From elephant-talk at arastar dot comWed Jun 7 06:49:21 1995 Date: Wed, 7 Jun 1995 01:14:49 +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 #196 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 196, Tuesday, 6 June 1995 Today's Topics: MISC: Dumbells, Marillion, KC Videos QUERY: Redemption Exhib. MISC: Islands and Bela Bartok MISC: Waiting Man MISC: KC in Emmanuelle (?) MISC: Re: Elephant-talk digest v95 #195 MISC: Pre-Ann Arbor Konzert-Klatsch MISC: KC in Emmanuel (!) THRAK: RE: Elephant Talk #195 MISC: A few bits.. MISC: "Security" at Gigs MICK: "Chuckles" Fripp MISC: x 5 MISC: KPFA "concert" MISC: Toronto's Massey Hall MISC: Emmanuel MISC: irregular meters, john cage MISC: Re: Lizard Man's comment on Sleepless MISC: Re & Q: J. Muir THRAK: - The Movie MISC: ET contribution MISC: Crafty posture QUERY: Crimson in the S.E. MISC: Royal Albert Hall,950517 MISC: Plexiglass GIG REVIEW: Conspiracy! GIG REVIEW: Instant Boston Review (Shpoiler) GIG REVIEW: Boston Show/Song List/Caifornia Guitar Trio GIG REVIEW: Philadelphia, June 1 GIG REVIEW: KC @ The Orpheum, Boston, June 2 GIG REVIEW: Boston Observations (incomplete spoiler?) GIG REVIEW: General show reactions GIG REVIEW: NYC 6/4 (non spoiler) GIG REVIEW: Boston Concert/Screen Saver GIG REVIEW: Boston TICKETS: Portland, OR TICKETS: Re:Need TwoTix /Seattle 6/22 TICKETS: Wanted - Ann Arbor Tickets TICKETS: for Chicago TICKETS: WTB: Tickets for Seattle Show TICKETS: Denver tix grovel [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Please send all posts to toby at cs dot man dot ac dot uk The ET archives: WWW: http://www.cs.man.ac.uk/aig/staff/toby/elephant-talk.html FTP: The Americas: ftp.qualcomm.com, in /pub/et FTP: Rest of world: ftp.cs.man.ac.uk, in /pub/toby/elephant-talk EMAIL: Send "index elephant-talk" to listserv at arastar dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 2 Jun 1995 20:01:42 +0200 (DFT) From: "C. Kazzer Anglistik" Subject: MISC: DUMBELLS, MARILLION, KC VIDEOS Hi, everybody, >>THE DUMBELLS I've got this 7" by a band called The Dumbells. The guy in the record store said that this was Manzanera & Fripp. Could anybody verify this? There is definitely a frippian guitar part on one of the songs. Here the details: THE DUMBELLS: GIDDY UP (incl. SLEIGHRIDES) 2:50 (L. ANDERSON, arr. DUMBELLS) is this Laurie A.? b/w A CHRISTMAS DREAM 3:20 (DUMBELLS) EGO 3, [2002 021] 1980 EG RECORDS The whole thing sounds like a X-mas joke though. >> MARILLION Sorry, I don't want to make this into a personal ads list. But I've realized there's a few Marillion fans out there. I've got a copy of MISPLACED CHILDHOOD Pt 3, Live at the Hammersmith Odeon 1985, FatMan Promo, which I'd like to trade for KC/Fripp-related stuff. >> VIDEOS I know this has been asked on & off. But could anybody recommend where to purchase THE NOISE/ToPP/CAREFUL W.T.A. videos? Thanks for reading this. Private e-mail welcome. Claas [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 2 Jun 1995 20:05:50 +0200 (DFT) From: "C. Kazzer Anglistik" Subject: QUERUY: Redemption Exhib. Hello again, Did anybody attend the REDEMPTION exhibition thing that Sylvian & Fripp mentioned during their interviews on the Road to Graceland broadcast? And if so could they provide any further information on this? Thanks, Claas [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 11:02:18 GMT From: orno at mmedia dot is (Orn Orrason) Subject: MISC: Islands and Bela Bartok Dear ET readers I noticed a rip-off on the Island album while listening to Bela Bartok yesterday. The original: Bela Bartok Divertimento Sz. 113 for string orchestra, part II Molto adiago (Deutsche Gramophon, Orpheus Chamber orchestra) after about 5 minutes in this part cellos start repeating a part that is almost exactly like cello parts that you can hear on the Island album. These parts are shortly before the hyperdimensional virtual space Sailors Tale solo. This can't be a coincidence as Fripp is a well known Bartok fan. In one interview Fripp says that he started Crimsoon in order to hear how Hendirx would sound playing Bela Bartok. In another interview he has said similiar things but mentioned Stravinsky's Rite of the springs. Well if you own both records try to hear this. It's funny. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: mallende at Phoenix dot kent dot edu (mark allender - king of the universe) Subject: MISC: Waiting Man Date: Sat, 3 Jun 1995 11:30:31 -0400 (EDT) y'know, the song that i'd really like to hear the alleged double trio do is "Waiting Man." This is my favorate song written by anybody. I think the double trio would really be able to make it nice and smooth. i won't get my hopes up. June 8 -- Nautica -- Cleveland -- -makotu mallende at Phoenix dot kent dot edu uh... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 11:22:01 -0400 From: ckaratnytsky at nypl dot org Subject: MISC: KC in Emmanuelle (?) Greetings-- Sorry to be a spoilsport, but I beg to differ with Brian Ritchie's identification of Lark's Tongue, Part 2 as the background music of the gang-rape sequence in Emmanuelle. According to a source I checked, all of the soundtrack music was composed originally for the film by Pierre Bachelet and Herve Roy. It's possible that Messrs. Bachelet and Roy were influenced by our boys in KC, or flat out ripped them off. I don't know. I haven't seen the film or heard the music. The soundtrack was released by Arista Records in 1975--for those of you interested in comparing tracks and calling the lawyers. Happy movie-watching, Dr. Brian! And -- thanks for all your hard work, Toby. Chris Christine Karatnytsky, Billy Rose Theatre Collection The New York Public Library at Lincoln Center 40 Lincoln Center Plaza New York, NY 10023-7498 ckaratnytsky at nypl dot org [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 11:32:46 -0400 (EDT) From: Steven Sullivan Subject: MISC: Re: Elephant-talk digest v95 #195 regarding 'lizard man's' post: THe original mix of 'Disengage' is not available on CD; the one on the CD of Exposure uses an alternate vocal mix. It's Peter Hamill in both cases, but I too miss the original lp mix, on that song as well as others (e.g. 'Mary', 'North Star', etc) "Asbury Park' is available on CD as part of the 4-CD Frame By Frame boxed set. Rumor has it that Fripp feels some pressure to release both 'USA' and 'Eartbound' on CD, finally, and perhap's we'll see them in the near future. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 03 Jun 95 12:04:33 EDT From: Suntower Systems <70242 dot 1520 at compuserve dot com> Subject: MISC: Pre-Ann Arbor Konzert-Klatsch To All You Nutty, Dear, Sweet, Sweet Michigander Crimheads, My friends an I will be enjoying fine dining and drinking before the June 10 show at Palio's (a modest Italian bistro) on Main street just off of Liberty. Please join us for a bit of pre-concert fellowship. As Little Alex might say: 'You are inVITED!' So put it in your Book Of Saturday. jc Harris PS. The WWW page is really cool, but some of the links are REALLY slow. Does it matter what time of day you connect? [ Yes, our machine can get a little busy. Sorry about that. Try to avoid 0800-1800 BST -- Toby ] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 01 Jun 1995 06:48:27 GMT From: mike at blackcat dot demon dot co dot uk (Mike Dickson) Subject: MISC: KC in Emmanuel (!) br at inf dot rl dot ac dot uk wrote... > scenes. One of these was a gang-rape sequence from "Emmanuel". I watched > this several times - honestly, not out of prurience but because the > background music sounded awfully familiar. Suddenly, I realised that it was > Lark's Tongues In Aspic, part 2! I can recall watching a porno..er..'art film' once which featured nearly the whole of side two of Lizard as its soundtrack. However, it also has a fair selection of dubbed sounds over it as well, presumably in an attempt to make it sound more 'original'. I distinctly recall hearing a banjo playing over the top of 'Battle' which made it sound even more silly. --- Mike Dickson [Team OS/2], Black Cat Software Factory, Musselburgh, Scotland mike at blackcat dot demon dot co dot uk - Fax 0131-653-6124 - Columnated Ruins Domino [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 04 Jun 1995 13:55:32 +1200 From: Anthony 'Slug of Doom' Hobbs Subject: THRAK: RE: Elephant Talk #195 My favourite moment on all of _THRAK_ is when Fripp's guitar comes crashing back in after the mellotron interlude in "Dinosaur". Just thought you'd like to know. :) a. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 1995 14:45:00 +1000 From: Mark Creer Subject: MISC: A few bits.. Meandering memorabilia: I just came across ET and several thoughts, questions occurred. (oh yes... re. Emanuelle: RF mentions in the notes to The Great Deceiver box set how he found out he'd been ripped off by the 'composer' of the music for Emanuelle, but only many years after the event. Funnily enough I remember seeing 'it' with my girlfriend around the time of its release and scrutinising the credits at the end for RF's name... it didn't appear, hmm, odd, I wondered if it was a classical motif RF had borrowed...) But I'm sure you will have this from lots of other readers. Anyway, is anyone interested in an incident when Mr F was obnoxiously unpleasant to Sarah Lee (on bass), during a gig by the excellent League Of Gentlemen, - way back in 78? (well, excellent on stage, dismal on record). Or perhaps trivial gossip serves no credit to anyone. But it did make the band sizzle. Unfortunately I never saw the pre LeagueOfGents, KC. Has anyone made any conceptual connections to This Heat? (who must have been influenced). The League Of Gentleman also performed a lovely slowish piece (their only one I think) which never made it on to record. I can still play it in my head eighteen years later. I would like to hear it again acoustically. Any ideas? And... in interviews with the press at the time of LoG, RF explained about certain chord sequences having a controllable effect on the psyche of the listener... and the piece Heptaparaparsinokh apparently illustrated this (one of his very fast hand mechanically repeated loops). And did he then use the same technique on the solo of Teenage Wildlife from Bowie's Scary Monsters? And if any of you have wondered about the backwards speech on Exposure, many years ago I found that it says..."one thing we can be certain of, sheep are not creatures of this earth". Is anything better than driving down the motorway with Red's Starless on very loud? Highly dangerous. [it is absurd and amusing to remember how impressed I was by RF, the books I read, the glasses, I even tried to learn guitar - now I know I can't learn it but once in while my hands do their best] Mark mark at coblt dot demon dot co dot uk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 95 12:53:34 BST From: Andreas Schoter Subject: MISC: "Security" at Gigs Hi E.T. Security at gigs is a funny issue! Paul Richards laments that people were not being allowed to dance in the aisles (ET 195) - I guess this might be a fire hazard and escape issue. But when security folk try and stop people dancing in places where they're not blocking exits it is over the top. I saw David Byrne live here in Edinburgh last year and this happened; he just said "hey lighten up - it's not as if they're wrecking the place" or words to that effect, and things calmed down. And why are the only British KC gigs on this tour in London? Glasgow has the SECC and Birmigham has the NEC if size of venue is an issue. Great shame... Andreas [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 1995 15:34:19 -0400 From: Mark2u at aol dot com Subject: MICK: "Chuckles" Fripp In ET 195 Lizard Man writes: >Anecdote: At the 1984 St. Louis concert (Graham Chapel), between songs the >hall went silent and someone said loudly, "Smile Robert!" He didn't: he >frowned and launched into a stupendously vicious rendition of "Red." The above anecdote reminded me of the 2nd night at LA's Greek Theatre during the 3oaPP tour (Yes, I saw both nights). During the middle of Indiscipline Belew walks up to the mic and says "Take a look folks, you don't see this every night!" and then looks over to his left at Fripp, who was laughing his head off - actually sort of gyrating on his stool with laughter. I assumed he was amused with Belew's antics (holding up the guitar - "the more I look at it, the more I like it . . .") although I didn't actually see the beginning of his laughter - I too had been focusing on Belew (afterall, he was in the spotlight). Anyone else see this show? Actually, seeing him laugh didn't seem all that unnatural to me - he strikes me as having intense, incisive wit, albiet dry. He seems like the kind of guy who loves to smile and laugh whenever he wants to - and expressly NOT whenever someone expects him to. (I empathize - thus I tend not to use emoticons). I'm looking forward to the Cincinnati show next Friday. I've seen KC in Perkins Palace, Pasadena (Discipline Tour, Sept 81) and the two times at the Greek. I've also seen Fripp in NYC: At the Winter Garden (a free show with some of the Crafty's right after a Show of Hands), and also on stage at Town Hall with the California Guitar Trio (without his guitar), talking to John Schaeffer on the New Sounds Live radio series. By the way: Does anyone have a copy of this particular radio show? It's the only one of the 92 series that I didn't record off the radio (right before I bought my DAT). If you have a copy, maybe we can work out a trade! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 02:06:49 -0400 From: DnTMan at aol dot com Subject: Misc: x 5 oh, oh, oh, People!: Hello to all & apologies if this goes on a bit & wanders, but I haven't posted b4 and there're some views pent up that I would like to release ... 1st: Many thanks to Paul Richards of CGT for his tour notes. I think it is great to hear from artists and their perspectives, especially when related to KC. I am really looking forward to hearing them as I enjoy their Yamanashi CD very much. Now if only Trey or Tony or? would do the same that'd be too cool. :) 2nd: To whomever hasn't procured Great Dcvr Cds & still waffling over the price, my 2cs is *BUY IT NOW!!!* It's truly phenomenal & you won't be disappointed, however, ye whom said they saw it for $70, I think you should be able to get a better price. I got mine at Best Buy for about $50. So look around... 3rd: Someone said something about a song on Lizard about the Beatles. Which one? I never caught that, but I did notice the drawing of the fab 4 on the cover +yoko (see letter "I"). 4th: Re: KC @ Frejus. I have a copy of this & would be glad to give any interested my source. (Scott W.: I will email you). My copy also has them boys doing ET & Thela on Friday's TV show + "Bruford & the Beat" a workshop-type video from just after the Discipline album. Very cool vids... 5th: I'm very excited and slavering over the fact that I will be seeing the scarlet prince thrice at month's end here in L.A. Looking forward to seeing the Warr guitar and since I just bought my Stick, TLev, the master himself of this fine instrument. I got into KC in '86 so I missed the last tour. See ya there! --- Tom Shannon [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 1995 21:43:48 -0700 From: dmax at ccnet dot com (Dan Sonnier) Subject: MISC: KPFA "concert" For those in the Bay Area, there was a blurb in the Contra Costa Times newspaper today advertising: ------------------------------------------------- "KPFA 94.1 FM (Berekely, California) Tuesday 6/6/95 10 a.m. Morning Concert: King Crimson Special. "King Crimson is the progressive rock group which emerged in the late 1960s in England around the same time as such groups as Yes, EL&P, Genesis, and a host of lesser known groups who worked the same genre. Whereas some other groups became, by the mid-70s, decidedly nonprogressive, King Crimson has evolved, always sounding contemporary and equivocally experimental." ------------------------------------------------- Notice that this doesn't tell us if it is truly a live show, or merely a plan to play some of their recorded work. I haven't listened to the Morning Concert show previously, so it may be the latter. Either way, I hope you enjoy. (p.s.! Front row balcony for the June 25th Warfield show! eat your hearts out...) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 95 19:25:10 -0500 From: Bob_Daniel at mail dot magic dot ca (Bob Daniel) Organization: Magic Online Services Inc. Subject: MISC: Toronto's Massey Hall Eric Malzahn said, of Toronto's Massey Hall show: > The sound quality was good overall. The only hindrance > was the inherent echo of the theater Sorry, but I have to somewhat disagree. As someone who has had the pleasure of seeing hundreds of concerts at Massey Hall, the sound quality of the venue is as good as it gets. Fripp himself, during a mid 70's concert here, in a rare moment of mid-show chattiness (now Belew's job) referred to Massey Hall as North America's finest concert hall. On the other hand, maybe 'inherent echo' is a valued aspect of a traditional concert hall, dating back to before amplification and digital echo. A good sound crew will take into account the natural characteristics of the hall, and make the appropriate compensatory adjustments. I gather the sound has been inconsistent throughout the tour. BTW, just saw the Ian Anderson Divinities show at the same hall last night, and the sound was louder and cleaner. I had similar seats for both shows, so it was a good comparison. Maybe the suspended PA that KC used favoured the balcony seats more? -- Cheers, 13 0 13. Bob_Daniel at magic dot ca Toronto, Canada. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 1995 14:04:40 -0500 (CDT) From: Damon C Capehart Subject: MISC: Emmanuel > Date: Thu, 1 Jun 1995 11:56:39 +0000 > From: br at inf dot rl dot ac dot uk > Subject: MISC: KC in Emmanuel (!) > I watched this several times - honestly, not out of prurience but > because the background music sounded awfully familiar. Suddenly, I > realised that it was Lark's Tongues In Aspic, part 2! However, the > version used wasn't the original album version, but had prominent sax > squawking, and the lovely strident guitar seemed absent. > > I wonder where it came from, and how it (er) came to be in the film? Or > rather, not in the film: this sequence was cut. The scene was cut not because of its offensive content (hey, we're talking about _Emmanuelle_, here), but because Fripp sued for plagiarism. Part of the settlement was that the music be cut from the movie, and I'm guessing the people in charge of the editing simply cut the whole scene (cheaper than recording new music for it). This is what I gathered, at any rate, from the Tamm book. > Perhaps there's more KC in the uncut scenes? Nope, otherwise Fripp would have censored the movie in its entirety. :) Damon Capehart | "What a stupid .sig..." -- You dcapehar at utdallas dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: MISC: irregular meters, john cage Date: Sun, 04 Jun 1995 14:02:47 EDT From: John Saylor Hi You know I was going to see the Boston show, but I bailed on it. Reading the comments here has been the next best thing. Really, I don't think I've ever known as much about a band on tour than I have through reading ET. In a weird way, I feel like I'm not missing much [then again ...]. Anyway, two thing in the last one deserve comment [all excepts editied liberally and capriciously]: >"M. S. AtKisson" mused: >>I discovered that I could write >>code quickly during most of Discipline (especially the title song), but >>during "Indiscipline" I (still) can't even count past 10. >From: james dot dignan at stonebow dot otago dot ac dot nz (James) >A lot of tracks in 5/4 time, or other unusual time signature, are demanding >enough that we can't just let them 'wash over' us, as we can 4/4 time. In this instance, Discipline is full of unusual time signatures [I believe 13 makes an appearance at some time]. If it was only a matter of meter [or poly-meter], Discipline would be MORE jarring than Indiscipline, not the other way around. I think the reason why Indicipline does not so easily become aural wallpaper is because it's irregular surface- Belew's jittery speech/crunching guitars/quiet blips- it never gets into a groove. It's more about interruption than consistency. Spike Jones [and some Mothers of Invention] have a similar effect. >From: stagda at sys1 dot ic dot ncs dot com (Dave Stagner) >Again, this is very different >music from King Crimson. I suppose it's closer to jazz, but perhaps a >better comparison would be the compositional experiments of John >Cage. >Certainly, this game of silence >resembles Cage's famous "Four Minutes Eleven Seconds" piece, but the method >was far more subtle, and the impact was less preachy and much more musical. >The Cage piece exercised the conscious mind; the Musical Improvisation >Company exercised the unconscious. I'm not sure how much you know about Cage and his music [and life], but I have never found anything about him or his music to be preachy. Other people get preachy about his music [and "chance" procedures], but they usually don't understand it that well. As far as conscious/unconscious music- I tend to view it as a false dichotomy. To me, it is more instructive to view music [and consciousness] as moving through a continuum rather than being put into discrete boxes. Conscious and Uncounscious are just parts of a bigger whole. I think it's nice that Cage made an appearance here. I must admit, I originally thought that cage on Vrooom was about John Cage. Music from both sources is evocative and provocative. As one of the crafties said here recently, you have to listen to it as few times before you can get it. It is not about being east to digest, it is about being meaningful. And as always, thank you toby for providing such a nice oasis in the internet swamp. \jsaylor [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 95 09:24:28 EDT From: jh at cadre dot com (Joe Hartley) Subject: MISC: Re: Lizard Man's comment on Sleepless dalton at isidis dot colorado dot edu (lizard man) said: > Ob Remix Comment: I feel that no mix of SLEEPLESS has achieved the song's > potential, but the original LP version is my favorite. I absolutely agree. And I've never been able to hear this played at an appropriately loud volume; all the audio equipment I have access to, and still it's never been loud enough! - Joe Hartley (jh at cadre dot com) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Rimantas dot Plaipa at GF dot VU dot lt Subject: MISC: Re & Q: J. Muir For all interested in J. Muir: there has been an interview with him in ET #122, where he have told in detail all his life until withdrawal from music in 80-ies. ( Maybe it is worth of being added to "Interviews" directory in ET archives ?). Here my own question about J. Muir. Sorry, if it originates from my ignorance of English language / culture / humour. Many tales about KC '72-74 (and one photo in TGD) show him "spitting blood" in live performances. Some "blood capsules" are mentioned frequently. Is this some trick or Jamie was really spitting his own blood ? (I'm unwilling to think so) Rimantas ------------------------------------------------------------ Rimantas Plaipa Dept. of Biochemistry and Biophysics, Vilnius University, Lithuania Rimantas dot Plaipa at GF dot VU dot LT [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 11:11:40 -0700 From: ADAM dot ARONSON at spcorp dot com (ADAM ARONSON) Subject: THRAK: - The Movie Conjured up towards the end of the show last night at Town Hall... We're still missing two. Can anyone help? THRAK - The Movie Starring: Buck Henry as Robert Fripp G. Gordon Liddy as Tony Levin Meat Loaf as Pat Mastelotto Tom Hanks as Bill Bruford ??? as Trey Gunn ??? as Adrian Belew ------------------------ Adam Aronson Sr. Systems Engineer TransNet Corporation adam dot aronson at spcorp dot com aaronson at aol dot com ------------------------ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 20:45:21 -0500 From: sawill at iadfw dot net (Scott Williams) Subject: MISC: ET contribution My first exposure to KC was just after they disbanded in '84. We were just out of high school and saw a video of the 3PP concert tour in Japan on MTV (thanks Al), back when MTV was cool. Anyways over the years I have followed all the members and gotten totally into KC. Although I now reside in Dallas, I'll be trekking up to Milwaukee Wis (my home state) in a few weeks to see the show. I am so psyched up I can't stand it! Things I've been doing to kill time until they take the stage (outside of work and family): - Heavy listening to THRAK. - Heavy listening to the Dinosaur CD. Man, Red live is so good! - Following all the concert reviews on ET. I hope they play Red, though I know it hasn't been happening at every show. - Reading the book that came with the Frame by Frame boxed set. - Always have a KC or member tape in my car. - Wearing my Discipline T-shirt and getting weird looks from other Dallasites. - Heavy listening to my Frejus Live '82 tape. When I was is collage in Madison Wisconsin there was a video rental store right across the street that happened to have this video tape. It is so good I can't believe no one else seems to know about it. Over the years I have visited Madison many times and always check to make sure they still have it. I couldn't talk them into selling it to me. It is long out of print I'm sure (BTW anyone know where I can get a copy of this?) My danged morality keeps me from checking it out permanently. Back in my collage days I did make a audio dub of it, and even though it is mono and was recorded from a old VCR to a $69 cassette deck, it is awesome. It includes LTA2. The one song I wish they would do that I highly doubt they will is Neal and Jack and Me. This is one of my all time favorites. To chime in on a subject I've seen discussed here, I think the Fripp solo on the original Matte Kudasai one of his best moments. The thing about Fripp and Crimson is the razor thin line they walk between harmony and dissonance, and they way they can create beautiful melodic passages out of very dissonant parts. Taking nothing away from Adrian's Matte solo, which is also beautiful, the Fripp solo is this haunting line that exists over a very melodic foundation. (The preceding lines prove once again that KC music cannot be done justice by words. Everyone reading this knows what I'm trying to say - the solo puts a smile on my face and gives me the chills at the same time.) Thanks for making this Newsletter happen. Where would all our lives be without KC? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 23:18:47 -0400 From: artc at tiac dot net (Art Cohen) Subject: MISC: Crafty posture The Lizard Man said: >I believe he teaches Guitar Craft students to >sit in this posture as it provides the necessary reach and control needed >to play with the sort of Discipline he espouses. I thought they sat that way because it looks less dorky when you have your guitar up that high... --Art -- finger artc at artc dot tiac dot net for PGP public key if I'm logged on. Boston Ska home page http://www.tiac.net/users/artc [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 22:53:21 -0400 (EDT) From: Jason Klein Subject: QUERY: Crimson in the S.E. Alright. I'm all the way down here in South Florida, and would very much like to see a K.C. show before I die. Any word on when and if they'll be playing any place closer than D.C.? Da, dadadadada, da, da, da..... Jason Klein jklein at alpha dot acast dot nova dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Olev Salasoo" Organization: Swedish Broadcasting Corporation Date: Tue, 6 Jun 1995 06:08:53 +0100 Subject: MISC: Royal Albert Hall,950517 I got the post-card. I got the love-letter. We had our first date. Mmmmmmmmmmmmmmm. Now - after the date - I start to realise what the card and letter were really saying. The "arousal factor" has increased 1000-fold... Definitely worth the trip. Sincerely, Olev Salasoo. "...I'd go the whole wide world just to seeeee (hear) ya!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 06 Jun 1995 09:47:11 -0500 (EST) From: "M. S. AtKisson" Subject: MISC: Plexiglass Two post-scripts to the gig review. I was very interested in the stage set up, especially the use of plexiglass to protect people from the drums. There were large pieces between Fripp and the drummers, one between Bruford's kick drum and Levin's head, and a smaller one behind Mastolino's rack, angled toward Belew. I didn't see one behind Gunn. All I can say is that it's one of the smartest things I've seen. You can feel a kick drum right behind you, especially at head height, and the volume of a close cymbal can deaden your ears. Second, the four FOUR anecdote was not meant as a swipe at the person who responded to my comment about not being able to count to 10 during Indiscipline. There are so many amazing things that Crimson does with the rhythms, but y'all know that. * * * * * * * * * * * * * * * * * * * M. S. (Peg) AtKisson * (matkisso at opal dot tufts dot edu) * "...his frontal lobe Department of Neuroscience * a retread..." Tufts University School of Medicine * Boston, Massachusetts * Adrian Belew [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 2 Jun 1995 19:42:23 -0500 From: thequail at cthulhu dot microserve dot com (The Great Quail) Subject: GIG REVIEW: Conspiracy! I have been THRAKKED at the Tower last night in Philly, oh my gosh. Pretty damned good, same set list as posted ("Walking on Air" not "Heartbeat" as final encore), same problems with the sound at first, and then boy did they sound good. Hmmm. . . Need I comment on the *incredible* interplay between Pat and Bill? I really gained a new respect for Pat (It's not that I am on a first name basis, I just can't spell his last name.) You really realize that this guy is *not* Bruford's timekeeper, but a completely different drummer whose textures are just amazing. They complement each other brilliantly! I know that some people have questioned how much "room" Trey is given, and at first I agreed - but then I listened harder - Tony is BAM plunka-PLUNKA bang BOOMing; Trey is overlaying deep washing rumbles, non-bass riffing, smudges of bleakness here and there like blood bruise tattoos(:-) They have very different styles, and it struck me how similar their interplay was to that between Fripp and Belew. At one point, Tony even did a Frippian riff while Trey did some intricate overplay. Try to fix in on Gunn, you may notice that he is filling more space than you originally thought. (By the way, Adrian is . . . . words cannot describe the wealth of sounds he pulled, coaxed, teased and battered from his instrument! I've seen him solo, with the Bears, and with Bowie, and although I have seen him "freak out" on his axe more, never had I heard such beautiful sounds as last night!) Now for the conspiracy: Fripp has been replaced by one of his proteges, one of the ccrafty guitarist, no doubt. Ok, Ok, think: 1. Several people have commented on a Beatleque feel to ceratin tracks. A clear reference to Paul McCartney's death and replacement during Sgt. Pepper! 2. "Fripp" was hidden in shadows all night long, avoiding as much light as possible. Suspicious, eh? 3. King Crimson was not on David Letterman - Coincidence, or were they afraid that the harsh lights of TV would expose their little secret? 4. The Orb seems to be playing the same schedule of venues as King Crimson . . . surely not another coincidence, eh? 5. "Somebody is digging my bones?" Fripp coined the term Dinosaur for an old art rocker. People, could this be any clearer? 6. Marine 475 . . . just numbers? Or do you really buy that "Lloyd's" story? The numbers are some kind of code, undoubtably translatable only if you tune a computer to them and set up a third speaker in the patented "Eno Method" way, and then run a tape loop of the music through it, backwards, alternating cycles as the code dictates. . . . and I just beat it says "Bob is dead" over and over again. 7. THRAK has the same number of letters as FRIPP 8. And finally - take a real close look at the picture opposite the word "Bang" on the CD jacket. You will notice that the cowboy - certainly Robert when he was a boy - is not wearing shoes, where clearly all others are, just like Paul in the Beatles Abbey Road album cover! After all this, I just would like to say, that even if he isn't our beloved Bob, he still played a helluva mean guitar, and I wouldn't have it any other way. . . . long live Fripp! ---------------------------------+-------------------------------- The Great Quail | TheQuail at cthulhu dot microserve dot com rivverrun Discordian Society | AOL: LordArioch at aol dot com c/o Allen Ruch | Sarnath - The Quailspace Web Page: 315 Second Street | http://www.microserve.com/~thequail Enola, PA 17025 | ** What is Schwa? ** "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents." -- H.P. Lovecraft [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 02:28:52 -0400 From: artc at tiac dot net (Art Cohen) Subject: GIG REVIEW: Instant Boston Review (Shpoiler) I'll start with a setlist... I've been intentionally skipping the show reviews in ET, although I went back and read the last couple... seems like a similar set list to Montreal. 6-2-95 Orpheum Theater, Boston Vrooom Vrooom Coda Frame by Frame Dinosaur One Time Red Soundscape B'Boom Thrak Matte Kudusai Sex Sleep People Vrooom Vrooom Stick duo Elephant Talk Indiscipline percussion jam Talking Drum Larks' Tongues II Heartbeat Vrooom Walking on Air Hope I didn't miss anything... I saw King Crimson in this same theater back in 1984 (only other time I've seen them). I was very happy with this concert... my friend Chad, seeing them for the first time, said "I'd go back and see them any time!". Hopefully there will be many more tours with this lineup (or at least a few more!) This time, unfortunately, the sound sucked at the beginning (as others have noted). Starting with the Vroom coda was pretty radical, but really marred by the terrible sound (last time I saw them they opened with Larks' Tongues III). I was surprised to notice on Dinosaur that Belew was playing the Mellotron sounds on his guitar... I guess they didn't want to haul the thing around, but Belew even played the Mellotron part when it was just him and Levin... wouldn't Fripp have played that on the original? Who knows. Anyway, a great version, and the first sound where the sound started to come together. Red was simply amazing. Everything I came to the concert for. 'nuff said. B'boom was also excellent, as was Thrak. Thrak was the first song where they really departed from the album... the solos were quite "out there". Hearing Vroom (actually the reprise) really brought out the similarities between that song and Red, but I have to give them a lot of credit for playing it (twice) in the same concert with that song. Ditto for the similarity between Thrak and LTIA II. For the first encore, they started with another percussion jam ("B'boom B'boom"?) that featured Belew playing percussive sounds on his guitar. When I heard the first notes of Talking Drum, I couldn't believe it. I hadn't expected them to play that at all. Gunn took a solo, along with Belew and Fripp, and of course it let to a fully satisfying Larks Tongues II. The crowd was pretty rowdy. They started shouting requests early, prompting my friend Chad to say "I bet they're glad to be back in Boston". Apparently he caught Trey Gunn making a "What is it with these people?" sort of gesture to Belew later as well, but the band must have taken it well. When they came out for the second encore Belew said something like "it's been so long since we played in the lovely city of Boston that we thought we'd do a few more". Heartbeat was nice, although sort of a weird arrangement (maybe it was the sound again)... and there were a lot more songs off of "Beat" I would have liked to hear. But it was a real treat to hear the whole "Vrooom" again. Have they done this at many other shows? Walking On Air, to close the show, was very nice, although it still reminds me a lot of Hendrix' "May This Be Love". Overall... Wow! Good to have them back. I had to race from that show to a gig with my own band (Tjovi Ginen) and tomorrow I'm taking the train to Neuva York for more! Thrak! --Art PS I don't know if it's been mentioned lately, but it always bears repeating: TOBY, YOU DO A BANG-UP JOB ON THE LIST! THANKS * 10^6! -- finger artc at artc dot tiac dot net for PGP public key if I'm logged on. Boston Ska home page http://www.tiac.net/users/artc [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 18:53:32 -0400 (EDT) From: Larry Coury Subject: GIG REVIEW: Boston Show/Song List/Caifornia Guitar Trio For the sake of completeness, the Boston show song list was: Coda:Marine 475 Frame by Frame Dinosaur One Time Red B'Boom THRAK Matte Kudasai Sex Sleep Eat Drink Dream People VROOOM VROOOM Elephant Talk Indiscipline ==============First Encore Variation on The Talking Drum LTiA II ==============Second Encore Heartbeat VROOOM Walking on Air Several comments. The sound quality was no worse than most bands that play in the Orpheum Theatre. It was at times muddy or poorly mixed, but it was tolerable. This was the sixth time I had seen Crimson and the third time I had seen them at the Orpheum Theatre. The best live shows that I have seen from Crimson were the August 1 and 2, 1982, shows from the 45th Street Pier in New York City. This venue is outdoors and lacks all of the reverberations of an indoor theatre, so the sound quality was superb. Also, it was a warm and beautiful summer night and the band seemed relaxed and displayed unusual intensity, perhaps because RF called New York City his home at this time. The Boston show lacked some of the feeling of some earlier shows, but I attribute this to some inconsiderate fans who screamed "Adrian" (as if we didn't know his name) or some other nonsense every time there was a quiet interlude. Also, some other fans screamed the lines to Indiscipline prior to AB voicing them himself. As a recreational musician, I know that this can be irritating. I am happy that fans show their enthusiasm for the band, but I believe there are more respectful and appropriate ways to do so, especially for a band like Crimson. Finally, I must express my extreme pleasure with the California Guitar Trio. I have played and studied piano for 27 years and guitar for 21 years, so I can assure everyone that the technical abilities of this trio are ABSOLUTELY of the highest quality. Their arrangement of J.S. Bach's Toccata and Fugue in D Minor was stunning. The Train to Lamy Suite also showed off their ability to play a multitude of styles and to switch styles and tempos instantly. They seemed at home playing classical, blues, and country. It is easy to see why RF was the executive producer of their album and why RF co-mastered the album at the Discipline Global Mobile. They are also genuinely nice guys - they were signing copies of their CD after the show, and I spoke briefly with Paul Richards, thanking him for his postings on ET. He seemed genuinely pleased that there was such a group of people and promised to continue the postings. I urge all Crimson fans to attend the concerts with an open mind and to enjoy the music of this highly talented trio. Larry Coury coury at fas dot harvard dot edu Cambridge, Massachusetts [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 15:36:48 -0400 From: ThadKirk at aol dot com Subject: GIG REVIEW: Philadelphia, June 1 Tower Theater, Upper Darby, PA. Same place Gabriel warmed up for Woodstock last summer. Great show! Same set list as Buffalo show in previous ET#195. Rf was in darkness most of show. Belew was very calm compared to other times I've seen him. No jumping around etc. Very few words spoken by Belew. By the end of the second or third song AB said something like 'Hello Philadelphia. We just finished touring Europe and Canada and some where in Buffalo but this tour really doesn't start until we play Philadelphia." Belew would occasionally step aside when Fripp was ripping away to let the audience see him. Tony Levin was excellent as usual and played bass, stick and a bowed upright. Trey played only his 12 string combination stick/bass. Bruford's kit was yellow and he was wearing a yellow jacket. There were several strategically placed pieces of plexiglas to contain both drum kits. Music was very 'true' to recorded stuff. Sound was VERY good. Stereo PA system which Fripp used extensively. Sound was at an excellent level(ie. my ears were not ringing afterwards). It did get a little loud during People. The only complaint I can make about the mix is that I felt during the first half of the show, until People, I had to struggle to hear Bruford because Pat's drums were higher in the mix. Great extended instrumental at ending of People. During Indiscipline the audience was screaming " Did you like it?". Standing ovation after RED. There was NO mellotron. The part in Dino was done using AB's Roland synth. according to AB who said one was refurbished only for the studio recording. Lighting was just enough to keep you concentrated on the music. The Vari Lites moved only once during an instrumental section in One Time (I think). This was a 7 pm show. KC came on stage following a short break after CGT at about 8:05 and was into the first encore around 9:15. Show was over by 10:00. While Levin and Gunn played different areas in the music, I didn't see where PM really added anything that Bruford couldn't have done on his own. There were several times where PM was't even seated at his kit. Gunn however was playing all sorts of things against TL. In fact in LTIA #2 I was trying to see, in the dark, what I thought was a guitar part being played by RF only to realize it was being played by TG. I met with the band members(all but RF) after the show thanks to TL.(Thanks again Tony!) Tony said KC will tour again in Nov. but wasn't sure if they'd be back to Philly. BB said 'He wished some one would talk to him about this UK reunion thing'. He has not been approached about it. Much after the show I saw RF seated in the upper balcony watching the stage being struck. Thanks to Toby for this meeting place. Thad Kirk, WHYY TV/FM Philadelphia, Engineering Dept. " It's a dangerous place!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 03 Jun 1995 15:20:59 -0400 (EDT) From: DAVIREAD at delphi dot com Subject: GIG REVIEW: KC @ The Orpheum, Boston, June 2 I'd love to give a full review of this excellent performance, but the combination of terrible seat location and terrible sound prevents me from doing it justice. What I _can_ say is that I had a great time. The choice and order of music performed was very satisfying. Most of the new album was presented, along with most of Discipline (minus, most notably, Discipline itself!), Heartbeat, as the first encore, The Talking Drum/Larks' Tongues in Aspic, Pt2, and the high point of the evening for me, Red. The energy level was very high, with Adrian and Billy generating most of it. Adrian's MIDI-fied guitar got a real workout as he performed lots of cool synth parts, including Mellotron sounds, violin, vox humana, and various electronic timbres, gracefully switching between sounds, sometimes in mid-phrase, and he really seemed to be enjoying it. Billy was so visually interesting that I watched him almost exclusively throughout the show. He was absolutely fascinating. The economy of motion he displayed all night was really impressive, bursting into flurries of activity, then suddenly stopping, as dictated by what he was playing. During THRAK, (which was slightly unsuccessful overall, in my opinion) Bill was a real sight as he stood and performed his two-handed pairs of batterings completely in his own time, unnaffected by the groove pervading the rest of the group. What interested me most about Bill was something he did several times during the show, which really helped me make sense of some of the more awkward-sounding riffs I've heard him perform on the various albums. He will sometimes complete a rhythmic phrase by 'striking' his stick in empty air - a silent beat! Watching him do this really helped me get a better appreciation for some of his stranger-sounding phrases. Great stuff! Contrary to other ET reports, I found the lighting to be extremely complementary to the music, and in no way intrusive or innappropriate. I especially enjoyed the Kermit-like eyes used as a backdrop for Dinosaur, as well as the wildly-gyrating robotic spotlites used during the busier parts of Red, THRAK and LTiA Pt2. The second encore finished up with Walking On Air, which I thought was a lovely way to wind up an evening full of pyrotechnics, bombast and ferocity. Oh yeah, must mention the warm-up act, California Guitar Trio. These guys are great. They express through their performance, the same total love of music as They Might Be Giants, but with slightly less whimsy, a lot less outright weirdness, and noticably more talent and skill. A nice complement to KC. Despite my crummy seat and the miserable sound system (Might have been due to my location as well...), I had such a good time that I'm tempted to try to get tickets for a later show in another part of the country. Excellent work, guys! _Dave_ ps: Had to get on of those black hats with the new logo embroidered in yellow! By the way, has anyone else noticed that said logo is basically the Kimberly- Clarke (manufacturer of toilet paper, among other things!) logo turned 90 degrees? Cool. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 03 Jun 1995 14:12:25 -0400 (EDT) From: Michael Kelly Subject: GIG REVIEW: Boston Observations (incomplete spoiler?) Thought I'd delurk and thrust my observations of the Boston show upon this list. I will not provide a set list but will discuss several songs/pieces so if you view that as a SPOILER! beware! I also thought I should describe (bore you with) my "ear set" prior to the show to give some perspective. I'm a long time (20 years) listener to Crimson and anxiously awaited recorded and live offerings from the new formation. On a very subjective scale of "love it/like it/hardly ever listen to it " I give a "love it" to ITCOTCK, the 72-74 period, Discipline, RFSQ, LCG, Damage, CGT, selected Soundscapes, Earthworks and World Diary. I'd give a "like it" to parts of THRAK and never "listen to it" to VROOOM and everything Adrian has done since TOAPP. Obviously a incomplete list but you get the idea. So I went to the show with 3 friends all with mixed expectations at best (2 folks were more Levin and Bruford fans rather that KC listeners). In addition to the material, I was concerned regarding reports of "muddled sound", "cheesy lighting" and "Fripp not playing much". Finally I had little expectation re: Adrian playing a major role in the presentation. Well, ALL expectations were exceeded, greatly. The sound was fine where we were sitting, the lighting was fairly restrained IMHO - adding nicely to the show without detracting at all. RF was center stage on the elevated platform between Bruford and Mastelotto (SP?). He was almost as well lit as the others and I could see him just fine. He contributed equally (if not more) to the music as the other musicians and truly SOARED at times. HIGHLIGHTS for me included: A very nice extended improv section in the middle of THRAK - WOW! I could stand to hear a lot more in that vein! The Stick duet intro to Elephant Talk was GREAT if a little short. The Bruford/Mastelotto/Belew intro to The Talking Drum was fantastic as was this piece (my 1st live listening), LTIA II and RED. Fripp soared coming up off his stool twice during Sex Sleep Eat Drink Dream which I had not expected. Finally The California Guitar Trio set - very nice! One of the KC unbelievers who I dragged along is ordering their stuff as a result of the set. BIGGEST SURPRISE: Adrian was fantastic! Energetic, great guitar work, I actually enjoyed his vocals as well. I remember thinking during the show "this is why I used to be crazy about this guy's work!". I'd love to see a fresh direction from him following this tour. Thanks Adrian! BIGGEST DISAPPOINTMENT: The audience. It has been a long time since I have been to a louder, more inconsiderate (I mean during the performances) audience. I saw Nine Inch Nails at the Boston Garden with a younger rowdier group who were better behaved. The audience jabbered on loudly through the CGT set and through Fripp's soundscapes! Granted they responded enthusiastically but not considerately. Suprising and disappointing. I remember hearing Sylvian state during an interview that he was primarily a studio musician and that RF was very much a live performer. I also remember RF referring to an album as a "love letter" and a live show as a "hot date". What I saw and heard last night is certainly in line with those statements. THRAK (and certainly VROOOM) will probably never make it onto my "frequently played list" but I will always have fond memories of the live show. Now I can anxiously await the "official" bootleg of the early shows and maybe more? Mr. Fripp? Thanks for the love letters and the hot dates................................ mlk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 13:21:00 -0400 (EDT) From: The Funniest Man Alive Subject: GIG REVIEW: General show reactions This is not a review abou the Philly show. This is a reaction to the crowd at the Philadelphia show. I have never see KC live, so I had no idea as to what to expect (except for the import laserdisc I have of them from a Japan show of 3oapp). I enjoyed the performance alot but I *hated* the audience. It was like I was going to a classic rock show. More pot than I have seen in a long time, being used by over 40 stoners who want to hear 'In The Court Of The Crimson King' and don't even have 'Thrack.' Then there were the people randomly yelling out 'Do it Billy!' or 'Belew!' This was unexpected to say the least. I just never thought of King Crimson as 'classic rock.' I know they have been around for a long time but this realization shocked me...to say the least. *New .signature under consideration* [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 05 Jun 1995 12:24:01 -0500 (EST) From: "M. S. AtKisson" Subject: GIG REVIEW: Boston First, I would like to give a bit of a preface to this review, just to give some sense of where I'm coming from. For over four years I worked as a roadie/technician for a audio and lighting company, roadie for a touring bar band, and as a stage hand for an arena and a small hall. I've worked a lot of shows. I've also been in several bands. It is very difficult for me to go see a show without some constant technical analysis--the mix, the lighting, the playing. I'm not rabidly critical, just _aware_. Some of the following comes from that perspective, some comes from unrestrained fan-dom. It was really good. Not great, but really good. We got there minutes into the CGT set. Hm...a little Crafty, I thought, but I like Craft. These guys have been somewhat ignored in the gig reviews, and undeservedly so. The sound-bite would be, "This is what happens when you aquire Guitar Craft, leave Fripp's wing, and get your stomp boxes back." Like League concerts, the lighting was simple and unchanging, undistracting. Each guitar could be clearly heard, and it was amazing to listen and watch the playing. At one point, I'm convinced that two of them were playing the same part so pricisely that you heard one pick hit the string(s). Woof. There was a great deal of _attention_ there, but with a looseness and evident enjoyment of the music. The Bach was astounding, and the whole set was fun. The Crimson set list was similar to that published for Buffalo. Sound? Bass heavy, nearly buried vocals, clear drums. It was loud, but I ended up taking out one or both of my earplugs for most of it. These are musicians' plugs, which are supposed to cut all frequencies evenly, but because you can _feel_ low frequencies as much as hear them I had to take them out to get any balance. It was not always possible to pick out what Trey Gunn was playing, but he was often using sounds that don't correspond to "guitar" or "bass". Everyone else I could always find. The set list was pretty much the same as Buffalo, NY. The one negative: One rough moment in Frame by Frame, where it seemed that the guitarists lost each other, but they recovered. I may be imagining things, but I think it spooked Belew. On the whole, though, the playing was at the phenomenal level you would expect. Red was, umm... umm... it blew my doors off. Other random notes: It was fun to see demi-urge Tony Levin play. I'm not a Gabriel fan, and had not seen him live before. A good deal of the show looked as if they were all enjoying it--I caught Mastolino (sp?) singing along during Dinosaur. Fripp looked relaxed and intent. Bruford and Mastolino were synched and attentive in much the same way as the guitarists in CGT. Sticks hitting the floor toms at precisely the same moment... Belew was more subdued for the first half the show that I've usually seen him at his own shows. He did loosen up. Visually, the lighting was sometimes distracting, almost silly. The red and metal feel during Red was my favorite. The opening was also pretty cool, with the drummers and Fripp back-lit in orage. It did indeed make Fripp look like the daemon someone (the Quail?) described him as being. Cool effect: blue lights in between songs on the white shirts. Fripp especially was more visible when the lights were "out". Belew really rushed through the words to Indiscipline. It was very funny when he paused for a long time after, "..no matter how I break it down..." A hoarse voice from the balcony shouted, "It remains consistent!" Belew sort of laughed, shook his head and repeated the line in an agreeing tone of voice. A friend of mine tells the story that when they were recording Indiscipline, the complicated guitar rhythms really needed a straight 4/4 to keep it together, but that Bruford was unable to play it, because he had other things he wanted to do in the song. ("Four FOUR, Bill." "Okay." Bing, bang, ktan, bop.) Imagine my amusement when during the song I looked to see Mastolino carefully concentrating on a simple, straight beat. I pointed this out to my friend, and we laughed. Four FOUR. Lastly, they did play Heartbeat during the second encore. After all that, it sounds so simple. It's still sexy. Really lastly, the mix of old and new material really was amazing. It didn't sound like "the new line up has learned the old tunes." It sounded like one band, one overarching musical vision. It sounded like King Crimson. * * * * * * * * * * * * * * * * * * * M. S. (Peg) AtKisson * (matkisso at opal dot tufts dot edu) * "...his frontal lobe Department of Neuroscience * a retread..." Tufts University School of Medicine * Boston, Massachusetts * Adrian Belew [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 5 Jun 1995 17:15:54 -0400 From: Matt35m at aol dot com Subject: GIG RVIEW: NYC 6/4 (non spoiler) A few comments on the Sunday night 6/4 NYC show. There were a large number of people outside the theatre trying to scalp which made the vermon scalpers quite happy. The CGT were just great. They were a perfect band to warm up a group of fans as picky as KC fans. I'm waiting to see if they come around on their own and play for more than 30 minutes. The show was great. The mix of old songs, new songs and real old songs was on the mark. the sound was good and not too load as some previous posts had said. I usually use cotton, but I wanted to hear every note this time. And today I have no ringing. One problem was the reverb on Belew, at times I thought he was singing from a well. But then his voice has never been that good so running through some stuff can only help. I found every reason in the world to have two bassists and drummers. They all complimented each other flawlessly. And Gunn added some extra melody with his higher notes. I hope they tour more often now. My thanks to Toby for all his efforts. I have never been so informed before a tour and show. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: GIV REVIEW: Boston Concert/Screen Saver Date: Mon, 05 Jun 95 16:52:57 -0400 From: "Lee S. Kilpatrick" (Mr. Breeze) The Boston show was quite good. It was just okay for a while, but then it really got going for me about halfway through -- I think with "Sex Sleep Eat Drink Dream". Everything after that was quite phenomenal. I was pretty unenthusiastic about having to hear "People" and "Walking on Air", but "People" was extremely hot, I think it was faster than the album version. "Walking on Air" was not unpleasant, I think I just have a worse impression of it when I am not listening to it. However, as my friend remarked, it was a strange way to end a concert. I don't have a set list for you all, sorry about that. According to other recent set lists posted, to which the Boston show was similar, if not identical, one of the songs done during the encore was "The Talking Drum". What album is this song on? I assume it is a 70's Crimson song (which I am not that familiar with), or is a Bruford solo song? I really liked it, in any case. Fripp sat back there in the dark. It was pretty weird, they projected lights on the back of the stage, and you could see him because he reflected differently than the background, but other than that, he was just like another part of the background set. There were some people standing behind us and they were going crazy over Fripp earlier in the concert. They couldn't find him at first. When "Indiscipline" started up, one of them recognized it and said, "This song *sucks*." Before the show someone said it would end at 10:10. The show subsequently started at about 8:00, and, even with two encores, ended at 10:10. Does this indicate that it is strictly "choreographed" in terms of the lengths of the songs, etc? It seemed pretty curious to me before the show that there would have been an exact ending time, and then it seemed even more strange when it actually turned out to be true. In some places there are regulations about noise after a certain time, but I don't think that this is the case here, or even so, the time would probably not be 10:10. They gave out a little merchandise flyer from Possible Productions that shows a King Crimson screen saver you can get for Microsoft Windows. Has anyone got this? What is it like? Lee [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: David Kirkdorffer Date: 5 Jun 95 12:05:22 EDT Subject: GIG REVIEW: Alive in Boston Dear diary, I've had an amazing evening. Tonight I saw King Crimson. It's been a lifetime since I last saw them, in Frejus. And, as the guy in the rowdy Boston crowd who stole Adrian Belew's punchline yelled -- "It remains consistant." Quite a show. The absence of light on Robert Fripp, sitting squarely between the brightly coloured drum sets, seemed only to draw my attention all the more to this complex personality. Oh, and I'm not sure if it's completely true that Robert Fripp doesn't do drugs. There was enough second-hand pot smoke in the Orpheum air tonight to give us all smiles. Or maybe it was just the music :-) And now that I think about it -- what more perfect a venue to see King Crimson than at a place called "The Orpheum." Still glowing from this rare visit by an old friend, I whisked myself across town and "saw" Orb. From King Crimson to Orb. Wow! As I sit here now, I cannot think of a more ideal musical and wonderfully natural progression. At one moment I had to muscle my way to the front of the room to see if Robert Fripp was resposible for the soundscapes wafting among the complex rhythms and lights. What an evening. What a birthday gift. I guess I needed enough -- and was heard. Thank you. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 02 Jun 1995 22:44:29 -0700 (PDT) From: Daniel Malcolm Toloudis Subject: TICKETS: Portland, OR If anyone has a spare ticket to the Portland Oregon show on June 20 (I believe this is the correct date), I am more than interested. Help me if you can! Thanks! -Dan Toloudis dmt at darkwing dot uoregon dot edu dmt at oregon dot uoregon dot edu 503-484-5671 or 503-346-4770 (office) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 3 Jun 1995 22:59:22 -0400 From: Lembond at aol dot com Subject: TICKETS: Re:Need TwoTix /Seattle 6/22 Hi. I have two for the Seattle show but looking for an upgrade (20 rows or closer). Please email if you have what I need or are willing to trade (2, left, 26 Rows back)" lembond at aol dot com. :::: i wish you were here to see it! KC'95 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 4 Jun 1995 12:00:32 -0400 From: aj190 at detroit dot freenet dot org (Joseph G. Lograsso) Subject: TICKETS: Wanted - Ann Arbor Tickets If there is a God, someone will have at least one uncalled for ticket for Ann Arbor's show June 10. Please email me ASAP if there is anyone with an extra ticket. Thanks, Joe Lograsso aj190 at detroit dot freenet dot org [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 05 Jun 1995 22:40:56 -0500 From: jloda at interaccess dot com (Joe Loda) Subject: TICKETS: for Chicago OK, so it's a desperation move ... anyone have two tickets for the Chicago show, June 14? Thanks ... private email please. Joe jloda at interaccess dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 6 Jun 95 02:07:45 PDT From: dwight at pentasoft dot com Subject: TICKETS: WTB: Tickets for Seattle Show I need two to four tickets for the KC show in Seattle June 22. Please email me if you have extras. Thanks! Dwight [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tuesday, 6 June 1995 8:42am MT From: PAGE dot J%STKWWHDQ at CCSVM dot STORTEK dot COM Subject: TICKETS: Denver tix grovel Hey et'ers...i am desparately seeking tix (1 or 2 ) for the 6-12 denver show.. ...sorry to grovel...i am also trying to get an interview with tony levin...any ideas on whom i may contact in that regard...all my usual leads have lead to naught...peaced... juli in the colo mtns. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]