From elephant-talk at arastar dot comSun Mar 26 09:30:44 1995 Date: Fri, 24 Mar 1995 17:55:23 +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 v95 #174 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 174, Friday, 24 March 1995 Today's Topics: King Crimson touring tickets Possible Vocalists 2nd SF show on sale now! NYC TIX Recording process Fripp-FSOL? Re: Crimson Tour Re: Elephant-talk digest v95 #173 Re: KC on compuserve Philly show info., a touring suggestion Re: Matching Mole vs. new techno stuff Cheerful Insanity Re: SF ticket sales Defending my Bruford criticism Fripp on Bowie albums Denver concert date has changed BB from Yes to KC Earthworks CD price/FSOL,Orb etc. King Crimson touring want my opinion? Fripp, Frith and Univers Zero Alert! Missing voice in LTIA II remix questions and answers Boston KC drums -- tours -- maturity me again, about drums again Bruford/jazz San Diego Primus & KC re: thrak review Re: Elephant-talk digest v95 #173 Quebec City date!!! Henry Cow / KC CGT tour dates World Diary, Robert Visconti. Re: Robert's online conference Thrak instrumentation _1000 Years_ more THRAK review First Entry krimson in ann arbor, michigan Michael Brook Crimson KC in Chicago? The Night Watch Indiscipline - Live In Argentina Buffalo tix Montreal date SF shows sold out [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Toby Subject: FAQ maintainer needed Hi, it occurs to me that one way to reduce the traffic a little on the list is to make our FAQ more comprehensive. We have an embryonic version, but it really needs a little effort to knock it into shape. So, would someone care to volunteer to be the ET FAQ maintainer? Please contact me direct. Logistically, it would be best if the person has easy access the web. You can see what we currently have at http://www.cs.man.ac.uk/aig/staff/toby/elephant-talk-faq.html Thanks Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: King Crimson touring Date: Mon, 20 Mar 1995 11:29:45 EST From: Peter Evans > Date: Thu, 9 Mar 1995 23:09:25 -0600 > From: Paul Olaris > Subject: Houston would be a wonderful place for King Crimson to play. > > I, too, like another recent poster, am a poor college student and while I > can afford to purchase (over time) the individual CDs and the Boxed Sets, I > don't believe I can afford travel to Washington DC or Denver to see this > exquisite group of musicians perform. May all of these pleadings for a > tour stop addition in Texas (Houston? Austin? Dallas?) be heard! > Please!!! Would people please stop complaining that KC are not comming to their home town/city, and let the list return to actually discussing the band (Toby ?). This thread seems to be getting a bit long in the tooth. :) [ Ah, yes, the joys of being your moderator! :-) Peter makes a good point. It really doesn't add much value to ET to complain about KC not visiting your part of the world. If you want to voice your feelings on this, you really couldn't do better than contact the KC management directly: Richard Chadwick, Catharina Masters, Opium (Arts) Ltd., Catalyst / Opium (Arts), 49, Portland Road, PO Box 17816, LONDON, W11 4LJ; BEVERLY HILLS (44)171 - 229 5080: tel. CA 90209-3816; (44)171 - 229 4841: fax. 310-271 7690: tel. 310-271 7066: fax. Send them a fax, straight from you to them! Sending a note to 1365 ET readers will get you nowhere! Sure, Robert, Trey, Tony and others may *possibly* get the time to *maybe* see your post, but who knows? I know everyone's excited about the tour and all the activity, and I don't wish to cramp anyone's style. But posting to ET along the lines of "I just got my ticket for the Bikini Atoll Crimso gig! Yippee!" or "Does anyone know when the Mozambique dates go on sale?" really isn't going to make you very popular. All this meant with the best of intentions and no disrespect. The list is just getting too damn BIG! :-) -- Toby] Also: > Date: Sun, 12 Mar 1995 14:15:22 -0500 > From: BMomchilov at aol dot com > Subject: Robert Fripp as Tony Viscounti? [snip] > So now I'm confused. Was this a fairly typical mistake, or does Fripp have > an alias?? ;-) Can someone help me out on who this Tony Viscounti guy > is/was?? > > Brian (See you in Cinci and Detroit - June 8 & 9) Momchilov Tony Viscounti produced (and played on) much of Bowie's output during the 70s, from 'Aladin Sane' through to 'Scary Monsters'. He might have been on more albums, but I'd have to go home and check first :) Someone else might be able to tell us what Tony is doing now ? Also, what do some of the other people here think of Fripp's work on 'Scary Monsters', and other Bowie albums of the period ? Pete ------------------------------------------------------------------------------- Peter Evans Email: pe at imta dot com dot au Project Systems Analyst Snail: In-Mar-Tech Australia Pty. Ltd. Phone: +61 3 696-4009 10 Boundary Street Fax: +61 3 696-7449 South Melbourne, Vic, 3205, Australia ------------------------------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 17 Mar 1995 11:02:09 -0500 (CDT) From: Watcher Of The Skies (John P Mohan) Subject: tickets I'm Exiled - I've been unable to read the last two issues of ET due to computer error. What I need is any available info on getting tickets for the Minneapolis show on the 13th of June. I've tentatively got tickets for Chicago on the 10th, but this is a back-up. Especially Scott T. Anderson, if you're reading this...anyone who can help, please send info to my personal account, unless others would benefit from it... Also, since I've been uninformed for the past two weeks, so I don't know the sitch concerning Thrak and its upcoming release (two weeks - yay!). Is Possible Productions planning on distributing it? Signature Series and everything? Thanks - JP Mohan Grinnell College Grinnell Iowa mohanjp at ac dot grin dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 17 Mar 1995 09:36:15 -0800 From: lray at ucsd dot edu (Lee Ray) Subject: Possible Vocalists In the San Diego (California) Union Tribune of March 16, 1995, music writer George Varga has this to say about, ahem, Elton John, in the category, Little Known Musical Fact: "In early 1969, John played piano on the Hollies' 'He Ain't Heavy, He's My Brother' and auditioned (unsuccessfully) for the lead vocalist position in pioneering English progressive rock band King Crimson." !! Presumably, this would be around the time that Greg Lake was heading off for ELP? What do you suppose the audition was like? What would their common ground have been? Perhaps the Beatles, though I have always interpreted what I have read about Fripp's interest in the Beatles to be something other than purely musical; for a time, they projected a sense of almost unlimited horizons. I believe that Brian Ferry also auditioned for the vocalist spot. That makes two more parallel universes that are pretty difficult to imagine. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 17 Mar 95 09:33:00 PST From: richie at nova dot net dot com (Richard Schiavi) Subject: 2nd SF show on sale now! Tickets are now on sale for the 2nd King Crimson Show at the Warfield. The date is Sunday June 25th, as opposed to the previous tour date stating it was going to be Friday the 23rd. The first show on Saturday is sold out. . . Rich [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 17 Mar 1995 16:39:28 -0500 (EST) From: JROBINSON at zodiac dot rutgers dot edu Subject: NYC TIX FYI: The tickets for the Town Hall NYC shows supposedly go on sale March 26th. This according to the Town Hall ticket woman. She was about as pleasant as a really pissed off python. Jim Robinson [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 18 Mar 95 00:35:20 EST From: Francois Cartier Subject: Recording process Fripp-FSOL? Dear ET readers, I'd like to know how does Mr.Fripp work with The Future Sound of London. Does he play live? Is he sampled? Did they ever meet each other!?! The latest FSOL release includes several guitar parts; is every one of them from RF? There is a scheme of how the ISDN process works in the Cd jacket; I'd like to know when does RF come in? Any answer would be very welcome. Please mail me personally or answer via ET if you think the subject is of any interest to ET readers. thanks! FCARTIER at VM1 dot SI dot USHERB dot CA P.S.: I hope to see more RF-FSOL cooperation in the future... The results are out of this world! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 18 Mar 1995 21:36:04 +1200 From: james dot dignan at stonebow dot otago dot ac dot nz (James) Subject: Re: Crimson Tour Did I really just read a Floridan complaining about Texans complaining? Let me tell you about distance from KC gigs... Mr. Fripp, if you're reading this, not all of your fans are in North America and Europe... James, in the distant south Pacific... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 18 Mar 1995 02:52:07 -0800 From: vance at netcom dot com (Vance Gloster) Subject: Re: Elephant-talk digest v95 #173 While I do not agree entirely with Andrea's assessment of Marotta's talents - I *DO* agree with her sentiments regarding Nadav N. Caine's (ET 170) 'replacement' ideas. How can someone (Nadav N. Caine) even think this? The only common ground between Bruford and Marotta would appear to be the fact that they both play drums. To me, Mr Bruford is a percussive icon whereas Mr Marotta is, well, a good drummer but simply not in the same league. I It seems obvious to me. Both Yes and KC decided that they wanted a drummer to keep time. Bruford does not consider this his job description. You might read an article in Musician (as I recall) called something like "Collision on a 4 Way Street" that described how the rest of KC assembled a timekeeping part from samples of Bruford for one tune on 3 Of A Perfect Pair. The article came out around the same time as 3 Of A Perfect Pair. Adding a drummer who IS interested in keeping time to the lineup seems to me to be an extremely sensible way to make the band work. Arguing whether Bruford and Marotta are in the same league seems about as pointless as arguing whether a shortstop is more valuable than a right fielder. -Vance Gloster vance at netcom dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 17 Mar 95 16:51:26 EST From: "Neil J. Cavanagh" <76111 dot 3636 at compuserve dot com> Subject: Re: KC on compuserve Hey, I wanted to tell you that I've downloaded these three items from Compuserve's Virgin records forum: This text file,which may be old hat to you...here it is: KING CRIMSON TOUR SCHEDULE DATE CITY,STATE VENUE 5/2 Milan,Italy Teatro Smeraldo 5/3 Florence,Italy Teatro Tenda 5/4 Mestre, Italy Teatro Toniolo 5/6 Zurich,Switz. Volkshaus 5/7 Dusseldorf,Germ. Philipshalle 5/8 Berlin,Germany Termodrom 5/10 Munich,Germany Philharmonie 5/11 Stuttgart,Germ Liederhalle 5/13 Paris,France Zenith 5/14 Brussels,Belgium La Luna 5/15 Amsterdam,Holland Congresgebouw 5/17 London,England Royal Albert Hall 5/26 Buffalo,NY U of Buffalo Arts Center 5/27 Toronto,ONT Massey Hall 5/28 Montreal,QUE Theatre ST Denis 5/30 Quebec City Grand Theatre 6/1 Philadelphia,PA Tower Theatre 6/2 Boston,MA Orpheum 6/3 & 6/4 New York, NY Town Hall 6/6 Redbank, NJ Count Basie Theatre 6/7 Washington,DC Warner Theatre 6/8 Cleveland, OH Nautica Theatre 6/9 Cincinnati,OH Taft Theatre 6/10 Ann Arbor, MI Michigan Theatre 6/13 Kalamazoo,MI State Theatre 6/14 Chicago,IL Bismarck THeatre 6/15 Milwaukee,WI Riverside Theatre 6/16 Minneapolis, MN State Theatre 6/18 Denver, Ogden Theatre 6/20 Portland Roseland Theatre 6/21 Vancouver,BC Vogue Theatre 6/22 Seattle, WA Paramount 6/24,25 San Francisco,CA Warfield Theatre 6/27,28 Los Angeles,CA VENUE TBA 6/29 Phoenix,AZ VENUE TBA 6/30 San Diego VENUE TBA I also got two 20-30 second sound samples (WAVs), one from an upcoming Thrak song called "Walking on Air" and another called "Dinosaur." I will refrain from personal opinions about them. If you want me to send them to you, I can send them as WAVs .ZIP compressed. (Actually I'll have to figure out how to send them because I'm new to the magic world of computers...) The files will be pretty big... WALK.ZIP - 292k DINO.ZIP - 429k ----Neil 'Fripp is a charlatan and a turkey.'- Robert Fripp [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 18 Mar 95 12:53:00 EST From: Neal Mates Subject: Philly show info., a touring suggestion I got in touch with the local Ticketmaster, and they've confirmed that KC will play May 31st at the Tower Theater here in Philly. They haven't said exactly when they'll go on sale, but it may be as early as next weekend (March 24th or 25th). The prices range from (w/o the infamous Ticketmaster "service charge") about $28-38. A little on the pricey side, but well worth the investment. Looking at the tour schedule from a couple of issues back, I came upwith one other touring possibility that RF and the rest of the band should seriously look into. By ending their tour in June, they probably could, if they jockeyed for a position, get a slot on this summer's Lollapalooza tour. Just hear me out before dismissing it. For the benefit of those who've never heard of it, Lollapalooza is a touring festival that goes around every summer, highlighting groups in the forefront of modern, or "alternative", music. Groups like Pearl Jam and Nine Inch Nails did their first major tours with Lollapalooza. And, when you consider all the bands who've been influenced by KC that have played on it over the years (Vernon Reid of Living Colour, Primus, and the Smashing Pumpkins come to mind), why shouldn't they let the genuine article perform. From reading recent reports on this year's tour, they are in need of some really good acts to bolster the lineup. And, besides, there's a certain part of me that would get a kick out of moshing to a song like "Cage" or "The Great Deceiver". Well, stranger things have happened. I mean, three years ago, who out there thought King Crimson would reform? Comments would be appreciated, especially from RF or his management on this proposal. Neal Mates (:O) (Mr. Bill "Oh noooooo!!") [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 18 Mar 1995 20:44:43 +0200 From: j at vrooom dot pp dot fi (Jukka Kukkonen) Subject: Re: Matching Mole vs. new techno stuff Tim Di Chiara writes on ET-173: > A few pleas: I thought I was the *only* person who had ever heard of >Fripp's collaboration with the Soft Machine offshoot Matching Mole. I have >one of their tracks on a rare compilation called "The Progressives", but >I've scoured record conventions to find the entire album--to no avail. Can >anyone direct me towards a copy? Gasphetti! I have "Matching Mole's Little Red Record" BGOCD174 (1993, licensed from Sony Music Entertainment 1972). Producer: Bob Fripp (Sorry Robert, that's printed on it - I guess they couldn't have 2 Robert's on the same record). "This summer's guest Super-Star ENO: VCS3on 'Gloria Gloom' and synthesizer keyboard on 'Flora Fidgit'; Robert Wyatt: drums, mouth; Phil Miller: guitars; Bill MacCormick: bass; Dave MacRae: pianos, organ; Der Mutter Korus". "Little Red Record-note for '93 edition: I've taken the liberty of asking BGO to let this CD begin with its natural introduction, the original LP's second side, as ushered in by Brian Eno's synth." - Robert Wyatt "PS. I'm sometimes asked, were me and the Mutter Chorus ON something - you know? But NO, we didn't even have that excuse....hmm." - R.W. Outstanding prog rock CD, IMHO, great Fripp production as a bonus. Get it! > Also, can anyone out there provide a >>review of Fripp's recent work with The Orb, The Grid, and Future Sound of >>London? I've never heard of these bands. Well, I've heard'em, and yes, they're sometimes interesting, but not because Fripp guitar playing. Take FSOL, for example, you can't hear Fripp at all. (-8 Jukka Antero Kukkonen-j at vrooom dot pp dot fi-Helsinki,Finland 8-) "VROOOM: An inevitable and remorseless forward movement which carries everything before it." - Robert Fripp [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 00:10:53 -0500 From: mtownsend at interramp dot com (Michael Townsend) Subject: Cheerful Insanity I have a pretty pristine copy of "The Cheerful Insanity Of Giles, Giles & Fripp." Anybody have an opinion as to what it might be worth? P.S. Pretty damn cool to get RF's own pre-release bio/promo here in Elephant Talk. Sure am glad I subscribed... MT [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 02:37:39 -0500 From: Brewfan at aol dot com Subject: Re: SF ticket sales Briefly abandoning my lurking mode to pose a question to any Bay Area Crimso-heads who did get tickets for the 6/24 show at the Warfield: Did anyone get reserved seats in rows AA or BB (first or second rows) of the balco ny, particularly in section LL 1, LL2 or LL3? I was the first person in line at the local BASS outlet here in Sacramento. The ticket seller at the store asked in advance what I wanted and began entering the request for balcony seats at a couple minutes before the scheduled on-sale time of 10 am. The show actually did not go on-line until 10:03, and the seats I got were in row CC of section LL4. I later talked to several other people who were also first in line at other outlets, and the seats they got were comparable to mine. Don't take this as a complaint, I am satisfied with what I got, particularly since it seems as though the onsale day caught several people unawares, and they got shut out. However, I'm curious where those front row balcony seats went. Please advise. Also, a note to those who are left looking for tickets. BGP (Bill Graham Presents) has had a policy for the last several years of holding a number of tickets for most shows, and offering them at the box office of the venue on the day of show. This is done to thwart scalpers by lowering the demand on the street, keeping prices down and making it harder for scalpers to sell their tickets. So, if you don't have a ticket by the day of the show, you might do well to hang around the Warfield box office from noon on on show day. Resuming (for now) lurking mode. Jim Hoffman "Everything in moderation. Including moderation." [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Nadav Noah Caine Subject: Defending my Bruford criticism Date: Sun, 19 Mar 1995 01:05:57 -0800 (PST) I am being repeatedly attacked for my "bag Bruford... maybe get Marotta" suggestion a few ET's back. The point which has been lost on many was that I believe KC is too important to be held back by the ego of one member. I respect the replies to me that KC without Bruford is unacceptable, or that perhaps Fripp's ego is the one that should have been more flexible. I do not really respect the replies that I'm a fool for my compunctions, since it was Fripp himself who has criticised Bruford in this regard. I do not respect the replies that I'm a fool for suggesting Marotta, since Fripp himself seems to have signed Marotta on-board, before Bruford joined back in. I agree with all that Bruford is a percussion genius, but keeping time is aslo important in much of the complex material thaat KC performs, and I still have little patience with Bruford's resentment at having to do this some of the time, despite major accommodations to him (like Adrian playing drums on tour). I'm in heaven that Fripp has resolved the EG problems and that KC is back with Bruford in it: but I still believe that KC is bigger than any one member, except for Fripp. Much of their music is about putting egos aside, and the whole being greater than the sum of its parts. - Nadav [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 13:35:14 -0500 (EST) From: Mitchell Bratton Subject: Fripp on Bowie albums BMomchilov at aol dot com wanted to know who Toni Viscounti was after seeing that name misattached to a picture of Fripp: Tony Visconti was a producer/musician who had worked with David Bowie intermittantly, mostly in the very early 70's. He coproduced the "Heroes" album, which is the only Bowie album with both Fripp and Eno. The photo caption you saw was not only grossly incorrect, but they even spelled Visconti's name wrong. Incidently, have you heard that album? Fripp flew from America to Germany and recorded all of his parts spontaneously in one straight session right after getting off the plane. Knowing that, the degree to which Fripp dominates that album is surprising. In songs like "Joe The Lion" and "Beauty and the Beast", Fripp's guitar forms the signature line of the song. It's hard to imagine the song without it. The same is true of most of the "Scary Monsters" album with the incredible guitar to "It's No Game", "Fashion" or the title track. These two Bowie albums are well worth having on the basis of Fripp alone. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 11:35:37 -0700 From: damon at lanl dot gov (Damon Jackson) Subject: Denver concert date has changed The date and location of KC in Denver has changed from what is on the WWW. They will be playing on June 18 at the Ogden. To order tickets, which go on sale March 24 at 9:00, call 1 (800) 444-7328. I didn't ask how much they are, because I will go see the band at any price! Hope to see a bunch of you there. Damon [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 21:49:01 -0600 From: nash at chem dot wisc dot edu (John R. Nash) Subject: BB from Yes to KC John Ambrose commented: >> I was thinking about Bill Bruford's conversion from Yes to King >>Crimson. On the one hand, it kind of strikes me as a little weird. That >>is, he left Yes at the pinnacle of their popularity... Nadav Noah Caine responded: >It's been awhile since I read the story, but I remember that Bruford >somewhat non-plussed showed up for the KC audition. He expected to just >play some, after all he was the drummer for Yes, but instead Fripp asked >him to play in 11-time, or some such difficult signature... I don't have the exact reference (it's in Fripp's diaries w/ the boxed set), but Bill basically jumped ship from Yes in mid-tour after having seen a KC concert. RF comments that BB basically went home babbling about what he had seen. BB's comments on the move were along the lines of 'Well, I was the drummer for Yes, which was great... up to a point', i.e. he could be "Bill Bruford" and not "the drummer for KC" in the new band. So the move was an artistic one -- he certainly didn't do it for the money or popularity. As an aside, Alan White had three days to rehearse the Yes repertoire before hitting the stage in Texas as the new Yes drummer. I would surmise that BB's recent return to Crimson had as much to do with artistic reasons (the music was right) than monetary or visibility reasons, even though KC is of a higher profile and album-selling base than Earthworks. I wonder what the sign on the wall marked "1995 Drumming" reads....? (A reference to BB's mention of a similar sign in the early on the rehearsal room wall dealing with 'less busy stuff on the boobams' for 1984...) -john -==-John R. Nash-==-nash at chem dot wisc dot edu-==-UW-Madison Chem. Dept-==- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 19 Mar 1995 22:34:56 -0500 From: gregdunn at indy dot net (Greg Dunn) Subject: Earthworks Well, I got a couple of positive replies to my comment about Bill Bruford's Earthworks, so evidently there is some interest. I thought I'd submit a brief review of the albums and a few misc comments... In my opinion, BB's percussion style has been of inestimable benefit to every band he's performed with. I cherish the Yes and KC albums he has appeared on, because of his unique attention to timing and timbre. The first UK album is an absolute joy, thanks to BB and AH. I can't listen to the majority of 'progressive/rock" drummers today when they try to solo or show off; they just don't have anything to say. BB has a lot to say, and he does so eloquently... After sampling BB's solo albums in the late '70s, I realized how much I had enjoyed his specific contribution to the bands. Consequently, I gobbled up the KC albums from that era (which I had somehow missed) and eagerly attended BB's appearance with Patrick Moraz on the "Flags" tour (a celebration of minimalism and tight interplay; I loved both their collaborations). When KC came to Indianapolis, I enjoyed BB's playing as much as any other single part of the show. Seeing a recording titled "Bill Bruford's Earthworks", I knew that if he was willing to put his name on it it was probably worth hearing. Earthworks (the premiere album) was indeed a revelation. Those of you who are sick to death of the boring, repetitive thrashing of most rock drummers (and many jazz drummers, regrettably) will be shocked by the fresh and light touch Bill applies to the album. He's everywhere, touching here, urging there, weaving his way in and out of the nominal beat and providing a wonderful backdrop for Iain Ballamy's awesome sax playing and Django Bates' soulful horns. I like Mick Hutton's bass, too, and hated to see him depart after the first album. The album's highlights: "Thud", of course, the opener and a cheerful reminder that jazz can be innovative without losing that punch and drive that makes you glad to be here, listening to MUSIC. "My Heart Declares a Holiday" gives BB a chance to solo (Wow! A drum solo that contributes to the structure of a tune rather than interrupting it!) and the other guys a chance to strut their stuff, too. "It needn't End in Tears" is one of the sweetest ballads ever written; where has Iain Ballamy been hiding? And the Crimson-like "The Shepherd is Eternal / Bridge of Inhibition" brings the album to a walloping conclusion. The whole album is fantastic, IMHO, so picking just a few cuts does an injustice to the remainder. If you can stand jazz at all, and like BB's percussion, you'll probably like this album. I'm not a huge jazz fan, mostly because there is so much unstructured noodling and so little tight, rhythmic interplay in the popular listings. Somebody tell me where there is more Earthworks-like stuff out there, and I'll be happy. I'm not quite as thrilled with the other two studio albums, for a variety of reasons, but if you really like the first album it's worth trying them on for size. And again, if anyone wants to hear my impressions of the others (at the risk of wandering too far afield from KC itself), just let me know. ********** A quick follow-up to my earlier post: got the autographed CDs, poster, and T-shirt from Possible Productions. They did a superb job, and I received my order in about three working days (from the opposite end of the continent!). I just want to say quickly that "1999" and the "California Guitar Trio" releases are quite good -- and quite different. I think any diehard Crimso can order from Possible with confidence. They choose their music well. Really pleased to see the post from Der Fripp himself in #173! I look forward to the planned DGM releases in 1995, and add my voice to the throng requesting a live box set from 1980-84. I just bought The Great Deceiver (and will be glad to review it if asked), and am hungry for more KC live sound. Hoping to be able to attend at least one concert this year... -- | Greg Dunn | "Information is not knowledge; | | GregDunn at aol dot com | knowledge is not wisdom; | | gregdunn at indy dot net | wisdom is not truth." | | Greg at gdunn dot nawc-ad-indy dot navy dot mil | -- Frank Zappa | [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 15:16:26 +1200 From: james dot dignan at stonebow dot otago dot ac dot nz (James) Subject: CD price/FSOL,Orb etc. >>Let's not hold KC up on some teen idol pedestal. I don't see anything wrong >>with fans giving some feedback on a EP that's a little pricey. >If a CD had one song on it, but that one song was the "best" (best being >objective, of course...) song you will ever hear, how much would you pay for >it? What if the song was only 5 minutes long? A 5 minute long CD. How much >would you be willing to pay? 10 dollars? 20 dollars? More? For the BEST song >you'll ever hear. Of course I am taking the VROOOM debate to an extreme, but >it's an interesting question in a world of CD singles and EPs. Perhaps we've become jaded by the 75 minute CD market. One of my all-time favourite albums is John Cale's "Paris 1919". Another is the Beatles' "Rubber Soul". I would willingly pay the full price for either of these albums. Yet Rubber Soul is only 4 minutres longer than Vrooom, and Paris 1919 is only 30 seconds longer. --- >...can anyone out there provide a review of Fripp's recent work with The Orb, >The Grid, and Future Sound of London? I've never heard of these bands. (I >apologize if this topic has already been discussed in ET.) FSOL, the Orb and The Grid are all, for want of a better word, "Ambient" - although this doesn't necessarily mean their music isinstantly comparable to Eno's ambinet series. Both The Orb and The Grid ofthen put some form of rhythm with their music, and in the case of The Grid, the music has a pretty dance-y, techno-y element. FSOL is also ambient in form, but veers more towards industrial than dance. Of the three, the one I know best is The Grid, who's album 4-5-6 features quite a bit of Fripp (including writing credits). But it's a pretty eclectic sort of mix of frippisms - one track (featuring Dieter Meier from Yello on vocals) has what I regard as the three signature sounds of Fripp on the one track, the angular, saw-like guitar (like on Bowie's "Fashion"), sublime Frippertronics, and the manic, seemingly out of control lead break (like on Requiem, off Beat). The Orb (and Orb/Fripp collaboration FFWD) are a bit more spacey, more ambient in the Eno sense. Imagine, say Tangerine Dream covering Evening Star, and you'll get some idea of the area of sound they're trying to get to. FSOL is more spacey still, with found sounds entering the mix. Sadly I can't hear much of Fripp in their work with him, but perhaps I'm not listening in the right places... James [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 11:22:16 +0100 (MET) From: "Erik.Matthysen" Subject: want my opinion? Hello crimson-fans, After years of getting blank responses when mentioning KC as my favorite band, and handing out tapes of KC to friends so I can at least TALK about it, it is great to be in touch with so many people who know who's the best band on earth (and overseas provinces)! Since I laid hands on VROOOM I have been re-listening to all my pre-CD Crimson records. Although I have been considering "Lark" as the best-ever-album for the last ten years, and reluctant to take away its pole position, I must admit that side 1 of "Red" is definitely the best single album side (see, I still think in good old vinyl). Regarding the early Crimson: personally I have more trouble hearing out, say, "Poseidon" or "Islands" than "Lizard". Back when I started exploring KC music and was not an obligatory fan, I was attracted rightaway by the firm rock/jazz/artrock songs on side 1, and the instrumental suite following "rupert" has been on my favorite compilation cassette ever since. In comparison, I must admit that "Poseidon" (in particular side 1) and "Islands" (except for "ladies" and "gulls") are in my collection rather because they are KC then because I like them so much. I also think that "Earthbound" deserves at least a little bit more credit than it has been given in previous ET issues. I personally like "Peoria", and even if the sound is awful it is an interesting document of an early KC incarnation. If you want to know my first-moment opinion on VROOOM: indeed it sounds like a calling card rather than a love song (though "one time" does a good job). And it is LOUD! but definitely Crimson, definitely worth its money even though most of it is re-recorded for THRAK. VROOOM (the song) reminds me of "Red", of course, and of "Lark" parts 2 and 3, but - I hope at least in this I will be original - for a second it definitely reminded me of the opening of Sergeant Pepper's!! A final note: any other Belgians or Dutchmen on Elephant Talk? Who's going to be in Brussels on 14 May? See you there! Erik Matthysen, matthys at uia dot ua dot ac dot be "I want something that I can get my teeth into in a different way" - The League of Gentlemen [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon Mar 20 11:41:33 1995 From: atoth at is1 dot ulb dot ac dot be Subject: Fripp, Frith and Univers Zero I am not surprised that Crimheads show considerable interest on first hearing the works of Fred Frith and Co. Apart from the titles already mentioned in the previous ET issue, I would highly recommend to them Frith's first Guitar Solos album from 1974 or 1975. I would not say that the whole of the album is the pure wonder that we got used to with Fripp, but there is one particular piece on it (I think the last one, entitled "Birds" or something) which is hauntingly reminiscent of Fripp's own experiments with loops and fast picking guitar techniques. "Reminiscent" is not the proper word to use, since it really *preceeds* our master's aforementioned experiments, which start only at the end of the seventies. However, Frith does not carry on the idea to his later works, for him, this technique is just an avantgarde experience as the others he is continuously involved in. As for the relation between the two musicians, to my knowledge, it is limited to one of Brian Eno's solo albums in the second half of the seventies ("Before and After Science", I think). Although they both play on the album, they might not even have met during the recording session. From Frith's part, I am in a position to assure that he does not show any particular interest in Fripp's work. I made an interview with him for a Hungarian avantgarde paper called "Magyar Muhely" (Hungarian Workshop) in October 1994, and after the "official" questions I asked a private one: "Do you have any relation with Robert Fripp?" He seemed to be surprised by it, as if such a ridiculous idea had never occured to him, and shaking his head he uttered the word "No." And that was all. While I am at it, let me recommend another even less known group who are sure to win the enthusiasm of Crimheads particularly interested in Fripp's more grandiose compositions like The Devil's Triangle, Fracture or Starless. They are Belgian and their name is Univers Zero. They published five albums from 1978 to 1991, and for the moment they seem to have vanished without trace. The only thing that shows they have ever existed are the albums, which I am almost certain you cannot find in America, only order them from certain record labels, like Recommended Records founded by Chris Cutler. If anyone is interested in the address, feel free to write to me. But coming to the music, imagine gigantic, twenty-minute crescendos and intricately composed instumental pieces admittedly inspired by the mythology created by H.P.Lovecraft in his novels. I especially recommend the albums "Heatwave" and "Uzed", because the music and instrumentation is closest to what we got used to with King Crimson. They have an incredibly dynamic rhythm section (bass+drums), complemented by a little orchestra composed of various string and wind instruments, so that the rock and classical sound are marvellously amalgamed. They play from partitions written by the drummer and leader of the group, Daniel Denis. Their first and and their last album, "1313" and "Heresie" are only for Univers Zero fans, because on the former they had not yet found the direction to follow, and the latter is like a soundtrack for a horror movie rather than music that stands on its own. But on the three other albums, almost every piece is equal in grandeur to Fracture and the aforementioned Fripp classics. I think it's really worth trying to find them. Andras [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 95 12:11:53 +0100 From: Riccardo dot Capobianchi at aar dot alcatel-alsthom dot fr (Riccardo Capobianchi) Subject: Alert! Missing voice in LTIA II remix Maybe this has been discussed before, but I was comparing the Definitive and "normal" CD editions of LTIA, and I noticed that the very last few seconds of the last track (LTIA Part II) are missing in the Definitive Edition! The track fades out at around 7:05, while in the non-remixed version you can hear a voice saying something I don't understand; in the original LP it was the same. Does anyone know what the voice is saying, and why it's been faded out ? Also, how many other differences exist between the definitive and previous editions of KC CDs (apart from the Islands coda) ? Those missing bits cause me big problems when I have to decide if I have to replace all my old KC CDs :-) Riccardo [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: questions and answers Date: Mon, 20 Mar 1995 10:28:09 EST From: John Saylor ET 173 had some inquiries that I can help with: [x] >From: ba07693 at bingsuns dot cc dot binghamton dot edu >Perhaps someone out there could tell me what the >Roches sound like? They sound like no one else. A few hints may help. Since they are sisters, they come from the same genetic pool and their voices, while distinct to the careful listener, blend marvelously. Their music is based in "folk music" [guitars and vocal harmonies], but they have their own spin on it. It is probably not too helpful to use the word "quirky" but that's as good as I can do right now. Also Maggie [the oldest sister] is a great "rock 'n' roll poet." By that I mean that she writes short verses that are packed with meaning and her sense of word play [specifically using a word with multiple meanings and incoporating many of the multiple meanings into the poem] is simply exquisite. I remember reading something where Fripp asked her if the words she wrote were based on her actual experience to which Maggie replied, "Yes Robert, everything I write is true." Also Terre [middle sister] has an incredible vocal workout on the title cut of Exposure. >From: BMomchilov at aol dot com >Recently the local Fox network affiliate broadcasted some sanitized, >homogenized documentary from Time-Life called,_The History of Rock and >Roll_. >After an interview with Brian Eno, the camera >pans back on a black & white photo of Eno, David Bowie and Robert Fripp. >However, the name under Robert Fripp says: Tony Viscounti. >So now I'm confused. Was this a fairly typical mistake, or does Fripp have >an alias?? ;-) Can someone help me out on who this Tony Viscounti guy >is/was?? Um, without having seen the thing, I can't say if it was Viscounti or not. He [Viscounti] was involved with Gentle Giant, another prog british band of the sixties-seventies. I think he was their producer, but also may have played and even wrote some of the band's material. I don't think Fripp is the kind of guy to take a psuedonym. After all, Fripp is such a great name! >From: JDEhm at eworld dot com >In issue #172, Chris Pardua asked about Fripp's _Exposure_ and whether it >was worth getting. >The musical >content is outstanding: especially Gabriel/Fripp's reworking of Gabriel's >_Here Comes The Flood_ and Daryl Hall's vocals on _You Burn Me Up I'm A >Cigarette_ are smokin' (pun intended with acknowledgement to _The >Mask_). I heartily second this. Exposure was the record that turned me on to Fripp in a big way. It is more of an art album, in that there are conversations [and other "non-musical" material] spliced into the music. And the whole thing is one big piece even though it can be broken into smaller parts. Peter Hammill sings quite well on it. I think of it as a snapshot of Fripp's musical vision- perhpas a bit outdated, but still quite relevant to any who want to understand his music. jsaylor [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 10:45:56 -0500 (EST) From: Sanjay Krishnaswamy Subject: Boston KC Just thought I'd respond to the one or two depairing fans in the last ET. KC will be at the Orpheum (Near Park Street station, college kids. . . . ) on June 2 -- Tix went on sale last Saturday so, go get 'em. The "original members" advertising on the radio and the use of exclusively songs off "Court of the Crimson King" to promote the event mystifies me, too, but, go figure. _______________________________________________________________________________ Sanjay Krishnaswamy skrishna at opal dot tufts dot edu skrishna at diamond dot tufts dot edu _______________________________________________________________________________ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 09:34:46 -0700 From: Paul Martz Subject: drums -- tours -- maturity Just wanted to comment on a couple things, and I'll keep it short in light of Toby's recent plea to keep the size of the digest down... Yes, it's sad KC aren't touring the southern US and Australia. But for three consecutive digests now I have read whines, pleas, and complaints on the size of the current tour. Certainly the majority of the people reading this digest have no control over where KC plays! Your desires would be much more efficiently voiced direct to KC's tour management... As far as Marotta v Bruford goes, I strongly feel they are both excellent drummers. They both have different styles. Many people seem to be under the impression that any given drummer must have the same style as Bruford, or they are "weak". I couldn't disagree more. I'm sure Bruford himself would disagree with this sentiment. And with members of the band possibly reading this list, how would you feel if you were Marotta, about to embark on a world tour, playing to people who felt you were a lesser musician? Let's get some manners and show some maturity and respect, folks! -paul pmartz at dsd dot es dot com Evans & Sutherland "Be bright! Feel right! Take Eno!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 10:12:54 -0700 From: Paul Martz Subject: me again, about drums again > 3. Whoever thinks KC could exist with out Bill Bruford is wrong. It just > wouldn't be the same ....'nuff said. Why "'nuff said"? I don't understand this mentality that Bruford is God. Certainly he is an incredible musician, and one of my favorites at that. But to go from that statement to say that KC would crumble without him is a leap of logic that I don't quite follow. The statement that KC "wouldn't be the same" without Bruford is obvious. But this implies that each album of KC is "the same" as all the others, and I think anyone would disagree with this! Though KC would be different without Bruford, why would it no longer be KC? One of the things I love about KC is their evolution and change. Certainly KC has existed without Bruford at points in the past. What is so odd about the concept of a future KC without Bruford? -paul pmartz at dsd dot es dot com Evans & Sutherland "Be bright! Feel right! Take Eno!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 11:10:33 -0600 From: Glenn Astarita Subject: Bruford/jazz Hi all, FYI...Picked up "Burnin for Buddy" recently. This cd is a 1994 release which features an assortment of superstar drummers paying homage to Buddy Rich ! Each drummer gets a shot or two backing the Buddy Rich big band. Excellent stuff...Bruford contributes an original composition called "Lingo". He plays on it of course..Real good tune with some dynamite trademark licks from Mr B.. Glenn [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: dhollist at iphase dot com (David Hollister) Subject: San Diego Date: Mon, 20 Mar 1995 12:04:42 -0600 (CST) Well, living in Texas does suck for concerts, but I'm seriously considering going to San Diego. Anybody know when/thru whom San Diego tickets will be available? [ Please ask the KC management, not ET -- Thanks, Toby ] Please let me know! Thanks. -- David Hollister Software Engineering dhollist at iphase dot com Interphase Corp. Dallas, TX 214-919-9303 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 12:37:29 -0700 (MST) From: DIXONE at yvax dot byu dot edu Subject: Primus & KC Someone commented in the last ET about a KC influence on Primus. I've heard them cite the influence before and also mention KC in a couple of offhand remarks. In one Rolling Stone interview, they were discussing how some fans call Primus' music "funk" just because Les Claypool slaps the bass sometimes. They thought that was pretty funny, and I believe it was Larry (the guitarist) who said (paraphrasing) "I've seen Levin slapping. Does that make Crimson a funk band?" I also happened to read a notice in Rolling Stone once that mentioned a Primus concert in California in which they played a 15-minute version of "Thela Hun Ginjeet." Also, compare the bass lines on KC's "Elephant Talk" and Primus' "Jerry Was a Racecar Driver." What a great Levin rip-off. So, the influence is there, although I'm not sure what Fripp would think of Primus. I like them, though. Eric D. Dixon dixone at yvax dot byu dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 14:26:12 -0600 (CST) From: Damon C Capehart Subject: re: thrak review Darnit! I just read the review of THRAK in ET173 and realized that "Internet" - the stick duet - didn't make it on the CD! AUGH! If the CD is less than an hour long, they could have fit up to 20 more minutes of music on it! *Surely* Internet was not 25 minutes long.... ah, well. If there's a single released, perhaps it'll end up as a B-side. Argh. Damon Capehart | "SALESMEN!!!" -- Rush dcapehar at utdallas dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 14:34:13 -0600 (CST) From: Damon C Capehart Subject: Re: Elephant-talk digest v95 #173 JD Ehm suggested that a fellow ET subscriber purchase Lone Rhino, by ABelew. Instead, I would suggest Desire of the Rhino King, which contains 70+ minutes of the best music from AB's first 3 solo albums (LR, Twang Bar King, Desire Caught By the Tail)... and it's priced as a single CD, too. Damon Capehart | "SALESMEN!!!" -- Rush dcapehar at utdallas dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 15:48:11 -0500 From: belier at riq dot qc dot ca (Francois Angers) Subject: Quebec City date!!! Hello! It's seems likely that Crimso will play a concert in Quebec City on May 28 at the Grand Theatre. There may be a possibility of one more show on the 29 aas the Grand Theatre has only a capacity of 1800 seats. Tickets should go on sale in about a week and a half. Bye F.A. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Steven M. Hill" Subject: Henry Cow / KC Date: Mon, 20 Mar 1995 09:51:16 +0000 (GMT) Just for the record, Henry Cow were formed in the late 60s. Before they got a recording contract with Virgin, they did some Peel sessions and gigs. In those days the band were very different from the band on the first Virgin lp. They were closer in spirit to other Canterbury bands, ie. song orientated instrumentals. I have a tape of one of the Peel sessions from 1971 (I think) and it's quite an eye-opener. If you can track it down, there is a Box set of the 3 virgin lps, entitled "The Virgin Years" this contains much biographical detail and a really amazing family tree of the Canterbury scene from the late 60s to the 80s. Of course the music is also a must for fans of the KC 73/74 period band. I belive April 3rd is release date for THRAK in the UK. Steve M. Hill [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 22:51:15 -0500 Subject: CGT tour dates The California Guitar Trio will be on tour in Europe supporting their new CD "Invitaion". The Italian leg of the tour will feature Tony Geballe (solo 12-string guitar) as support act. The tour dates are listed as follows: CALIFORNIA GUITAR TRIO - 1995 "INVITATION" TOUR (EUROPE) PROMOTERS: ITALY: CLAUDIO DE ROCCO (MUSICADA') TEL (39) 55 822 8448 FAX (39) 55 822 8388 GERMANY: BERNI JUGEL TEL (49) 89 480 7410 FAX (49) 89 480 1116 DATE CITY VENUE MARCH 27 MON PALERMO, ITALY TEATRO CRYSTAL 28 TUE ALCAMO, ITALY AUDITORIUM SS. SALVATORE 29 WED TRAVEL DAY 30 THU TARANTO, ITALY CIRCOLO ILVA (MASSERIA VACCARELLA) 31 FRI LEVERANO, ITALY LOCANDA DI LU QUARTARARU APRIL 01 SAT MARGHERITA DI SAVOIA, IT TEATRO DELLA SCUOLA (EARLY CONCERT) 01 SAT MARGHERITA DI SAVOIA, IT SOLA BIBLIOTECA COMUNALE 02 SUN PESCARA, ITALY BASE CLUB 03 MON TBA 04 TUE TBA 05 WED FERRARA, ITALY CIRCOLO ARCI NOVA RENFE 06 THU PONDERANO, ITALY BABYLONIA 07 FRI TBA 08 SAT ROMA, ITALY PALLADIUM 09 SUN VERONA, ITALY IL POSTO 10 MON TBA 11 TUE SARZANA, ITALY CINEMA MODERNO (SUPPORTING DAVID TORN) 12 WED LINZ, AUSTRIA POSTHOF 13 THU TRAVEL DAY 14 FRI 15 SAT BREMEN, GERMANY KITO 16 SUN DELIGSEN, GERMANY ACID TOWN 17 MON BERLIN, GERMANY PFEFFERBERG 18 TUE INGOLSTADT, GERMAY NEUE WELT 19 WED INNSBRUCK, GEMANY UTOPIA 20 THU NURNBERG, GERMAY LGB 21 FRI MUNICH, GERMAY VIRUS DER LADEN 22 SAT ANSBACH, GERMANY KAMMERSPIELE 23 SUN SCHEINFELD, GERMANY SCHLOSS SCHWARZENBERG 24 MON AUSBURG, GERMANY THEATER SPIELKUCHE 25 TUE TRAVEL DAY 26 WED MILAN, ITALY RECORDING SESSION WITH ITALIAN SINGER 27 THU TBA 28 FRI TBA 29 SAT TBA 30 SUN TRAVEL DAY MAY 01 MON DORNBIRN, AUSTRIA KULTUREHAUS [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 20 Mar 1995 21:24:07 -0800 From: fbellinger at pluto dot scripps dot edu (Rick Bellinger) Subject: World Diary, Robert Visconti. I noticed several people asking or commenting about Tony Levin's upcoming solo release. I just wanted to point out that there is a Chapman Stick web page on the net that features, among many other things, an article about Tony and Trey Gunn. This article contains part of a letter from Tony to Emmett Chapman regarding KC and his upcuming collection of duets. There is a link to the stick page in the ET FAQ (its a little hard to find; Toby, why not also put the link at the bottom of the main page with the rest of the 'links to other pages'?) If you can't find it, its at ftp://ftp.netcom.com/pub/va/vance/stick.html with a mirror site at http://waynesworld.ucsd.edu/ICR/users/pvallado/stick.html. Tony Visconti is a producer in the UK who was somewhat active in the 70s when prog rock was big (or at least bigger). The only vinyl I can think of with his name on it is Rick Wakeman's 'Rhapsodies' album, although I'm sure I've seen his name elsewhere. (I think he may have worked with David Bowie, but I don't have the right albums at this time to check.) As far as I know, he shares no relation with Mr. Fripp. Although I've never seen a picture of him, I'm fairly certain T. Visconti is not an alias for Mr. Fripp, since his production values are somewhat cheesier. The above-mentioned album features a 'disco' version of Rhapsody in Blue who's arrangement is credited to Mr. Visconti. I would therefore conclude that the photo labels you saw were a typical record label blunder. rick \\\ \\\ \\\ \\\ The midd\\\of the road is a dan\\\ous place to stand. \\\ \\\ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Re: Robert's online conference Date: Tue, 21 Mar 1995 11:02:52 EST From: Michael Murphy In Elephant-talk digest v95 #173 i read: > From: Udo Dzierzanowski <73064 dot 1470 at compuserve dot com> > Subject: Robert's online conference > > KING CRIMSON CONFERENCE 23-MAR 8:00 EST - (New York Time), this is 1.00AM > UK time > Well, i'd just like to beg and plead of anyone who actually "attends" this and gets to talk to Robert, to *PLEASE* ask him about the apparent lack of tour dates for the lower half of this country, and to put in a plug for us poor souls down here who will very likely MISS this Crimson if they don't add a few southern dates!!! If not Florida, then at least Atlanta, New Orleans, and Houston. Thanks in advance. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Dave Lane/SPC Date: 21 Mar 95 13:23:07 EDT Subject: Thrak instrumentation Smuffy at aol dot com wrote: >Musicians' Credits as follows: >Robert Fripp - Guitars, Soundscapes, Mellotron ^^^^^^^^^ Really? Even the Moody Blues these days have their auxiliary backup keyboard guy playing a phony digital simulation of their old mellotron sound. >Adrian Belew - Guitar, Voice, Words >Bill Bruford - Acoustic & Electric Percussions >Tony Levin - Upright & Electric Basses, Backing Vocals >Trey Gunn - Stick, Backing Vocals >Pat Mastoletto - Acoustic & Electric Percussions > >I saw this posted in a local prog-rock fanzine, so the info might be what >we often refer to as "of questionable credibility". Anyway, thought it >might make for some lively conjecture. No Stick from Levin, the master of the instrument? Dave Lane dalane at bbn dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 21 Mar 1995 17:25:40 +0600 (CST) From: Chris Pardua Subject: _1000 Years_ If you're in the Chattanooga area, you might want to check out the Blockbuster Music outlet behind Hamilton Place Mall. They stock virtually everything related to King Crimson...they even had Trey Gunn's _1000 Years_, which I bought mainly because they stocked it (but also because I've read some great things about it on here). It's truly a wonderwork--Trey, thank you for your music and your effort. I know nothing about the Stick, but my interest is definitely peaked! BTW, I don't work there, and they didn't pay me to post this. Just thought I'd help anyone who's struggling to find KC and KC-related stuff; sorry if this was out of protocol. Thanks, Chris Chris Pardua "It's always funny until someone gets hurt, pardua at mc dot edu And then, it's just hilarious." -- Faith No More [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 21 Mar 1995 19:16:06 -0500 From: KB305 at aol dot com Subject: more THRAK review First of all: Everyone set up your VCR now. King Crimson on David Letterman May 19. There. I want, now that I've spent a lot more time with it, to tell you all more details about THRAK. First of all, I'm really surprised at the number of Beatles references here.I suspect these come courtesy of Adrian... For example, the arpeggios spelled out with many guitar parts on 'Dinosaur'. Any other band would probably need to overdub a lot to create this sound, but KC has four string players. The part in question resembles harmonically the Mellotron part 'Bb-E...' in 'Cirkus'. 'Walking On Air', besides bearing a stronmg resemblance to both 'North star' and 'Matte Kudesai', aslo owes a bit to 'Don't Let Me Down'; same E-F#m sort of root progression, but with the moving lines and harmonic colors as the other songs mentioned. 'People' has a Dm riff of gargantuan proportions a la 'I Want You (She's So Heavy)'. I mentioned, in my previous post, the string sounds found at odd 'clearings' in the music. According to the Virgin sales solicitation, Robert is playing Mellotron. (How dinosaur-like.) In 'Dinosaur', however, there is clearly some guitar-synthesized MIDI woodwind sounds, which are very well done. A closer listen to 'B'Boom' reveals it to be more than just a drum duet; there are a lot of very subtle electronics here, especially in the opening. If these are somehow controlled by Bruford and Mastellato, (which I suspect), then I am baffled at how they do this, and impressed at how musical it all is. Lastly, I want to impress that even though most of VROOOM has been rerecorded here, the new versions are far superior; I can't wait for the CD so I hear can hear the layers upon layers of detail that this advance tape only hints at. VROOOM VROOOM and its Coda are not at all like VROOOM; to put it bluntly, they're evil motherfuckers. I can't wait to see them! Kevin [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 22 Mar 1995 00:33:55 -0600 From: cheevy-james at mail dot utexas dot edu (james hines) Subject: First Entry Hey Crimso's! This is the first time for me to express myself on this wonderful newsletter. When I first saw the page on the web I freaked, but then I checked the tour dates and almost cried. If they're going to include any more cities on the tour, PLEASE post the dates asap. Since (at the moment) KC isn't coming to Texas, I'll prob. have to go see them in Denver. Does anyone know when tix go on sale for that show? I want to praise all of you for being really mature people. I WAS subscribed to the Dream Theater net mag (ytsejam), but a lot of those people only bitch & moan; so I got off it, mostly 'cause it cluttered up my mail box. I'm really excited about THRAK; I love VROOOM. I also agree that everything of KC's stuff is damn good-I haven't heard Earthbound yet. Also, what videos are available in any country? Did KC do a pay-per-view on the 3 of.. tour? Thanx to the preview of THRAK. James Hines cheevy-james at mail dot utexas dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 22 Mar 95 13:24:07 -0500 From: pgilbert at eccdb1 dot pms dot ford dot com (Peter N. Gilbert) Subject: krimson in ann arbor, michigan oh boy. my first post to this list and it is good news! Krimson will be at the Michigan Theatre in Ann Arbor on June 10. Tickets go on sale this saturday (3/25) at 1000. This is a change to what had been posted earlier on this list and on the web site. looking forward.... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 22 Mar 1995 09:13:12 -1000 From: Jon Jackson Subject: Michael Brook I'm wondering if any of the readers of Elephant Talk can tell me how it is that Michael Brook was chosen as second guitarist for the Sylvian/Fripp tour a year or two ago? I've introduced this question elsewhere, and it's led to interesting discussions of the history of Brook's career and of the "infinite" guitar. But, what I want to know is...how excatly did he get involved with Sylvian & Fripp? Who approached whom? Etc. I think he was a brillian choice, by the way.... Jon Jackson jjackson at uhunix dot uhcc dot Hawaii dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "ToddM" Organization: LaserMaster Corporation Date: 22 Mar 1995 13:22:43CST6CDT Subject: Crimson Luckily I've got my ticket for the state theatre show in Minneapolis. It's awful that the disc is already out in some parts of the world, yet we have to wait a month for a release in the states. ToddM - Associate Technician LaserMaster Technical Support Services ToddM at laserm dot lmt dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: metivier at stu dot beloit dot edu (Sarah Metivier) Subject: KC in Chicago? Date: Wed, 22 Mar 1995 19:01:46 +22305458 (CST) Dear Fellow ET-ers, Does anyone know when Crimson tickets for the Chicago show go on sale? I heard from someone that they're already sold out, but I've been following ET very closely and never even heard about them being available. Somebody *please* tell me they haven't gone on sale yet! I was 7 years old the last time they toured, so I've never had a chance to see them in action. Any info you can provide me with is much appreciated....feel free to e-mail me to save space on ET. Thanks, Sarah metivier at stu dot beloit dot edu *aka Lady of the Dancing Water *aka Formentera Lady *NOT* aka Lady of the Road :) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 22 Mar 1995 23:01:29 -0500 From: DrOnyx at aol dot com Subject: The Night Watch I would like to learn "The Night Watch" on guitar, and I need some help. I'm not looking for note for note tablature, just the chord changes. Can anybody help me out? Please post to Matt Love at DrOnyx at aol dot com Thanks! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: David Maclennan Subject: Indiscipline - Live In Argentina Date: 23 Mar 1995 16:33:44 +1200 OK I know "Thrak"'s not been released yet (at least not in this part of the world) but is there any indication as to when the live set "Indiscipline: Live in Argentina" will be out? I assume it will be a few months off. When was it recorded? Enjoyed Robert Fripp's informative essay in ET173! I see the occasional reference to a Japanese video of the 80s KC in concert. Is this still available, and if so, where from? Any chance of a video of the current lineup in action, e.g. through DGM like the RFSQ one? Good to see a few Henry Cow fans out there. IMHO, they were second only to the 72-74 KC. Finally, I see a lot of references to KC bootlegs, of which I believe there's quite a number. Is there such a thing as a consumer's guide to these anywhere? I for one would be interested in any 72-74 era bootlegs that contain improvs that aren't included in "The Great Deceiver". Cheers, David Maclennan (KC>NZ in '95!) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 23 Mar 95 11:42 PST From: twagahoff at eckert dot acadcomp dot monroecc dot edu (Tony Wagahoff) Subject: Buffalo tix I just heard thru a friend in Buffalo that as of about noon there were only 7 tix left for the May 26 show. If any of you out there are interested, better haul ass. --tw ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Tony Wagahoff (716) 292-2534 (v) Monroe Community College Student Center (716) 292-5792 (f) 1000 E. Henrietta Road twagahoff at eckert dot acadcomp dot monroecc dot edu (e) Rochester, NY 14623 "Do you know the Muffin Man?" ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Date: Thu, 23 Mar 1995 21:25:42 -0500 Subject: Montreal date does anyone have confirmation of the Montreal date on May 27? Also, what is the capacity for the gig site? I want to get good seats so I want to call in as soon as possible on the other hand if the capacity is very large I might wait and get tickets at the door. Why doesn't KC play SPAC, it is perfect for a band such as this. It was actually designed for music (not Football, or some other sport) And since they are a musical band (meaning they care about the way their music sounds) this would be an ideal place. well it's goodbye. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Phillips Bob Subject: SF shows sold out Date: Thu, 23 Mar 95 20:38:00 PST From: Bob Phillips To: Elephant Talk As of today, three months before the event, both San Francisco shows (June 24 and June 25) are apparently sold out !!! In addition, there is apparently no San Jose show planned. Pretty disappointing to those of us who waited a couple of days before trying to getting tickets. Almost as bad as living in Texas. (just kidding - show mercy). [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] ----- 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.cs.man.ac.uk, in /pub/toby/elephant-talk, and at the USA mirror site: ftp.qualcomm.com, in /pub/et. EMAIL: The Elephant Talk archives are also available via email. To get an index send: "index discipline" "index elephant-talk" to listserv at arastar dot com and to retrieve files (in this example, the discography, discipline #63 and elephant-talk #148) send: "get discipline discog" "get discipline discipline.63" "get elephant-talk et.148" to listserv at arastar dot com (send email to kbibb at arastar dot com if you encounter problems with the email archives). ** WWW http://www.cs.man.ac.uk/aig/staff/toby/elephant-talk.html ** LEGALESE The views expressed in Elephant Talk are those of the individual authors only. Elephant Talk is released for the personal use of readers. No commercial use may be made of the material unless permission is granted by the author. Toby Howard, Elephant Talk editor. http://www.cs.man.ac.uk/staff-db/toby-howard.html toby at cs dot man dot ac dot uk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]