Discipline #147 (as text)

12 September 1994



From: Robert Fripp
Subject: Dis. Glob. Mob. orders fine tuning
Discipline Global Mobile,
PO Box 1533,
SALISBURY,
Wiltshire, SP5 5ER.
(44)722 781042: fax.
73064,1470 at compusserve dot com
September 10th. 1994.

Dear Team,

The early responses from readers in both North America and Europe have
given rise to some fine tuning in orders for various
Dis. Glob. Mob. titles.

Orders from the Americas should be directed to Mark Perry in Long Beach.
European orders should be addressed to the address above. The prices posted
in GBP should not be translated into US$ terms and sent to Mark: different
conditions prevail in the two territories.

The high cost of dealing with US$ cheques (even in a US$ account)
regrettably make this facility prohibitive for orders from here. So, ALL
orders within Europe addressed to DGM at Salisbury PO Box 1533 should be in
GBP, whether by cheque or money order.

Mail order is likely to be a more reliable way of getting DGM titles than
going down to your local WH Smith & Son.

The release date for "Robert Fripp: 1999" (the Soundscapes album drawn from
live performances in Argentina earlier this year) is 15th. November. If you
forgive an artist being excited by their own work, this is highly
recommended but tough listening.

	Once again:

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

As a postscript: next week I fly to Nashville for two days work with Adrian
Belew before we go on to Buenos Aires and join the other Crims for one
week's rehearsals prior to the performance debut of the Double Trio
formation.

	Robert.

From: DINOKILLER at aol dot com
Date: Tue, 13 Sep 94 10:41:35 EDT
Subject: MessageFromPossibleProductions

Dear Discipline Readers,

If I may take a moment of your time, I'd like to address a few points and pass on some new information concerning ordering from Possible Productions.

Comments have been posted recently regarding the pricing of the new King Crimson CD 'VROOOM' in light of it's mini-album length. Since I am responsible for establishing the retail price, I would like to explain why it is necessary.

In the U.S., the retail list price is set at $16.98, commensurate with production and manufacturing costs. I have received feedback from retailers who agree that $16.98 is the right price, considering the anticipation over it's release. Consequently, if I priced it lower, the major music stores would still mark it to $16.98. Since that's the price they will charge anyway, I'd rather a few more bucks go to King Crimson, rather than to record retailers. The bottom line: VROOOM is a lot of music for the money. Crimson is no small undertaking (there are many people to pay) and VROOOM will help to make the music possible.

For those who plan to purchase the Signature Series edition of VROOOM for $19.99 (each CD is signed by the artists) and feel that this price is still too high, I will be offering non-autographed CD's for $14.99 by mail-order as an alternative.

Discipline readers will also be interested to know that each VROOOM CD purchased through Possible Productions (by mail or retail outlet) will contain this special offer while supplies last:

For $2.00 for Postage & Handling (with purchase) you will receive a free King Crimson/Discipline Records poster (via first class mail) normally priced to sell at $5.00. (Offer good only in the U.S. and Canada). It's our way of saying thanks for helping us get our new operation off the ground.

For most of us (fans) I don't think price was ever an issue, but I didn't want anyone to misconstrue the pricing decision. VROOOM is a mini-album, but it packs a lot of bang for the buck. I'm blown away by VROOOM, and I'm looking forward to hearing what you think. Thanks for hearing me out.

NEW FROM POSSIBLE PRODUCTIONS

Good news - As of October 1st, 1994, we will be accepting credit card orders from the U.S. & Canada.

These items (available Oct 1st) have been added to our catalogue:

Look for an order-form in Discipline soon with instructions for credit card orders by email.

Best wishes, -
Mark Perry, for Possible Productions


Date: Fri, 02 Sep 94 14:01:21 PST
From: "grant green" <grant_green at cc dot chiron dot com>
Subject: Gentle Giant

Not to drift too far from the subject, but Gentle Giant's "In a Glass House" IS available on CD. I've had a copy for about a year now. Has anyone seen "Playing the Fool" on CD yet?


Date: Fri, 2 Sep 1994 17:30:19 -0300 (EDT)
From: Steven Sullivan <sullivan at unix1 dot circ dot gwu dot edu>
Subject: Re: Discipline 146

Re: the lyrics to Great >>Deceiver:

While Palmer-James did write the bulk of KC lyrics, I've seen at least two sources that credit Fripp with the *chorus* of Great Deceiver ('cigarettes, ice cream, figurines of the virgin mary'). These lyrics were inspired by a trip Fripp made to the Vatican, the mob of tourists therein, etc.

Btw, one of the sources for this infor was Fripp himself, in one of his many 'memoirs'.


Date: Fri, 2 Sep 1994 16:57:00 +0800
From: John dot Lukes at EBay dot Sun dot COM (John Lukes)
Subject: Re: Discipline 146
  1. Chuck Ivy's sister got rides from Sarah Hickman, but....

    My avid English AND German automobile fanatic older brother has confirmed for me the spelling for Sarah Hickman's art school run-about: Karmann Ghia! It's actually the name of the design studio. My brother tells me that the design was originally done for Chrysler who did a few prototypes and abandoned the design -- he saw one at Laguna Seca recently. Volkswagen picked up the design and the rest is automobile history...well, a part thereof. My brother and his wife still drive theirs, or one of their Morgans.

  2. Can anybody help with this KC question from a co-worker:

    "I know I'd like to have a single "Greatest" disc of K.C. in [my] library. Not sure if *one* exists with all the right versions. Please let me know what you find out."

  3. Ray Ashley had a fun reply to the Psychodots fan who compared their concert to a recent "disappointing" Rolling Stones concert.

    Besides the law of inversely proportional concert enjoyment, regarding the Stones' current tour, I figure, I've seen 'em.

    As Tim Finn sings on one of his solo albums: "Been there, done that." I'd rather save my money for the upcoming KC tour, anyway! (Especially since I haven't been there, haven't done that, yet!)

-JOHN


Date: Fri, 2 Sep 1994 18:14:39 -0700 (PDT)
From: Gorny <gornyja at whitman dot edu>
Subject: Re: Discipline 146

I just thought I'd mention that I just recently acquired the "Giles and McDonald" album on vynil, and was three weeks later lucky enough to spot it on CD in a rare import section. I'm very interested in finding out if there are any more albums such as these. If you haven't heard it, I'd say it is more rightly called the third King Crimson album, and although it includes a variation of Cadence & Cascade, it also includes some very very good stuff in the spirit of Earthbound, but with Giles' precision in drumming and obviously better sound quality. If anyone has any information on any other albums that would relate to this album, I'd be very interested. Thanks.

Jacob Gorny
gornyja at whitman dot edu


From: AyRon at aol dot com
Date: Fri, 02 Sep 94 21:30:44 EDT
Subject: Tony Levin's "Drum"sticks

Regarding the sticks Tony Levin uses on his bass---I saw him play with ABWH where he used those sticks...yes, it did often give him a more "Squire-like" sound. But it creates a sharper sound than Squire's picking...he played nearly all of Close to the Edge with those sticks. Additionally, he did a duet with Bruford where he started playing with those sticks. He did a fast riff with the sticks which I thought was incredible. Then he took the sticks off and did the same thing with his hand! This was the first time I ever saw Levin and my belief that he is the most versatile bass player around has never wavered since. (But I'm open to other people's suggestions...anyone who can play as well as Levin (and as many ways) is worth listening to!)

Aaron


Date: Fri, 2 Sep 1994 23:23:35 -0400 (EDT)
From: James Bickers <jbickers at iglou dot com>
Subject: Re: Discipline 146
> 	also, the Cheerful Insanity... was a rare disc BEFORE it was
> readily available on CD, out of print in the US for years...kinda' makes
> one wonder when "In a GLass House"  by Gentle Giant will ever make it to
> CD...

Actually, IAGH has been available on CD for some time...a close friend of mine has a copy. It's unique in the sense that the black window overlays from the album artwork are actually imprinted on the jewel case, not the liner...

James


Date: Sat, 3 Sep 1994 14:49:59 -0400 (EDT)
From: MERRILL TRITT <MTRITT01 at SERVAX dot FIU dot EDU>
Subject: Belew Press Release

Okay, by popular demand, here it is. Please pardon any typos or errors. I've done my best to weed them out, but some always seem to slip through.

================================================================
Press Release from Adrian Belew's "Mr. Music Head":  April, 1989
================================================================

     If Adrian Belew were so inclined, he could drop names that
would make your jaw drop.  One of the most acclaimed and sought-
after guitarists since Frank Zappa discovered him in a Nashville
club more than a decade ago, the Kentucky-raised musician has
played with such luminaries as David Bowie, Talking Heads, Tom
Tom Club, Laurie Anderson, Paul Simon, and countless others.
When another virtuoso guitarist, Robert Fripp, decided to reform
King Crimson, it was Belew he hired alongside Bill Bruford and
Tony Levin.

     Considering his many friends and admirers, it comes as a bit
of a surprise to find Adrian so alone on his first album for
Atlantic Records.  Aptly entitles, "MR MUSIC HEAD",  the record
features Adrian not only playing all guitars, but handling all
other instruments and vocals as well.  Only one track, "Oh Daddy"
(the pop gem that opens the album), features a guest vocalist -
his eleven year-old daughter Audie; bassist Mike Barnett appears
on two cuts; and the rest is all Belew - instruments, voices, and
machines, in full digital sound.

     Adrian may be nearly alone on "MR MUSIC HEAD", but he still
manages to make quite a lot of noise, and beautiful noise to
boot.  At times neo-psychedelic, with frank and overt references
to the Beatles' classic mid-60's recordings (notably "REVOLVER"),
at other times a dazzling melting pot of musical influences from
around the world, always tasteful, quirky, and exciting, "MR
MUSIC HEAD" is Belew's strongest and most accessible solo work to
date.

BELEW ON BELEW AND OTHER ASSORTED TOPICS
========================================
Career
------
"At this point of my life I feel strongly about striking out as
an artist in my own right.  I arrived at this backwards.
Starting out as a sideman was certainly fortunate, but it was
never my plan.  From age 16, when I first picked up a guitar and
started writing songs, I always planned to be where I am now,
making my own records.  I have a penchant for picking up as many
instruments as I can.  And that's what I am doing now."

"Revolver"
 --------
"I tend to use that era of music as a barometer.  I return to it
frequently, not so much to imitate it as much as to draw
inspiration from it.  I feel it was very important to me."

Singing
-------
"I've opened up as a singer and this album is a collection of
songs meant to be sung by a singer.  I've been a singer much
longer than anything else.  When I was four years old, my parents
used to take me to this bar and the customers would give me
nickels and I would put them in the juke box and play my favorite
tunes, Hank Williams, and Elvis Presley songs, and sing along.
It used to amuse the adults a great deal."

Guitar
------
"I love the guitar.  It's an extension of my own voice.  I
couldn't give a damn how fast I am or what riffs I know, that
doesn't appeal to me whatsoever; there are tons of guitarists who
do nothing but that.  The guitar is a beautiful way for me to
sound like anything.  That's what I like to do most with it.  I
can make it sound like an animal or I can make it sound like a
clarinet or I can make it sound like a guitar.  So it is the
ultimate orchestration tool for me.  But I can't think of myself
as just a guitarist, because I don't feel that's all I do."

Songs
-----
"All these songs, with the exception of '1967', are studio-born.
I have different ways to accomplish that.  Mainly for this
record, I relied on writing on the piano.  I'm not a very good
pianist, so when I sit down to play, I can only do the most
elementary things.  Because of that I think the songs have a
simpler format and the melodies are more memorable and more
natural-sounding.  When I write on guitar I can overcomplicate
myself endlessly."

Synthesizers
------------
"I'm very conscious to always counterbalance the electronic side
of my music with the acoustic-based things.  I feel that's the
way to get human sounds out of the synthesizers.  I am not one
for either all synths or all acoustic instruments.  I like a good
blend."

Strawberry Fields, Housewives, and Pop
--------------------------------------
"I am interested in creating pop music that has just enough left
field stuff in it.  The combination of something slightly avant-
garde and pop at the same time intrigues me.  My favorite period
was when you were able to hear 'Strawberry Fields' on the radio.
The idea that thousands of housewives all over the world were
grooving on that song was fascinating to me.  I'm still trying to
wave that flag."

THE SONGS OF "MR. MUSIC HEAD" ACCORDING TO ADRIAN
=================================================
Side One:
--------
"OH DADDY" - "It began as a fun song about some of the questions
my children ask me.  They're seeing people on MTV and asking:
'When are you going to be like that, when are you going to be a
big star?'  It's tongue-in-cheek and yet there is a serious side
to it."

"HOUSE OF CARDS" - "It's about the frailty of life itself,
anyone's life or even the world at large.  There is always the
threat of the world exploding on its own nuclear devices and the
threat of your own life falling in on you.  No one I know has
that much security in their life.  That's what it's about -
people in their puzzled lives, coming apart."

"ONE OF THOSE DAYS" - "It's a song about nostalgia.  For years
we've had a running volleyball game that goes all summer on
Sundays.  It's about that feeling of old friends and new dads and
people getting together."

"COCONUTS" - "I was stuck on that lyric.  I had the track for a
long time, and I knew that the song wanted to be about
summertime, the beach, getting a tan, etc.  It just sounded that
way.  So eventually, my manager, Stan Hertzman, helped me with
the idea of being a couple of coconuts, people as coconuts."

"BAD DAYS" - "Your typical lost love/found love verse.  It is the
simplest song on the record:  just bass, drum, piano, one voice,
and guitar.  I realized I could put less information in and make
it work better."

"PEACEABLE KINGDOM" - "The title was suggested to me by Ted
Schafer, a writer friend of mine.  We have birds and a pet dog
and fish and plants everywhere.  It's a 100-year old Victorian
house.  AT the time we were making fires in my fireplace, and Ted
said it was like 'a peaceable kingdom.'  Why should I want to
leave this and go somewhere?"

Side Two:
--------
"The second side of the record contains the first batch of
material I recorded.  Any student of this record will realize
that it's a denser, more complicated sound.  I had limited myself
to certain sounds, the low end of the piano, the drumming style,
certain kinds of backward reverbs, etc.  So that the second side
very much has its own sound."

"HOT ZOO" - "A surrealistic walk through the zoo a' la John
Lennon, with lots of animal sounds.  Most are guitar sounds,
although I have other interesting ways of making birds out of ray
guns, toys, varisped tapes, and other techniques.  Even though I
make digital recordings using very advanced equipment, I try to
do ordinary things with it.  For instance, on the second side
there are a lot of little drum sounds.  They are actually little
bamboo fans I found.  They only cost 39 cents each and if you put
them through a good old vintage mike and a beautiful $100,000
digital machine, they can sound fabulous.  I hit them with a very
light mallet.  You can play them all over:  the rim is made of
metal, you can hit the bamboo handle, and or course you can play
the cloth."

"MOTOR BUNGALOW" - "The only song on the record that was written
beforehand as a lyric.  Very inspired by some automotive history
books that I read all the time, called _Automobile Quarterlies_"
I love those books.  There was an article in one of them about a
1937 Pierce-Arrow Travelodge, an incredible-looking contraption,
which I romanticized about.  You would just ride around the
country, stop in Florida, or go to a restaurant in Kansas or
wherever you wanted to.  I wrote the lyric all at once and later
tried to design a song that sounds like you are motoring."

"BUMPITY BUMP" - "I view it as a modern blues.  It's about having
the blues, it has a blues guitar figure, and even speaks in the
blues idiom."

"BIRD IN A BOX" - "That's my favorite.  I know it goes over most
people's heads because you can't really understand the lyrics.
But when you sit down and read them, the word play is clever, I
guess.  It was fun to write.  It has a very modern sound to me.
I wish more pop songs were like that."

"1967" - "Probably the most autobiographical piece I've ever
written.  It certainly evokes the late '60's era of music.  It is
five songs put together. I had these different bits of music, and
I took the best chorus and verse from each, put them all together
in one piece of music, recapitulated at the end in a typical
"ABBEY ROAD' fashion and bingo, there was '1967".  It is overall
an acoustic piece of music and yet it utilizes a lot of
electronic gimmickry such as backwards tapes and sampled animal
sounds for drums."

"CRUELTY TO ANIMALS" - (CD bonus cut) - "It came about
accidentally.  I had received in the mail 45 CDs of sound
effects, all of digital quality.  As we began compiling these,
they started making musical sense to me.  So I added drums,
pianos, and guitars.  The title is self-explanatory and I hope
everyone understands that it means I am _against_ cruelty to
animals.  I like the idea that the elephant sounds so distressed
and then a crowd of people laughs."

ADRIAN BELEW - A SELECTED DISCOGRAPHY
=====================================
I - As a sideman:
----------------
Frank Zappa - "Sheik Yerbouti" (1979, CBS)
David Bowie - "Stage" (1978, RCA)
            - "Lodger" (1979, RCA)
Talking Heads - "Remain in the Light" (1980, Sire)
              - "The Name is This Band is Talking Heads" (1982,
                 Sire)
Jerry Harrison - "The Red and the Black" (1981, Sire)
Tom Tom Club - "Tom Tom Club" (1981, Sire)
Herbie Hancock - "Magic Windows" (1981, CBS)
David Byrne - "The Catherine Wheel" (1981, Sire)
Ruichi Sakamoto - "Left-Handed Dream" (1983, CBS)
Peter Wolf - "Lights Out" (1984, EMI America)
Jean-Michel Jarre - "Zoolook" (1984, Warner Bros.)
Laurie Anderson - "Mister Heartbreak" (1984, Warner Bros.)
                - "Home of the Brave" (1986, Warner Bros.)
Paul Simon - "Graceland" (1986, Warner Bros.)

II - As a member of King Crimson:
--------------------------------
"Discipline" (1981, Warner Bros.)
"Beat" (1982, Warner Bros.)
"Three of a Perfect Pair" (1984, Warner Bros.)
"The Compact King Crimson" (1987, EG)

III - As a solo artist:
----------------------
"The Lone Rhino" (1982, Island)
"Twang Bar King" (1983, Island)
"Desire Caught by the Tail" (1986, Island)
"Mr. Music Head" (1989, Atlantic)

IV - As a member of the Bears:
-----------------------------
"The Bears" (1987, Primitive Man)
"Rise and Shine" (1988, Primitive Man)

V - In Films:
------------
Frank Zappa - "Baby Snakes"
Laurie Anderson - "Home of the Brave"
Alan Rudolph - "Return Engagement"

ADRIAN BELEW - A TOUROGRAPHY
============================
1977 - Frank Zappa (World Tour)
1978 - David Bowie (World Tour)
1979/1980 - Adrian Belew & Ga Ga
1980/1981 - Talking Heads (World Tour)
1981/1982/1983 - King Crimson (North America and Japan)
1983 - Adrian Belew Solo Tour
1984 - King Crimson (World Tour)
1985/1986/1987/1988 - The Bears (North America & Israel)

Date: 03 Sep 1994 11:33:00 +0100
From: MPE at hop dot dinoco dot de (Michael Peters)
Subject: Re: Discipline #146 (FFWD in USA)
> Regarding FFWD - any idea how someone in the US might be able to acquire a
> copy? I see it referenced here and in other Crimson forums, but no hard
> data on if and when it might me released here, or of a good import source.

I was in Charlottesville/VA 2 weeks ago for vacation (I'm from Germany) and found FFWD in a Plan 9 record shop. If there's a Plan 9 near you, I suggest that you check it out - they should be able to get FFWD. -M

Michael Peters
mpe at hop dot dinoco dot de
CIS 100041,247
## CrossPoint v2.93 ##

Date: Tue, 6 Sep 94 10:16:56 EDT
From: brzrkr at unipress dot com
Subject: Re:  Discipline 146

In Discipline 146, 'Ray Ashley <RAYASH at delphi dot com>' writes:

> Dude - you have learned the law of inversely proportional concert
> enjoyment:
>
> the less you pay to see a gig, the better it will be
>

This definitely applied to the Slyvian/Fripp concert I saw in NYC. I was extremely disappointed with the entire event, and paid $35 plus tolls and parking for the privelege. I'm betting that the concert sounded *great* to the guys sitting on stage left with what looked like a million dollars' worth of audio/recording gear. But to us poor paying fools in front, it was

  1. way too loud, except of course for Slyvian's lyrics, and anything the stick player did, both of which were practically unintelligible;

  2. jacked seriously into the stellar frequencies (are all audio professionals stone deaf after 1000khz???), most especially Fripp's playing, which, with what I'd guess was a synth setup, was bordering on painful (and also unintelligible) to listen to;

  3. unclear how much was "canned" and how much was performance;

  4. hyped way beyond reason - "live the experience" kind of sh*t.

Fortunately, the other guitarist, Michael Brooke(s?), I think, was artist extraordinaire! He had a half-rack of toys, at least several loops, and was the opening act as well as the "rhythm" guitarist for S/F. Comparing the two, I'd call Brooke(s?) the artist and Fripp the technician. (Yes, I dare this blasphemy! It's *my* opinion!:)

Regardless, though I'm a long-time KC and Fripp fan, and have seen both several times (and I bought two reel-to-reels to emulate Frippertronics [poorly:)], and replaced them with a JamMan, etc., etc.), I will have to think very carefully about paying to see Fripp in live performances. Though it might surprise the concert planners, I don't go to concerts to get stoned and be assaulted by noise!!!

Pat Hickey			***SPH
brzrkr at unipress dot com

Date: Tue, 06 Sep 1994 11:39:37 -0400
From: "Mike . Brown" <ah026 at DAYTON dot WRIGHT dot EDU>
Subject: Belew on WXRT

If anyone taped this , please contact me. I have lots to offer for trade.

Mike


Date: Tue, 06 Sep 1994 13:27:00 -0400 (EDT)
From: JAY KRESS 202-233-9339 <KRESS dot JAY at epamail dot epa dot gov>
Subject: request

I'd like to know whether fripp's "god save the queen/under heavy manners" album exists on cd. if it does, i'd very much like to purchase it. could you answer this, or post this inquiry on discipline for me?

thanks,

jay


From: "David Hodson" <davidh at kau1 dot kodak dot com>
Date: Wed, 7 Sep 1994 18:28:53 -0500
Subject: Kiss of Reality CD

David Mitchell <davidm at hparc7 dot aus dot hp dot com> in Discipline 138 gave a short (and glowing) review of the band "Kiss of Reality". Following Peter Evans' <pe at imta dot com dot au> comments in Discipline 139 I tracked down David Pittaway, the guitarist from the band, and purchased a copy of the CD. This is a damn fine CD! The trio consists of David Pittaway on guitars, Volker Rehn on stick, and Joerg Schwickerath on drums and synthesiser. Toyah Willcox provides guest vocals on six of the eleven tracks. Total length 58:11.

What can I say? The music sounds very much like Discipline-era Crimson (substitute Toyah for Belew on vocals), maybe with a slight leaning towards a more conventional heavy rock sound at times. If Crimson had released this album, I would be a little surprised at the sound, but not disappointed. Lots of electronic percussion, great stick work, and some very aggressive and angular guitar.

The only details given on the CD are:

M+D Records 93-2005
Manfred Zimmermann - Dieter Mueller
Postfach 24 47, Koblenz, Fax 0 26 22 / 1 36 44

If anyone is interested in a copy of this, I will gladly buy as many as I get hold of and post them out for whatever it costs me. I paid Aus$25 for the CD; airmail to the rest of the world (I'm in Australia) is likely to be another $6 or so, so figure somewhere around US$23. If David starts giving me a discount when I buy my third or fourth copy, I'll pass that on :-)

--
      David Hodson -- davidh at kodak dot com -- "this night wounds time"

"To get a record deal, he said, they would have to be more punk;
Forget their chops and play real dumb, or else they would be sunk" - FZ

Date: Wed, 7 Sep 1994 15:32:18 -0600 (MDT)
From: Robert Bartz <rbartz at nyx10 dot cs dot du dot edu>
Subject: Crimson influence on Rollins Band

Yet another example of a KC influence on Rollins and his band. This is taken from the October 1994 issue of Guitar For The Practicing Musician. This is an article about Rollins Band guitarist, Chris Haskett, who has some intersting comments about music.

[only excerpts taken from article relevant to our discussion]

Music requires courage when you slip out of the comfort zone and drift into uncharted territory. And much of "Weight"[latest release from Rollins Band], with its off-center time signatures and unorthodox, jazz-influenced song structures, spends it time off the commercial rock map. "Music that only consists of 4ths, 5ths and 7ths bores us stupid," Haskett admits. "Not just because it's not complicated, but because there's so much more to do. I just don't get it!"

"We take risks when we play. You have to! Our core audience holds us up to a very high standard and we can't let them down."

Between playing 160+ gigs annually with Rollins, Haskett has managed to log some solo time in the studio. The result (a solo project he refers to as a "peculliar little acoustic number that sounds like John Fahey jammins with 'Revolution 9'") will be released this summer on Rollins' own independent label. Just another experiment in Haskett's fiendish guitar laboratory. I wondered what inspired him.

"1973 was my biggest inspiration," says the 32-year old, listing "Lark's Tounge In Aspic" along with four other influential King Crimson records. "Mahavishnu's 'Birds of Fire' came out that year, too, and 'Between Nothingness and Eternity'. They both imprinted on my heavily. What I like about guys like McLaughlin and Fripp is they have a kind of off-center geometry in their music, not just the odd times and intervals. There are lots of weird angles and strange shapes in their music."

"When I originally played guitar," he goes on, "it was usually to The Rolling Stones and Johnny Winter. They were the impetus of my getting into guitar playing because I was too shy to talk to girls and I couldn't dance. Melvin [Gibbs, Rollins Band bass player] and I noticed recently that most guitar players can't dance. Have you noticed that?"

Well, I dunno. Has anyone seen Fripp or Belew dance? In Zappa's "Baby Snakes" video, Belew was grooving around a bit. Somehow I can't picture Fripp doing the same, however. It's good to see some of the newer bands today that have that influence. Too bad more don't.

On a related note, a friend of mine went to Wood$tock and was talking to this one doctor after he got hit over the head during the Chili Peppers. Turns out this doctor was a good friend of Tony Levin's, and said that Levin is currently residing in Woodstock. To support his claim, when Peter Gabriel introduced the band, he said "Here's a man who drove a whole 3 miles to get here, Tony Levin!" I didn't know he was living in the US at all. Interesting.

Bob


Date: Wed, 7 Sep 1994 22:45:57 +0800
From: John dot Lukes at EBay dot Sun dot COM (John Lukes)
Subject: Unauthorized recordings crackdown

Fellow Crimson-ites:

The fellow that posted this to another group's netlist has given me permission to repost here for our consideration. At the end he indicates that he'll have more posts regarding the music industry/ multimedia conference he recently attended in Australia.

If anyone has questions or issues to discuss, send them to me and I will forward. He gave permission to repost the message, not his name or email address. I am complying with his request for anonymity.

-JOHN

Hi all,

I've just got back from attending a music industry/multimedia conference in
Sydney and I've learnt a few interesting tidbits..

Firstly, as well as the American record companies, the Australian record
companies are also monitoring the networks for sale and distribution of
unauthorised recordings...The speakers at this particular seminar mentioned
that the companies know of "certain code words" used on the networks to
describe such recordings and they are continually searching the networks
for those code words. The Australian MD of Polygram also stated that they
have employed an Australian spy to monitor certain areas on Internet.

As for the loophole which made Apple House and other companies profit from
the sale of unauthorised recordings, well the record companies have lobbied
the Aust. Government to close that loophole. As of 1st July 1995, it will
be illegal to sell and produce such recordings in Australia.  Likewise, the
record companies worldwide have set up a group which is working on a
copyright law which will be universal. If accepted, this will mean that is
will be illegal in every country in the world to sell and distribute
unauthorised recordings.

Record Companies have also set up another group which has a specific goal
of changing Asian attitudes to pirate and unauthorised recordings.  It
seems that the Asian culture accepts such practices, and the record
companies are trying to change that cultural habit.

SID codes will be employed globally so that each CD can be traced back to
the manufacturing plant. This will mean that each manufacturing plant will
have to put these identification codes on every CD. Every CD plant will
have to employ this technique otherwise they won't be able to accept
'official' pressing orders.

My impression from this seminar was that the record companies are scared
shitless; they know that artists and entrepreneurs now have the technology
to press their own CDs, they know that some songs are distributed through
various networks, and they know that there is a market for unauthorised
recordings..The old story of the person who cries the loudest will get
heard first applies here..By applying pressure to Governments, record
companies are trying to control what CDs are available and that no-one can
try and take their market away from them. Basically the record comnpanies
are looking after themselves and not the artists concerned.

My suggestion....play it VERY safe and not discuss buying and distributing
unauthorised recordings on the net. You just don't know who else is reading
your mail.......

Date: Fri, 9 Sep 1994 13:40:08 +0800
From: Richard dot Schiavi at Eng dot Sun dot COM (Rich Schiavi)
Subject: crimson in argentina

A friend of mine also into Crimson will be lucky enough to be travelling through Chile and Argentina for the next 4 months. I remember hearing King Crimson would be doing some rehearsal shows in Argentina in September and was wondering if anyone knows any specifics I can relay to my friend??

Thanks for any info!

Rich


From: Vector at eworld dot com
Sender: "Vector" <Vector at eworld dot com>
Date: Sun, 11 Sep 94 10:29:32 PDT
Subject: Fripp in Japan

"Walking out the door, just another metaphor". Does any one know why Mr. Fripp has made Japan the Crimso-headquaters? Only four U.S. appearances on the Sylvian/Fripp tour and something like 10 performances on the islands in the Pacific. There have also been shows by the Fripp String Quartet in Japan (I have a lovely video of this by the way) that I think just made it to U.S. shores via compact disc (Were there any U.S. shows?). But the thing that burns me up (I am about to ignite, really) is when I heard from an interview with his highness that an E.P. of new Crimson material would be released this fall only in Japan. A blow to hardcores everywhere else in the World! I assume that will mean the rest of us will shell out $25-$30 for the import at our favourite record store for a 20 minute glimpse at the new firepower. Selective marketing will cause an increase in demand for the bootleg market for such items like a video of the String Quartet live from Japan. A message to Robert Fripp and to also kindly qoute the Deadheads "We are Everywhere!!".



Mike Stok