Elephant Talk #197 (as text)

7 June 1995



From: aprasad at ccs dot carleton dot ca (Anil Prasad)
Date: Tue, 6 Jun 95 23:20:06 EDT
Subject: INTERVIEW: A CONVERSATION WITH TREY GUNN
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          A CONVERSATION WITH TREY GUNN by Anil Prasad
          Copyright 1995 by Anil Prasad & i/e Magazine
-----------------------------------------------------------------
This interview took place just before the release of the _Vrooom_
EP and originally appeared in issue #8 of i/e magazine, an
American publication devoted to progressive and electronic music.
This interview is being posted exclusively to the Elephant Talk
King Crimson digest and may _not_ be reproduced in any format.
Please respect my wishes. By violating them you discourage the
posting of future interviews. Let's keep the Internet a place of
mutual trust and respect until the machinations of the corporate
world transform it into just another conduit of greed and
corruption.
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Many thanks to Darren Bergstein, editor extraordinaire of i/e for
permitting this interview to be shared with ET'ers and to Trey
Gunn for being so generous with his time and patience. And last,
but certainly not least, thanks to Toby Howard for continuing to
run the Internet's finest music mailing list. If I may
editorialize for a moment... there are some listowners of prog-
related music lists who are intent on turning the 'net into a
hard hat area where childish insults are dropped regularly to
provoke and disturb for no particular reason. Even though said
individuals maintain their dignity on their mailing lists, their
non-list behavior illuminates their true inclinations. These
people are simply creating a house of mirrors where reflections
of their true maturity levels are easily seen by all.
ET/Discipline has avoided this nonsense and remains a place of
intelligent and interesting conversation -- even during a time
when the 'net is in danger of collapsing under the weight of
mindless chatter.
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If you enjoy this interview, you can find more information about
fascinating and unique artists in i/e magazine. Write to:

i/e Magazine: Music In Flux
2300 N. Yucca
Chandler, AZ
85224
U.S.A.

A yearly subscription is $16 U.S., $20 U.S. for Canada/Mexico and
$30 overseas. The current issue (#8) features interviews with
David Cross, Richard Sinclair and Popol Vuh -- as well as this
Trey Gunn interview. i/e needs the support of people interested
in this sort of music, so please check it out -- you'll be
pleasantly surprised.
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     Someone once said "talking about music is like whistling
about chickens." For Stick player Trey Gunn, the phrase holds
entirely true.
     Music is Gunn's aura, and he's far more interested in
exploring it rather than discussing it. But when fused with the
Stick, his fingers become an eloquent mouthpiece for his sonic
philosophy. It's one born of jagged edges and ambient
dreamscapes. It's also one which spits in the face of convention.
     It wasn't always this way though. Gunn, 33, first shot onto
the scene as a guitarist and bassist with hard rock and new wave
bands in his native San Antonio, Texas. In 1981, he pursued a
degree in music composition at the University of Oregon.
     As chance would have it, Gunn attended a guitar course
Robert Fripp was teaching in 1985. The experience triggered Gunn
to steep himself in Fripp's eclectic, anti-traditional approach.
Inspired by his teacher's quest for innovation, Gunn also decided
to pursue the ultra-complicated Stick as his full-time
instrument.
     Seeing a kindred soul in Gunn, Fripp decided to forge a
musical partnership with him. It's been a frutiful relationship.
Gunn has toured and recorded with Fripp as part of the David
Sylvian/Robert Fripp group, Sunday All Over The World, The Robert
Fripp String Quintet and The League of Crafty Guitarists.
     Besides his involvement with Fripp-related enterprises, Gunn
has released two solo albums: 1989's _Raw Power_, and 1993's _One
Thousand Years_. The former is a Stick extravaganza, while the
latter is a sweeping, ethereal and sometimes kinetic release
which showcases Gunn's songwriting and composition skills at
their pinnacle.
     Gunn presently resides in New York City where he's gearing
up to tour and record with the newly reformed King Crimson. The
current line-up also features guitarists Robert Fripp and Adrian
Belew, drummers Bill Bruford and Pat Mastelatto and bassist/stick
player Tony Levin.
     King Crimson will release a new EP entitled _Vrooom_ this
November. Plans are afoot to record a full-length album in
December at Peter Gabriel's Real World studios in England.
     In Gunn's first english-language interview, he discussed his
flourishing solo career, King Crimson, and the musical terrain
he's currently traversing.
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AP: How would you describe the Stick to someone who has never
seen or heard one before?

TG: It's a hybrid instrument that combines the disciplines of the
drum, guitar and the keyboard. It looks like a two-by-four with
10 to 12 strings attached. It's played by tapping the strings.
Only one finger is used to get one sound, so you can use all of
your fingers simultaneously. That means you can use both hands to
play bass lines, chords, melodies or whatnot. It's kind of a
keyboard technique, but unlike a keyboard, the fingers have to
move around a whole plane, not just up and down a line of keys.
The bass sound is the most immediate and appealing sound. It's a
big fat, funky sound with a lot of punch, but you can make it
sound like a guitar or a keyboard too. Everyone has their own way
of playing. The advantage is there's no history to the instrument
so you can do whatever you want. The disadvantage is because
there's no tradition, you're left to generate everything on your
own.

AP: You made your first career splash with Robert Fripp's League
of Crafty Guitarists. Why do you think he first asked you to work
with him?

TG: It's because I'm not interested in doing something that's
been done before. It's not that you can't hear me doing something
that hasn't been done before, but in general, I'm looking for
another way to play the bass line. At worst, you'll get something
quirky out of me. We've spent the last few years building up a
new vocabulary of music together. The vocabulary of rock music is
old words, and what you say with old words is old things. The
League of Crafty Guitarists and Sunday All Over The World were
frameworks for that vocabulary. Hopefully Crimson will really be
the beginning of it.

AP: Can you define this new musical vocabulary?

TG: We're discovering it as we go along, and not reflecting and
keeping track. All I can say is we're at the beginning. We just
woke up, we were just born yesterday and we're really in the
dark. It's a matter of "Does this feel new to us? If it's old,
it's out." I'm not so keen to really define it yet. At some point
in the next few years there will be a period of reflection, but
right now we're barrelling ahead as fast as we can.

AP: Although the liner notes don't mention it, I understand _Raw
Power_ was a soundtrack album.

TG: It was originally music for a windsurfing film. A friend of
mine is a windsurfing cinematographer in Oregon. He asked me to
do some music and I thought it was a really good opportunity to
learn the Stick, as well as some percussion and drum machine
stuff. There's a few good things on it, but it's a bit naive
compared to the Stick playing on _One Thousand Years_. The sound
of the instrument was so wild for me that the sound carried it.

AP: Whereas Raw Power was a showcase for the Stick, _One Thousand
Years_ features much more fully-formed compositions.

TG: I didn't want to make a players' record. I hate players'
records. I think if anything, I feel like that was successfully
accomplished. I think the audience for the album could be people
who aren't connected into that whole musical world. I think it's
the kind of record that will take several years to find its place
and I'm happy with that.

AP: The album cover of _One Thousand Years_ features a Navajo
Indian girl holding a picture of her grandfather. It's a striking
image that lends the album a spiritual aura.

TG: It had very little to do with me, but it was just the right
record cover. The art director, Bill Smith, said he had the
picture and didn't know what do with it and as soon as he heard
my record he thought these two should go together. I don't know
the girl's name, but her grandfather is a Chief. That's all I
know. But there's Choctaw Indian blood in my family. Indians are
very natural in the world as opposed to us in the cities and I
tried to deal with that in the record. I live an urban life, not
by choice, and for me it was very strange and so right that
there's an Indian motif of the natural world which is what I'm
personally struggling towards while being stuck in the middle of
Manhattan.

AP: Let's discuss some of the lyrical themes on the album.

TG: I'm not sure I can do that. Obviously, no lyrics are printed
in the liner notes, unless you bought the Japanese version. They
made me translate them, and I said "Okay, you can translate them
as long as you don't print them in english."

AP: Why?

TG: For me, lyrics are not to be read. They're not to be visually
assimilated, they're to be listened to. The most important thing
about lyrics to me is that they sound right and good. They should
sound right in the mouth of the person singing and the ear of the
listener. I have no interest in the singer-songwriter style of
music.

AP: You handle all of the lead vocals on the album. How
comfortable are you with that role?

TG: I've been singing on and off for fifteen years in various
bands I've worked with. I love to sing, but I'm not entirely
convinced of myself in that role though. I think my voice is very
unique sounding, but I'm not sure it's a good voice. For
instance, David Sylvian has an amazing voice, and he doesn't need
to sing loudly to make it work -- it's just there. He's the only
person I've run across like that.

AP: The album's compositions are painfully intricate and layered.
How did you go about composing them?

TG: Most of it was based in improvisation. That's pretty obvious
in some of the lyrics. The words are very clearly improvised.
Musically, I would build up a rhythm track and do a whole bunch
of different improvisations, different percussion and different
vocals and edit everything together. So, different things are
jumping in and out.

AP: How do you look back on the David Sylvian & Robert Fripp
album _The First Day?_

TG: It was great recording it. We had no idea what was gonna
happen when we went into it. There ended up being a lot of
improvisation and three pieces ended up being hugely longer than
we expected. We played them live in the studio and when the songs
were over no-one would want to stop, so we kept going. Those
became the long codas on "Firepower" and "20th Century Dreaming."
They turned into psychedelic landscapes and we kept going for it.
They just kept building into bigger and bigger things. With
"Darshan" the tape ran off of the reel!

AP: I've heard the recording sessions for the album were often
filled with tension.

TG: We were really, really picky about the feel of the album. It
was tedious to work on at times. David [Sylvian] is very good at
crafting every little thing -- if something didn't quite feel
right, we would fix that one little thing. It's not really fun
for a musician to do. It's very hard to do and it's very time
consuming and expensive. But then you end up with some very
exceptional performances on the recording. That's one way of
working. The other way is you just come in and blow and that's
what Robert [Fripp] does. In that respect, Robert and David
represent two entire extremes of making a record, but that's why
the record works for me. It's very crafted, and because of that
it's a very interesting record to listen to.

AP: Many perceive you as a background player on _Sunday All Over
The World_ and the Sylvian/Fripp album. However, your
contributions as a writer and producer have been paramount to the
success of both projects. Does that lack of recognition bother
you?

TG: It's nice to be recognized for your work and that rarely
happens to me because I work with such high-profile people. I
can't compete personality-wise. It's nice to have your niche
where you're recognized though. I think having my own record out
will make quite a difference. I don't need to be under the
spotlight, but I'm happy when I am.

AP: Why did you choose to join King Crimson?

TG: When Robert asks you to join Crimson, you just don't say no.
The fact is, Crimson is Crimson and no-one else is Crimson and
no-one else can do Crimson music but Crimson. I think there's a
need for Crimson to make its commentary on the times. As soon as
we got together and played it was so obvious that no other band
in the world could play these musical ideas.

AP: King Crimson line-ups have tended to implode after an album
or two, leaving an atmosphere of animosity and hostility amongst
the musicians. Why will that be different this time?

TG: Well, it may not be different. I think people are older and
more experienced and we only have an industry commitment to make
one record. We may do that, do some touring next year and that
may be it for this line-up. The situation with the last line-up
was they were under obligation to deliver several records. The
music stopped happening for the group after the _Discipline_
album and they weren't allowed to stop. Hopefully that won't
happen this time. There's a lot more guys in the band and more
complications and relationships to bounce the tension around.

AP: Describe the chemistry of the current King Crimson line-up.

TG: It's really good. I've never worked with so many people with
such strong voices before though. Sometimes you don't necessarily
want six different things happening at the same time. But we
really clicked into the six pieces on the new mini-album.
Everyone contributed to them successfully.

AP: The band is operating in a double-trio format. There's two
drummers, two guitarists and two stick and bass players. Why
choose such a complicated line-up?

TG: If you listen to the new recording, there's generally that
much going on, so why not have it actually done live? It's less
of a rock band, and more of an orchestra without keyboards.

AP: It's rare to see two bass/Stick players in one band. What
approach are you and Tony Levin using to make the combination
work?

TG: Funnily enough, there's no Stick from Tony on the new EP. He
only plays bass and I play Stick. Tony played a lot of upright,
electric and bowed bass that sounds really amazing, with me on
the low-end of the stick as well. However, we have been working
on some interlocking bass parts. We're also still looking for
ways to do something on two Sticks that's really unique and
really well-delivered. The same goes for the two drummers by the
way. Basically everyone is just getting to know each other. For
instance, Bill [Bruford] hadn't seen Adrian [Belew] in ten years
until these sessions. It'll take awhile for everyone to figure
out how things will work out.

AP: I understand the band members have a profound dislike for the
word "reunion" when it comes to describing this new King Crimson
undertaking.

TG: When the last line-up was together none of the old music was
considered, and the situation is different this time. We're re-
developing some of the old ideas and reworking some of the older
pieces that haven't been played for twenty years. I think Robert
feels we have a band that can tackle some of that material. I
think it will work. I think we want to draw on the whole history
of the band, but without it being a reunion. The trick to that is
new material and that's what we have right now.

AP: Are you worried about the King Crimson curse? The group's
been a mixed blessing for many previous members who now languish
in permanent obscurity, known as ex-King Crimson members and
little else.

TG: I'm not worried about it at all. I don't have any idea what's
gonna happen with this band, but I have a hunch that it'll be
quite a wild rollercoaster ride once it kicks in. I think things
may spin out of control for awhile. It's just another stage in
what I do and it's possible it'll be the highest profile thing
I'll do, but you never know. I think the key is to continue to
work in as many different contexts as possible. There's a lot of
people who hate King Crimson and I hope I'll be able to play for
them too.
                               -- end --
-----------------------------------------------------------------
          A CONVERSATION WITH TREY GUNN by Anil Prasad
          Copyright 1995 by Anil Prasad & i/e Magazine
-----------------------------------------------------------------
       You can reach Anil Prasad at aprasad at ccs dot carleton dot ca
                and i/e Magazine at iemag at aol dot com
-----------------------------------------------------------------

From: mallende at Phoenix dot kent dot edu (mark allender - king of the universe)
Subject: ARTICLE: SCENE Magazine - June 1 - Cleveland
Date: Tue, 6 Jun 1995 16:22:36 -0400 (EDT)
	the following article was published in the Cleveland area
entertainment magazine, SCENE, which is published weekly and is freely
distributed.  this is from the June 1-7, 1995 Issue (Vol. 26 No. 22).
Crimson is on the cover of the issue (i had never seen what Pat or
Trey looked like before!) and the article also comes with a photo.
THRAK also is reviewed in the album review section.

	If you would like to try to get a copy of the issue in
question, i suggest writing to the offices @

SCENE / One Playhouse Square / 1375 Euclid Ave. #312 / Cleveland, Ohio
44115

or email to

el176 at cleveland dot Freenet dot Edu

though whether that will do any good or not is unknown to me.

*** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***

KC's THRAK ATTACK
by Marc Holan

	It's been 12 years since the last King Crimson album, THREE OF A
PERFECT PAIR.  In the interim, the four principals of the band --
guitarist Robert Fripp, percussionist Bill Bruford, bassist Tony
Levin, and guitarist/vocalist Adrian Belew -- have persued the
requisite solo projects, in addition to playing on other artists'
recordings.  Belew, a respected solo artist in his own right, played
on Nine Incs Nails' THE DOWNWARD SPIRAL and toured with The
Psychodots.  Levin has played with Peter Gabriel on his last couple of
albums and tours, and Bruford does drum clinics and records with an
avant-jazz outfit.  Robert Fripp refrains from participating in the
kind of recording projects that most artists seek out.
	Coming together as King Crimson, the four musicians put aside
their individual interests for a common goal of creating music that
ias beyond categorization.  THRAK, the lkatest chapter in the King
Crimson saga, represents a new approach to recording that is the
result of Fripp's musical vision.  Augmented by former Mr. Mister
drummer Pat Mastelotto and bassist Trey Gunn, the basic quartet splits
off into what Fripp calls "the double trio format."
	Belew, calling from his new home base of Nashville, explains
the double trio concept.  "I think the double trio is somewhat of
a nebulous term that someone has attached to this, and I don't really
see much evidence of it yet, musically
	"What it is meant to imply is that the band can break down
into different factions, so you may have one group of people playing
one part of the music and another group playing another part.  I don't
think we've really got around to doing much of that yet.
	"There is a song on the record called 'Dinosaur' which I wrote
a middle section that does break down into a trio of Trey, Tony, and
myself.  Initially, I asked Robert to play as well, but he thought
what we were already playing, the trio was already enough {sic}.
That's one attempt I can think of on the record in which the band
breaks down into a smaller grouping.  I think in the future we may try
to utilize these possiblities."
	What about live?
	"No," Belew replies, "it's not structured, not two different
trios.  The idea is more mixing up different people, different
combinations.  In the live context, there are times when the band
breaks down into different factions."  (King Crimson will be playing
at Nautica Stage Thursday, June 8)
	Before recording THRAK, the band played a series of live dates
to solidify the songs' arrangements.  "We played in Argentina four
months ago to develop the rest of the material before recording it and
to play in front of a live audience again," Belew explains.  "So I
have some evidence of what the band is going to be like, very
powerful.
	"As I say, there were different times when you had two or
three different people playing and someone else just sitting there.
It's nice because we've got so much going on in this music.  Everyone
has such a giant palette to choose from that we can sound pretty big,
and sometimes it's nice to sound small again for a minute."
	Considering the length of time between albums, there must have
been some trepidation among the musicians to get back together.  What
would it be like?  Would they still have a common musical ground?
	"The band came back together in and of itself," Belew recalls.
"At the same time, there's a whole different confidence and maturity
level.  I feel this band will be fun to be in, and it will have a
longer life together if we're smart about it.
	"One of the requirements of us not hating each other is that
we spend short, intensive bursts of time together and then go away and
do other things," Belew says.  "Essentially, two months of touring in
May and June, then in October and November.  There's no rush.  King
Crimson is very important to all of us, and we want to do it the right
way.
	Belew admits that he approachres writing songs for King
Crimson in a different way than writing songs for his solo records.
"I tend to focus on King Crimson stuff as we're doing it," he
explains.  "I kind of wait until the band is starting to gear itself
up, and then I think of King Crimson only.  Some of the music has
similarities to my solo albums -- some of it -- my part ofd it.  It's
a different approach.  I pretty much work in areas of expertise."
	It's suggested "Sex" on the new album has a Nine Inch Nails'
aggressiveness to it.  Could it be that Belew was influenced by Trent
Reznor?
	"I don't know," Belew replies.  "It just came out that way.
It's the only song on the album we just arrived at, with the band just
sort of improvising.  I took the improvised DATs away and listened to
them, prescribed some chord changes.  Then I sat in the parking lot at
the last minute and wrote the words, walked into [the studio] and sang
it.
	I guess maybe that's it," he continues.  "It was kinda
'arrived at' in the most haphazard manner of anything on the record I
can think of.  Most of the other [songs]  are well thought out, well
discussed, rehearsed, played in front of audiences and so forth before
they're ever finalized.  'Sex' is kind of different from anything
else."
	It's pointed out that, in Cleveland, "Dinosaur" is getting
airplay on WNCX, a classic rock station, as opposed to stations
playing "modern rock."  King Crimson's music is as innovative as
anything on the airwaves, but where does it fit in today's radio
climate?
	"I did wonder aloud where King Crimson could if at all fit in
the radio airwaves today," Belew says.  "I never think of the band in
commercial terms.  We're definately not a band that will do endless
touring and videos.  It's hard enough for us to get together to do a
photo session," he adds with a laugh.
	"No one seems concerned about that stuff, though.  King
Crimson is about music, and that's the way it should stay."

Date: Wed, 7 Jun 95 00:30 BST-1
From: craddocks at cix dot compulink dot co dot uk (Steve & Lyn Craddock)
Subject: Emmanuele
Subject: KC in Emmanuel (!)

Brian Ritchie said...

> background music sounded awfully familiar. Suddenly, I realised that it was
> Lark's Tongues In Aspic, part 2!

Yep there is quite a bit of the album in the movie.  I saw it years'n years
ago (original release) and have never found anyone else who recognised it!
(I wondered if I was losing my marbles!).  Have to dig it out from the video
shop and give it another listen (in the name of research, of course :-))

> However, the version used wasn't the
> original album version,

No, would be interesting to know if it was just stolen or used with
permission too...

-Steve-

Date: Wed, 7 Jun 1995 12:38:35 +0000
From: br at inf dot rl dot ac dot uk
Subject: Re: KC in Emmanuel (!)
Damon Capehart (dcapehar at utdallas dot edu) wrote:

> 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.

Well, on the censorship documentary they interviewed one of the censors who
made the cuts in Emmanuel, and he said they'd cut the scene because it was
violent sex with no artistic justification (I almost said "artistic
licence", but that would be too ambiguous in this context:-) The
film-makers tried to claim that the scene should stay because E. was being
gang-raped as part of her sexual education, the censors didn't exactly
agree!  There was no mention made of any dispute over the music, and in any
case (I now understand that) any cuts made for the music would have been
made some years after the film was first shown.  The gang-rape sequence (or
at least, the few seconds' fragment shown on the BBC) was *never* included
in the film.

(Of course, I'm talking about *UK* censorship here; could be that the
sequence survived in the rest of the world, at least until RF had his say.)

I'd assumed on hearing it that perhaps it was a live recording of KC,
rather than simply being played by someone else.  Must admit, the lack of
guitar did puzzle me, but I assumed that maybe the man was having a rest
for a few seconds.

Brian
----
Dr. Brian Ritchie, Systems Engineering Division,
Rutherford Appleton Laboratory, Chilton, DIDCOT, Oxon, UK
WWW URL: http://www.cis.rl.ac.uk/people/br/contact.html

Date: Wed, 7 Jun 95 13:47:05 BST
From: cbackham at uk dot mdis dot com (Clive Backham)
Subject: Emanuelle
In ET #196, Damon C Capehart <dcapehar at utdallas dot edu> wrote:

>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.

(Predictably, Tamm is wrong :-)

During last weekend's BBC2 TV showing of a number of programmes about
film censorship throughout the years in the UK, this very scene was
shown. It was unambiguously stated - by the very members of the British
Board of Film Censors who demanded the cuts - that the scene was cut
because it depicted an unnecessary amount of sexual violence. Around
the time that the film was made, there was a very strong tide of opinion
against sexual violence in films, and the BBFC cracked down on it very
strongly (and still do to a certain extent). The cut had *nothing* to
do with the illegal use of LTiA pt II. As has been explained in other
postings, Fripp didn't know about this until years after the film's
release, and sued (I believe successfully).

Strange that a scene which in 1973 was considered too dangerous for
showing in cinemas to an over-18 audience, can in 1995 be shown on
national TV.

Clive Backham
McDonnell Information Systems, UK
email: cbackham at uk dot mdis dot com

Date:         Wed, 07 Jun 95 10:41:51 EST
From: Francois Cartier <FCARTIER at vm1 dot si dot USherb dot ca>
Subject: Encores!
I've read a few spoilers and I must say that I'm surprised... People are
always saying that there were only 2 encores...

I want to tell all the Crim-freaks out-there that we had 3 encores in
Quebec!  I'm sure that you can pull a third encore if you give it a try...
The people in Quebec are a great crowd and maybe that's why I read that
there is a rumor that KC will be back in town this fall!

Have a great time at the show!

Francois Cartier
fcartier at vm1 dot si dot usherb dot ca

From: "Mathews, Thomas J." <tjm4 at NCH08A dot EM dot CDC dot GOV>
Subject: Guitar p. article and reviews
Date: Wed, 07 Jun 95 11:53:00 EST
Heck I wasn't even looking for it but it just decided to find me 9 hours
before the DC show. I found the whole article using this massive address:

gopher://gopher.enews.com:2100/00/magazines/alphabetic/gl
             /guitar_player/Current%20Issue/070195.1

I do not consider the reviews as spoilers. They are a catharsis (3rd
definition) for me. I read reviews for the L. Anderson tour and it made the
live experience closer to perfect. As Trey says in the article above he
waited 15 years before the right instrument came along, credit to Fripp in
1985. I've waited for the right info. to come along at least that long,
credit to Toby and all who have reviewed in 1995.

Toby has a nice new bike ;). My strong urge to send him a gift has overcome
me. Any USAers like to start a fund for a nice helmet or perhaps some deal
so he can see KC in the US (too crazy man)?  tj dumela at databank dot com 8.3
hours to go

From: esteban at cs dot utexas dot edu (Stephen Paul Carl)
Date: Wed, 7 Jun 1995 12:02:55 -0500
Subject: Bruford/Moraz show long ago
Back on Sat, 3 Jun 1995, some Funny Man <cuyahoga at astro dot ocis dot temple dot edu>
wrote the following:

>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.

Did this ever bring back memories.  In one of my better moves, I bought
tickets for myself and some friends to the Bruford/Moraz concert in Houston
some years ago.  My to-be wife and I arrived somewhat late and my other
friends were not in our assigned places (they got there early and found
closer seats), leaving two seats empty.  The concert was wonderful: I'd
never been so *close* to two world-class musicians before.  It was also a
very focused, attentive crowd - until...

Some THING arrived and took the seat next to me.  He was probably my age
(college) but he was tanked and thought he was at the Summit or the
Astrodome for a Yes concert.  He continually called out throughout the rest
of the show, tried (and failed) to keep time by snapping his fingers and
kept asking for some song (I assume from a Moraz recording) called
"Primitivization".  Or is that some process that was occuring in his brain?

"Bruford!"  "Electronic!"  "Primitivization!"  Retch.

If this fellow even knew of the *existence* of the two duet albums I'd be
floored.

Oh, yes, please, KC, swing by Texas in the fall.

Stephen P. Carl

Date: Wed, 7 Jun 95 18:08:07 BST
From: Tim Meadowcroft <tjm at i2 dot co dot uk>
Organization: i2 Limited, Cambridge, UK
Subject: sex, count, fart (sleep, dream)
Suggested subject: sex, count, fart (sleep, dream)

- re: LTIA in Emmanuelle

I never really thought of Fripp's as this sort of music, but then if you
ever see "Dogs in Space" (a great Aussie movie) one of the guys borrows
"that Eno record" every time he brings home a new girl to, er, test the bed
with. And sure enough, the track is SkySaw from Another Green World, pure
Fripp guitar.

- Discipline and counting.

I once saw a 15 minute Bruford video where he took apart the playing of
Discipline, and then the band played it. The drum section is in something
like 17/16 (I think), but "overlaid over a straight 4/4 on the bass drum so
you can still dance to it". This is the 4/4 that makes it all hang together
so you can predict the beat if not the music.  Anyway; amazing
instructional video (I'm not a drummer, but friends are). I was happy when
they played Indiscipline at the Albert Hall, but Discipline would have been
_so_ much better. I don't know if it was from this video, but the story I
remember being told re:Discipline is that it's an exercise where no one
instrument is allowed to take the lead at any time, but neither are they
allowed to drop back to play an accompaniment to someone else, but they
should all be maintaining an intensity level on a par with each other
within a stict poly-meter framework.

- RF and a sense of humour In the latest copy of Mojo is an interview with
Fripp, where amongst other comments he complains of the photo "I wouldn't
actually sit like this unless I was trying to fart". He then goes on to
tell an anecdote about playing live with Peter Gabriel, when PG had all the
band on a healthy diet including beans and lentils, and the predictable
effect this had on their digestive systems. Throughout the concerts they'd
all run up to PG when they could feel a fart coming, all the audience
(except the first 2 rows) thought this was just a friendly energetic band.
 And Mojo reports RF's laugh is like Muttley's (from Wacky Races).

Tim // tjm at i2 dot co dot uk

Date: Wed, 7 Jun 1995 13:50:04 -0400
From: AFCPeterS at aol dot com
Subject: re: THRAK: - The Movie
> 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

Haven't seen Gunn live yet, but how about James Woods as Belew? :)

Peter Stoller

Date: Wed, 7 Jun 1995 14:04:47 -0400
From: AFCPeterS at aol dot com
Subject: Re: #2(3) Elephant-talk digest v95 #196
> From: Larry Coury <coury at husc dot harvard dot edu>
>
> 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.

A few comments on this. I have never found outdoor sound to be better than
indoor sound - usually, it's been worse. Theater acoustics are a *good*
thing, so long as you have a well-designed theater and an amplification
system that works with the acoustics instead of fighting them.

As far as KC gigs go specifically, I saw them one of those nights at The
Pier: the overall sound was acceptable but unremarkable, and the bass sound
was severely marred by distortion in the sound system. (It wasn't subtle; the
sound was breaking up badly throughout the show.) The "intensity" of the band
was OK, but it was nothing compared to the shows at the Savoy in NYC the
previous year. The Pier was a good concert; The Savoy was a religious
experience. (The sound at the Savoy was also better, at least from where I
stood - against the stage, directly in front of Fripp. Not the best seat in
the house sonically, but who cared?)

Peter Stoller

Date: Wed, 7 Jun 1995 18:42:02 -0400
From: Theslammer at aol dot com
Subject: Re: #3(3) Elephant-talk digest v95 #196
In a message dated 95-06-07 04:01:47 EDT, you write:

>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.
>
It seems like this crap went on at every show....really bummed me out at the
6/3 show......Adrian knows his name folks....he's had it a while now.  I was
also pleasantly surprised by Adrian's performance...he & Levin made the
evening a little speacial despite the audience.

From: draco at mail dot hvs dot com
Subject: Laughing Fripp
Date: Wed, 07 Jun 95 17:06:42 EST
In ET 196, Mark2u at aol dot com wrote:

>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?

    I didn't see this show, but I saw something very similar.  It was the
Discipline tour at Gammage Auditorium, Tempe Az on Nov. 20, 1981.  The
incident also occurred during "Indiscipline".  Something which I didn't
notice occurred on stage that caused both Belew and Fripp to break up
laughing.  Fripp was leaning his head back and was absolutely roaring with
laughter and gyrating on his stool.  This went on for a good minute.  Belew
tried a couple of times to get back to reciting the lyrics, but was
unsuccessful and broke up into laughter each time.  (Bruford & Levin, btw,
continued on as if nothing was happening.)  When Belew was finally able to
sputter some word into the microphone, he said something to the effect of:
"...and sometimes.. I don't like to look at Robert".)  This caused Fripp to
go into hysterics once again for another good 30 seconds or so.  Belew had
regained his composure by this time and they finally got the song wrapped
up.  Absolutely GREAT moment, which I will never forget.

Date: Thu, 08 Jun 1995 11:01:53 +1000
From: "Dudley A. Horque" <DUDLEYH at polly dot bendigo dot latrobe dot edu dot au>
Subject: Re: Elephant Talk #196
Mark Creer <Mark at coblt dot demon dot co dot uk> wrote (amongst other stuff):
> 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".

Aaaarnk. Wah wah wah wah. And other game-show failure sounds...
The actual line is "One thing is for sure... the sheep is not a creature
of the air." Its a Monty Python quote from a sketch where sheep fail to
fly when pushed into a situation where they lack immediate access to the
ground (not to worry though, they and the ground soon become one again).

================================================================================
Dudley Arthur Horque            Systems Analyst                 P.O. Box 199
   Voice: +61 (54) 447271       LaTrobe University, Bendigo     Bendigo,Vic 3550
     Fax: +61 (54) 447777	dudleyh at bendigo dot latrobe dot edu dot au  AUSTRALIA

Date: Wed, 7 Jun 1995 22:57:29 -0400
From: artc at tiac dot net (Art Cohen)
Subject: Emanuelle/LTIA
Chris sed:

:      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.

The liner notes to the b**tleg "Indisciple Mining Rocks" contain an article
by RF entitled "Bootlegging, Royalties and The Moment", which contains the
following passage:

"All the sex scenes in 'Emanuelle' feature music lifted from 'LTIA Part
II.' Following a lengthy legal action, my rights as composer have been
acknowledged and a settlement made out of court. The implication that
receiving royalties for one's work is inherently bad I find very queer and
somehow peculiarly English."

I might add that the liner notes are probably the best thing about this LP
(that and the fact that they had the balls to copy the WB and EG logos and
write "PROMOTIONAL COPY. NOT FOR SALE." across the bottom!). It contains
two listenable songs from the ABC-TV show "Fridays" and a bunch of songs
>from a Stony Brook, NY concert that sound like they were recorded with two
tin cans and a piece of string.

--Art
"Pant Pant Pant"

--
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: Thu, 8 Jun 1995 14:50:59 +1200
From: james dot dignan at stonebow dot otago dot ac dot nz (James)
Subject: Re: Thrak - the movie
Well, I've always thought the picture on the cover of Lone Rhino makes
Adrian look like Brent ("Data") Spiner...

James

From: Nadav Noah Caine <nadav at leland dot Stanford dot EDU>
Subject: Sleepless
Date: Thu, 8 Jun 1995 00:49:50 -0700 (PDT)
>>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)

Blew a woofer on Sleepless in '88.  Worthit though.  Thought that was just
extra distortion on Larks Part 3.  - Nadav

Date: Wed, 07 Jun 1995 23:27:47 EDT
From: FZWU08A at prodigy dot com (MR ROBERT J BURNS)
Subject: Fripp 'fro
I'm new to et but go back with kc to "Court" days. First saw them 2-17-72
on Islands tour. They played Pictures Of A City, Formentera Lady/Sailor's
Tale, Cirkus, Ladies Of the Road, Groon & Cadence & Cascade/Schizoid Man as
encores.  Have since seen Larks Tongues, Starless, Discipline, Beat & 3oPP
tours. Have autographed copy of 3oPP from AB & BB record store
appearance. Looking forward to thrak 6-14 in Chi. Does anybody else go back
that far? Do you know if they toured on Court, Poseidon, or Lizard? If so,
would love to hear about it. Remember when Fripp had a 'fro? Great stuff on
these pages - keep it up!

Date: Thu, 8 Jun 1995 9:09:48 -0400 (EDT)
From: KEELEY at PHYSICS dot HOPE dot EDU
Subject: More on Conspiracy!
After reading the Great Quail's theory on the "Fripp is Dead" conspiracy, I
was tempted to brush it off as mere idle speculation.  But then, upon
further reflection, I realized that not only does THRAK have the same
number of letters as FRIPP (as Quail points out) but VROOOM has the same
number of letters as ROBERT but ONLY IF YOU ADD THE EXTRA 'O'.

The plot thickens!

Bob Keeley - Holland, MI

From: David Oskardmay - Imonics Development <davido at imonics dot com>
Date: Thu, 8 Jun 1995 09:47:37 -0400
Subject: KC's for kids!
After I read in a past E.T. that one of our contributor's kids loves
Dinosaur, I had to test this out on my own little human experiment--my
almost 3 year old daughter.  Sure enough, she loved it!  Now she
requests it about every other day or so.  We can be walking down the
street and she'll just break into it:  "Ieeeem a dinosoy, somebody's
diggin' my bones..."

see ya,
    david

--
       _________________________________________________________________
      /  David Oskardmay         900 Perimeter Park, Suite G           /
     /    Core Engineering Group  Morrisville, NC  27560              /
    /      Imonics Corporation     phone: 919-461-5418               /
   /  /)                            fax: 919-469-7955               /
  / o/                               email: davido at imonics dot com     /
 /-----------------------------------------------------------------

Date: Thu, 8 Jun 95 15:26:38 BST
From: Tony Brown <SAPB0 at ib dot rl dot ac dot uk>
Subject: Schoenberg
Hope I'm not raking over old ground here, but has any noticed any similarity
between Arnold Schoenberg's stuff and KC?.

Tony

Date: Thu, 8 Jun 95 15:04:54 BST
From: Tony Brown <SAPB0 at ib dot rl dot ac dot uk>
Subject: Emanuelle/Royal Albert Hall gigs
Hello all

There was a program on the BBC the other night about British censorship,
and why certain bits were cut out of films. One of the films mentioned was
Emanuelle, and showed a clip from the notorious scene (which I think they
said was removed because of its unecessarily violent nature) - lo and
behold, LTiA Pt 2 blasting away in the background, albeit as a fairly
cheesy arrangement typical of err, 'adult' films - although like most of
the group I've only seen a couple, you understand :).

A couple of quick impressions of the London dates: - I went to both of the
Royal Albert Hall gigs. The first night we were stuck right at the top of
the balcony, above the level of the suspended PA: it was difficult to get
involved from up there, with the sound _below_ you (very unusual
sensation), and NOT LOUD ENOUGH, but it had the advantage of looking down
at BB and being able to just lose yourself in what he was doing. Hypnotic
stuff. Well impressed with PM. I was with a couple of friends who'd never
been to a KC gig before - they couldn't believe that they were at a rock
gig, with both the band and the audience being so respectful and
polite!. (They're used to 'stadium bands', but then we all have our crosses
to bear).

Next night was on the 14th row of the arena, much much much better but
still NOT LOUD ENOUGH. Much longer Talking drum tonight: brilliant, and I
mean brillant drum interplay between BB and PM - I was just sat there with
a huge grin all the way through. At the end RF was finally tempted into the
spotlight to take a bow. It was almost impossible to believe that such
huge, dirty and beautiful music could come from such a small, unassuming,
kindly looking man.  I mean this in the nicest possible way, but what with
his long grandad shirt, black waistcoat and round specs, he had the air of
an overawed country yokel getting his first look at the inside of the
squires house :) - it quite moved me.

Was it just me or were the T-/Sweatshirts ridiculously expensive-verging-on
ripoff price??.

Cheers then

Tony

"god's smiling on you but he's laughing too, because only god knows what
he's going to do"

Date: Tue, 6 Jun 1995 16:26:40 -0400
From: AyRon at aol dot com
Subject: GIG REVIEW: 6/3 NYC show
Saturday night, I attended the single greatest concert I've ever been to.
 First, the California Guitar Trio was spectacular.  I had no idea KC even
had an opening act (I suppose I haven't been keeping up with ET lately!).
 You know an opening act is good when you want them to keep playing, even
though that would delay the main performance!  Heck, I wanted the Soundscapes
they were playing in between the bands to keep going!  KC was better than I
imagined it would be, but my particular applause goes to Trey Gunn.  I had
seen him with Fripp and Sylvian in late '93 (along with Mastelloto) and had
been shocked by how much he was doing that I had originally thought was
Fripp.  Unfortunately, much of his amazing work was lost in the mix and I
think I was fortunate to hear most of what he was doing because I was sitting
close to him.  Fact is, I wanted to strangle the moron who yelled "hurry up!"
 during the stick duet between Trey and Tony.  (BTW, what a stick!).  I felt
that that duet should have gone on longer.   I've heard Trey reads ET, so
Trey, are you ever going to perform solo?  I'd go see that!

Also, the interplay between Bruford and Mastelloto was fantastic,
particularly on Dinosaur.  Tony Levin was great as always, Belew made
sounds with his guitar that guitars certainly don't naturally make and
Fripp was a powerful presence whether he was playing or not (I read the
earlier debate about his motionlessness . . . I don't see that as either
being boring visually or a hint to just listen . . . I see DISCIPLINE.)

Finally, high points were Red, the Talking Drum, LTIA II, Thrak, Vrooom,
Peop...wait a second...*everything* was a high point.  Wish I could see
them in Red Bank, but funds don't allow <sigh>.

-Aaron

Date: Wed, 7 Jun 95 8:34:53 EDT
From: Patrick Keane <pkeane at ece dot rutgers dot edu>
Subject: GIG REVIEW: Red Bank
	Fellow Crimpheads...
	Saw the Red bank show last night. Way incredible. Bruford was
doing things I've never seen before. I got a stomach ache.
	Roger said, "These guys are weird!".
	Gunn got strange on SSEDD. Levin was way on, Adrian soared.
Fripp and PM didn't showcase to much.

	>{|%^)--=|---<

		(cross eyed thin man with spiked hair)

Date: Wed, 7 Jun 95 10:22:00 EDT
From: "Bob Lynch" <lynch at jvnc dot net>
Subject: GIG REVIEW: KC in NYC
I had the extreme pleasure of seeing the 6/4 show in New York on Sunday.
First time I have seen the members of KC actually play together. I had
previously seen most of them in separate projects. The last time I saw a
band playing this tight and coordinated was Return to Forever's farewell
concert in the early 80's. We certainly don't need another review here; I
went expecting to see a band of forward thinking, technically adept, honest
and original musicians playing as a tight, focused unit. I got what I
wanted.

I was wondering if anyone has info on Fripp's guitar school, i.e, is it
still operating, how to contact, etc. I would really appreciate any info
any of you may have. Take care.

--Bob

-p.s. Adrian's neon orange Strat still has me smiling!
_____________________________________________________________________________
Bob Lynch
GES (JvNCnet)
3 Independence Way, Princeton, NJ 08540
Voice: 609-897-7335   Fax: 609-897-7310
Pager: 800-790-5879

Date: 07 Jun 95 13:05:24 EDT
From: Michael Fisher <74353 dot 1674 at compuserve dot com>
Subject: GIG REVIEW: KC Review/Variety 6/7
The following review appeared in Daily Variety on June 7:

King Crimson (Town Hall, New York; 1500 seats, $40 top)

Presented by Ron Delsener.  Band: Robert Fripp, Adrian Belew,
Tont Levin, Bill Bruford, Trey Gunn, Pat Mastelotto.  Reviewed
June 3, 1995.
-------------------------------------------

Professorial guitar hero Robert Fripp has again switched on his
intermittent art-rock group King Crimson.  The result gets satisfactory
marks, but there's room for improvement.

The third formal permutation of Crimson, the 1995 edition proves trickier
to categorize than earlier, artier versions.  At times, it's just as hard
to justify.  For the new Virgin album "Thrak" and its tour, Fripp has
elected to go with a "double trio" format, adding bassist Trey Gunn and
drummer Pat Mastelotto to the 80's unit.  The outcome mixes the best of the
two previous Crimson incarnations without ever hitting upon a distinctive
style of its own.

The group opened with "Vrooom," a potent, ever-shifting instrumental that
glides easily from sharp, anthem-based rock to quiet and gorgeous figures
delicately spun out by Fripp.  This yielded to a clunky version of 1981's
"Frame by Frame," the song's busy criss-crossing rhythms occasionally
failing to hit their marks.

Vocals and lyrics have always been Cromson's weak links, and though Belew
has improved, he can still be guilty of mere wordplay.

The instrumentals are where Crimson has made its reputation, and on this
night the group swung with authority on the darkly swaggering "Red,"
violently cacaphonous "Thrak" and the inevitable "The Talking Drum/Lark's
Tongues in Aspic, Part II," both of which rhythmically build with
mathematical precision.

-Kevin Zimmerman

Date: Wed, 7 Jun 1995 21:35:38 -0400
From: Derkland at aol dot com
Subject: GIG REVIEW: Crimson tour
Just want to get my two cents in on the King Crimson tour (I saw the June 2
Boston show).  I have to disagree with this talk about Red being the
highlight of the show and definitive version to date.  I felt it was too busy
and fast.  It took away from the original power of the song.  I'm must also
admit that I didn't like LTIA2 very much.  Elephant Talk was OK.  But the new
songs were incredible!  Especially B'BOOM and THRAK.  The middle section from
THRAK was long and very different from the album.  To me, this sounded like
how I imagine Fripp envisages the new Crimson.  Complex and Dissonant!

Date: Wed, 07 Jun 1995 22:39:40 -0400
From: jhm at beat dot pdial dot interpath dot net (John H. Moore)
Subject: GIG REVIEW: NYC shows
I saw Crimson in NYC last weekend (both shows). As has been reported
previously, they were great. The overall feeling I came away with was that
of being in the presence of a bunch of guys who are at the top of their form
in both the craft and the art of music. I've seen most of them (the 80's
band) in a number of different musical settings over the years, but this
particular grouping (including Pat & Trey) was very special. It was
inspiring for me to see these guys so _on_, playing some great material
(both new and old), and having so much fun.

I'm certainly one who hopes that this incarnation of the Scarlet Prince
sticks around for a while. I'm eagerly awaiting the Southern US swing of the
tour after they do Japan in October. But after seeing these guys (and
briefly speaking with a few of them after the show on Saturday), it's
obvious that they are committed, either individually or collectively, to
continue to follow their hearts and produce some really amazing and
challenging stuff. I'm awed and inspired.

Cheers,  John

PS Thanks to Toby for a great list.....
        ___________________________________________________
        John H. Moore          jhm at beat dot pdial dot interpath dot net
                               vox: 919.382.1918
        Chapel Hill, NC        fax: 919.309.0957

Date: Thu, 8 Jun 95 9:22:49 EDT
From: Patrick Keane <pkeane at ece dot rutgers dot edu>
Subject: GIG REVIEW: Red Bank
	I yelled, "Primus Sucks!" at one point in the show.

	>{|%^)--=|---<

		(cross eyed thin man with spiked hair)

Date: Thu, 8 Jun 95 09:50 EDT
From: dalban at csc dot com (Extasia)
Subject: GIG REVIEW: Washington D.C., June 7th
I repeat myself when positively delighted.
I repeat myself when positively delighted.
I repeat myself when positively delighted.
I repeat myself when positively delighted.
I repeat...

(I do think it's good.)

From: kapes at merle dot acns dot nwu dot edu
Subject: TICKETS: need on for Ann Arbor
Date: Tue, 6 Jun 1995 16:39:01 -0500 (CDT)
hello all KC fans
my name is Kapil Kulkarni and I am hurriedly looking for one (only one) ticket
to the Saturday June 10 AnnArbor show
I am in Evanston, IL right now taking finals so I can quickly end my sophomore
year
my awful, awful predicament is that KC is playing in Washington D.C when I am
in Chicago (right now) and they will be playing in Chicago when I am going to
be in Washington D.C. (June 14)
I fear that I will never have a chance to see the best band in the world again
if someone has a ticket or knows someone who has a ticket please tell them to
call me at 708 332 4485 (collect is fine)
or mail at kapes at merle dot acns dot nwu dot ecu
thank you very much
until later
kapil kulkarni

Date: Wed, 7 Jun 1995 9:18:23 -0500 (CDT)
From: MMMCCART at GSBVAX dot UCHICAGO dot EDU
Subject: TICKETS: Desperately seeking Chicago KC tix
I am desperately seeking 1 or 2 tickets for the KC show in Chicago.  Help
make my decade!!

Thanks;

Mike McCarthy
mjm at abn dot com

Date: Wed, 07 Jun 1995 08:13:04 MDT
From: "MARK J. 719-540-1232" <markj at atmel dot com>
Subject: TICKETS: 2nd Denver Ticket Plea
OK ET'ers!

I know it's fruitless to beg tickets for the Denver show from you, because
your tickets are under glass, in the safe in the back room, with rabid dogs
on guard for potential ticket thieves, but MAYBE you just might know of a
poor soul who wanted to go but no longer can (Father's Day, car broke down,
chicken pox, etc)

I need only 1 seat for the Denver show on 6/18 (fast approaching).  I
understand that it's General Admission so seating is irrelevant with the
exception of acoustics.

All these gig reviews are refreshing my memory of the last time I saw KC in
NYC on the Pier in '84 (jeez I'm getting old!)

Please respond via private email (markj at atmel dot com  OR MarkjX at aol dot com).

Thanks in advance!

Mark J.

**************************************************************************
*                                                                        *
*  Mark Jakusovszky                    markj at atmel dot com                   *
*  Mixed Signal Marketing                                                *
*  Atmel Corporation                                                     *
*  Colorado Springs, CO                                                  *
*                                                                        *
*  Opinions expressed herein are solely those of the author.             *
*                                                                        *
**************************************************************************

Date: Thu, 8 Jun 1995 00:34:14 -0700
From: rbarrett at teleport dot com (Rich Barrett)
Subject: TICKETS: Trade tickets?
I have an extra ticket for KC, Portland Oregon 6/22.  I am interested in
*trading* it for a ticket to the Seattle show on 6/22.

Date: Thu, 8 Jun 1995 11:18:02 -0400
From: fuendeli at student dot msu dot edu (Jim Fuendeling)
Subject: TICKETS: 1 Ann Arbor ticket
Hello All,

I may have a spare ticket for the June 10 show at the Michigan Theatre in
Ann Arbor.  Our seats are in the balcony.

Terms are simple--get in touch with me directly (fuendeli at student dot msu dot edu),
I'll want face value plus service charges.  And, if I cut you this ticket,
you have to promise not to bad mouth Dead Heads anymore (as has happened
before on this list), because I am one.

Sorry for the very short notice on this.

Jim Fuendeling


Mike Stok