From elephant-talk at arastar dot comThu Dec 22 07:05:44 1994 Date: Wed, 21 Dec 1994 22:25:39 +0800 From: elephant-talk at arastar dot com Reply to: toby at cs dot man dot ac dot uk To: elephant-talk at anthor dot arastar dot com Subject: Elephant-talk digest v94 #162 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 162, Wednesday, 21 December 1994 Today's Topics: Season's greetings Discipline (GM) now has an on-line WWW order form Sylvian/Fripp laserdisc Re: Elephant-talk digest v94 #161 Thela Hun Ginjeet + Matte Kudasai KC live etc.. Tippet, drumming King Crimson! One more red nightmare Van Der Graaf Generator/Hammill/Eno King Crimson Live '95 CMJ New Music Monthly Jan. 1995 RE: Thela Hun Ginjeet + Matte Kudesai skopelitus Terry's Boston CD Re: CMJ New Music Monthly Jan. 1995 Topically OFFish - Shriekback info? Re: Elephant-talk digest v94 #161 RE: Drum matters [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Season's greetings From: Toby Howard Hello to over 1000 ET readers around the world! This is the last ET of 1994, so I want to wish everyone a peaceful and happy Xmas, and all happiness for 1995. Thanks to everyone who has helped make ET a success this year, in so many ways. A special mention must go to the amazing Ken Bibb, master of ceremonies for the US distribution of ET. Next time you find yourself with a glass in your hand, give Ken a toast. We'll see you next year, where we all have a lot to look forward to, I'm sure. Now, it's over to you: Sex, sleep, eat, drink, dream AND BE MERRY! 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Please note this is currently for UK/Europe orders only. We hope to make similar arrangements for orders for the Americas from Possible Productions in the New Year. Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 16 Dec 1994 11:12:42 -0800 From: tntmusic at halcyon dot halcyon dot com (Kevin J. O'Conner dba Tinty Music) Subject: Sylvian/Fripp laserdisc Since my request for confirmation of the Sylvian/Fripp laserdisc release, I have managed to confirm the information. The video, which will contain the Japanese broadcast of the Oct. 26, 1993 Nakano Sun Plaza Hall concert, will be released this February 1 in Japan, on the VAP label. Here's the catalog no. & price info: Sylvian/Fripp - Live In Japan - VAP VPLR-70517 - 5,974 yen - 100 min. Kevin Kevin J. O'Conner d.b.a. Tinty Music P.O. Box 85363 Seattle, WA 98145-1363 vox: (206) 632-9369 fax/modem: (206) 545-2868 e-mail: tntmusic at halcyon dot com tintmeister at pan dot com k dot oconner at genie dot geis dot com zzs32874 at pcvan dot or dot jp. "If it isn't Scottish, it's CRAP!" - Mike Myers, in SNL sketch with Kyle MacLachlan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 16 Dec 94 13:16:59 CST From: oskardma at ukraine dot corp dot mot dot com Subject: Re: Elephant-talk digest v94 #161 Cheryl asked: >my question:does anyone know what size strings i'd have to use for fripp's >c,g,d,a,e,g tuning? You might be able to get a custom set through Possible Productions (dinokiller at aol dot com isn't it?), but I always just use "light" or "medium" gauge strings, whatever's on sale :-), throw away the 2nd string that comes with the set (formerly B in "old" tuning), then buy an extra .010 or .009 for the high G. Some guitar shops will sell you strings in bulk so you can mix and match as you like. Then you won't have 50 unused 2nd strings in your case. Good luck, david [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 16 Dec 1994 14:42:43 +0600 From: mps at geode dot geodesic dot com (Michael Spertus) Subject: Thela Hun Ginjeet + Matte Kudasai > Anyways, I picked up Discipline on vinyl a couple of weeks back and I'm > consistently amazed at how fresh it sounds 14 years later. (It did come out > in 1980 didn't it?) So my question is: What does Thela Hun Ginjeet and > Matte Kudesai mean? Or are they just totally made up? > > Thanx, > > Howie the Newbie "matte kudasai" is japanese for "please wait". It is often short for "chotto matte kudasai" which means "just a moment, please" and is used constantly in japanese speech. "thela hun ginjeet" is an anagram for "heat in the jungle" and if your stereo is good enough to pick out all the dialogue, you'll see it involves scenes with policemen in the (urban) jungle. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 16 Dec 1994 15:45:53 -0600 From: Glenn Astarita Subject: KC live etc.. Someone in the previous digest mentioned if any of us experienced old KC live. I saw them in Central Park, NYC back in the seventies. I believe it was: Fripp, Cross, Muir, Wetton and Bruford. This concert If my memory serves me was recorded and appeared on a Live album with a blue cover. Can't rememmber the title. Well, anyway about the concert. The anticipation was incredible. It was outdoors, the cityscape surrounding the grounds on a hot summers night. The place was packed and most were high on something or another. Well, Fripp comes out dressed in black and takes his seat at the stool, the other members follow. Silence. Barrage, crash,...they open the set with a blazing version of 21st Century Schidzoid Man. The place goes nuts..I sit in amazement. Being a young drummer myself I try and absorb what Bruford is doing and in the interim repeating to myself,,,How? How does he do it ? These guys are unreal but yet so intelligent. Fripp, so effortless but making so many sounds and playing loud but complex chords. These were my memories of being a teen. KC eventually led me into the jazz&jazz-fusion world. Over the years as I look back, I can't think of any other rock bands period who were so original and groundbreaking. I was extremely disappointed when Fripp disolved KC in the late seventies and also didn't think much of Exposure and the collaborations with ENO. But that sort of transitional stuff is to be expected from any artist. It's great to have them back... Was anyone at this concert ? Share any experiences ? Or perhaps I'm the grandpa of the list......Thanks, Glenn [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Lefferts, Jeff" Date: Fri, 16 Dec 94 13:49:00 PST Subject: Tippet, drumming > Am I the only person on the face of the entire planet that remembers a > group or album called "Low Flying Aircraft"? As I recall, it was from the > late 1970's/early 1980's, and featured members of KC. Just curious. I have an album (apparently eponymously titled) called "Low Flying Aircraft" with Keith Tippet. It's not here now, so I can't ask it any questions, but it has drums, guitar, bass, and piano (Keith, o'course). Sort of jazzy improv avant-weird, mostly, with some prettier quieter parts. It often sounds like, as Dennis said, "Somebody threw the band down the stairs". It's on an obscure indie label. > and "When I Say Stop", I think. I have never known Bruford to use double > bass, so is that Mastelotto doing that? I haven't analyzed the drumming in VROOOM yet, but Bruford did use double bass extensively in '80s Crimson - his second bass drum was electronic, and often was set to different sounds (like the metallic "plink" you hear in "Heartbeat"). For his solo in the Frejus video, it has a traditional electronic bass drum thuddy sound. > to change the talk a bit away from vrooom. this morning > was listening to I Advance masked, and was struck again > by how good the album is. as is bewitched. Yes, I like "I Advance Masked" quite a bit also, but don't really dig "Bewitched". I have a radio promo with an interview with Fripp and Summers, and one interesting bit is when they crossfade from "Painting and Dance" to "Every Breath You Take" - the main guitar part is remarkably similar. It's also amusing that Fripp doesn't remember the names of any of the tunes, but often remembers fine details of the sessions. Luckily Andy was more up on the all-important words used to tag the sounds so we can all talk about them without having to remember or refer to the actual music. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 16 Dec 1994 23:50:52 EST From: CTYM80A at prodigy dot com (MR BRIAN K PRESTON) Subject: King Crimson! I recently got this address and would like to get on the mailing list for any Crimson info. Tour dates???for new bandWhat do think of Vroom? Fripp, Belew, Levin Bruford contact? :) Brian, bass player, Crimson freak since 70s. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 17 Dec 1994 13:22:56 -0500 (EST) From: "Scott T. Lillis" Subject: One more red nightmare Hello All, This is a recent effort to hack out OMRN. This is just a start but I thought I'd pass it around. I also a have a near complete version of starless. I recently added in all of the bass and the mellotron chords. I'm still unsure about those chords though, which I had a mellotron to try them out on :). Anyhow, I want to keep everybody here informed of new progress and up to date without being redundant in the amount that gets sent out. So, let me know if there are any qualms. Thanks, Scott ------------------------ One more red nightmare King Crimson - Red ---------------------- [the opening of this song is in 7/4 at a tempo about 1/4=105(per minute). I'm still not sure about the higher intervals, this is just the root notes. It sometimes sounds like power chords and other times, I'm sure there are tri-tones.] Bass: 7|----------------------------|8|--------| -|----------------------------|-|--------| 4|----------------------------|4|--------| |0---4---6---0-4---6---0-4-6-| |0-------| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | |^^^^^^^^| 7|----------------------------|8|--------| -|----------------------------|-|--------| 4|----------------------------|4|--------| |0---4---6---0-4---6---0-4-6-| |0-------| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | |^^^^^^^^| 7|----------------------------|8|--------| -|----------------------------|-|--------| 4|----5---7-----5---7-----5-7-|4|--------| |6-----------6---------6-----| |0-------| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | |^^^^^^^^| 7|----------------------------|8|--------| -|----------------------------|-|--------| 4|----------------------------|4|--------| |0---4---6---0-4---6---0-4-6-| |0-------| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | |^^^^^^^^| 7|----------------------------| -|----------------------------| 4|----5---7-----5---7-----5-7-| |6-----------6---------6-----| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | 7|----------------------------| -|----------------------------| 4|----7---9-----7---9-----7-9-| |8-----------8---------8-----| |^ . ^ . ^ . ^ . ^ . ^ . ^ . | [Then to the verse in 4/4, a little faster(1/4=114). Again this is just the framework. The key is A, but that is not to helpful.] || 0---------------|14--12----------|15--14----------| ||.----14----------|----------------|----------------| || ----------------|----------------|----------------| ||.----------------|----------------|----------------| || ----------------|----------------|----------------| || ----------------|----------------|----------------| || ^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . || ----------------|----------------|----------------| ||.----------------|----------------|----------------| ||.4--4--4---------|0--0--0---------|----------------| || ----------------|----------------|2--2--2---------| repeat ~3x |---------------- ||12----12----12--|12----12----12--| |12--14----------.||--14----14----14|--13----13----13| |---------------- ||----13----13----|----12----12----| |----------------.||----------------|----------------| |---------------- ||----------------|----------------| |---------------- ||----------------|----------------| |^ . ^ . ^ . ^ . ||^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . |---------------- ||----------------|----------------| |----------------.||----------------|----------------| |4--4--4---------.||4------?-----?--|--------?-------| |---------------- ||----------------|----------------| "...One more red nightmare" [Then back to beginning and play again.] [After 2nd pass go to the refrain in 12/8(about 1/8=280). It is 12/8 with very irregular accents which I'll attempt to illuminate. Also I chose the fingerings to allow the notes to ring as long as possible. Of course the guitar has some distortion, but you should let some clean sound through also. Also the chord sequences is actually pretty simple and you can fake it by just finger picking the chords] Em7 |Em7 |v v v v |v v v v v |0---0-----0---0-----0---|0---0---0---------0-----| |--0-----0---0-----0---0-|--0---3---0-----3---0---| |------7---------12------|------------0---------0-| |------------------------|--------------2---------| |------------------------|------------------------| |------------------------|------------------------| |^ . ^ . ^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . ^ . ^ . Em7 |Em7 |v v v v |v v v v |0---0-----0---0-----0---|0---0-------------------| |--0-----0---0-----0---0-|--0---3-----0-----3-----| |------7---------12------|--------0-----0-----0---| |------------------------|----------2-----2-----2-| |------------------------|------------------------| |------------------------|------------------------| |^ . ^ . ^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . ^ . ^ . Gm |Gm6 |v v v v |v v v v |6-----0---6---0---------|5-----0---6---0---------| |--------8---8---8-8-----|--------8---8---8-8-----| |--7-----------------7---|--7-----------------7---| |----8-----------------8-|----8-----------------8-| |------------------------|------------------------| |------------------------|------------------------| |^ . ^ . ^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . ^ . ^ . |------------------------|0-----------------------| |----------------------0-|--------------0---------| |--------------0---1-----|----------------------0-| |3-----------------------|------------------3-----| Bmsus4 |Bmsus4 |v v v |v v v |----0-------------10----|0-----------0---10----0-| |----------11--------11--|------11----------11----| |10----10----10--10----10|--10----10----10----10--| |--------12----12--------|----12----12------------| |--13--------------------|------------------------| |------------------------|------------------------| |^ . ^ . ^ . ^ . ^ . ^ . |^ . ^ . ^ . ^ . ^ . ^ . |------------------------|3-------------------3---| |------------------0---3-|--------------3-------3-| |1-------------3---------|------------------------| |------------------------|------------------------| [then I haven't figure out the next 4(?) bars but it is something along these lines:] |Em |Em/D(or Dm)|Em |Em/D [then back to the beginning of the refrain and repeat the refrain a few times., then back to the beginning of the song] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: JWalters at eworld dot com Date: Sun, 18 Dec 94 01:20:33 PST Subject: Van Der Graaf Generator/Hammill/Eno This is off the subject, but are there are Van Der Graaf Generator/Peter Hammill fans on this list? When I first became enamored with early 70s progressive rock, King Crimson was the obvious choice, and shortly after that I grew attracted to Van Der Graaf/Peter Hammill. Hammill's existential lyrics are very compelling, and the band's music incredible inventive, and I'd enjoy sharing thoughts with other fans. I'd apprecoate hearing from anyone who would care to open up the topic. Also, about Brian Eno: I have heard about a deck of cards Eno created called "Oblique Strategies" that he uses to prompt his mind into other creative directions. I want to know more about them. Any information would be helpful. Thanks for putting up with this posting. I look forward to hearing from anyone out there. jwalters at eworld dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Neil McLennan Organization: Edinburgh University Date: Sun, 18 Dec 1994 13:14:35 +0000 Subject: King Crimson Live '95 I hope that Elephant Talk subscribers are aware that King Crimson are playing in the Royal Albert Hall, London on the 17th MAY '95. As far as I know it is the only British gig. I have as yet seen no reference to this performance in Elephant Talk so I thought I would bring it to peoples attention, just in case. Neil [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 19 Dec 1994 14:39:55 -0700 From: lantz at PrimeNet dot Com (Bill Lantz) Subject: CMJ New Music Monthly Jan. 1995 The January 1995 CMJ New Music Monthly Magazine has a mini review in their Best New music Section (very favorable). I would be happy to transcribe it for anyone that has a hard time finding it. Also contained in the magazine is s sampler CD of new music with one Crimson song as the last song on the disc (Cage). Thought all you hardcore collectors would want to know. I found mine at Tower for $4.99. Bill [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Paul Dowling Date: Mon, 19 Dec 94 15:01:26 PST Subject: RE: Thela Hun Ginjeet + Matte Kudesai On the bootleg "80-81", Adrian Belew talks for a bit before Matte Kudesai, & says that it is Japanese for "I will wait for you." No idea on Thela Hun Ginjeet. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 19 Dec 94 16:16:15 -0800 From: David A. Craig Subject: skopelitus People who really enjoy "1000 years" should give a listen to "next to nothing" by nicky skopelitus. (Skopelitus often works with bill laswell, eg in material and golden palominos, and also has another very interesting record out called "ekstasis" (cf material's "hallucination engine"). But "next to nothing" is of a somewhat different sentiment than those other records.) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 20 Dec 1994 08:56:05 -0400 (EDT) From: JPRICE at TrentU dot ca Subject: Terry's Boston CD I was at the Massey Hall date (winter 71-72) of the tour that your boot represents. KC were opening for Procol Harum. Much of my evening was spent at a nearby hospital as I managed to break my arm at intermission and never got to see PH (until their tour summer before last). In all that evening's turmoil and pain, the details of the set were lost to me. As I read your contribution to ET (Entertainment Tonight...NOT!) all the evening's music came rushing back to me, a priceless gift. Thanks to your jogging of my memory,that evening is mine again. I recall that the set was the same as your CD, with perhaps a second encore of semi-R&B improv as can be found on KC's Earthbound LP. The first encore was Cadence & Cascade. A wonderful evening's music. Also, I've got a tape (somewhere in that box) of a Fripp interview from around the Discipline period. Topics include producing The Roches, Froppertronics, audio verite, etc. A friend was working for a music mag in Toronto at the time and he had the privilige of conducting the interview. I'd be glad to transcribe it for e- publication here or I could make it available for someone to place at an FTP site (Toby?), if there's enough interest. Happy New Year to all Crimheads and thanks again Terry for the early Christmas gift. J. P. Hovercraft Hovercraft Studio Peterborough, Ontario CANADA [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 20 Dec 1994 10:25:35 -0700 From: lantz at PrimeNet dot Com (Bill Lantz) Subject: Re: CMJ New Music Monthly Jan. 1995 >Hi Bill > >Thanks for your post to E.T. If you were able to transcribe the review, >that would be great, and we could post it on E.T. > >Thanks >Toby > Here goes: Here is the review from CMJ New Music Monthly January 1995. Magazine also has a sampler CD with Cage as the last track. =.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.=.= King Crimson VROOOM Discipline "Art Rock" - that's Mellotrons and Symphony orchestras competing for attention with crooners in sequined capes: the first step on the path of prettified pretentiousness that led to such vile horrors as Styx and Phil Collins. So it's a shame people call Crimson art rock: There's nothing in common but a few odd time signatures (and long, long ago, Greg Lake's soft whimpering). King Crimson has been rocking out and shredding wallpaper at three miles, as its guitarist Robert Fripp puts it, since 1969. He's also known for saying things like: "Committment to an aim by an appropriate structure within a larger, inappropriate structure will give rise to an an appropriate structure." (The identity of the "appropriate structure" can be inferred from such later statements as "The music industry sucks.") 1975 saw Fripp leave the scene completely. His cautious reentry has taken the form of a series of three year campaigns: the "drive to 1981," The "incline to 1984." Each campaign functions as a marketing ploy to subvert the values of the marketplace, as an exploration of musical ideas, and as a "personal discipline." Gradually abandoning the lyrical beauty of his gutiar work on earlier masterpieces like 'Red', 'Evening Star' and David Bowie's 'Heroes', Fripp began playing quick, mechanical arpeggios in unison with larger ensembles. The early '80's version of King Crimson wove these impossible speedy, Philp Glass-like sequences into spare, avian instrumentals or let them percolate under haunting guitar-synthesizer lines and Adrian Belew's stentorian melodies. The cerebral precision of these recordings continued to reflect Fripp's 18th-century belief in the perfectablity of mankind and its ways of making music. The drive-to-1996 lineup (which adds an extra bassist and drummer to the 1984 quartet) has now recorded 'VROOOM' in its first week of rehearsals, as a "calling card, rather than a love letter" to its fans. Three songs have set structures and Belew lyrics; the rest are virtuoso improvisations, reminiscent of Crimson's 1974-75 live material, subtle enough to occupy you for days as you tease out the melodies lurking in the interplay between basses, guitars, sticks and percussion. It sounds like a good hard rock record the first time, rushing past you too fast to catch, and sounds better the tenth time when the notes start to sort themselves out. Fripp soars, growls and arpeggiates while fellow rock gods Tony Levin, Bill Bruford et al. rule as usual. They can come across with that love letter any time they like. -- Neil Zink 1/95 CMJ New Music Monthly 'Best New Music' section c. 1995 CMJ New Music Monthly ------------- there is also a nice small photo on the CD insert of the new lineup (1"X1") Bill Lantz lantz at primenet dot com =-=-=-=-=-=-=-=-=-=-=-= Music is the Best.- FZ =-=-=-=-=-=-=-=-=-=-=-= [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 20 Dec 1994 09:52:59 -0800 From: lray at ucsd dot edu (Lee Ray) Subject: Topically OFFish - Shriekback info? OFF TOPIC (sorry) I am looking for Net and other info on Shriekback. Thanks in advance for any information you can email me. (Barry Andrews, an active force in Shriekback, played w/Robt. Fripp in League of Gentlemen.) Just recently I realized how much I enjoy listening to their recordings. And, in a transparently desperate attempt to relate to this list, I will say that the span of Shriekback recordings provide an interesting counterpoint to that of KC. S/Back's lyrics often can be interpreted to be about what I often feel KC's music is "about" but which their (KC's) lyrics hardly ever are. Sorry - that came out badly. Try this: KC's music and KC's lyrics often seem to be about different things (until Belew). I believe there is a difference between what the lyric says and the way the singer sounds. Certainly the way Wetton sounds is very much an aspect of that incarnation's music but the words fall way behind the music in terms of interest. In fact, I think KC has yet to balance words, voice, music and sound except in flashes and those are smaller than a whole song. Regards to all, Lee [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 20 Dec 1994 17:51:51 GMT From: Cheryl Elaine Smith Subject: Re: Elephant-talk digest v94 #161 Regarding the abrasive lyrics, in my opinion one of the greatest things about Crimson is their sense of musical shock value and taste for the unexpected. When "Starless" was first released I doubt anyone was expecting Wetton to shout,"health food faggot" in the first grooves of the record.I never thought it was meant to be taken seriously.I always thought of it more as a WHAT IF statement, what if Crimson suddenly started writing abusive lyrics about other people's lifestyles.I thought it was just a joke, but it would be distressing to learn that Fripp was seriously taking shots at someone else like that.I hope it was just a joke. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 20 Dec 94 16:03:30 PST From: kfd at Sales dot TGV dot COM (Kevin Delgadillo) Subject: RE: Drum matters Watcher Of The Skies (John P Mohan) wrote: >I was glad to see someone express enthusiasm for Bruford that's somewhat >parallel to mine. He is my musical hero, and I can't do jack squat on the >guitar, but I am a drummer, and if there's one thing I'm going to do before >I die it's to meet Mr. Bruford or at least see him play live. I have been drumming for 12 years and have been a huge of Mr. Bruford since the beginning. Awesome. I always dreamt about meeting him someday. To give you an idea of what a great guy he is, I wrote to him twice and hw wrote back to me twice!!! Even autographed and returned a photo I sent (he signed the damn thing with a ball-point pen- so now it's practically all faded out -damn!) The man has class. I still have his autographed photo on my wall. I finally did a chance to meet him several years ago at an _Earthworks_ show in southern CA. He hung around after the show, and I walked up to him and shook his hand. It was really weird; here I was touching an extreme idol of mine, hoping I wouldn't say anything too stupid. Anyway, I just said "Thanks so much". He responded very modestly with "for what?" I explained that I really appreciated the fact that he wrote back to me twice. He then said something along the lines "I'm nothing without you, my fans... You're very welcome." Then I thanked him for being such a major and positive motivation in my life, and tried not to spew too much about how his drumming has revolutioned my playing and discipline, etc. I couldn't believe I had the chance to say "Thanks" to Mr. Bruford; I was rather flabbergasted. With grace and modesty, he accepted my compliments and shook my hand again. It was really cool because he was genuinely interested in what I had to say, instead of going through the motions. That was a big day in my life; one I thought I'd never see. I'll never forget it. Aside from being one of the absolute best drummers and musical thinkers on the planet, he showed me that he is also a class act. A friend of mine who was aware of my respect for Mr. Bruford accompanied me to the show. After the show, she said that she had never seen nor could imagine a drummer better than Mr. Bruford. She could not take her eyes off of him all through the show. Just had to spew... Not often I get to tell my "I met Bill Bruford" story to anyone to remotely cares. By the way, this newsletter is GREAT!! Keep up the good work, Toby!! [Aw, shucks... :-) -- Toby] The Vrooom-meister, Kevin [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] ----- ADMINISTRIVIA ----- ** POSTINGS Please send all postings to Toby Howard, at toby at cs dot man dot ac dot uk. ** SUBSCRIPTIONS/ADDRESS CHANGES USA subscribers: please contact Ken Bibb at elephant-talk-request at arastar dot com. Non-USA subscribers: please contact Toby Howard, at elephant-talk-request at cs dot man dot ac dot uk. ** ARCHIVES FTP: The Elephant Talk archives are available on ftp.uwp.edu, in /pub/music/lists/elephant-talk, and recent issues on ftp.cs.man.ac.uk in /pub/toby/elephant-talk. EMAIL: The Elephant Talk archives are also available via email. 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