Elephant Talk #182 (as text)

20 April 1995



Date: Wed, 19 Apr 95 09:23:22 CST
From: "DANIEL A. KIRKDORFFER" <E#KIRKD at ccmail dot ceco dot com>
Subject: INTERVIEW: Fripp interview in Rock & Folk (Part 1)
Fellow Parleurs en Elephant!

The May issue of the French magazine "Rock & Folk" has a interesting 4 page
interview with Robert Fripp about himself and King Crimson.  It includes an
arty photograph of the new band.  Az iem shorr mozst eeetee ridders arr nit
fluint whiz ze languige Francaise, I thought it would be good fun to
translate and transcribe this interview into English for y'all (and to
practice my very rusty French).

(Disclaimer: The following is an example of what you get when you translate
English into French and back again into English (especially when I do the
translating!).  I have tried as best I can to choose words that Fripp would
most likely have used when translating, but at the end these are as much my
words as they are his, so I question the value of quoting any of this -
paraphrasing would be more appropriate.  Still, it is an interesting
interview that I hope ET readers find was worth the effort to translate -
beaucoup d'heures et quatre dictionaires.)

Following the usual interview introductions and habitual musician's bio,
and an explanation that Fripp was against doing interviews but that he was
making an exception here, Fripp begins (note: all ellipses are copied, not
added):

Fripp >> I began playing guitar December 24, 1957.  My mother and I were
shopping the day before Christmas, in a little town near Wimbourne, and we
qfound an Egmond Brothers.  A lady had returned this guitar to buy another
more expensive one.  It was a terrible instrument, and impossible to press
the strings beyond the 7th fret.  It demanded a colossal physical effort
that I had to integrate into my technique.  I took me more than 13 years to
get rid of the damage that could have been forever irreparable.  The
beginnings were primordial.  One year with this instrument was enough to
mess up my playing.

Don Strike, my future teacher, lived only a few minutes from my home.  If I
had known him earlier, he would have found me another instrument, but
unfortunately the shop keepers were only there to make money.  After three
months of self-teaching, I met Kathleen Gartell, a Christian woman in the
Salvation Army, who ran a music school to keep young children with nothing
to do busy.  A few weeks later I had already mastered everything she could
teach me, and she recommended Don Strike to me.  Three years ago, I
received a letter from her, following the death of her husband, to
congratulate me on my marriage to Toyah.

At 12, I changed guitar to a Rosetti a little less atrocious.  Don then
taught me the basics of the guitar, since Kathleen being a pianist, could
not teach me any technique.  Don's teachings were based on the Big Bands of
the 20's.  A multi-instrumentalist, he also mastered Hawaiian guitar,
banjo...His wife would often appear in a flashy skirt to do a little
hula-hoop...A real character who taught me a great deal by connecting me to
tradition.  One can only learn the guitar alone, all good teachers know
that.  But a good teacher puts an apprenticeship in an historical
perspective.  I remember from the very beginning having developed the
technique of cross-picking, that no one was using at that time.  At 14, Don
Strike told me it was time I played in a band, and the Ravens was my first;
since then I've spent 33 years and 9 months on the road.  I also started
giving guitar lessons at the age of 13 at Mrs. Gartell's school.  At 17,
another music store asked me to give guitar lessons. There was a convivial
aspect, with all these musicians gathering at Don's home, discussing
things...He then asked me if I would like to handle all his students.

At the time, the importance of this request didn't seep in.  He was a very
proud man, and what he had just done must have cost him.  From the age of
16 to 19 I worked with my father in real estate.  At university I learned
economics, political economics, history and political doctrines.  To
survive I played in a Jewish hotel in Bournemouth.  Andy Summers had just
left this big band to play with Zoot Money.  At 20, I realized that I had
to make the decision to become a professional musician and to dedicate
myself completely to it.  I played with The League Of Gentlemen in the
region of western England.  I'd close the office at 6 and jump in the truck
for some far off town.  At 8 we would be on stage, playing our takes of the
Beatles and the Four Seasons, complicated instrumentals of the "Orange
Blossom Special" type by the Spotnicks.  I ignored the fact they had sped
up the tape and tried to play as fast...I was rarely at home before 2 in
the morning.  On the way back I'd practice my technique, diatonic arpeggio
exercises, I'd fall asleep and often wake up with my hand still in the
process of playing...

Rock & Folk >> In your life as well there has been a need for a break, when
in 75 after the dissolution of King Crimson you declared: "the time has
come for mobile units..."  Is it really possible to start from scratch in
music?

Fripp >> Why guitar lessons?  Because I had the time to give them.  I gave
them at age 13, 17, 21 and 28...I know I will give more lessons or reform
King Crimson.  Every 7 years there are some changes in my life, it is
irrational but it happens in music too.  Two things allow us to
characterize these changes.  The effect of surprise: "how could that have
happened?"  And the sense of the inevitable: "how could that not have
happened?"  One recognizes the change by the sense of surprise, the
rationality then constructs a notion of inevitability.  At certain moments
in my life, I pulled back from the noise and the confusion to allow the
future to present itself and it has always worked.

When King Crimson finished touring in 84, I isolated myself for 3 months.
The result: I met my wife, a wonderful surprise, and the Guitar Craft
seminar, another wonderful surprise.  People asked me, "Why did you propose
to marry this woman?"  Well, because I knew it was my wife.  "How did you
know?"  How could I not have known, there is a resonance...I proposed to my
wife who very kindly, and generously accepted, and May 16 1986, the day of
my 40th birthday, we were married at the Fripp family church where my great
great great grandfather died in 1752, and my father is also buried, joined
by my 92 year old mother...Since 86 until 91 when Guitar Craft played in
Europe, I only dealt with personal affairs, I was not making any money from
my record company.  In 91, EG, my own label, took me to court and menaced
me...I've spent these past 4 years in judicial battles with BMG and Virgin
Publishing, and with my management, EG, who betrayed all of its artists by
selling its catalog without compensating any artist with royalties.

Four years of my life on the brink of bankruptcy, because my record company
EG was also my manager since 69, a judicial aberration that could not happen
today.  These people had access to everything related to myself and totally
controlled my interests.  My tour with David Sylvian in 93 was a breath of
fresh air, the first in many years.  In July 93, my dear mother passed away
while holding my hand.  Following that I put King Crimson back on its feet.
Bill Bruford still being managed by EG, I had to wait until he was
freed...That was four years of darkness, of nights spent faxing the world
until dawn, of holding together with coffee...I made it through thanks to
Discipline Global Mobile, my new label, putting into practice my theories
>from 20 years ago...When I spoke of leaving the prehistoric world, of the
need for new mobile units, of reducing production and distribution costs, I
was hoping that EG would understand that I was also addressing myself to
them...But there you are, too bad...My label doesn't have the money to do
promotional work, but one of these CDs can, by selling for 10 times less
than a disc produced by Virgin, bring in as much money.  Furthermore, the
artists on my label give me nothing, they pocket 100% of the earnings...

Rock & Folk >> "In The Court Of The Crimson King" was a real stepping stone
in the agonizing pool of Swinging London.  What was that monster on the
cover?

Fripp >> Barry Goldberg was not a painter but a computer programmer.  That
painting was the only one he ever did.  He was a friend of Peter Sinfield,
and died in 1970 of a heart attack at age 24.  Peter brought this painting
in and the band loved it.  I recently recovered the original from EG's
offices because they kept it exposed to bright light, at the risk of
ruining it, so I ended up removing it.  The face on the outside is the
Schizoid Man, and on the inside it's the Crimson King.  If you cover the
smiling face, the eyes reveal an incredible sadness.  What can one add?  It
reflects the music.  I was never impressed by heavy metal.  Nobody at the
time sounded like us in concert.  For me "Schizoid" was the first heavy
metal track, that sound of an electric saxophone going through a Marshall
amp...As for Michael Giles, he was a phenomenal drummer.  No rock drummer
could touch him in 69.

Rock & Folk >> What was rock like back then?

Fripp >> I was a young man without work signed to Decca.  I arrived in
London in 67 with Sergeant Pepper's bubbling inside of me.  Hendrix, Bartok
string quartets, an experience of passionate music...That was the power of
rock in those days, without money, without the support of record companies.
We were punky, like each new generation.  It was the time of the student
demonstrations in Paris, of Vietnam...Rock music spoke directly to youth.
There was a sense of community, not yet of distance between the public and
the artist...It didn't survive 1970.

Rock & Folk >> Did you know that Kurt Cobain was a big fan of your album
"Red"?

Fripp >> I found out through John Wetton last year.  The producer of the
first Nirvana records told him: "I saw King Crimson in 74, I was 16 and I
thought I saw God."  He told John that "Red" was an important record to
Kurt.

Rock & Folk >> Why did you release "Vrooom" on a small label?

Fripp >> The deal with Virgin simply wasn't signed yet.  We recorded our
rehearsals and we have already sold 50,000 copies in the States.  The major
labels are dinosaurs, a big body and a little brain.  Virgin is headed by
someone I admire and who is a little more human than the others. The
problem is that it doesn't do any good to promote the music, you have to
let it speak for itself and make it available...There will be other new
King Crimson records on my Discipline Global label..."Thrak" released on
Virgin is my best record since 79.  But a live record will soon be out of
the band recorded in Argentina.  Since people like bootlegs, let them at
least buy a good one, recorded and mastered in digital in three weeks by
Robert Fripp and David Singleton...I started recording our concerts in 72
with magnetic tape...

Rock & Folk >> Why was "Thrak" recorded in Peter Gabriel's Real World
studios?

Fripp >> It's the only place in the world that I like recording.  The
studio was built with thought to the quality of the music and it shows.
Gabriel spent 5 million pounds on this studio.  Thank you Peter Gabriel.

Rock & Folk >> What will the new live show be like, will there be a
retrospective dimension, inasmuch as "Thrak" renews a lot of the 70's
Crimson sound?...As if one shouldn't be ashamed any longer of being
progressive...

Fripp >> In 81 I had a very clear idea of the way that Crimson should have
sounded, but at the end of a year of touring, Bill and Adrian wanted to make
changes.  I asked Bill to use an electronic drum kit and to no  longer hit
the cymbals.  As for Adrian, I asked him to modify his approach to the
guitar...But at the end of a year, the cymbals had reappeared...Some people
say Fripp is a dictator, but see, I've always made concessions, and in any
case you can't tell musicians of that stature how they should
play...Especially since the money is split equally by each member of the
band.  As for your question about being progressive, during the 81-84 period,
there were in fact some things that one couldn't envisage anymore.  Certain
prejudices against the word "progressive" (which is not one for me and that I
never use) have since disappeared.  When we started we didn't say that we
were punky, but in 77 that became possible, the same is true concerning
progressive music...

The act of musical performance in a commercial context is quasi impossible.
No book exists to address the complexity of this question.  If I walk on
stage with the idea that I am in the process of promoting my latest record,
then the music is already dead.  The same goes for interviews.  I cannot
conceive of interviews as a means to promote my music.  All that matters is
the quality of the performance, which involves a number of things.  If I'm
in a classic 3000 person theater hall, how do I play knowing that I don't
hear the musicians well, that a part of the audience is too far away to see?
 Not to speak of the people on the sides who can't hear well...The
traditional post-napoleonic theaters were created to separate audience and
artist, so as to ease the idea that the artists are gods, but also to make
distinctions within the audience itself.  The rich in front, the poor
behind, the very rich people with mistresses in the little boxes above.  The
traditional theaters were created so that nothing and no one communicates.
Its catastrophic...

Rock & Folk >> That leaves drugs...

Fripp >> They open the door an instant, but afterwards that door closes
itself, the musicians know the price they must pay, the public does too...

Rock & Folk >> You still have no idea what you are going to play in less
than a month.  Of what you would like to play/not play, will there be more
>from "Red", more psychedelia, more world-fusion?

Fripp >> These past four years I negotiated.  These past 18 months, Virgin
treated me like I was an enemy.  I went to the USA in a bad state, to give
one week of guitar classes and performances.  I came back with lots of
music, and then Virgin demands that I spend days and months doing
promotional work in the USA and Europe.  I put my guitar down and I haven't
touched it since...I said to Virgin: "There's a price to pay.  Do you want
a new King Crimson record in 18 months?  Well there won't be any way that
will happen if you continue to harass me."  There's a whole lot of new King
Crimson music that we won't be playing on this tour because I'm currently
doing an interview with you today.  King Crimson has never done a Greatest
Hits Tour.  Will it ever?  No.  King Crimson plays music that is governed
by three essentials: the time, the place and the people.

Rock & Folk >> Will there ever be a reunion of former members of the band?

Fripp >> I'm constantly getting calls from former members of the band due
to legal affairs with EG.  Every former King Crimson member has always
expressed the desire to work together again.  In theory nothing would
please me more.  In reality I already have new musicians and my idea of a
reunion of former King Crimson members would probably not suit them.  These
people think that they were part of the only real King Crimson.  I have my
own ideas as to how we could use these former members of King Crimson, but
I have other priorities...

Rock & Folk >> Have you heard "Testing To Destruction", the new David Cross
solo album?

Fripp >> No...

Rock & Folk >> What do you think in general about contemporary guitarists,
>from The Edge to Steve Vai?

Fripp >> I never comment on other musicians.  There is however an
extraordinary rebound of the instrument...In 69 there was a great hostility
and great prejudice toward technique and intelligence in music, as if one had
to be stupid and incompetent to matter in British rock.  Today it's like
athletics, where people are ready to lose a competition to make money. The
athletic spirit is dead, the guitarists, although more and more technical,
play only on the surface...But there are some extraordinary young
musicians...

Rock & Folk >> There is a big return to the idiomatic in music, blues,
country, forms of expression simple and "pure", that you have never
encountered in your 25 year career...

Fripp >> I've never thought in terms of categories.  "Starless And Bible
Black", "Red", "Larks" don't sound like the blues...

Rock & Folk >> Unless one considers the sometimes fretful nature of your
playing as a personal interpretation of the blues?

Fripp >> The vocabulary of the blues is very limited, but some musicians
with a great expressive ability know how to live with it.  Take for example
the English language.  There are a thousand ways to pronounce the same word
by using different accents.  The same with words of the same
sentence...This is also true of the blues.  In 67, I wondered more what
would have happened if Hendrix had interpreted Bartok's string quartets, or
Stravinsky's "Rites of Spring".  Hendrix with his power, his distinct
style, his cutting edge in a totally different framework.  The merging of
the Afro-American culture, the blues and jazz, and the tonal harmonic
European system.  For me, "Larks Tongue's in Aspic" tried to answer this
question: later I tried to enlarge the framework of African music with
"Discipline"...So, o.k. I'm not a blues guitarist, but I think I've met the
Spirit of the blues several times...

Rock & Folk >> Do you at least play the blues at home, to relax?

Fripp >> No.  In 73 I was good friends with Robin Trower.  He played me the
blues, made me tapes...He educated me in the blues vocabulary, that I
adore.  Clapton, Mayall with the Bluesbreakers...But that's not my path.

Rock & Folk >> An idea comes to mind.  Would the solo on David Bowie's
"Fashion" not in fact be the most bluesy thing you ever recorded?

Fripp >> Yes, that's a wonderful example.  There's blues-rock played with a
contemporary grammar.  Yes, a very good example, thank you.

Rock & Folk >> Krishna-Murti, Gurdjieff...?

Fripp >> I don't know any of these people, their names say nothing to me...

Rock & Folk >> Of course, of course...Has the gurdjieffian theory of
multiplicity not modified the question of harmonic intervals, and your
scales in half key?

Fripp >> If the question is to know if I have a discipline of life, the
answer is yes.  But I don't see things in categorical terms...

Rock & Folk >> We know that you are sensitive to the oriental way of
thinking, not centered around a subject that represents the world...

Fripp >> Yes, exactly...Let's take the example of karate.  Is it something
that each time is new and different?  Yes.  If I don't think that each
situation is different I lose the fight.  A lot of people in Guitar Craft
have done martial arts.  As for me, a little tai-chi...The question is to
know if one is interested by a consciousness of this discipline, no?  You
must not think during the confrontation, discipline is always present
within me, all those names that you mentioned to me as well, but I must not
think about it...

Rock & Folk >> Will you ever write about your method of playing?

Fripp >> No.  Everything that I can think of that would seem important to
me does not give me the impression it could be recorded in a book.

Rock & Folk >> Hyde Park in 69 with the Stones, rock in its satanic sense,
does that say anything to you?

Fripp >> There were a lot of people (laughs).  It was a big event, and it
was free.  If the estimated 700,000 people had paid for their tickets it
would have been a disaster, with riots, etc.  Since it was free it left the
door open, people didn't expect much of anything, and were ready to
graciously welcome the unknown.  Rock was a way to reunite people.  We
could be considered as spokespersons.

Rock & Folk >> Is this quasi religious vision of rock dead, and do you
regret that?

Fripp >> The spirit of 69 never made it to 1970.  But to say that rock is
dead, certainly not.  Every day there are young musicians of all ages that
continue to play rock.  The spirit of this music is alive.  Even if the
industry has closed a lot of doors to the music.  The means and possibility
that music can still be produced in this commercial culture has been very
reduced, with all that conspires so that the music cannot be produced.
These interviews that I'm forced to do, risk to compromise future concerts.
But everything can still happen.  I am here.

                       ------------ Fin ------------

Daniel Kirkdorffer
e#kirkd at ccmail dot ceco dot com

- ...In the way that that is the way, that is the way it is, that is, it is
the way... ("I may not have had enough of me but I've had enough of you"
Robert Fripp) -

From: leasnr at btco dot com
Date: Wed, 19 Apr 1995 18:13:25 -0400
Subject: BELEW: Adrian on FZ releases
Someone recently queried as to whether Adrian Belew is on any of the last
three volumes of FZ's _YCDToSA_.  He appears on vol. 6, mostly on material
that has already been available in the Baby Snakes movie/video.  There is at
least one track, "White Person", that wasn't.  Adrian is listed as being in
the band for that song and is very likely one of the voices on it.

N. Rob Leas                                                   leasnr at btco dot com

<***    Music is the best. - FZ                                          ***>

From: David  Fleiss <dfleiss at pipeline dot com>
Date: Wed, 19 Apr 1995 18:29:25 -0400
Subject: QUERY: Frame by Frame
In the book that comes with _Frame_by_Frame_ (three or so pages before the
end), Robert Fripp comments on the book that came with
_The_Young_Person's_Guide_, and then he makes a comment about the family
tree, about a band he was in that should have been in the tree.  (Wish I
had it here so I could quote him, but I lent it to a friend.)

I assume that he's referring to a Pete-Frame-style family tree, but where
is it?  _Young_Person's_Guide_ didn't have a family tree.

I have a book by Pete Frame, _Rock_Family_Trees_, which has a King
Crimson/Roxy Music family tree that starts with Giles, Giles and Fripp.  Is
this the family tree that Fripp was referring to in the _Frame_by_Frame_
book?

--
David Fleiss
dfleiss at pipeline dot com

"Never doubt that a small group of thoughtful, committed people can change
the world -- it's the only thing that ever has."  -- Margaret Mead

Date: Thu, 18 Apr 29 20:36:55 -0600
From: scentral <scentral at baste dot magibox dot net>
Subject: TOUR NEWS: Crimson Tour
FYI - the word is out that Crimson will play Asia after this summer US
dates, and ultimately will return to the U.S. in November.  Once I get more
specifics, I will pass them along, but they are evidently planning to get
those southern US dates that they're missing on the first US leg.

Thanks for the American management company information you sent me a
couple of weeks back - it was very helpful and they were very nice when
I called them.

More as it develops, and thanks again.

Date: Thu, 20 Apr 1995 01:57:20 -0400 (EDT)
From: San Francisco Treat <99tolsma at lab dot cc dot wmich dot edu>
Subject: MISC: PFM
Hello to all ETer's. I have also been lurking on this forum for a few
weeks now, but I decided to throw some of my words on here with the
kindness of Toby @8^). In response to Michael Peters, yes, PFM is a
killer 70's band that tends to remind me more of Yes in the sense that
they use a lot more blues figures. L'insola D' Niente is one of my
favorites mostly because of the title track, but there is so much
composition to the songs that it's unbelieveable. I also think Chocolate
Kings is a good disc to give an overview of the band's extreme talents.

Next order of business, has anyone heard of Magma, a French band headed
by Christian Vander? I have a live disc and a studio album that are both
mind-blowers. The language is Magma though, so it's basically impossible
to understand unless you happen to know one of them ,but all in all, I
think they're excellent.

Finally, for all of you wondering why I'm putting all this on a King
Crimson forum, I haven't heard THRAK yet, but VROOOM gives me shivers
when I hear it. I'm a big fan of all KC, but largely 73-75 stuff; VROOOM
gives me hope that music isn't deteriorating into a big mass of blah.
Being a multi-instrumentalist, the level of musicianship on this album
hits home and helps me to aspire to an even greater level. Plus I think
Bruford "...plays some hot sh*t on the drums." @8^)

Well, almost finally, I think a good example of understanding Bruford's
approach to utilizing two drummers is "Cinema Show" off of Genesis'
release, Seconds Out. Very similar to Sex, Sleep, Eat, Drink, Dream in
the final ram section. I have the privlidge of having a live Genesis
laserdisc from '76 with Bruford. His interps are amazing...anyway, this
has already gone longer than I planned, but I'd like to say that it's
good to find a forum where this can all be discussed. Thanks for all the
time and effort...

Cameron Taylor

Banana Nirvana Manana OohLahLah Tumbulah Bumbulah Bulah!
							-Gong

Date: Thu, 20 Apr 1995 02:30:21 -0400 (EDT)
From: Reifel Edward M <3emr1 at qlink dot queensu dot ca>
Subject: MISC: an intro
i hope this posting is in the appropriate format and address. i'm kind of
a novice as far as the 'net' goes. hope this is ok.

i'm a new member of ET and i love it. this is music that should qreally be
discussed. i'm a graduating music student of queen's university, kingson
ontario, canada and i've been a KC fan for many years now. i have found
that many music students that i've come across are completely uninformed of
the music or even existence of KC...how unfortunate. when i graduated from
highschool, i figured that a university music department would hold many KC
or at least progressive rock fans...oh well. much to my horror, when i
scouted my new fellow students, most of them listened to top 40-type
music. what i'm getting at here (i think) is that it's very nice to finally
be able to see discussions of their music. i've so far managed to write
three papers on robert fripp for my music courses. this is the result of
sheer manipulation of professors on my part.

thanks for all of your messages!

i'd just like to say one thing. even though vrooom is not their strongest,
i love it. in fact, even if the album sucked, i would love it anyway. i'm
very dedicated and even bad KC is good to me in comparison to other music
out there.

for those of you still reading, my latest fripp paper is on his rhythmic
organisation in king crimson. so far, i've analysed larks' tongues part I
and II, frame by frame and discipline. bruford was right when he said;
'there's more happening on the song, discipline, than the last four
foreigner albums put together.' thanks bill.  if anyone has any rhythmic
insights please let me know.  thanks, ed reifel.

strange...that the palms of my hands should be damp with expectancy.

Date: Thu, 20 Apr 1995 03:15:27 -0500 (CDT)
From: Damon C Capehart <dcapehar at utdallas dot edu>
Subject: MISC: Re: Female members of ET
How amusing!  Daniel K.'s post regarding female members of ET was placed
IMMEDIATELY before posts by an Ashley AND a Sarah!  Of course I know
Ashley could be a guy's name, and yes, there may be some foreign names
whose gender I can't tell...

There was also a post by a Drew, but I that's one of those either-way
names, too.

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

Date: Thu, 20 Apr 1995 10:30:26 -0500
From: Glenn Astarita <gastarit at comm dot net>
Subject: MISC: a few cents..
Hi,

In the last digest someone mentioned the italian band PFM.....Brings back
memories. I had 2 of their records and enjoyed their stuff at the time. Sounds
a bit dated now....

Also, someone in the last digest mentioned that we should stop carrying on
about the current KC lineup ! Personally, I am deeply satisfied with it.
However, what are we suppose to discuss on this list ? Are we limited to any
specific criteria ? Do we want 50 record reviews of Thrak each week ? Hey ! at
least we keep the topics KC related, isn't that the fundamental basis of this
digest ? Everyone is entitled to express an opinion. Frankly, I enjoy reading
about dream bands and such. Different perspectives always make for good fodder.
What else do we discuss in between record releases and tours ? Being a drummer
myself, some of the thoughts on Bruford were interesting. Again, personally I
think he fits like a glove. Whats the big deal ? I at times skim through some
of what I consider uninteresting material in this digest. Just like reading a
magazine..huh ? Do we actually read every damn article ? Frankly I don't care
for this Holier-than-thou attitude. As long as the digest is KC related, then
whats the problem ?

Glenn

Date: Thu, 20 Apr 1995 10:39:16 -0600
From: keeks at maroon dot tc dot umn dot edu (Tom Keekley)
Subject: MISC: Progressive/THRAK
Just some thoughts and observations:

*I recently purchased 'The Concise KC'to here the earlier stuff that I am
not familiar with (anything pre 80's) and I must say I need to let the
ITCOTCK-era sink in. erg. I like Lakes voice but I couldn't help but think
of sappy Moody Blues stuff with the mellotron. (No offense to MB fans here,
it's just MHO). I like the 'Red' stuff. Sadly there are no tracks from LTIA
and I was told that was the best of the early lot . . .

*Last digest someone spoke of U2 as 'progressive'. I could not agree more.
In the past three/four years, no band has explored more new territory. As
much as I enjoy the recent music from so-called progressive bands, they are
becoming lazy, and the fact that U2 after 15 years are STILL reinventing
themselves is exciting. Those of you pondering the 'wimpiness' of '90's KC
should purchase 'Zooropa' to see what happens when a band lets loose
nowadays - not ALWAYS chaotic but very fresh.

*I enjoyed VROOOM and am looking forward to THRAK and seeing them here in
MPLS. I will be taking a friend to the show and I'm not telling who he is
seeing beforehand. He bought me a ticket to the Beastie Boys, so I thought
this was an appropriate show to return the favor! (For those of you who
think of 'Fight for Your Right . . to PARTY' as the BBoys, their last two
albums have been VERY hip and (gasp) progressive!)

Thanks to all for the fascinating conversation. Looking forward to set
lists so I can brush up on the appropriate songs . . or maybe I'll skip
'em, have an extra beer and let the tunes wash over me like a river . . .

PS: are ther REALLY no women on this list???? Yikes!

Date: Thu, 20 Apr 1995 12:16:11 -0400 (EDT)
From: imperial violet <reive at phantom dot com>
Subject: MISC: Women ET readers?
> From: "DANIEL A. KIRKDORFFER" <E#KIRKD at ccmail dot ceco dot com>
> I was wondering: are there *only* male KC and Fripp fans?  

Here's one woman.. but yeah, it's been starting to freak me out too.  I
don't think it's really because of the composition of the Internet.  There
are a lot of women here now, at least compared to five years ago when I
first got an account.  I think the lack of women on this list comes from
something you mention below: most people that like Fripp and KC are
musicians.  How many women play guitar?  How many women listen to guitar
music?  I sure don't see a lot.  alt.guitar is very male dominated too.
It's not something I usually notice, just because I exist in a lot of
mostly male environment.  But being "the girl" never felt so literal
before.

Now the question is: why do women have this aversion to guitar?  is it the
instrument or a lot of the men who play it?  I don't get it.

--
Racheline Maltese		    |    "My neighbor with no arms wanted
reive at phantom dot com		    |	  to know how it feels to let
http://www.phantom.com/~reive	    |	  something go." -Jeffery McDaniel

Date: Thu, 20 Apr 95 12:43:09 -0400
From: sarthur at lutece dot rutgers dot edu (Stephen Arthur)
Subject: INFO: Thrak/Noteworthy
Noteworthy music says you can make orders for King Crimson 'Thrak' now
(April 20) for the April 25th release, they are asking $12.39. Phone
1-800-648-7972.

This is a public service announcement.

steve a

From: David Crossen <dc at scms dot rgu dot ac dot uk>
Subject: DISCOG: Re: Sylvian-Fripp TV Show (in ET#181)
Date: Thu, 20 Apr 1995 19:05:30 +0100 (BST)
   I know it was me who asked for a track list for the FS tv show, but
   I couldn't wait. I just had to go out and buy "Damage". Listening to
   it gave me the information I needed to complete the following track
   list.

   CUE THE MUSIC  Sylvian-Fripp              Screened Grampian TV
                  Live in Japan 1993         Sunday April 16 1995 at 2.20am
   ------------------------------------------------------------------------
   Band :  David Sylvian, Robert Fripp, Trey Gunn, Pat Mastelotto,
           The other guitarist (sorry can't remember, but he is credited
           on the show).

   1.   God's Monkey
   2.   Brightness Falls
   3.   Every Colour You Are
   4.   Jean the Birdman
   5.   Firepower
   6.   Darshan (the road to graceland)  [ 2nd half only ]

   Encores:
   7.   The First Day
   8.   Blinding Light of Heaven

   On closer inspection of the video, Fripp's guitar seems to have a
   Wilkinson-type tremelo system.

------------------------------------------------------------------------------
David Crossen                               Email: dc at scms dot rgu dot ac dot uk
------------------------------------------------------------------------------

Date: Thu, 20 Apr 95 11:28:15 PST
From: "grant green" <grant_green at cc dot chiron dot com>
Subject: REVIEW: Tony Levin's WORLD DIARY
     I just received my copy yesterday in the mail, and since I haven't
     seen any reviews yet, thought I'd throw in my HO.

     Subjective impression:  This is a GREAT CD!  I like it a lot!

     Objective info (track list):

     1. Chasms (5:20)
        TL - Stick(R)
        Shankar - double violin, vocals

     2. The Train (4:43)
        TL - Music Man bass with funk fingers (those sticks taped to his
     fingers), harmony vocals
        Ayub Ogada - Nyatti (8-string Kenyan lyre), vocal

     3. We Stand in Sapphire Silence (5:44)
        TL - Stick
        Brian Yamakoshi - Koto
        Jerry Marotta - Taos drums

     4. Smoke (0:49)
        TL - Stick
        Bendik - Tenor sax

     5. Etude in the Key of Guildford (3:12)
        TL - Stick
        Bill Bruford - electronic drums

     6. Espresso & the Bed of Nails (4:45)
        TL - Stick
        Nexus - percussion ensemble

     7. Mingled Roots (3:48)
        TL - NS electric double bass
        Levon Minassian - Doudouk (the Armenian double reed you hear on
                                   Peter Gabriel's "Blood of Eden" on US)

     8. Nyatiti (4:18)
        TL - Music Man bass w/funk fingers
        Ayub Ogada - Nyatti & vocal

     9. Jewels (3:47)
        TL - Stick
        Bruford - electronic drums

     10. La Tristesse Amoureuse de la Nuit (4:55)
        TL - NS electric double bass
        Minassian - Doudouk
        Manu Katche - Drums

     11. Heat (6:30)
        TL - Stick
        Nexus - percussion ensemble

     12. I Cry to the Dolphined Sea (5:39)
        TL - Stick
        Bendik - Tenor & soprano sax
        Marotta - drums

     13. The Sound of Goodbye (3:15)
        TL - Stick
        Brian Yamakoshi - Koto

     Overall:   The tone of the CD is between "World Music" (a la PG's US
     and Passion), with some driving pieces that verge on Crimsonesque.  In
     general, very melodic & very rhythmic.  Lots of great Stick work.

     The publisher (Papa Bear Records) apparently isn't set up to take
     credit cards, or ship outside the US yet.  Maybe Stick Enterprises
     would like to look into distributing this gem (or at least including
     it in the catalog)?

Date: Thu, 20 Apr 1995 15:36:51 -0400
From: ASchulberg at aol dot com
Subject: INFO: ABCD catalog
 I suggest that anyone
interested call them 4 a catalog @ 914-939-2223. I have nothing to do with
them but they are knowledgable and helpful and seem to know quite a bit

Update: ABCD has moved to: 17 Wall Street, Norwalk, Ct  06850. A catalog is
$2.00. Telephone: (203) 831-8301.

From: David Maclennan <davidm at moc dot govt dot nz>
Subject: REVIEW: NZ press slags THRAK
Date: 21 Apr 1995 11:58:47 +1300
Two of New Zealand's major daily papers have run reviews of THRAK in the
last couple of days.  Wellington's "Evening Post" slagged it mercilessly,
giving it one star out of a possible 5.  Comments like "The last 25 years
might just as well not have happened for these Rip Van Winkle's of rock",
"...bloated and tediously self-indulgent", "...weary old poseurs" and so
on.  The reviewer Karl du Fresne, the middle-aged deputy editor of the
paper) did like "One Time", however.

Christchurch's "The Press" was a bit kinder, but still lukewarm.  Reviewer
Nevin Topp prefered the quieter tracks.  Here's the last part of the
review:

"'Dinosuar' might be a bit of self-fulfilling prophecy, its heavy tread
reminiscent of Yes.

"'THRAK' is decidedly patchy.  Some parts are brilliant, others leave a lot
to be desired.  This is another chapter for Fripp, but unfortunately not a
major one."

Your humble narrator would beg to differ!!

-- David Maclennan

From: mallende at Phoenix dot kent dot edu (mark allender - king of the universe)
Subject: QUERY: Bears Recordings Availability
Date: Fri, 21 Apr 1995 10:30:34 -0400 (EDT)
Hey there!

anybody know of any place that has either or both of The Bears cd's
for sale or anything?

e-mail me if you know of anything.
thanx.

-makotu
mallende at Phoenix dot kent dot edu

From: DKIRK <david_kirkdorffer at praxisint dot com>
Date: Fri, 21 Apr 95 09:33:34 -700
Subject: QUERY: Video of July '69 Hyde Park concert?
Does anyone know how to get hold of a video copy of the King Crimson July
1969 Hyde Park concert that one can read about in The Young Person's Guide.
As I believe this was also The Rolling Stones' first show after Brian Jones
died and with Mick Taylor on guitar I'm guessing this was filmed. As
happened with the 10th Annerversary Roxy Music tour filmed by the BBC that
yielded the King Crimson in Frejus video -- I'm wondering if there is
footage of any or all of this show.

Any leads anyone?  Please reply to me and I'll keep ET
posted. Thanks in advance!

David_Kirkdorffer at praxisint dot com

Date: Thu, 20 Apr 1995 00:31:26 -0400 (EDT)
From: imperial violet <reive at phantom dot com>
Subject: TICKETS: Another Annoying Ticket Beg (NYC?  Philly?)
I can't believe I'm actually thinking of travelling to see a concert, but
after whining profusely in search of 1, just one ticket, on Usenet and not
getting anywhere.... thought I'd expand my options.  So if anyone has one
extra ticket to a KC show in either NYC or Philly, email me, and let me
know how much you want for it.  And since I used to live in DC....  I'll
even add that to the list......  thnx.

(how's that for a sad first posting?)

--
Racheline Maltese		    |    "My neighbor with no arms wanted
reive at phantom dot com		    |	  to know how it feels to let
http://www.phantom.com/~reive	    |	  something go." -Jeffery McDaniel

Date: Thu, 20 Apr 1995 03:01:01 -0400 (EDT)
From: Rick Cutler <rcutler at panix dot com>
Subject: TICKETS: KC NYC Tickets to Trade
This is my 2nd post asking for anyone who might have 2 tickets for KC on
Sunday night at Town Hall in NYC who'd be willing to trade for my 2 tickets
for the Saturday show....Thanks.......Rick.

Date: Thu, 20 Apr 1995 09:17:07 -0400
From: giroux at snap dot genie dot uottawa dot ca (Eric Y. Giroux)
Subject: TICKETS: An old man...
Hi everyone !

        This one used to get front seat tickets to Floyd, Yes, Genesis,
Marillion, ...
        but has slowed down a bit with time...
        This one saw the train go 'vrooom' and could not catch it.

        If somebody can get me ticket(s) for either Quebec, Montreal or Toronto,
        It would be very much appreciated.  I wouldn't like having to rely
on scalpies...

email me.

Eric
'you must cultivate your garden'

____________________________________________________________
Eric Y. Giroux                  giroux at snap dot genie dot uottawa dot ca
University of Ottawa
Department of Civil Engineering
161 Louis Pasteur              Tel. (613) 562-5800 ext. 6311
Ottawa, ON K1N 6N5                       Fax  (613) 562-5173
____________________________________________________________


Mike Stok