I've tried a few comments but no one else seems interested.  She supposedly
> has a fan club at:
>
>         Tellurian,
>         BM Toy,
>         London  WC1N 3XX
>         England
>
> I've tried writing once and got no reply.  Perhaps if a self addressed
> airmail envelope was included...

I'm due to write to them regarding various other issues, so while I'm at it I'll ask what sort of service they can provide to foreign correspondants and post the reply here (don't hold your breath!)

> I have some very nice scans of her album
> covers that a fellow fan did for me that I could upload.  Tell me how and
> where and I will.

you could always use ftp to stick them on cs.uwp.edu somewhere... (I wouldn't mind getting access to these things as well)

Finally, anyone who's on the lookout for her new album, `Take the Leap', may be interested to know that it's been delayed 'til September. :(

Cheers,

Chris.


Date: Mon, 15 Aug 1994 21:10:20 -0400 (EDT)
From: MERRILL TRITT <MTRITT01 at SERVAX dot FIU dot EDU>
Subject: Past issues of Discipline

When I stumbled upon this newsletter by accident, I almost found it hard to believe that there was an interest group for Fripp/King Crimson. I really get tired of looking at puzzled faces whenever people ask me what my favorite group is.

Thanks Toby for starting and compiling Discipline and thanks to everyone else for keeping it going by contributing.

Merrill Tritt
mtritt01 at servax dot fiu dot edu


From: Kaya Hoffmann <kayah at continuum dot com>
Subject: Crimson as opener for Grateful Dead?
Date: Mon, 15 Aug 94 18:40:00 PDT

An interesting suggestion appeared on the "Dead-Flames" forum:

From: "Jessup, Andrew" <eaj at cer dot rti dot org>
Subject: Next summer's opening act?
Date: 9 Aug 1994 20:42:09 GMT

Now that summer tour's come and gone (my, oh my) and Traffic along with it
(the consensus seems to be: quite good, really, but could have mixed up the
set lists a bit more), I thought we might see who people would like to see
next year (I know, like it matters what we think).

To start things off, my choice:  KING CRIMSON.  Yes, they're back; the new
line-up will have all four members of the early-80's group, plus another
stick player and a second drummer.  (If you heard that it was supposed to
be a quintet and/or not include Bruford, that's old information...).
They're in rehearsal now, with an EP due out in the fall and a full album
due around April, with a tour to follow, so the timing would be right.

Why they should do it:

1) Crimson has been, at times, a fairly improvisational band (particularly
   the '72-'74 version), and comments from the bandmembers indicate that
   they intend to get out there again this time...

2) They can compare notes with the Boys about 2-drummer lineups and MIDI
   gadgetry (the '81-'84 group was a very early adopter of guitar-synth
   technology).

3) "Evil Dr. Lesh, evil Dr. Fripp. Evil Dr. Fripp, evil Dr. Lesh."

Comments/alternate suggestions, anyone?  [BTW: I have some good live tapes
of Crimson and Fripp (thanks, ihor :) and would be interested in more...

Andrew/AIKON

From: Kaya Hoffmann <kayah at continuum dot com>
Subject: Crimson as opener for Dead (more)
Date: Mon, 15 Aug 94 18:54:00 PDT

A reasonable responmse to the idea of KC as an opener for the Grateful Dead's next summer tour, and a plug........

From: Duane dot Day at EBay dot Sun dot COM (Duane Day)
Subject: King Crimson? (was: Next summer's opening act?)
Date: 10 Aug 1994 01:06:06 GMT

Andrew Jessup suggests King Crimson as next summer's opening act.
I'm a big, big fan of Crimson, and I can't wait for their new music
and tour, but I'd be both disappointed and seriously surprised if
they were ever to open for the Dead.

Seriously surprised, because Fripp has taken a strong stance
against audience taping and bootlegging and I think he'd be
unlikely to book King Crimson gigs where everyone knows in
advance that taping will take place.

Disappointed, because King Crimson really deserves much more
focused attention than they would ever receive as an opening
act at any stadium show, and because I would not want them to
suffer the mixture of hostility and indifference that Dead
stadium crowds often seem to direct at the opener.

(But, Andrew, I really liked your three reasons "why they should
do it".)

p.s.  There is a net.newsletter called "Discipline" for Fripp/Crimson
      enthusiasts.

      USA subscribers: please contact Ken Bibb
      at discipline-request at arastar dot com.

      Non-USA subscribers: please contact Toby Howard,
      at discipline-request at cs dot man dot ac dot uk.

      WWW - http://www.cs.man.ac.uk/aig/staff/toby/discipline.html

Date: Tue, 16 Aug 94 00:44:26 EDT
From: <tlkalka at mailbox dot syr dot edu>
Subject: Tony Levin's Technique

The things on Tony Levin's hands are similar to drumsticks. I don't know exactly what they are, but he like them a lot. On the So album (Peter Gabriel) there are credits for "drumstick bass" which is played by Levin as well as Jerry Marotta. They give a sharp, strong attack, and highlight the upper timbres of the instrument. I have worked up a rudimentary version of this technique, using two sawed-off drumsticks, and sections of radiator hose (don't laugh) to keep them on my fingers. Just hit your bass string with a drumstick, and slide your left hand up the neck. You'll never wanna play with your bare fingers again.

Peace
VROOOM
Terry


From: pvallado at sdcc5 dot UCSD dot EDU (Paolo Valladolid)
Subject: Re: Discipline 144
Date: Tue, 16 Aug 1994 15:13:29 -0700 (PDT)
> From: Possible Productions
> Subject: New Crimson
>
>     This will be available as a limited Signature Series available from
> Possible Productions.  VROOOM will be signed by all  six members and will
> cost $19.99 plus shipping and handling.

Not really a flame, but I have to ask anyway, why $19.95 for a six track EP-length CD? Is it because Possible PRoductions is importing the Vroom CDs from Japan?

Well, at least we U.S. fans have a convenient place where we can order Vroom.

A comment on the RFSQ release The Bridge Between; I find it interesting that although Fripp has long ago switched to his new standard guitar tuning, he still plays the same old licks. Ironic, considering one purpose of the new standard tuning was to force the player to abandon his/her old habits. I don't mean to heap a total flame on Fripp; it's just that his solo on "Distributed Being" on Brian Eno's Nerve Net album was more fresh sounding and cliche-free than the solos on The Bridge Between.

> From: Ray Ashley <RAYASH at delphi dot com>
> Subject: Stick(r) Albums
>
> in Discipline 143:
>
> >In Gunn's case--we discussed the subject of how he felt about fitting in in
> >the juggernaut '90s crimson.  Having spoken with him at length and also
> >listenned to "1000 Years" quite a bit (IMO this is THE definitive stick
>
> I love this album too, but to call it THE "definitive Stick(r) recording"
> is, I feel, a bit misleading.  My point is this: Trey's album is more
> representitive of his (highly Fripp influenced) personal style.  I don't
> think that the classic clean Stick sound shows its face once throughout the
> album's length.  Also, many Stick players enjoy playing complete pieces
> live, like a pianist playing a complete piece of music at the keyboard.
> Many of us enjoy hearing this experience, as well.  Trey's approach to the
> Stick (at least on this album) is rather like Rick Wakeman's approach to
> a keyboard album - lots of layers, lots of sounds - but impossible to
> reproduce live with only two hands.  Both Wakeman and Gunn orchestrate
> their sounds for maximum effect.

Gunn admitted to our own Anil Prasad that achieving independence between the two hands was neither his strong point nor his interest/goal. Since he usually plays in an ensemble setting rather than solo, concentrating on the Stick as an ensemble instrument (that is, trying to fit in with a band) rather than as a solo instrument would probably make sense.

Recently there was a fascinating thread on the Fingerboard (St*ck) mailing list about the role of the Stick: Should it function like a guitar and bass working together or is it more like a piano? This got me to thinking that the development of the Stick is analagous to that of the piano earlier this century, particularly in the jazz genre. In the beginning, a piano player would try to play all the parts of a band; the bass line, a melody line, and chords; all at once. A good piano player of the day had to be capable of playing a strong bass line (sometimes with chords) with the left hand while playing melodies with the right simultaneously. As time passed, piano players began to realize that they could let the bass player handle the bass line and they could let a horn player handle the melody; in short, they realized that they didn't have to play everything anymore. Observe the development of jazz piano from the days of Jelly Roll Morton (king of stride piano) to the modern stylings of Herbie Hancock, who would rather explore the harmonic cosmos than cage himself with a steady left hand bassline. Gunn is one of the first, if not the first, publicly known Stick player to abandon the concept of Stick as a one-man-band kind of instrument; just like what happened with piano. Allan Holdsworth could have been the first in 1984-1985 since he expressed an interest in approaching the Stick like a modern jazz pianist; using the left hand side for chords rather than bass lines; but then he gave up the Stick in favor of the SynthAxxe and we know what happened from there ;)

One thing I noticed though about the current generation of jazz pianists is that developing true independence of the hands is not priority for them. Most of them tend to let the left hand follow the right while improvising; the left hand is mainly confined to the supporting role of providing chords. There are a few that are capable of improvsing more than one melody simultaneously using both hand like Borah Bergman and Lyle Mays at his more intense moments.

So will we ever see Gunn playing two independent lines with both hands on his Stick? One reason I could think of why some guitarists are switching to the Stick is to be able to achieve this polyphony.

Some more rambling comments:

If we go back to the jazz pianist analogy, we can observe that the modern jazz pianist usually does not play close intervals with the left hand. Left hand voicings are usually in intervals of fourths or greater (sixths or sevenths) because seconds or thirds sound too muddy in the bass range. With this in mind, the fifths tuning of the bass half of the Stick makes perfect sense; playing wide intervals becomes incredibly convenient.

--
Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list	|\
|for Music Technology and Stringed Instruments 			| |
----------------------------------------------------------------- |
\ finger pvallado at sdcc5 dot ucsd dot edu for more info			 \|
 -----------------------------------------------------------------

Subject: Crimson Lyrics
From: mike dot dickson at almac dot co dot uk (Mike Dickson)
Date: Tue, 16 Aug 94 11:07:00 +0000
Organization: ALMAC: Scotland : +44 (0)324 665371
[t] I also got my own copy of "Starless and Bible Black" over the past week,
[t] and what a fine recording it is. My only negative comment is the lyrics on
[t] "The Great Deceiver". Not the most, um, INTELLIGENT lyrics that Wetton or
[t] whoever wrote, but the song is still good.

I think it was Fripp that wrote the lyrics to 'Great Deceiver'. You really have to place the lyrics in contect with the rest of their lyrics. I mean, they weren't exactly poetic, were they. I never really saw the need for Crimson to have a vocalist at all, really. Their real power lay in the music, not in the vocals, not matter how good a singer they used.

Mike Dickson, Black Cat Software Factory         mike dot dickson at almac dot co dot uk

---
 * KWQ/2 1.2e NR * PANTHER *Freeware* Communications Software! PANTHER2.ZIP!

From: "Ken Stuart" <ken at snowcrest dot net>
Date: Tue, 16 Aug 94 20:49:02 PDT
Subject: PS on FFWD

PS on FFWD -

the liner notes have two odd statements in the "thank you's":

"Agnabled by fil char gonidred."  (no, my fingers were not shifted one key
                                   over on the keyboard. :-) )
"No thanks to Tony Arnold."       (name sounds familiar. EG, perhaps? )
-
respect to all,

Ken            ken at snowcrest dot net   (primary address)
               (if no answer, try ken dot stuart at tigerteam dot org )

From: "Ken Stuart" <ken at snowcrest dot net>
Date: Tue, 16 Aug 94 20:01:20 PDT
Subject: Tape offer; Fripp autograph story; FFWD first impression

Hello,

To the first time writer. Your offer to copy the GG&F is kind, BUT the CD is currently in print. Hence, any copy deprives our fearless leader of his rightful livelihood.

However, I think it would be reasonable for you to copy a SINGLE track for those who are unsure that they'll like the album - after all, it is QUITE different from King Crimson...

---------------------------------------------------------------------------

DA Shapiro writes:

>After the interview, I asked him if he would "put his John Hancock" on a
>copy of "Discipline" that I had brought along.  I guess he misunderstood
>me, because he signed the album, "To John Hancock...Robert Fripp."

This may be one of those Discipline postings that gets ten answers :-). But just in case, here goes:

John Hancock was the American who signed the Declaration of Indepedence larger than anyone else. Hence, IN THE U.S., "John Hancock" is equivalent to "signature".

However, it was the British that the Declaration of Independence was sent to :-) , essentially saying @#$%^&*()_ ! to them. So, I would be surprised if the British understand this meaning of "John Hancock". :-)

AND, if they did, they might either be angry (clearly not the case here) or amused that someone might use that reference to a Brit!

So, perhaps he misunderstood you and perhaps not...

Comments by British Discipline readers would be appreciated. Toby?

[[ Beats me! -- Toby ]]

---------------------------------------------------------------------------

Fripp/Fehlmann/Weston/Dr.Patterson - first impressions

This album, as you probably suspect, is quite different from most of Fripp's other projects. However, it is definitely in the same genre as the Fripp & Eno albums, ie what is now termed "ambient".

Only one track has any real rhythm element (somewhat of a surprise, actually considering that all 4 are known for their rhythms!), featuring a guest percussionist.

Several of the tracks have some really beautiful sounds; as a whole, it is never unpleasant (ie no track like "Index of Metals" :-) ).

Track 7 "Can of Bliss" has the most prominent Fripp presence; it is probable that Fripp did the majority of composition for this track. Collectors who want everything that Fripp has done will need to buy this CD, if only for this track.

This is NOT to say, however, that Fripp is not present elsewhere, he is a clear co-equal in the rest of the album. However, Can of Bliss is the one track that has a very identifiable "Fripp sound".

Generally this album is less noisy and more consonant than Lifeforms by Future Sound of London, however if you are looking for "melodies", then this might not be the album for you.

Someone on the Internet claims that no USA release of FFWD is currently planned, by the way.

(PS Those of you who like the whole Eno-esque "ambient" genre, should pick up [if you haven't already] "Selected Ambient Works Volume Two" by Aphex Twin [aka Richard James] - superb, nay brilliant minimalist music.)

-
respect to all,

Ken            ken at snowcrest dot net   (primary address)
               (if no answer, try ken dot stuart at tigerteam dot org )

From: "John T. Furlong" <jfurlong at motown dot ge dot com>
Date: Fri, 19 Aug 1994 13:13:31 -0400
Subject: General Questions

Hi. I am new to the Discipline newsletter and would like to ask a couple questions that may have been already asked. If so, I would still like answers if someone could email me to get me the answers or point to the correct issue of Discipline (I have skimmed about the last twelve back issues). If not, please share with us all.

My first question is in reference to the Great Deciever Box Set. It was my understanding that other live box sets were to be released. Why haven't they been? Were the projects canceled or just put off?

I have seen mention of a live Sylvian / Fripp CD that is going to be released in the fall of this year. Is this CD going to one or two disks? By the way, I picked up a promo CD called god's monkey * retrospective that is a collection of David Sylvian songs throughout his recording career. I don't have any Sylvian material so it was a really good pick up for me. I got it for $9.99 US at a local (Philadelphia) store.

I also have a question for all of you out there. In the last month, the Genesis newsletter (Paperlate) had a survey about which non-Genesis related groups/artists where their favorites. KC was around 8th on the list, which was topped by Pink Floyd (oh, those adventurous Genesis fans). I was wondering what sort of music KC fans enjoyed out side of KC and the related material. Send me an email with your top five non-KC related bands/artists (use your judgement with that - obviously the Robert Fripp String Quintet would not be a good choice but I think that Bill Bruford's Earthworks would be acceptable) and I will tabulate and post the results in a month's time. If this sort of survey has been done recently - just ignore the above paragraph. My email address (for the time being) is jfurlong at motown dot ge dot com.

Thanks for the time,

John Furlong
jfurlong at motwon dot ge dot com


Date: Sat, 20 Aug 1994 9:21:48 -0400 (EDT)
From: MERRILL TRITT <MTRITT01 at SERVAX dot FIU dot EDU>
Subject: New Wetton Album/KC Boots

I've been going over the past issues of Discipline and in one of the 80's series, someone wrote that he knew of a site that had the booklet to Frame by Frame on it. It was requested that he post the address, but never replied. Does anyone know what it is? I'd love to read it.

For those of you waiting for John Wetton's new album, it's called _Voice Mail_ and it's out in both Japan and Holland. If you want to order it, you can use telnet to connect to cdeurope.com. Funny though, that it used to have a release date of 6/94 and now has a release date of 7/94. There is another company that I know of in Oregon that can order foreign (at least in releation to US) CD's. I don't have the phone number, but I'll look around for it if anyone wants it. Also, cdeurope.com has a listing of tons 'o bootleg CD's - including King Crimson and UK. The list is only available if you have ordered something from them, but again, if anyone wants, I will post what they have along with the prices.

Does anyone have a copy of Wetton's _Jack-knife_ that he wants to part with? I'd like to hear this first solo effort by him, but have been unable to locate the LP/CD.

Merrill
(mtritt01 at servax dot fiu dot edu)


Date: 20 Aug 94 22:46:00 PST
From: "Chris King" <C_KING at emulex dot com>
Subject: Giles, Giles, and Fripp

Someone in the last issue mentioned that they have a rare album of pre-KC stuff, "Cheerful Insanity of Giles, Giles, and Fripp." I think we've been through all this about a year ago, but the cd was released last fall (American release. I think there were Japanese versions flitting about for a while longer.). It's really good for all of you who were like me with an old vinyl version of the original album. The cd adds a number of bonus tracks with different mixes.

Probably the song--a bonus track--of most interest to us KC fans is the GG&F version of "Under the Sky" which we read about in Fripp's diary that KC rehearsed in 1968, but never released. (I wonder if there's a boot to be had somewhere, anywhere?)

Most of the cd is very silly queer pop songs. Certainly though "Under the Sky" could have fit on the first KC album if Ian MacDonald was added and allowed to do the wonders that he did on other songs of the first album. "Under" did show up on the Sinfield solo album a few years later.

The liner notes are by far the most indepth of any KC single album I know of (I don't include, of course, the compilation album "Young Person's Guide . . ." or the "The Essential ... Frame by Frame" or "Great Deceiver."

May I quote just a bit of the GG&F liner notes?: RF recollected... "I was told that the Giles brothers had left TrendsettersLtd., which was their group, and were looking for a singing organist. Since I was a guitarist who didn't sing, I went along for the job--and after rehearsing for a month and doing tape recordings in the local Beacon Hotel on a Revox, I said to Mike, "Well, have I got the job?" He rolled a cigarette, looked down and put the cigarette in his mouth, lit it, puffed on it, and said, "Well, let's not be in too great a hurry to commit ourselves to each other."

Does anyone know if the "McDonald And Giles" album was ever released on cd? I tossed out my phonograph a few years ago and tossed almost all my lp's out at the same time, including that one. That was such a nice album. And it included a song which was the original melody to "Cadence and Cascade." (The name escapes me at the moment, but I remember you could sing "Cadence" lyrics over the melody and they fit nicely. Also, certain keyboard riffs from "Cadence" were reprised in it.)

Best Wishes,
Chris


From: Stekun at aol dot com
Date: Sun, 21 Aug 94 18:20:12 EDT
Subject: Psychodots address
>>Are Psychodots albums generally available or will I have
>>to mail order from them directly?  If the latter, can anyone >>give me the
>>correct address?

>>Bill jacobs

The woman who sold their albums after the concert said that they could be ordered (along with AB's albums) from the Adrian Belew Fan Club,p.o.box 8385,Cincinnati,Ohio 45208

Good luck,
Steven Rhodes


Date: Mon, 22 Aug 1994 11:30:52 -0400
From: "Mike . Brown" <ah026 at DAYTON dot WRIGHT dot EDU>
Subject: Psychos

Hot off the Belew tour, the Psychodots played at the Canal Street Tavern in Dayton, Ohio Saturday night.

This is the fifth time I've seen them and I've never been disappointed.

The first set was just over an hour. They played a good selection from their two full length CDs as well as several unreleased/new songs. The "balloon song" for this show was "Living In A Lincoln". And as with the Belew show, Bob Nyswonger (sp) is also adding his voice to this home-made talkbox.

The crowd pleasers were "Big Love Now" and "Moaner" which closed the first set. Also played were "Say Little Monkeys", "Though A Open Window" among the new/unreleased songs.

With the recent "discovery" of SW Ohio as a hot-bed of talent (Breeders, Afgan Whigs, Over The Rhine, Guild By Voices) it's sad that these men have been overlooked. And after paying $50+charges to see a very disappointing Rolling Stones show two weeks ago, its good to know that $6 still buys a cool evening of entertainment.

Mike



Mike Stok