Elephant Talk #169 (as text)

17 February 1995

Subject: Shady Crimson References
Date: Fri, 10 Feb 95 13:17:43 -0500
From: "Lee S. Kilpatrick" (Mr. Breeze) <leekil at BBN dot COM>
In the comic book "Shade, the Changing Man", written by Peter Milligan,
there have been a couple Vrooom references in recent issues.  The story
currently is taking place in New York, and twice when the large Times
Square advertising sign has been shown, it has said "King Crimson Vrooom"
on it.  The most recent appearance was in the latest issue, but the first
appearance was a few months ago.  The comics are done several months ahead
of release date, so apparently either Milligan or the artist is a King
Crimson fan, and had Vrooom on his mind.

The comic is very good, by the way, with "madness" being a large part
of it.


From: Nadav Noah Caine <nadav at leland dot Stanford dot EDU>
Subject: Fripp at Slim's top notch 2nd show
Date: Fri, 10 Feb 1995 13:22:11 -0800 (PST)
>But anyway, how do the others in attendance at Slim's feel about their
>experience?  Was Matt just unlucky?  Was the audience as bad at both
>-John Lukes

For those that only caught one show there, the consensus among some of the
die-hard fans afterwards who chatted was that the second show was superior.
It was great, because those who had tickets for both shows got to stay
inside while the waitresses were cleaning up, and we took the front bunches
of tables.  It being a late show on a Wednesday night, it was less crowded
and fewer people just on random dates.  I have to say that this was the
first time in my life I have had the unspeakable pleasure of being
surrounded on all sides by listeners who sat completely still with their
eyes closed actively listening to the music.  That kind of energy is
contagious for short distances, and I am sure that Fripp tapped into the
good manners and concentration of this core group in the front rows. (The
quality of the pieces and the manners of the audience contributed to what I
believe musically was the best of the performances --even considering the
magic atmosphere of the Catalyst in Santa Cruz.)  At the end, he chose my
table in this area to do his unplugged crafty piece. It was exhilarating,
but my deepest gratitude to those anonymous Fripp fans who sat around me.
Unlike the first show, where the guys sharing my table were wondering why I
went to a live show, just to keep my eyes closed!
                              - Nadav

Date: Fri, 10 Feb 1995 16:36:34 +0800
From: Stacy dot Hawkins at Corp dot Sun dot COM (Stacy Hawkins)
Subject: Santa Cruz show
Well, it looks like going to the Santa Cruz show was the best thing after
all, judging from what I have read here on ET.

We would have gone to the San Fransisco show if it hadn't been for a friend
of ours who lives in Boulder Creek who BEGGED us to go with him to the
Santa Cruz show.  (And then of course, he ended up not going.)

I really enjoyed the nice atmosphere of the place, and you could
practically here a pin drop as soon as the band members came out.  It looks
like I really lucked out by being at the very back of the place as we got a
really nice performance in the back.

Hope to see KC on their upcoming tour!


Date: Sat, 11 Feb 1995 15:10:45 +1300
From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan)
Subject: Eno album?
The latest issue of the Ambient mailing list's digest mentioned the
upcoming release "at a future date" of Eno's new album "Glitterbug". Is
this the long awaited Eno & Fripp work?

Please? :)


James Dignan, Department of Psychology, University of Otago.

Ya zhivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand
pixelphone james dot dignan at stonebow dot otago dot ac dot nz / steam megaphone NZ 03-455-7807

   * You talk to me as if from a distance
   * and I reply with impressions chosen from another time, time, time,
   * from another time                     (Brian Eno)

Date: 11 Feb 95 00:23:00 EST
From: "E4152018" <E4152018 at apollo dot montclair dot edu>
Subject: Tour n' stuff...
Okay.  If need be, I'll shuffle off to Buffalo to see KC in May.  I'd like
to see them someplace a tad more local (NYC and/or Philly, for example),
and if anyone's got more tour info, I'm sure I'm not the only one who'd
appreciate it.

Please don't flame musicians; you aren't obligated to buy their albums, and
in both of the cases that come to mind (AB and AH), the people in question
are not only musicians without equal, but also two of the kindest, humblest
people going.  I've seen Adrian three times, and in addition to putting on
a show well worth the money, he also took the time to chat with his fans
for some time afterward.  If you disagree with someone's politics,
personality, or artistic direction, there are many more
creative/constructive ways to express it.

Enough about that.  My two cents on the collaboration question: I think a
collaboration between Pat Metheny and RF could be breathtaking, if a bit of
a pipedream (hey, I can dream, can't I?  :) ).  Perhaps a bit less unlikely
is a collaboration between RF and Vernon Reid; I'm sure I'm not the only
one that read the interview between the two about a year ago, and it was
obvious that there's a mutual respect between the two.

Well, I'll pipe down for now.  Thanks for listening.

| Paul Bogan                    | "This is the crucial difference |
|                               |  between fiction and real life: |
| e4152018 at apollo dot montclair dot edu |  fiction must be plausible;     |
|                               |  real life has no such con-     |
| (English)                     |  straint." (Kevin Kelly)        |

Date: Sat, 11 Feb 1995 07:07:14 -0500
From: marks at sigma dot liii dot com
Subject: Re: Elephant-talk digest v95 #168

FLASH...Big Bird and Kermit have been added to the new KC Line up

           . -- .
          (      )
         ( (/oo\) )     Oooo buh dee dow dow
          ( \''/ )    /
           ( \/ )    /
          (      )
         (        )        (+)(+)      Bu didi ow !!!!
        (          )      /      \   /
         (        )       \ -==- /  /
           ' -- '          \    /
            =  =          <\/\/\/>
            =  =          /      \
          Big Bird         Kermit

marks at sigma dot liii dot com

-Consciousness: that annoying time between naps -

From: Bryan Gibson <ab186 at seorf dot ohiou dot edu>
Subject: Belew's Talents
Date: Sat, 11 Feb 1995 11:24:48 -0500 (EST)
I've noticed some discussion over Adrian Belew's work in past issues, and I
feel I must add something; While he seems to have settled into a cozy niche
of pop-beatle-style writing (never a bad band to rip off, I must say!) and
lyrically, he's not too. . .uh. . .subtle, he displays a fine sense of
economy and taste.  Some folks on this newsgroup might wince at this, but I
enjoy Adrian's work because he rarely overplays.  The times I've seen him
in concert, he just lets loose and looks like he's having a great time.  I
also think he's a great drummer, which surely adds to his fluid, rhythmic
stle of playing and helps when playing with a group.  However, I must admit
to feeling frustrated with his recent solo work in the sense that it's
so. . .solo.  There's no doubt that he's adept on several instruments, but
I feel his work might benefit with the feedback of other musicians, sice he
plays so well in an ensemble.  Just some comments.  Can't wait to hear the
new stuff!  Good day to all.

Bryan Gibson
ab186 at seorf dot ohiou dot edu
Athens, OH

"I don't want to achieve immortality through my work; I want to achieve it
by not dying."

                                                   -Woody Allen

From: dhollist at iphase dot com (David Hollister)
Subject: Earthbound/USA on CD
Date: Sat, 11 Feb 1995 13:21:29 -0600 (CST)
I read the posts stating that these were most likely bootlegs, but I would
like the original poster (or anybody who has these) to mention what the
sound quality is like with respect to the LP releases.

If the sound quality is comparable (especially on Earthbound) or if anybody
has access to the CDs and a DAT machine or if anybody has a Hi Fi
turntable, these LPs, and a DAT machine,

I'd love to get DAT copies of Earthbound and USA.  I have USA on LP, but my
record player leaves a lot to be desired.

I have a good amount of DATs I can offer in trade, but not a whole lot of
Crimson... If you can help me out drop me a line.  I don't have the patience
to read the entire mailing list... sorry.  I'd also be willing to provide
blanks/postage, or whatever.
David Hollister   Software Engineering
dhollist at iphase dot com
Interphase Corp.  Dallas, TX  214-919-9303

Date: Sat, 11 Feb 1995 15:01:52 -0500
From: AFCPeterS at aol dot com
Subject: Re: Elephant-talk digest v95 #168
> From: pvallado at waynesworld dot UCSD dot EDU (Paolo Valladolid)
> Subject: Holdsworth's ego and the Soundscapes Show
> Date: Thu, 9 Feb 1995 12:10:51 -0800 (PST)
> Peter, I don't think Mark was talking about Holdsworth. The
> context of his post reveals who he is really talking about.

Well, it makes no sense that he'd be talking about Fripp, since RF chose to
work with Adrian Belew.

> Date: Wed, 8 Feb 95 20:04:26 EST
> From: msmith at crt dot doj dot gov
> Subject: Various Vrooominations
> Does anyone know who was/is Richard Palmer James?

Palmer-James was a guitarist/songwriter and an old friend of Wetton's. They
had a band or two together before either of them "made it." Prior to
working with KC, P-J had been in Supertramp. JW and P-J continued to work
together after KC broke up.

> Date: Wed, 08 Feb 1995 11:06:42 -0600 (CST)
> From: "Dolph Chaney, vox/gtr, PORT RADIUM" <ST56T at Jetson dot UH dot EDU>
> Subject: LTiA/The First Day/Wire
> THE FIRST DAY is also first-rate.  I'd never heard Sylvian
> before in any context, and I'm truly impressed.  Any
> suggestions for where to go next?

The live Fripp/Sylvian album, _Damage_, would be a logical choice.

All of Sylvian's solo albums (_Brilliant Trees_, _Gone to Earth_, _Secrets
of the Beehive_) are worth getting. If you can find _Weatherbox_, you can
get 'em all in one fell swoop, plus a great package (including additional
music) to boot. Otherwise, it matters little which one you start with -
fans are about evenly divided on which is best.

There are also some instrumental collaborations, including two discs with
Holger Czukay (_Plight & Premonition_, _Flux & Mutability_) and a book/disc
package with Russell Mills (_Ember Glance_). These are more along the lines
of Eno's ambient work.

Finally, don't overlook Japan, Sylvian's old band: best albums are
_Gentlemen Take Polaroids_ and _Tin Drum_; and the Japan "reunion," Rain
Tree Crow, which feaures the same lineup but a markedly different musical

Peter Stoller

Date: 11 Feb 95 16:01:17 EST
From: "John R. Palmer" <73670 dot 2065 at compuserve dot com>
Subject: Starless abridged, Providence evolved
I for one, found the abridgement of Starless on the Frame By Frame
compilation to be sufficient reason to return that particular disk to the
box and not include it among my other KC CDs.  I just can not stand to
listen to that track without the moving progresion of building energy that
I found so wonderful about Starless, so my Frame By Frame set is
functionally reduced to 3 CDs.

I recall reading something in the liner notes to The Great Deceiver set a
discussion of the reasoning for this, but I found the explanations
inadequate.  Probably I would find any explanation for that to be

As for the Great Deceiver set, I find it fascinating how some of the
instrumental improvisations demonstrate how some compositions evolved,
compared to the earlier releases such as Providence on RED and Asbury Park
on USA.  If you listen to the bass lines, drums, and violin (in
particular), you can detect similarities in the progressions that suggest
something of how the other more structured songs might have become that
way.  For example, compare Providence, with the violin opening, to the
track called "The Law of Maximum Distress".  Could Easy Money have formed
in this fashion?

Finally, I too will be trying to see the new band perform this year.  If
anyone who reads this has any influence on concert sites, keep in mind that
the Pacific NW of the USA is a nice place to visit.

Date: Sat, 11 Feb 1995 15:48:25 -0600
From: sanderso at gac dot edu (Scott T. Anderson)
Subject: Starless, Thrak, KC tourdates, plug for my band
In ET #168, someone mentioned the song "Starless" and talked about how the
abridged version on "Frame By Frame" is acceptable because at that point
the song changes, _never to return_.  It is the "never to return" that I
must challenge.  Though it remains in its heavy instrumental style through
to the end, there is a coda in which Fripp plays the main vocal melody from
the first part on the guitar over a massive instrumental background.  I
remember a year or two ago, this same argument took place here....  I just
wanted to once again defend the compositional structure of that piece... it
is not two unrelated pieces that are stuck together, but like many
brilliant musical works, it takes two seemingly unrelated segments and
merges them in grand style at its conclusion.

With that out of the way, I just want to say how eager I am to hear
_Thrak_.  I think I can wait until April 4... I THINK I can.

I know that a tour has been planned.  Does anyone know if and when King
Crimson will be playing in any of the following cities?  Please e-mail me
any information regarding these:

Minneapolis/St. Paul, Minnesota (preferably)
Des Moines/Iowa City/Ames, Iowa
Milwaukee/Madison, Wisconsin
Chicago, Illinois

I am in southern Minnesota and would prefer not to have to miss classes and
drive 500 miles, but, after all, this IS King Crimson, and it's my first
real chance to hear this band live.  I almost drove to Milwaukee to hear
Ozric Tentacles last year... KC would definitely be worth it.

Lastly, my group is hardly competition for King Crimson, but we are a duo
that records IMPROVISATIONAL avant-garde progressive rock/jazz music.  We
are called Bassius-O-Phelius, our instrumentation is electric
bass/clarinet/saxophone and electric piano/organ/viola.  Our influences
include King Crimson, Van der Graaf Generator, John Coltrane, Henry Cow,
Can, early Kraftwerk, and Sun Ra.  If you are interested, you can get
30-second samples of our music from the Bassius-O-Phelius homepage


or you can e-mail me directly for more information.  We have recorded two
50-minute cassettes.  Note: At the time I am writing this, my server is
having problems with hypertext loading, so if you can't get through, try
again in a few days.

Thanks for reading!

Scott T. Anderson                              The "T" stands for Tentacular.
sanderso at gac dot edu              Gustavus Adolphus College, St. Peter, Minnesota
World Wide Web Home Page:                       http://www.gac.edu/~sanderso/
Simpsons / Pulp Fiction / BASSIUS-O-PHELIUS / Music / Images / Etc. / Etc....

Date: Sun, 12 Feb 1995 14:01:54 +0100
From: Peter dot Flach at kub dot nl (Peter A. Flach)
Subject: KC bootlegs
I was in Stockholm recently, when I saw a couple of second-hand vynil
copies of a KC bootleg called "Absent Lovers". It was from the 81-84
period. The sleeve looked quite OK, with pictures from a Tony Levin
photobook (?), and an essay on the back. I don't know which songs are on
the album. Has anyone heard this? What about the sound quality? Is it
available on CD?

The only live recordings I heard are from the "Sleepless in Japan" bootleg
CD on Microphone Records (presumably Italian). Sound quality of this one is
relatively OK for a bootleg, though quite noisy and distorted in places.
The set list is
        1. Thela Hun Ginjeet 5:36
        2. Frame by Frame 3:59
        3. Matte Kudasai 3:29
        4. Dig Me 3:31
        5. Sleepless 5:44
        6. Satori in Tangier 4:20
        7. Indiscipline 8:54 (starting with a drum solo)
        8. Heartbeat 3:58
        9. Elephant Talk 5:44

(Incidentally, I bought this CD in the same shop in Stockholm, on an
earlier occassion -- no, I don't go to Stockholm often :-)

Listening to this CD brings back a question that has been haunting me for
some time now: how does Tony Levin manage to play the bass part in
Sleepless? The low, slapping part is so quick that it's hard to imagine
*anyone* playing it on a bass guitar. Or does he use a synchronised delay?
Because of the pulled accents it seems improbable that he's playing the
Stick (I wouldn't want to try it on mine!). Any thoughts?

Another thought relating to this bootleg is that in Indiscipline, which
evolves from a drum solo with a lot of electronics (possibly BB & AB
together?), I hear a very clear and equally irritating jazzy shuffle, and I
can't get rid of it! This is especially annoying since the original has
such a strong 'chaotic' feel, which is completely destroyed by the shuffle.


Date: Sun, 12 Feb 1995 11:50:08 -0500 (EST)
From: Mike Stok <Mike dot Stok at meiko dot concord dot ma dot us>
Subject: "New" Discipline logo
I was recently in a bar in my Discipline T-shirt when a friend stared at
the logo for a few minutes and commented that the knot was "unbalanced".

It would seem that if a thread is followed around the knot it should over
and under the parts of threads it crosses in strict alternation.  A look at
the cover of Discipline suggests that the original sticks to that
convention, but the simplified Discipline logo (at least on the T-shirt &
decal) doesn't in the bit at the top.

Just an observation from the...


The "usual disclaimers" apply.    | Meiko
Mike Stok                         | 130C Baker Ave. Ext
Mike dot Stok at meiko dot concord dot ma dot us     | Concord, MA 01742
Meiko tel: (508) 371 0088 x124    |

Date: Sun, 12 Feb 95 14:40:16 PST
From: dunn at cs dot man dot ac dot uk (Casey Dunn)
Subject: Japanese KCish bands?
For ET.

I remember someone mentioning a few japanese bands which sound akin to
Red-area KC.

As I will be traveling to Tokyo soon on business I would like to have the
names, that I may make a Crimson-Quest to record stores in search of...

On my last trip I scored the "Careful..." Vtape and the KCLive Vtape...

Well heck, for that matter what about a list of record stores and clubs?
Industrial clubs/ and bands would be nice too...as would Ambient such.

Casey Dunn
dunn at intellicorp dot com

Date: Sun, 12 Feb 1995 19:00:55 -0500
From: BMomchilov at aol dot com
Subject: Virtues of the Lone Rhino
>From: CptnApathy at aol dot com (Jeremy)
>Subject: Re: a.belew and islands

>Adrian is a very talented musician, I enjoy his work.

When Fripp recruited AB in the early '80's it was a godsend for KC fans
everywhere, and I hope we aren't taking him for granted.  Like Jeremy, I am
perplexed as to why anyone thinks AB needs to get his feces together.  I do
know that Adrian "stood by the tall ships and stepped in some old Dutch dog
shit."  ;-) But what does he need to get together??  Regarding his need to
work with more_mainstream/alternative_artists, what musician/producer can
say he has worked with:

David Byrne & Talking Heads
David Bowie
Frank Zappa
Herbie Hancock
Peter Wolf (from J. Giels)
Laurie Anderson
Paul Simon
Michael Oldfield
The Bears
Trent Reznor (Nine Inch Nails)
Concrete Blond
King Crimson

Since 1981 AB has recorded 8 solo albums.  He is the Producer on each one
of those albums and on the last 5, has played all instruments (except some
string bass & drums for a couple of tunes on_Mr. Music Head_Inner
Revolution_and_Here_.  Having been named_Guitar Player Magazine's_Best
Experimental Guitarist for the 5th consecutive year is no small feat, but
his songwriting and producing skills are equally as great.  KC and AB (and
their fans) benefit tremendously from this symbiotic relationship, and I
for one hope it lasts a long, long time.  For anyone interested:

(513) 871-1500 or fax (513) 871-1510
P.O. Box 8385
Cincinnati, Ohio  45208

P.S.  Many thanks to fellow ET members who have led me to the music of David


"You put your left foot in, you pull your left foot out.  You put your left
foot in                          and you shake it  all about."    - The
Hokey-Pokey (Traditional Arrangement)


Date: Sun, 12 Feb 1995 21:27:04 -0500 (EST)
From: terry kroetsch f <tkroetsc at mach1 dot wlu dot ca>
Subject: trey nostalgic
Dear Elephant Talk,

I have missed you - I save up my issues for Sunday nights and at this
moment, in frozen-Canada, it is the warmest place to be. It is also exactly
a year ago that I received Trey Gunn's One-thousand Years in the mail,
taped it for my walkman and then hopped on a plane for a ten-day trip to
Morocco. Northern Africa was everything I had hoped - exotic and exquisite
and scarey - but I hadn't labelled my tapes so it took a couple of listens
before I traced what it was. I grew to love this disc while hopping trains
and ferries, sitting in spice gardens with my Walkman. In fact, the music
and the trip became bound up in each other. Now, when I listen to
One-Thousand Years, it is my voyage as well. I think it is extraordinary
music and I love it when others mention it in the digest.  Go buy it!

The last time I posted I mentioned this amazing bootleg of a 1972 Boston
show I had just found. I have since traded with some lovely folks in
England and Canada and experienced some amazing Crimson performances ie.
from the last tour in Quebec.

I await issues seven and eight of Book of Saturday and THRAAAAAAAAAAK

Date: Mon, 13 Feb 1995 15:57:49 +1300
From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan)
Subject: Vrooom similarity.
Probably a silly question, but does anyone else notice a similarity in
style/sound betweent he quieter bits of Vrooom (the track) - the bits with
the high bell-like guitar that is - and some of the instrumental tracks
Genesis were putting out around the time Peter Gabriel left them (things
like "Dance on a Volcano", off Trick of the Tail)? I don't mean this in an
insulting way (I like that period of Genesis's work), it just there's
something similar there that - if you'll pardon the pun - struck a chord.

Or am I going crazy in my old age :) ?


James Dignan, Department of Psychology, University of Otago.

Ya zhivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand
pixelphone james dot dignan at stonebow dot otago dot ac dot nz / steam megaphone NZ 03-455-7807

   * You talk to me as if from a distance
   * and I reply with impressions chosen from another time, time, time,
   * from another time                     (Brian Eno)

Date: Fri, 10 Feb 1995 21:26:32 -0800
From: cheska at teleport dot com (KernsFunk)
Subject: Summers/Fripp interview Part 2
Part II

Song: some frippertronic-sounding stuff that I am unfamiliar with

VG: Videos.  You have done two videos now, one for the first album.

RF: And one for the second.

VG: (laughing) And one for the second.

RF: That's perceptive of you, Vic.

VG: I think there's a connection there.  I think there is something being
said on an archetypal level.

AS: There is a great photograph of you

RF: Really?  What was this?  There's some great photos of the session?

AS: I photographed Robert at the video shoot in London last week.  I have
some marvelous of you Robert that I took.  And I may be able to lay them on
you before you leave for Washington.

RF: Wonderful.  Where are they now?

AS: They are down the road.  Not very far away.  I'll make a call.

VG: Let's all go there right now.

RF: We'll go there after the interview and vibrate together.

VG: All right.

RF: You want to know something about this video?

VG: Yes.

RF: It was hilarious.  It was also very very hard work, because it was
running a day late.  So instead of finishing at 8:00 in the evening after a
long day of shooting, we simply went on until 7:00 the following morning.
But, it was amazingly funny.  It was amazingly funny.  There was one
particular scene where Andy is bringing me tea.  Should I paint in a larger

VG: Oh, please.  Give us the synopsis.

RF: It was filmed in the Holloway Sanitarium, which was built in 1877 for
the curably insane middle-class of England.  It is now on the market for 6
million pounds and 25 acres.  Only one of the out buildings is this huge
brick church.  One of the intriguing things when you walk in through the
entrance hall is the paintings done by the London School of Art, I believe,
in 1900.  Although I don't think they realized what they were doing, they
were painting a whole scene of demons all over the walls.

AS: It is unbelievable.

RF: It is really horrible and profoundly disturbing, and anyone with any
sensitivity at all, let alone someone who is having a little difficulty
with their mental life, finds it utterly unnerving.  However, you go on
from that into the hall with pastoral scenes painted on the panels around
the room with a long table that was set up.  Myself, in the role of master
of the house was unmoveable and unprovokeable and deadpan, while Andrew the
butler tried to provoke me and live my pen (?).  There was this one
particular scene where Andrew is bringing me my tea, past the monkey riding
on the donkey, past Gene October in the role of a junkie slumped in a large
chair with a stuffed black bear hovering over him with a live sheep tied to
his chair.  There was also a goat on a table eating the Times and when he
finished the Times, he would go to the Guardian.  The camera was on a
dolly, which is a little railway, moved along as Andrew came and the
different animals handlers were holding the animals.  And as the camera
approached, they would let them go and run to get out of the shot.  I was
also given tarantula crackers to eat.  Fortunately, the tarantulas were
dead.  However, they were very real tarantulas and they were placed in
cream cheese on crackers.  One thing that I didn't know, was that the hairs
from legs of tarantulas fall off and they fell into the cream cheese.


VG: I am speechless myself , actually.  Sort of a microcosm of the music
business in a sense.  A mini-music business.

AS: I think we made a statement.

VG: Yeah.  Do the animals get residuals for the...

AS: Well, they left residuals.

VG: Ah, they left residuals.

RF: The fox fell asleep at midnight.

AS: Oh, the saddest part was we had a baby pig.  There is a happy note to
this.  The pig lay there all night and was waiting to come on and do it's
bit.  But it was dying and it was out the back wrapped in black cloth.

RF: At 4:00 in the morning, the message came through "The pig is dying".

AS: Yeah, but the pig, we are all happy to say, lived.  It was only a six
months old piglet.  The pig made it.

RF: It was only five weeks.  It hadn't been weaned.

AS: Oh was it? Yes, six weeks, yeah five weeks.  It hadn't been

RF: Five weeks. It hadn't been weaned.

AS: Yeah, it was terrible, but, anyway, the pig lived.  We are happy about

VG: Actually, there is a bit of a story about the first video.  Robert,
didn't you make a facetious remark about what the first video needed which
then came to pass

RF: Yes, what happened was I was at World Headquarters in Wimbourne.  Fripp
World Headquarters.  I was just off on a Crim tour, an endless King Crimson
tour somewhere or another.  I phoned up Andy and Andy said "We have to do a
video, do you got any ideas?".  I said "Yes, how about half a dozen
oriental dancing girls?" with my tongue firmly planted in my cheek.  And
Andy said, "What a great idea".  I went away on tour, came back, and phoned
Andy up to see what was happening.  And the first thing Andy said was "I've
got the oriental dancing girls".  Then, sure enough, I turn up in London to
film the video and there they were.  One complete with koto.

AS: I beg your pardon.

RF: Complete with koto.

AS: That video is actually seen in this video, we might add.  We show it
during the running of this video, now has that ever been done before.

VG: Good technical point here.  I don't think so.

RF: These are only two videos which I have ever done I am remotely
interested in.  The videos I have done embarrass me and humiliate me,

AS: I didn't you had done any, Robert.  Have you done any? With Crimson?

RF: Yes.

VG: You don't mean the pretentious, silly ones that have been done with
King Crimson, do you?

RF: Hmmm.

CG: I'll rephrase that.  You mean the King Crimson videos you are not happy

RF: I very much like the "I Advance Masked" video, because it's very very
silly.  Very humorous.

AS: It's nice, it's exciting, actually.  I was really excited to
see it.

RF: Great music.

AS: Yeah, the music, really happening.

RF: But this other one I think will set new standards.

AS: New standards, yeah.


Song: "Parade"

VG: Robert, do you really more comfortable and more able to let fly, as
Andy said, when you are working on a project which isn't directly involved
with Crimson, a band that you feel responsible for.

RF: I find it utterly impossible to play well in Crimson.

AS: Current incarnation?

RF: It's always been the same.

VG: And why is that?

RF: What I have always tried to do within Crimson is to have a band, a
group which is not really a reflection of the four individuals.  It simply
has an identity all of it's own.  And, I think that Crimson in 81 came
close to that idea, although the penny haven't dropped fully all around the
team. (?)  But it was there as a possibility.  But I think after 81 there
were elements within the group that found this frustrating and wished, if
you like, a higher level of self-expression.  So, it wasn't really a group.
And within the situation, individuals were going for themselves.

AS: I think it is the same in any group, really.  Any group that gets
anywhere and is noted for doing anything at all, it's just one of those
things, you tend not to embrace it, but to revile it.  Well, you carry on,
but at the same time you, to some extent, feel trapped and you want to
become known for other things or doing something else.

VG: So the implication is a certain amount of creative friction
is useful, but it can cross a certain invisible line where it
brings diminishing returns.

AS: It brings something else with it, yeah.

RF: It is called egotism.  Where you get egotism, everything breaks down.

AS: But, all the best groups are rife with egotism.

VG: Well, The Police is a very volatile group.  I mean you have three very
distinct personalities.  And I am sure that there is a lot of pushing and

AS: Absolutely.

VG: And isn't it true that, for instance, that you yourself have a lot to
do with arranging The Police songs?  We talked about "Every Breath You
Take" and so on.  I mean, people think of Sting as the songwriter and yet
those songs don't always sound the way we hear them on the radio when they
are received.

AS: No, over the six years or whatever we have been recording, what finally
gets on record there is often considerable change from the demo, the
original idea to what finally goes down on a record.  I mean, it's like
anything.  I mean, I think editing and constructing is almost as creative
as writing the original piece because it can become so different.  And you
sort of take the base material, which you obviously need, and you transform
it into something else.

VG: We've mention "Every Breath You Take", can you give us another example
of a song that people might be familiar with that started out in a very
different incarnation before we heard it the way it is now?

AS: Yeah, like "The World Is Running Down" for instance, although I thought
that the lyrics were great that Sting had.  Nothing like what we finally
came up with.  It was like this sort of disco song with different chords
and everything.  I know there was quite some friction in the studio over
that particular piece.  And we worked through it and we finally came up
with it.  Without bragging, overly, if I had not put those chords on and
put the guitar sounds that is so characteristic, it wouldn't have sounded
anything like it does now.

RF: If you wish to brag overly, you can go ahead.

AS: Well, I will.  The minute that I put this sound on and those chords
with Stuart's drumming, it all fell just like the key (he snaps his
fingers) and within five minutes we had recorded it.  It was just like
instant, it just needed that key. And so on and so forth.

Song: "The World Is Running Down"

VG: Right, there is the old story that I remember.  Sting in The Secret
Policeman's Other Ball played "Roxanne" as a bossa nova and that was the
way it was originally written, wasn't it?

AS: That's right, yeah.

VG: And then what happened to turn it into what it was?

AS: Oh, I guess this was in the period - early, early days - when we were
rehearsing in a gay hairdresser's basement up in Finchly (sp?).  I remember
very damp, cold, mildewed basement in the depths of winter.  And he liked
Stuart, I remember this.  But anyway, there we were and we started to fool
around with "Roxanne".  He had, as I remember, just the verse, and we kept
playing with it.  Sting always denies this, but I remember Stuart kind of
teaching him where to put the bass line, because Stuart was more into the
reggae thing than Sting was at that point.  Anyway, I mean this is not to
belittle Sting, I mean he is a fantastic musician in his own right.  For
God's sake

VG: No, no, no, it's not a question of belittling, it's just a question
of... All of this goes into the maw of the band.

AS: It's all being in a group, I think.  Any group that's any good is rife
with these things.  Any group that really gets along, I think has to be
suspect.  I just don't think....You know the best stuff comes out of
conflict of personality, as long as the talent is there with it.

RF: If the group is going to work, it needs to have the same aim.
Otherwise, you're looking at mechanics.  Mike Giles, the first drummer of
King Crimson, always said that there were three things that keep a group
together: the social life between the members, the money they make and the
quality of the music.  And any two of them will keep the band together.

VG: Fortunately or unfortunately.

RF: Yes.  If you share the same aim for the group, it is possible to
overcome almost anything.  But if there is a difference of aim, then the
smallest issues become really really nuts.

AS: I think that is true.  I think that is about the truest thing you could

RF: Like, if the white wine afterwards isn't quite cold enough, or if it
isn't quite cold enough, you can't really really drink out of plastic
glasses.  These become very very weighty issues.  For example, if you are
in a group and your aim is to have a group spirit, and maybe another member
of the group's interest is to have a vehicle for them.  You are going to
run into problems, you do not have the same aim.  You do not share the same

VG: Do some of the same creative tensions when you are working together as
a duo?  I mean you both have very different styles and yet, obviously,
you've made something larger than the sum of the parts out of it.  Was it
much easier than working in your individual groups, was it harder or was it
simply different?

RF: Well, I left after two and a half weeks.  That is the quick answer.


VG: Well, the other album, too.  I mean, we are talking two albums here.

RF: Oh, I stayed for that one.

(more laughter)

AS: We've not had to go through the chore, well, not the chore, but the
trauma of being on the road or trying to do that together.  I think we both
like the idea of working together and doing this because where maybe we'd
be able to work in a sense where we were free of all those things.  (some
indecipherable murmuring about how he just contradicted himself)

RF: You mean you just contradicted yourself?

AS: I just contradicted myself.  We've both come from those situations that
we were just talking about.  So, we get like a third thing which is...or a
second thing?  Where we are very happy to be working together and out of
that.  And you get this kind of freedom that goes with that, hopefully.

VG: Fooling around, as it were.  Being irresponsible. Being silly and
expecting people to spend their hard-earned money on this, huh?

AS: Yeah, being indulgent.  Robert and I had a very nice little routine
where we would meet in the morning, we'd have some coffee, and we'd sort of
talk about what we had done the day before.  Listen, fool around, do a bit
of sketching out the new arrangement.  And then we'd go off and have...

RF: One thing we have to say at this point is we are talking in the
morning.  I would go across to the little homemade cake shop opposite, and
bring back a green cake.  Bright, livid green with...

AS: He would bring back me a green cake.

RF: It had cream in the middle

AS: Loaded with white sugar.

RF: Do you know what?  It's changed ownership

AS: Oh my God.

RF: And they do not make lime, livid, luminous green cakes

AS: Well in that case, I don't think we will be recording anymore

VG: I was afraid of that

AS: But, I must continue the story, because then we would go to the salad
bar and have our health food lunch.  Then we would go to the antiquarian
book shop and probably buy a book each and mull for an hour.  And then we
go back and carry on recording.  See how simple and uncomplicated we are?

VG: Very artsy, yes.

AS: That's what we would do every day.

VG: Since you mentioned coming into this project after both of you had been
touring for quite some time and how it was a nice change of pace.  You both
come from bands that do a great deal of touring.  Are there any plans for
the two of you to take this little show on the road and give the great
people of America a chance to hear what you sound like live?

AS: We've talked about it and I would love to do it, actually, because I
think we would have a lot of fun bringing our experience to bear on the
situation and try to avoid all those previous traumas that we've talked
about.  I think it would be a very nice thing to do, however, both Robert
and I several commitments, so it is just trying to find the time to do it.

RF: I don't know whether we'd agree on the same way of doing it.  There you

AS: We may not.

RF: And I think your manager's ideas would probably be remarkably different
than yours or mine.

AS: There are three ways, really.  We could either do it as a duo, like
with two guitars.  Or we could try it as the two of us plus one guy filling
in and running tapes that we could play against.  Or, we could put a group
together to carry off this music.

RF: And I would far rather have two guitarists

AS: That would be the most fun.  Whether we could make it sound anything
like the album is another...

RF: It doesn't matter

AS: It doesn't matter, maybe we wouldn't even try to do that.

VG: It's the chemistry itself that would probably come through

RF & AS: Yes

VG: Well, all right, let's look at that for a minute.  You both
do have a lot of commitments and...

RF:  I don't.  No, I'm just going into retreat and I shall then
let the future present itself.

VG: So are we to deduce from that there is no more Crimson as of
right now?

RF: There are tapes of a live album to be mixed in February.

VG: But you are not planning on working in a band format immediately in the
future again?

RF: There are no plans for that.

VG: All right.  Andy, what about you?  Aren't you involved in
some film projects now?

AS: Yeah, I am. I'm just going to trip out to L.A. actually tomorrow or
Saturday to see about another one.  But, actually, I am going to write a
screen play.  That is the next sort of project for me.  And now I have
three films that I could score in January/February and just have to decide
which one.  Actually, just as we are here with Robert, something
interesting has come up which I must tell you about.  Last summer, I wrote
a script.  They are now considering using the music from the two albums,
all the music for the film.

RF: Really?

AS: Yeah, I'm pushing for that, because I think that would be very nice

RF: That's great.

AS: So that's something that's being talked about daily, at the moment. And
they are very keen, the director loved "I Advance Masked".  So, yeah, film
projects really mostly for me.  A live album with The Police over December.

RF: (in Dorset accent) You're going to be a film star.

AS: Well, I don't know, we'll see.  The world will decide.  I am in my own
mind, of course, except in my mother's mind.

RF: (in Dorset accent) I reckon you'd be great. Number One.  Number One!

VG: Wasn't there a jazz oriented album that you were planning on for a
while?  Is that going to happen?

AS: Yeah, with Jack DeJohnette.  We've talked about that many times.  I
think he's getting a little frustrated because I haven't actually been able
to get to it.  But I would love to do that with him.  And I actually have
some very good tunes that I think would work with him.

VG: And, Cameron Crowe, who wrote "Fast Times at Ridgemont High" sent me a
tape just the other day with a little star beside a certain song you had
done that is going to appear on an upcoming soundtrack.

AS: That's right.  I did a song actually in the same studios were Robert
and I recorded these two albums.  A song called "Human Shout" and that's in
this movie.

VG: Which is called...

AS: It's called "The Wild Life"

VG: When will that be coming out?

AS: It will be coming out soon, any day now, I think.

VG: Speaking of things coming to the surface and a great deal of work and
preparation being put into things and spontaneous eruptions and so on.  I
think it would should end the interview the way we started just before we
came on the air here.  And Robert was asked to say something into the
microphone and a spontaneous duet erupted between the two of you.  On the
count of three, I was wondering if you could reproduce that? One, two,

RF & AS: (in unison) Oh, for a muse of fire that would ascend the brightest
heaven of invention.  A kingdom for a stage and princes to act and monarchs
to behold the swelling scene.

VG: Thank you gentlemen.  Robert Fripp and Andy Summers.

Song: "Bewitched"
*   HAPPY HOLIDAYS from Steve. Karen, Sierra, Chessy & Sitka   *

Date: Mon, 13 Feb 1995 08:51:29 -0600
From: Glenn Astarita <gastarit at comm dot net>
Subject: New KC Cd

I'm hearing more and more that the upcoming KC cd "Thrak" contains all the
songs in Vroom. Regardless of a better mix/sound quality, it would make the
$14.99 price for Vroom seem even more extravagant.


From: "Altemir, David A." <DALTEMIR at gp201 dot jsc dot nasa dot gov>
Subject: Down with Snobbery!
Date: Mon, 13 Feb 95 15:34:00 cst
In Elephant Talk #168:

>There really isn't as much depth or outrageousness in Rushes music
>as in KC's.


>KC is a very techically oriented band with much more complex rhythmic
>structures and, lyrically speaking, much more soulful, much more depth.  The
>depth of the music is where the distinction is: hence, the depth of the
>people listening.  Rush is good for beginners.

Surely, you can't say that "Hemispheres", "Xanadu", or "The Mission" isn't
on the technical level as anything KC has produced!  I think it's important
to acknowledge that Rush has done somthing that KC has not been able to do
- - reaching out to non-musicians and making their music accessible despite
the fact that it is, to a large degree, complex.  Many times Rush will make
complex time changes that are so smooth that the non-musician isn'y even
aware something complex has happened.

So, as a Rush fan (and a KC fan), I think you are selling Rush a bit short
here . . . not to mention their fans!  I, for one, don't like being called
a beginner that lacks depth!  KC has suffered enough from this kind of

[ No more Rush stuff please :-) -- Toby ]

Date: Tue, 14 Feb 1995 09:22:58 +1100
From: DOUGLS at cbr dot hhcs dot gov dot au
Subject: Toyah & Fripp
Subject: Toyah & Fripp

I've got an album entitled "The Lady or The Tiger" by Toyah Willcox and
Robert Fripp on vinly and am trying to find it on CD.  Does anyone know
whether it's been released on CD or not and if so on what label?

with thanks


Date: Mon, 13 Feb 95 18:24:59 -0500
From: sarthur at lutece dot rutgers dot edu (Stephen Arthur)
Subject: A Lounge Lizards Specialty:  Contrasts (2/13/95)
I don't know of another list to send this to but I think the Lounge Lizards
deserve some publicity.  Lounge Lizards band structure remind me a lot of
King Crimson's meaning: John Lurie, the band leader, is a perfectionist who
has taken control of the band, in the similar way Robert Fripp leads KC.
Not only that LL has had a revolving lineup much like KC.  When I went to
the show (2/11) I hung out after the show to see if I could get my Voice of
Chunk and Big Heart CD's signed by John Lurie.  Not only did that happen,
but the whole band signed my two CD's (9 members) and I hung out with them
in their dressing room.  I truely believe you won't find another band like
this who can jam in your face this good this cheap this close (we all will
not have front row seats at the upcoming KC concerts).  LL are much better
live than on CD (or should I say different).  By the way I was told they
opened for KC in the early eighties.

following review by: Peter Watrous (nyt)

Given all the artistic ferment on the Lower East Side in the early 1980's,
it's a surprise that so much activity came to so little. The Lounge Lizards
are one of the exceptions; the band has circumvented just about all the
traps.  In the success of its eclecticism, the group has become the master
of the nonaligned movement, beyond a specific idiom but happy and expansive
with its own new language.

The band, including its founder, the saxophonist John Lurie, is playing at
the Knitting Factory off and on through Feb. 25(9. 10. 11, 16, 17, 18, 23,
24, and 25), and on Thursday night they spread out a two-hour performance
that used about every move open to the instrumentation.  Mr. Lurie had the
cellist Jane Scarpantoni and the tenor saxophonist Michael Blake pair off
to play melodies alone.  Some tunes sped up and slowed down, with the horn
section coming in at a different tempo than the rhythm section.  Mr. Lurie
set the guitarist Dave Tronzo and Ms.  Scarpantoni, along with some horns,
to buzzing with overtones; dissonant dense and shivering clouds of sound
emerged.  Impressionistic harmonies contrasted with tough rhytmn-and-blues,
and the joy of full-band, blaring polyphony was set against the
introspection of Mr. Lurie's own improvisations, often sensual and cool.

Though the music draws on all sorts of sources, from James Brown to Indian
brass-band music (with microtonal bendings in the horns), it is
surprisingly free of cliches.  Especially in the improvisations - and
Mr. Lurie is is included in this - the soloists kept their playing tightly
edited, with all power given to melodies and repetitions.

During solos, other horns welled up around the improvisers, either with the
cries and howls or well-packed riffs.  Mr. Lurie likes adding sections of
qiuetude to his pieces, and though his compositions tends to gather new
instrument, after new instrument, new idea after new idea, just as often
tunes bled into lovely areas of stillness and silence.  For its time and
place, the music is amazingly committed emotionally.  Mr. Lurie is unafraid
of either traditional beauty or the mix of intelligence and pleasure, and
the music made the audience happy, without condescending.

Mr. Fripp, if you are still reading this, I think the LL would make a great
opening act for KC's upcoming tour.

Date: Tue, 14 Feb 1995 10:17:57 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: rush vs. kc
William C. Wolford sez:
>There really isn't as much depth or outrageousness in Rushes music as in KC's.
>I think probably what it comes down to is Soul. KC is a very techically
>oriented band with much more complex rhythmic structures and, lyrically
>speaking, much more soulful, much more depth.  The depth of the music is where
>the distinction is: hence, the depth of the people listening.  Rush is good
>for beginners.

True. I myself have a lot of appreciation for Rush, and I am a tremendous
Neil Peart fan. However, all nuances aside, one must take into
consideration that Crimson is a much BETTER BAND.  ;)

Date: Tue, 14 Feb 95 11:45:43 EST
From: jh at cadre dot com (Joe Hartley)
Subject: CD Trickery
One thing that I've noticed about Fripp is that he likes to play with the
listener's heads in ways other than musically.

On VROOOM, for example, there's an extra track - Number 1 - which is 25-35
seconds of silence (or something *very, very* faint).  The first time I put
the CD on, the time started ticking, but I didn't hear anything.  Of
course, the first thing I do is to turn the volume up.  So here it is,
about 30 seconds into what is supposed to be a 6+ minute song, and the
track number changes and VROOOM explodes out of my speaker, making me jump
any my 5-year-old son break out in tears.  (He got over it - he loves the
disk now, especially Sex Sleep Eat Drink Dream!)  A nasty trick, Robert.
If I had blown my speakers, you would have gotten a bill for them!

This one bit my friend Uncle Bernie, radio programmer at WRIU (90.3 FM).
At the end of one of the "Great Deceiver" disks is a song that shows up as
being 9 minutes or so long.  He's got 9 or so minutes to fill, so in it
goes.  It turns out that the last 4 minutes of the track is dead silence.
So the song ends.  It's obviously over, but the CD player says there's
another 4 minutes to go.  A false ending?  Nope, just something to make a
programmer's life miserable.

And they wonder why they don't get more airplay.

         Joe Hartley - jh at cadre dot com - Cadre Technologies, Inc.
Without deviation from the norm, "progress" is not possible. - Frank Zappa
       Loostner's Castor Oil Flakes - The All-weather Breakfast!
      This Green Card line is here to cheese off Canter and Siegel.

Date: Tue, 14 Feb 1995 17:15:12 +0000
From: WOLF <siegmund dot wolf at afrc dot ac dot uk>
Subject: earthbound
Hello ET readers

Because I have send a message around christmas about Earthbound and it has
not arrived I will write it again.  It was a reply to Mike Balistreri
concerning the Earthbound record.

It was released on EG Island in 1972 and recorded on an ampex stereo
cassette recorder. The cover is completely black only with the KC and the
title on the front. On the backside the album is described as the fifth of
the KC series.  Titles are (time):

1.21th Century Schizoid Man (11.45)
2.Peoria (7.30)
3.The Sailors Tale (4.45)
4.Earthbound (7.08)
5.Groon (15.30)

1 and 5 recorded in Willmington, Delaware, 11.Feb.1972
2 recorded in Peoria, 10.March 1972
3.recorded in Jacksonville, Florida, 26.Feb.1972
4 recorded in Orlando, Florida, 27. Feb. 1972

The players:
Robert Fripp: electric guitar
Mel Collins: alto, tenor and barritone sax, mellotron
Boz: bass, vocals
Ian Wallace: drums

There is no indication on the cover to indicate the use of an electric
drum. On Groon around half way through the set is Ian's drum solo. It
lasted almost until the end and there may be some indication of an electric
drum but is is very chaotic towards the end of the set. Perhaps someone on
the ET net was at the Orlando concert and could give us more
information. Groon was released as a single with Cat Food but much shorter
the the live version.

I hope this will help.

Bye Siegmund

Date: Tue, 14 Feb 1995 16:40:25 -0600
From: Damon C Capehart <dcapehar at utdallas dot edu>
Subject: Re: Elephant-talk digest v95 #168
Keelo says that imports are rarely seen at Best Buy...  Many of the CDs I
buy at Best Buy are imports (yes, that means they cost more than $11.99,
but...  In fact, I bought the FFWD album from Best Buy as an import... they
also have foreign printings of Marillion albums, as well as Gong and a
bunch of other bands/artists.  Either way, I think it's worth it.

Damon Capehart           |  "SALESMEN!!!" -- Rush
dcapehar at utdallas dot edu

Date: Wed, 15 Feb 1995 11:45:57 +1000
From: keens at pitvax dot xx dot rmit dot edu dot au (Jeremy Keens)
Subject: finally bought vrooom
i finally did it yesterday - found a copy of vrooom when i had cash to
spare and an inclination to buy a cd. plus thinking it may not be around
forever with thrak coming up.

despite this, i do not resile from my earlier comments on the cost of the
cd. to clarify, perhaps, what i was concerned with was not some desire of
mr fripp's to become rich (which i agree is unlikely) but his attitude
towards his (i imagine) extensive fan base. i would have thought that the
attitude of most performers would be to respect (and cherish?) longterm
fans [as an aside, in the court was my first album, bought second hand from
a schoolmate {i have never been able to enjoy moonchild due to surface
noise ;-)}, i then got earthbound, as it was on a budget label, and really
got into KC when my sister got me LTiA, after which i filled in the back
catalogue {an island fan} and kept moving forwards with fripp. I had
already got no pussyfooting: enough, back to the sentence] to offer them
more for their money rather than less. ok we don't HAVE to buy it, but
there are alot of us who do HAVE to buy it, if you see what i mean.

as to the disk - it is good, very good. has the menace of the LTiA KC (my
fave) and sounds like a crimson record. i still am not a great belew fan -
his 'mellow' singing (matte kudesi, one time) is beautiful. its his
neurotic singinging/rapping (neurotica, the howler, cage) which grates on
me, as perhaps its meant to, but detracts from my enjoyment. probably not
worth the price tag - but i'm on a roller coaster and can't stop!

no-one has commented on the 'neat' new logo - the symmetrical, stacked KC -
i like it!


Date: Wed, 15 Feb 1995 11:51:29 +1000
From: keens at pitvax dot xx dot rmit dot edu dot au (Jeremy Keens)
Subject: essential fripp and eno
a friend lent me this cd - i love the four last tracks (cant remember the
name) which forms a long ambient piece.

i did a vinyl<>cd comparison (playing them simultaneously, and switching
from cd to record) and noted that THMC is very different in terms of sound
quality - much clearer, louder, more intense - while with SG it was
impossible to tell the cd from the vinyl - even the volume was about the

does this indicate that the original THMC was a bad mix/reproduction or SG
was a good one or that they couldn't be bothered doing much with it?

I didnt do the same with the ES tracks


From: M dot Balzer at pluribus dot wupper dot de (Michael Balzer)
Subject: Re: Islands
Date: Tue, 14 Feb 95 18:34:10 CET
Organization: B&B Computersysteme
In ET#166, Scott T. Anderson wrote:

ty> CONS: This one is big enough to have made me despise the album for years:
ty> The cornet solo on the title track is SHIT!  Pardon the profanity, but it
ty> is necessary.  This is the worst playing of any instrument EVER to appear
ty> on a King Crimson album.

Pardon me, but you're certainly wrong.  That solo has a bluesy mixture of a
very earthy sound and a somewhat lazy articulation to produce this special
feeling that fits exactly into the song at that place.  It's great, IMHO.

ty> Also bad (IMHO) is the wailing siren vocal on
ty> "Formentera Lady" leading into "Sailor's Tale" (which I think stands better
ty> as it is on the FbF boxed set, starting right at the 12/8 cymbal thing).

There again ;-), the siren just *has* to be the way it is, to get this part
of the song to be something special. There's a clean bass line, a standard
jazz sax and a standard percussion.  That part would be *boring* without
that slightly out of tune siren voice.

ty> And finally, "Prelude-Song of the Gulls": sure, it's a decent chamber
ty> orchestra piece for Fripp to write, but what the hell is it doing on a KC

Agreed on that one, I don't like "Prelude" either.


Date: Wed, 15 Feb 1995 23:19:34 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: Mr. Discount Head
Today in Wal-Mart in the bargain cassette bin I saw Adrian's _Mr. Music
Head_ for a steal: $2.50. I hope his feelings aren't hurt. :)

Date: Thu, 16 Feb 1995 09:54:42 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: Bruford's tools of destruction
Just a general question for everyone, but especially those who were blessed
enough to see the new KC playin Argentina -

Does anyone have any idea what sort of setup Bill is using this time
around? From the sound of VROOOM, it seems he's eschewed his Discipline-
era monster kit for a more conventional setup, but I could be mistaken...
for that matter, what is Mostellotto using?

Date: Fri, 17 Feb 1995 11:06:07 +1000
From: keens at pitvax dot xx dot rmit dot edu dot au (Jeremy Keens)
Subject: healthy colours
following a comment (editorial)on my earlier pos re these tracks - i have
listened more closely to them a couple of times.

my use of ambient was probably misplaced - ihad the cd on quite quietly
(:-)). obviously the most appropriate correlation is with my life in the
bush of ghosts - similar rhythms, sound bites etc. that said, i still like
the tracks as a twenty minute boppy little number, with some nice warped
guitar sounds.

it doesn't sit easily on the disc with the earlier stuff though.

sorry for multiposts


Mike Stok