From elephant-talk at arastar dot comFri Jun 9 09:11:26 1995 Date: Fri, 9 Jun 1995 05:32:50 +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 #197 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 197, Thursday, 8 June 1995 Today's Topics: INTERVIEW: A CONVERSATION WITH TREY GUNN ARTICLE: SCENE Magazine - June 1 - Cleveland Emmanuele Re: KC in Emmanuel (!) Emanuelle Encores! Guitar p. article and reviews Bruford/Moraz show long ago sex, count, fart (sleep, dream) re: THRAK: - The Movie Re: #2(3) Elephant-talk digest v95 #196 Re: #3(3) Elephant-talk digest v95 #196 Laughing Fripp Re: Elephant Talk #196 Emanuelle/LTIA Re: Thrak - the movie Sleepless Fripp 'fro More on Conspiracy! KC's for kids! Schoenberg Emanuelle/Royal Albert Hall gigs GIG REVIEW: 6/3 NYC show GIG REVIEW: Red Bank GIG REVIEW: KC in NYC GIG REVIEW: KC Review/Variety 6/7 GIG REVIEW: Crimson tour GIG REVIEW: Red Bank GIG REVIEW: Washington D.C., June 7th GIG REVIEW: NYC shows TICKETS: need on for Ann Arbor TICKETS: Desperately seeking Chicago KC tix TICKETS: 2nd Denver Ticket Plea TICKETS: Trade tickets? TICKETS: 1 Ann Arbor ticket [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Hi everyone. Welcome to *yet another* ET :-). Given the huge number of gig reviews people are posting, it occurred to me that it might be nice to collect them all together, into chronological order, and place them in the archive as on 'ongoing' thing. Would anyone care to volunteer to do this? Perhaps Web format would be best. And when the tour's over, we can send the result to Robert -- maybe you'll appear in his next scrapbook! Just drop me a note if you'd like to help. Thanks Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 ----------------------------------------------------------------- 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. ----------------------------------------------------------------- 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. ----------------------------------------------------------------- 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. ----------------------------------------------------------------- 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. ----------------------------------------------------------------- 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 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 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." 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 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 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 > > 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" Subject: Re: Elephant Talk #196 Mark Creer 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 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 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 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 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 . -Aaron [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 7 Jun 95 8:34:53 EDT From: Patrick Keane 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" 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 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" 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]