Elephant Talk #200 (as text)

19 June 1995



Date: Fri, 16 Jun 1995 09:00:04 -0400 (EDT)
From: Jeff Edmunds <JHE at psulias dot psu dot edu>
Subject: SPECIAL GIG REVIEW: Wisconsin
Organization: Penn State University / University Libraries
As no one has yet reviewed the recent Wisconsin King Crimson gig, I wanted
to describe the most incredible concert I've ever seen.

The CGT was awesome, and their 21st-Century Schizoid Man licks had the
audience howling. But it hardly prepared us for what came next. Imagine a
stage, totally dark but for the red LED lights flickering like lizards'
eyes. Then a dim spot, gradually growing in intensity, on the center of the
stage revealing an almost unrecognizable Robert Fripp: tight black leather
trousers and red spandex T-shirt, his guitar slung low, no longer a few
centimeters from his chin but down around his knees a la Joe Simenon, his
right hand raised in a fist over his head, his gaze toward the heavens.
Suddenly a HEAVY pounding reverberates throughout the hall--it's BB in the
dark, positively jumping up and down on his kick tom. Smoke bombs explode.
Lasers sweep the audience like the tractor beams of UFOs. Robert grabs the
mic and bellows "Are You Ready To Rock?!!!"

The crowd, needless to say, goes apeshit.

Blinding flashes and the band, now in a blaze of white light on stage, rips
into "Sweet Home Alabama". Bruford and Mastoletto are unbelievable, playing
4/4 in perfect unison for the 27-minute song. The interplay between the
guitars of Adrian and Robert is indescribable, like a mind-blowing duet
between Roy Clark, and, well, Roy Clark.

Next comes the opening bars of "Dinosaur." Unlike previous gigs, the
mellotron-like sounds are *not* triggered by Belew. This time it's Fripp
himself, he and his gold-plated mellotron lowered on a special crane above
the crowd's heads! As the rhythm section stomps in with the wallop of a
Tyrannosaurus kick, Tony Levin is revealed on stage, his tall frame now
transformed into the eponymous hero by a huge paper-mache dinosaur mask,
its toothy jaws chomping in time with the beat, and giant dinosaur feet the
size of Elton John's Pinball Wizard boots. Tony Rex plods around the stage,
banging on his 5-string with the fury of a, of a, well, of a crazed wombat
or something.

The crowd, needless to say, goes apeshit.

The highlight of the evening came near the end of the show. The stage went
dark for so long that the crowd's anticipation reached a fever pitch. Then
six dim figures stroll onto stage. Spotlight. Tony, Billy, Bobby, Belew,
Trey and Pat, in white shirts with red satin armbands, their hair slicked
back, their handle-bar mustaches waxed to pointy perfection, stand in a
semi-circle around three mics. Tony blows a C on his pitch pipe. A pause,
and then Tony's booming bass begins "I'm Toneeee", "I'm Billeeee" sings
Bruford, "I'm Bobbeeee" croons Fripp, and so on. Six-Part Barbershop
Harmony! Mind-boggling!

There were three encores, the first being an acoustic version of Thraak in
which Fripp played MIDI'd ukelele sounds, Adrian played lute, and Bruford
played in 37.5/17 time on a high-tech kit whose various components whirled
around him at speeds which varied with the intensity of his drumming.

Then the most incredible performance of all. Fripp alone at center stage,
transformed into his more familiar self, guitar under chin and flowing
black and white shirt and vest, seated on a stool. Two microphones, one
level with the body of his Ovation acoustic and the other head-high.
Silence. The almost imperceptible sound of the Maestro's even breathing.
Then the opening bars of a song hauntingly familiar yet, as the French
might say, "insaisissable", elusive. Slowly it dawns on us what we're
hearing. The intro complete, Fripp leans delicately forward to sing "Girl,
Look What You've Done to Me...", the song made famous twenty-five years ago
on the television show The Brady Bunch by former Monkee Davy Jones!

The crowd, needless to say, goes apeshit. Women in the front rows are
screaming uncontrolably. Some throw roses or underwear on stage. Bedlam.

Then, the final encore. A jam of mystical proportions, lights of every
color flooding the stage, surmounted by an immense computer-generated
photograph of George Gurdjieff, blinking, nodding with the beat, and
puffing out his cheeks in a most bizarre fashion. Tony plays Stick, Trey
plays Stick, Bruford and Mastoletto are playing so fast that their limbs
are but flesh-colored blurs, Fripp's fingers are like a thousand fleeing
spiders, Belew is wrenching sounds from his guitar that would make
Beelzebub himself run screaming. Faster and faster, louder and louder, more
and more chaotic, running breakneck towards an impossible crescendo, an
overwhelming orgasm of sound. Then, without warning, the band members line
up at the back of the stage, somehow still furiously playing, and stampede
toward the front of the stage. The first rows of the audience recoil, and
just as the six racing figures reach the edge and jump, Gurdjieff in a
stentorian voice yells "STOP!!!".

Total silence. All six figures freeze in mid-air, absolutley motionless,
their still bodies somehow suspended above the breathless crowd,
flabbergasted.

Then, needless to say, the crowd goes apeshit.

You guys are the best.

Jeff Edmunds

Date: Fri, 16 Jun 1995 20:50:33 -0400
From: TonyLevin at aol dot com
Subject: 200 issues!
On the occasion of the 200th posting of E.T, I'd like to babble a bit about
how some of us in the band peek in on E.T. Back when we were recording
Thrak, in RealWorld Studios last October, I had my powerbook in the control
room, logging on every time things got dull in the studio (which is very
often, even on a Crimson record) and sometimes entertaining the band with
quotes from E.T. The unusual situation arose in which some readers were
reviewing the VROOOM CD, just as we were recording some of the same
compositions (much changed, as you know) for the Thrak CD. I began putting
some of the juicier quotes on paper, hanging the pages around the room -
for inspiration? Later, a promotional video was made by Virgin, w. small
interviews of the band, and the closing scene pans around the control room
showing these quotes.  Thought you'd all enjoy that. Now, out on the road,
Trey and I look at the postings quite a bit, though I must admit I no
longer have the time to read them all.  Many thanks to Toby for doing such
a good job and providing a sensible and enjoyable forum.  

Tony

From: David Kirkdorffer <David_Kirkdorffer at praxisint dot com>
Date: 16 Jun 95 11:26:05 EDT
Subject: ORB & Fripp & Call for Boston Ambient Musicians
I'm not a real knowledgable Orb-o-phile but here's what I can tell you.

Orb is a kinda ambient/dub/trance "band".  On this tour they are four
people: Drums, Bass, keyboards/Synths/Treatments, and
Turntables/Keyboards/Synths/Treatments.

Ambient/dub/trance -- What's that?  Well imagine some Jah Wobble dub like
bass playing mixed with some Eno-esque ambient noises, add some nature
sounds like rivers and mix in some spoken word sections and then add
pulsing hypnotic synth lines and drum rhythms that shift as new elements
are added/layered.  All this creates a dance-y trance-y stew.  Overall, the
sound is increasingly becoming organic.  Heady stuff.

Robert Fripp plays with principal Orb members of the FFWD cd. This is a
really cool CD (but note -- this is more like Eno/Fripp collaborations than
King Crimson).  I'd read this project was originally to be released under
the name "Orbert."  In many ways, Fripp has been active in various ways in
this "Ambient scene" and there's a Future Sound of London re-mix of
Darshan.  He also turns up on the "final guest-list" to the Orb Live 93 and
is credited on the 1994 FSOL "Lifeforms" release on a piece called "FLAK"
(title sounds familiar, eh?).

I remember reading an article that mentioned why/how the the two principal
members of Orb (who used to work at EG by the way) started the creating the
music which has grown into Orb.  Excuse the simplicities, but in the rave
scene in where folks dance into a trance to techno and jungle music, you
often have a chill-out room for people to lounge about and rest.  In the
early days, music played in these rooms would be psychedelic, trippy stuff
like Floyd, Hillage, Gong, etc.  After a while, the Orb's-to-be needed
something different to keep their raves' chill-rooms interesting.  They
started concocting things and this grew into what Orb are today.

At least that's the story I go with.

If they come to a town near you and you want to dance, trance and be merry
for 2.5 hours -- check it out.  And, at least in Boston, the lightshow is
very cool too.

Now, are there any other Boston-based musicians familar w/this genre would like
to start a musical-entity a la Seefeel??

David Kirkdorffer

Date: Fri, 16 Jun 1995 10:57:07 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: Tales From The Punchbowl
Just wanted to put in a plug for the new Primus album, _Tales From The
Punchbowl_. Many of you Crimheads who are also interested in Primus (the
KC/Primus connection has enjoyed prodigious discussion in ET) should
definitely check this album out. It far exceeds 1993's Pork Soda (which,
IMHO, was a big disappointment). It's more in the vein of _Sailing The Seas
Of Cheese_ (1991), which I believe is the band's most polished and
conceptual album.

The latest issue of _Guitar Player_ magazine has thorough articles on both
Primus and KC, and even runs an interesting feature comparing the two
bands. The KC article is interesting and highly accurate (I only spotted a
couple of errors) and goes into painstaking detail regarding Adrian and
Robert's setups. Also features good colour photos of the band during all
four incarnations. A must-read for any Crimhead, even those who don't play
guitar (like me).

About to take off for Twin Cities to see the prince tonight. I'm wheels.

JP

Date: Fri, 16 Jun 95 17:53:17 GMT
From: sheehanm at rosnet dot strose dot edu (Michael Sheehan)
Subject: Crowd noise
Hello ET'ers,

Just thought I'd pop out of lurk mode to address the crowd noise
question. Although I generally make as little as possible--apart from
loudly telling a boorish drunk who yelled "Freedom!" as he was being
ejected from Town Hall to "shut the hell up"--in New York on Saturday I
didn't think it was a problem. A few whoops and cheers for peoples'
favorite members, wht the hell? After 10 years, let 'em say hi.  The
backtalk during Indiscipline seemed to amuse the guys in the band and most
of the audience members I was near (4th row balc) got a chuckle out of it
(especially when, during the pause before the "I wish you were here to see
it" somebody said, "Ya know what?").  Adrian seemed to be having fun with
the audience chatting back in that tune. That said, stupid slobbering
drunks should be expelled, and there are certainly moments (such as the
synth/bass break in Dinosaur) which don't call for whooping it up but
rather for polite silence out of deference to the musicians and the vast
majority of silent crowd members.  I just feel--hell, let's not forget,
this is rock and roll music after all. Much as I was almost persuaded
otherwise after that fantastic show in NYC, it's not the second coming of
the Messiah. It should be fun, and maybe a little boisterous even, but
certainly well short of a slobbering mess.

Just my plugged nickel's worth.
Cheers,
Mike Sheehan

Date: Fri, 16 Jun 1995 15:35:59 -0500 (EST)
From: BBELLAS at idicl1 dot idi dot oclc dot org
Subject: Adrian Belew/solo stuff
A good friend informed me that Adrian Belew has solo album of all acustic
songs.  He mentioned that ther are a couple of Crimson songs on there as
well.  If anyone has some info they could pass along on this that would be
very kind. Is it just in central Ohio or does eveybody problems getting
hold of music from these guys. I seem to be very unlucky when attempting to
aquire recorded material from any and all of the memebers of KC.  The only
thing I can find is Thrak, which I have, and Peter Gabriel albums that Tony
Levin is on. And by the way on the new double live cd by PGabriel the bass
is so far down in the mix at times I can't tell if he is playing at
all. What a drag!

Is it just that KC cds' are no longer being pressed because I have yet to
come across a copy of 3oaPP anywhere or any of live 80's stuff.  I did
finally find a copy of Beat in a local record store but even a blind
squirel finds a nut sometimes.  Unfortunetly when it comes to cd
distribution, to quote Spinal Tap "money talks and bullsh_t walks". Uh?

Bob Bellas (OUCHCUBE)
BBELLAS at idi dot oclc dot org

Date: Fri, 16 Jun 1995 15:44:51 -0500
From: jlblue at indiana dot edu <john dot blue at ncsa dot uiuc dot edu>
Subject: Fripp article ....
Readers (especialy in Asia) may be interested to know that the magazine
AERA (published in Tokyo) featured Mr. Fripp on the cover of the April 10
issue (no. 17). There is also a one-page article on p. 68 of the
magazine. It's all in Japanese, but I am sure Asian fans would be
interested.

Subject: ET: first live show and ramblings
Organization: Department of Tesselating Kumquats
From: Leigh Orf <orf at scrap dot ssec dot wisc dot edu>
Date: Fri, 16 Jun 1995 16:16:28 -0500
I've been an ET reader for about six months now, and my signing up
coincides with the sudden recent enthusiasm I have felt towards the music
of King Crimson, past and present. A good friend and I attended the
Milwaukee show yesterday, and I will provide my brief account of the day
after saying a few introductory words.

A former roommate introduced me to King Crimson a few years ago. He said
they were "probably his favorite band" and we used to sit around listening
to music a lot, sometimes at night out on the porch (aah, I miss those fine
summer porch nights Todd!), and one night he got out his Young Person's
Guide To King Crimson double LP and we listened to is in my room, since his
turntable was shot. Initially, I really liked about half of the songs, and
really disliked the other half. Over time the music from the early era ('68
- '72) embodied King Crimson entirely in my mind, and it wasn't until later
on that I discovered the band had changed markedly over time and had moved
on from the dirgy, minor-chord-drenched epic Epitaph-esque songs which
initially attracted me to the group.

Before I finally got around to getting some copies of the KC albums that
were released when I was in grade school (still have a few to go), I
discovered The First Day with Fripp & Sylvian, and from that album on,
there was no turning back. I got a copy of the Sunday All Over The World
(an *excellent* album) at the behest of a record store employee who, upon
discovering the Moonshake album I was looking for wasn't in, said "You
should check this out... it's like Moonshake, only it makes sense". I don't
see more than an ounce of similarity between the two groups, but am quite
grateful that he exposed me to it.

So anyway, during the time I'm discovering the music of Crimson, I find out
that the group is reforming. I am obviously delighted. I get Vrooom as soon
as it hits the record store, and after many listenings, I find that it
isn't what I had expected based upon the previous KC releases, but, to
quote Adrian Belew, I LIKE IT! I like Thrak even more, probably because the
album is longer ;) and because the of the cleaner mix.

Of course, when I find they are on tour, and coming to Milwaukee, which is
only an hour & a half drive from Madison, I am immediately interested.
Pete, a rather cool dude I work with and hang out with, and I got tickets,
and the following is an abridged version of the events of yesterday.

I awoke at 4:30 AM to the sound of my alarm, as expected. I host a
classical music show on Madison's community radio station (WORT, 89.9 FM)
which runs from 5AM-8AM. I have to find the person to bribe to move my slot
an hour or two later. The show went well, and I was *this* close to playing
the beginning of Islands on the show, but finally decided against it after
finding the record library copy to be quite scratched. I left the station
at 9:30 AM (I also engineer the following 1 hour show) and found it to be a
gorgeous day, blindingly sunny and quite hot. A great day to spend on the
beach, yes?

Which is exactly what Pete and I did after making the drive to Milwaukee.
We hung out at Bradford Beach with a cooler full of homebrew and pretty
much just hung out and listened to music and mellowed out and enjoyed the
day which was just going to get better. After baking ;) in the sun for a
few hours, we motivated our lethargic sand-coated bodies to the Riverside
Theatre and just as we got in the first notes of the California Guitar Trio
were gracing the air.

I really liked what I heard of the CGT. It was the first time I had ever
heard any of their music, and I am pretty sure this tour will really
increase their fan base. I will most certainly pick up a recording of
theirs soon. They did an absolutely amazing Toccata & Fuge in G minor
(Bach)... really really really great, not flubbing over the hard parts or
anything like that. And they looked like they were having fun, too, which
is a big plus in my mind. They were well received by the crowd, which was
very enthusiastic throughout the entire show, if not a bit obnoxious in
most of the quiet parts (is there like ONE GUY who goes to ALL shows and
screams out dumb shit or whistles loudly during the dramatic pause / quiet
parts in good music? If so, and you see him, kill him).

Anyhow, KC took the stage and tore the place up. It was much fun to watch
the interplay between Mastelotto and Bruford. I was forewarned about
Fripp's non-presence on stage from previous concert reviews, so I wasn't
surprised as I might have been otherwise. It didn't bother me particularly
since you could see him sitting there and really, it's his choice how he
wants to be seen on stage as far as I'm concerned.  Maybe he just wants to
concentrate and not worry about lots of people staring at him, I dunno, but
all I can say is he is probably my favorite guitarist/musician today, and
did some very incredible things last night on stage. I'm a big Zappa fan,
and it was a treat to finally see Adrian Belew in person. He's also an
amazing guitarist, and I like his voice. It was cool to see Tonly Levin's
face light up at the beginning of the bass lick in Elephant Talk. By the
way, what's the deal with those extensions on his fingers that he uses to
smack the guitar strings?  It looked like he suddenly grew amazingly long,
wide fingernails. And what's the name of that upright electric bass he
played (don't tell me it's "upright electric bass" or I'll just have to
laugh). I suppose I could probably find the answer to these questions
somewhere on the net but what the hey.

I'm glad Robert Fripp came out into the spotlight after the show to
take a bow. It was funny seeing him shade his eyes and look around the
entire theatre, as if he were scoping out the audience. I waved both
times (hi Robert).  He looked happy. They all did, actually.

I could go on - but the setlists have already been written, the stage
presence of the members has been talked about, and to my surprise and
amazement, three reviews of this show have already been posted to
ET. You guys just came home after the show and got in front of your
computers? Wow, now that's discipline.  I went to sleep.

Leigh

  Leigh Orf <orf at scrap dot ssec dot wisc dot edu> http://scrap.ssec.wisc.edu/orf.html
Host of "Variations On A Theme" Thursdays 5-8AM on WORT 89.9FM, Madison, WI
 ``we live and then we die, it seems     and never see the puppet  strings
      sleepers  walking,  busy  bees     inhabiting each other's dreams''

Date: Fri, 16 Jun 1995 17:46:14 -0400
From: aglwsa1 at peabody dot sct dot ucarb dot com (Gary L. Wright)
Subject: Various Topics
E Talkers,

Just thought I'd take the time to say thanks for all of the concert
reviews.  I am living vicariously through these.  Also, I'm jealous of
people meeting the band members.  Does this really happen, or is it kind of
like letters to the Penthouse Forum??

Also I'm throwing in some random thoughts on other subjects that have been
discussed of late.

New GIFS on the KC WWW Page

I noticed the other day that the Elephant Talk Web Page includes links for
two new GIFS.  One of Robert looking very dour; and a second one of the
band in front of an orange/red backdrop.  Check them out.

Hendrix influence on THRAK

I'm a little late on this subject, but I had noticed a certain Jimi Hendrix
influence on the THRAK album, particularly on "Walking on Air". The drums
sound a lot like Hendrix. ("Wind Cries Mary" or "May This be Love"?)

Marine 475 Lyrics

My wife has worked in the commercial insurance industry for over 10 years.
I showed her some of the discussion which was taking place about the lyrics
to "Marine 475".  She tells me that the numbers are called CAT numbers, for
CATastrophic losses.  It seems that Lloyd's of London assigns these number
to specific catastrophic events and then all subsequent claims against
these events are able to use that CAT number as a reference.  So, each of
the numbers in the lyrics can be thought of as separate catastrophic
events.  This would seem to be in line with the general theme of VROOOM &
THRAK.

Why not Sartori in Tangier?

Since my company transferred me from West Virginia to Houston, I have to
hope for a Southern US Tour this fall/winter.  (I would have driven to the
Cincy show in a "Heartbeat".)  To placate myself in the meantime, I watched
the Live in Japan video this weekend.  While watching this, I was struck
with the thought that the current line-up is missing a wonderful
opportunity to play a tremendous version of "Sartori in Tangier".  They now
have two drummers, so BB could go wild while AB wouldn't have to keep
time... two stick/bass players....room for SoundScapes over an AB guitar
solo....just thinking out loud...I'm picturing an encore that starts with a
duet between TG and TL - leads to Sartori - which abruptly ends and is
followed immediately by Lark's Tongues Part II

THRAK: The Movie

Isn't this too obvious - Patrick Stewart(Capt. Picard on STtNG) as Tony
Levin??

Rolling Stone THRAK Review

Reading the review of THRAK in Rolling Stone gave me a chance to reflect on
the same publication's review of USA which used to grace my dorm wall while
a freshman in college.  The reviewer of that album (that's what we
oldtimers used to call CD's) was somewhat less that enthusiastic.  In fact,
he hated the album; preferring instead the likes of Boston, Peter Frampton,
et al.

That's all for now.  Keep the newsletters coming.  The best thing I've
found on the InterNet yet.

Gary L. Wright
Information Technology - Union Carbide Corp.
E-mail: aglwsa1 at peabody dot sct dot ucarb dot com
X400: C:US  ADMD:MARK400  PRMD:UCARB  S:WRIGHT  G:GARY
Phone:(713) 212-2072
Fax # (713) 212-2217

From: Malcolm Humes <mal at emf dot net>
Subject: Muir and Bailey
Date: Fri, 16 Jun 1995 17:14:04 -0700 (PDT)
Folks have asked about Jamie Muir a few issues back - I held back on
answering this again since I've raved about Muir a bit in the past - so
somewhere in the digest archives I've already gone on at some length about
Muir's work with Bailey and Muir's brief stint with Alan Gowen (pre-
Gilgamesh and National Health) and Alan Holdsworth in a short lived and
apparently unrecorded band called Sunship circa mid 1971... to me the idea
of Gowen/Holdsworth/Muir seems like an incredible lineup, at a fertile
period right before they all burst into work they are well known for now.

An appendix to my previous mentions of this - a few months ago I asked a
friend to ask Hugh Hopper to ask Alan Gowen's widow if there are *any*
recordings of this short lived band in her archives - and there's some
possible small label interest in releasing said material if it exists.
Don't get your hopes up though.

I think the interview with Muir from circa 1991-2 in Ptloemaic Terrascope
was perhaps uploaded to this mailing list in the past too - Jamie has given
up music for painting as of a few years ago, though he was active a bit
post King Crimson. I suspect Muir's work with Bailey and the
Improvisational Company might be a bit, uh, out there for some Krimsoid
fans.

As to Bailey, he's still around - he's played in the US in recent years and
his label Incus has been re0issuing older material and I think recent
works. Derek would be 65 this year. There's an excellent Web page on him
and a related one on Incus:

http://www.shef.ac.uk/misc/rec/ps/efi/mbailey.html

I don't know if Robert Fripp has ever acknowledged any influnce by Bailey
but most certainly he's aware of him. Fred Frith is much more directly
influences stylistcially. I should mention my Frith web pages at:

http://prog.ari.net/prog/Bands/Frith/frith.home.html

Any chance someone might eventually install a Web searchable index to past
issue archives of Discipline/Elephant Talk? It'd make it easier to find
stuff like the prior info on Muir lurking in there. I say someone since I
suspect Toby hasn't the time to keep up and that anyone would be welcome to
help with this...

oh, the Bailey page above also links into an extensive European Free
Improvisation Musicians Index and label index too, really worth a visit:

http://www.shef.ac.uk/misc/rec/ps/efi/ehome.html

Sorry for the general lack of Frippery in this post, but, as interests in
Muir and King Crimson were what spawned a serious interest in
improvisational music for me I think the pointers above are well worth
exploring.

On the topic of improvisation, the 70's King Crimson lineup was revered by
many as one of the most interesting improvisational rock bands ever, yet
until the release of The Great Deceiver there were few recordings that
really reflected that, and even in the Great Deceiver box the level of
improvisation might often be described as "variations on a theme" rather
than just all out free form. The 80's King Crimson seemed to hold less of
an emphasis on improvising, and my impression is that most of the
improvising was doing as a compositional process in the studio - the live
outings didn't reflect a lot of totally improvised material, it was more
along the lines of sublte variations on the songs or solos.

Now I ponder what role improvisation plays in the new lineup? and I have a
feeling that there's little in KC's concerts now that might be really free
form improvisation, I mean in the sense of getting beyond the songs and
solos. In some ways it seems like Fripp over the years has shied away from
loose, unstructured improvisations. One of the most out there noisy guitar
improvs I've heard from Robert was one of the earliest live recordings, a
segment in the Plumpton '69 concert that got really free and sounded much
more along the lines of what Bailey and Frith do. And I think that segment
of the concert was left off the release material form that show and is only
heard on bootlegs of that concert.

Does the current band lineup have the confidence, the communication and
perhaps the interest that it takes to just stand on a stage and play,
freely, with no predetermined structure? I suspect that in some ways the
band has too much communication, too much common language already in their
musical stylings to be able to do this anymore without sounding inherently
like one of their songs; despite the rhetoric that the new lineup is going
into uncharted territory they seem firmly rooted in textures and styles of
playing that reeks of King Crimson past. I for one would love to experience
a concert of King Crimson where they didn't just play the latest release
and a few old favorites...

 - Malcolm Humes
mal at emf dot net, malcolm at pobox dot com, malium at aol dot com, mah2 at ci dot berkeley dot ca dot us, etc.
http://www.emf.net/~mal/

Date: Fri, 16 Jun 1995 20:50:37 -0400
From: TonyLevin at aol dot com
Subject: "Road Photos" book, and "World Diary"
In answer to a posting about my old book of photos, I sold them out many
years ago. I hope to re-print the book by the end of the year, and put it
in the catalogue of Papa Bear Records, along with my solo CD. Then in a few
years, I hope to do an update, w. photos from the '90's as well as the
'80's.

And, in answer to another query, (to repeat earlier info,) to order the
"World Diary" CD, send check or M.O. for $15 plus 2.50 p&h (NYState add
1.44 tax) payable to Papa Bear Records, to: Papa Bear Records, P.O. 498E,
Woodstock, NY 12498 (From Canada, check or M.O. in U.S. dollars, for $15
plus 4.00 p&h.)

t.l.

Date: Fri, 16 Jun 1995 21:23:59 -0400
From: MikelBiko at aol dot com
Subject: Re: #5(5) Elephant-talk digest v95 #199
Well, after reading all the reviews of the current tour, I am sure looking
forward to Thursdays show in Seattle! I rushed out the day tickets went on
sale, and got 2 good seats for my girlfriend and I. She has never seen (or
really even listened to) the King before, so it will really be an
experience for her! I LOVE turning people on to great music, and this
should prove to be an extremely memorable experience! Sorry Dwight, I don't
have any extra tix, but anyone else going to the Seattle show that would
like to meet up outside the Paramount before the show for a quick chat,
please email me directly at mikelbiko at aol dot com - I also have a HUGE 50+ page
audio/video trade list available (mostly Genesis and Gabriel, Marillion,
etc, a few Crimson items) so let me know if interested in that also.

mikel orsborn
mikelbiko at aol dot com

Date: Fri, 16 Jun 1995 22:13:49 -0400
From: ScottTV66 at aol dot com
Subject: Adrian Belew CNN Interview
I received a lot of E-Mail concerning my interview with Adrian on CNN. A
small part ran on CNN's SHOWBIZ TODAY on Wed June 7.

Since there was a lot of interest..I am transcribing the interview here for
whoever cares.  Please excuse any ignorance on my part since..after reading
many of the postings in "Elephant TalK'..it's evident that there are many
more Crimson-ites much more well versed in the groups rich history than I
am.

The interview took place at 3pm eastern Monday June 5th,1995 at CNN's New
York bureau:The interview informally started with me asking about the
origins of "Thela Hun Ginjeet":

Belew: It's actualy an anogram of the original title I had "Heat in the
Jungle".robert suggested, "well I don't like that title,Ade..can you find
something?"..so I took these Scrabble tiles and I made some anagrams and
made it "Thela Hun Ginjeet"...which means nothing but it sounds good to
sing.(laughs)...We play about the best,I think, of the 80's material from
that band..things like "Frame by Frame". and "Elephant Talk"..and "Matte
Kudasai"..they've become kind of minor Crimson classics...we seem to play a
lot of stuff from the "Discipline" album..the first album..the "honeymoon"
album..and everybody likes that..everybody liked that record the most.

SL:It was a groundbreaking album.

AB: Yeah

SL: let's start with how King Crimson..after all these years..ended up
getting back together?

AB: The short story is that there was so many rumours circulating that there
was going to be a new King Crimson ..a few summers ago while I was in
Europe..I decided to pop in and see Robert at his house in England and ask
him "Is there going to be a new King Crimson and..if so..I want to be a
part of it." And I think that started the wheels turning with Robert and
myself.Once he had a commitment from me then I think he felt "OK,we can go
ahead with this." It's taken quite a few years to put the sub-structure
together..to get the band all in one place..it's a band from two continents
now...and it's been worth the wait.

SL: Not to mention that your solo career was making incredible
strides..you've put out some pretty good music over the past few years..

AB: Well.it still is..I feel great about my solo career andfrankly we will
now divide our time between King Crimson and making solo albums.For
instance..now we have this tour that's been May and June..and at the end we
have 3 months off.I'll go home and my summer vacation will be making a new
solo album (laughs).

SL: The new album "Thrak"...you put out an earlier album entitled "Vroom"
before this which was basicaly the rehersals for this album?

AB: I think of "Vroom" as kind of a documentation of the beginnings of the
band. We were in a recording studio rehearsing and writing all the new
material and we recorded it as we went and we decided,"Well some of this is
really worth putting out." So we put out a half an hour CD that was
supposed to be released..really..only in Asia..and I think there are
imports coming into America now..it's an interesting side of the band
starting up. What the "Thrak" album is,though,is a much more
refined..almost a year later..version of the band after we'd written more
material..played in front of an audience.  .and recorded properly in a
studio...Peter Gabriel's studio.

SL: How would you compare "Thrak" to "Disciplie", "Three of a Different
Pair" and your other 80's work?

AB: Some of this album harkens back to the earlier King Crimson ..the 70's
version..band..I wasn't a part of...because it has such a heavy ..you
know..almost heavy metalish quality sometimes.Some of the
songwriting,though,which is one of my primary roles, I think is still
similar to the band in the 80's.You get these..I like to try and write
classicaly well written songs and then let the band contribute and do them
their own unique way...so you get songs like "Dinosaur" or "One Time"
..those are really good strong songs that King Crimson can only do. those
songs..no one else could do those songs (laughs) the way this band does.

SL: That;s interesting because you take a song like "People" ..which is a
lot like the stuff you were doing in the 80's..but then you have a song
like "Sex Sleep Eat Drink Dream" ..and that's a song that sounds similar to
the King Crimson of the late 60's.

AB: "Sex Sleep Eat Dring Dream" is an example of the band kind of coming up
with something..improvising it..and then I take over as the songwriter and
make some chord changes and write a melody and write the lyrics for it. So
it's more of a band..a combination of the whole band..that's probably why
it sounds more like the band than say my music or Robert Fripp's music.

SL: Does the music evolve in the jamming process or is it written out..?

AB: Sometimes it evolves that way.I'd say there's a portion of the music
that comes from our just playing together and improvising...taping
everything..listening and saying "well that idea there has some
merit". Most of the material,however,comes from either the pen of Robert
Fripp or myself.Robert generaly writes all the instrumental songs on this
album..you have something called "Vroom" ..you have "Thrak".."Vroom
Vroom"..those are his pieces..and anything that has a melody and
words..it's up to me to write..I'm the singer and so it's my requirement to
come up with what I want to sing...and so it's kind of a two headed
monster..you know you have the band either being lead by Robert or somewhat
directed by me.

SL: That's another interesting thing about this band in that in some ways
it's 2 trios...  two drummers..two stick players..such a difficult
instrument..and now you have two of the greatest in the world..all playing
in the same band.How does that work when it comes to figuring out parts and
the overall sound?

AB: It really has been fascinating to watch these guys do this.I think
they've all done amazing stuff together.They kind of wood-shedded.You have
Bill Bruford and Pat Mastelotto..our 2 drummers ..sitting down and working
out some very elaborate thinking on all the different possibilities for 2
drummers working together and they've really done amazing things.The same
with Tony Levin and Trey Gunn.They both play stick ..which is an unusual
instrument to begin with..it's part bass and part guitar..but Tony Levin is
well known for all of the other bass things..he plays an upright bass with
a bow..he plays electric bass..so you have all these different combinations
in the bass department as well and they've done amazing things.And then you
have Robert Fripp and myself sharing the role as guitarist and both of us
are notable for all the different sounds textures and approaches we can
have..so it's a bit like a rock orchestra or something...you have an
amazing sound possibilies..and I'm right there in the middle on the
stage..some nights the sound is just overwhelming..it's great.

SL: Sitting in the audience Saturday....at some points it was
incredible..the emotional impact of the sound on the audience.

AB: We have great audiences everywhere we go they've all been waiting ten
or eleven years now to see this band and so they're all keyed up and I
think the show is fairly intense..you know..it's a musical experience
..it's not just a bunch of songs strung together..there's some
improvisation..there's some very heavy instrumetal moments..and you have a
band that's very confidant and experienced..it would be fascinating to see
how many records we've all made.I know I've made 50..I know Bill Bruford
has made 60..Tony Levin has probably made 150. so there you go.

SL: The bands status has mainatained all these years..there's a tremendous
desire on the part of your audience to hear you play..why is that?

AB: I think it has something to do with the musical integrity of the
band.It's not a band that does things in a normal fashion.There's definetly
a sound to King Crimson and an attitude that you bring to the music.We dont
do the normal things you might do for someone else.It's band that's all
about coming up with something new,adventurous..it always has been.and I
think our audiences know that and have come to expect that and so it's a
special thing for them

SL: That's surely why because there aren't a lot of bands willing to take
risks..and you as a musician..you've always been a risk-taker..the people
you've played with..Zappa,Laurie Anderson.all people who take risks in
their music..is that something you've always been drawn to?

AB: Yeah, I think I like the innovators in music and I've been very
fortunate that I've been able to lock horns with some of the best...David
Bowie,Frank Zappa,Laurie Anderson,Paul Simon.. amazing musicians..and we
always en up being great friends,too. so it goes deeper than that. I have a
flexibility in my own musicality ..it's instintual. SO I can walk into
someone else's music ..it can be 9 Inch Nails and I can play something they
really like...or it can be Paul Simon..very different approach..and yet
he'll like what I play.

SL: I talked to Paul Simon about you a long time ago..

AB: I was on "Graceland"..the very first album that someone actualy sent me
a Gold Album. Thank you,Paul! (laughs) I've been on many of them..he was
the first person to give me one!

SL: I have a recent album..a Beatles compilation..in which you played
"Blackbird".  how did that come about?

AB: It's a record that has interpretations of Beatles songs by different
guitarists..I was approached by the producer of the record who knew that I
was a big Beatles fan and "Blackbird" I chose because I thought I could do
an interesting rendition of it.it's very similar to the original song and
yet more fully orchestrated because the original song just had guitar and
Paul McCartney's voice.

SL: When you play with other musicians do you find that not only do you
bring something to their music bu you get something that influences your
playing?

AB: I think I have learned a lot about recording from all those
experiences..The recording studio is my favorite domain..I'd rather make a
record than anything. And in fact I;ve just installed a beautiful studio in
my homeso that's what I like most.It's the creative process..the problem
solving..trying to get your ideas into something called a CD..correctly,the
way you originaly heard them.So yes..you learn things from all these people
and I'd liek to think I bring things to their records too.

SL: You still live in the MidWest?

AB: A year ago I moved to the Nashville area..I have a beautiful home there
with woods and a little creek and lots of birds and things ..a very nice
area for me to be in especialy during creative times.

SL: I remember when you were on the "Night Music" program and you played
with Elliot Sharpe,Pop Staples,Nona Hendryx and that great Sanborn
band..that must have been something..

AB: That show was noted for bringing together lots of different styles of
music in one show..and then what they would do at the end is..they'd get
you all lined up and have you play something together that you'd never
played ..it was amazing (**Note: the song was "Take me to the River") I
remember standing standing next to the saxaphone player Ivan Popovich
..from..I believe a Czecheslovakian wedding band (*note: Bulgarian) they
played very odd time signatures and played very unusual music and there I
was playing with the saxophonist.

SL: Clarinet

AB: Clarinet,that's right..  

SL: I have a tape of it (laughing)

AB: You do? He know's everything about me! I'm impressed! (laughs)

SL: Are there any plans for Crimson to put a live album out after the tour
is over?

AB: I think so..I think we'll probably try and do that.there are a lot of
bootlegs of the band and we'd like to do something more official.The
performances have been excellent and we record some of them...so maybe
we'll cull that into a live album.We're already talking..Robert and
I..about some of the ideas we have for the next record..and I'm sure he'll
be at my studio in Nashville as soon as he can be there.The way the music
generally begins is with Robert and I sitting casually like you and I are
doing now with guitars..not even plugged in..and we'll try this..and this
will sound a little like this..you know..start doing some outlines
and..sort of a blueprint..and they evolve from there.

SL: His solo spot (in the concert) was just amazing..I can't even describe
to people what he was playing ..

AB: It is unbelievable..it's different from night to night.I can't explain
it either.Robert Fripp has a masterful approach ..he can do things with
guitar that no one else can do..and I'm a big fan.

SL: Then again..so can you.

AB: It's a mutual thing..we're kind of cheerign each other on from the
sidelines.Even in the recording sessions.I remember when we did "Dinosaur"
 and I had reserved a section in the middle in which I wanted Robert to play
one of his great soaring solos and I stood there with him and said " That was
great..now..if we can just get a better ending here.." and he kind of needs
that and I do too..you need a partner in those things sometimes.

SL: How did "Waiting Man" start?

AB: "Waiting Man" started with Tony.,from a line on the stick. and then I
introduced chord changes and added melody and lyrics later.

SL: One of the great things about Crimson is how the middle parts often
take off in totally different directions from the original concepts..how do
they come about?

AB: It would depend on the song."Dinosaur" has a copletely irrelevant
middle section..it goes completely to another sound and turns from being a
six piece band into a trio with me playing sort of an oboe thing and Tony
bowing the bass..that whole section I specificaly wrote to take the song in
a different direction.We had songs on the record that were starting to be
monumental in their scope..big,seven minute instrumental pieces but all of
the songs with vocals were still 3 or 4 minute pop songs so I thought lets
try to apply this monumental epic song approach to a song with words and
that was one way of doing it.

SL: Then you take the middle of "People" which is a great solo..even though
its a short piece of the song..but I was looking forward to hearing that
live because I wasnt sure who was playing that solo..and now I know you all
were.  AB (laughs) That one was something the band came up with .I
presented that song in a very simple form.then the band said "Lets do more
with it" and put the middle section in and 'Lets do a long involved ending"
and so forth.

SL: I think it's one of the most succesful pieces on the album.  AB Really?
That's great.The nice thing about King Crimson's music is that includes so
many different areas.I find people who like this..dont care as much for
that..you really have choices with this band..it's definetly not a one
trick pony (*Note: did he know of Levin's acting career?Hmm) You have lots
of differnt styles and tastes there and it's a pretty full pallette.

At this point the official interview ended..but:

SL: What made you decide to move to Nashville?

AB: My wife,Martha..She was born and raised about an hour and a half south
of there.

A very nice man who made it easy for me.

Scott Leon

Date: Sat, 17 Jun 1995 00:19:13 -0400
From: DMB5561719 at aol dot com
Subject: re: Fripping Sustain?
>Any comments would be welcome.

plug your guitar into a fuzz pedal, pre-amp or compressor (for gain) then
into a wa-wa (optional '70's Fripp sound), then into a volume pedal to
control the feedback from the gain.

for added spice at parties, then plug the above mess into a 3 to 8 or more
second digital delay for digital tape loop effects
(Frippertronics/Soundscapes).

while wearing a shirt that is not tucked in, (just kidding Mr.  Fripp!)
serve while sitting on a bar stool.

David Beardsley
dmb5561719 at aol dot com

*******************************************************************
Email us for information on IMMP recordings.
Include IMMP in the subject line.
IMMP = strange beautiful music, an adventure.
*******************************************************************

Date: Sat, 17 Jun 1995 00:21:10 -0500 (CDT)
From: 5436DUMKER at VMS dot CSD dot MU dot EDU
Subject: KC and Bartok
Hmmm, KC helped me get into Bartok also (one of my favorite classical
composers!). For me, it was the Violin Sonatas 1921 and 1922. Listen to
these and then put on LTIA. Mere coincidence?!? I also really like the very
avant-garde and modernistic sound of many of Bartok's compositions. Reminds
me a lot of the very avant-garde sound of Larks' Tongues era Crimson.

Respect-
Russ

From: "BARRIE SILLARS" <BARRIE at phase1 dot uk dot phase dot com>
Organization:  Phase Devices Limited
Date:          Sat, 17 Jun 1995 08:33:39 WET
Subject:       Belew Album, Gunn on New Album, Fripp on No-Man Album
"The Acoustic Adrian Belew" has just been released on CD in Britain.  It is
on Discipline Global Mobile (DGM 9504) and I believe is only available in
Europe and Japan. This may be due to contractual reasons in the USA or has
it been released previously as the copyright is dated 1993?

The album is just Belew singing playing acoustic guitar as the title
suggests. He includes a cover of "Matte Kudasai". This version runs for
under 3 minutes and is slower than the KC version. He also covers John
Lennons' "If I Fell" (there is that Beatles reference again!) and Roy
Orbisons "Crying". The other tracks are, I presume from his solo albums,
which I am not familiar with. A full track listing is as follows:

The Lone Rhinoceros/Peace on Earth/The Man in the Moon/The Rail Song/If I
Fell/Burned by the Fire We Make/Matte Kudasai/Dream Life/Old Fat
Cadillac/Crying Martha Adored.

The album had me thinking, KC-UNPLUGGED anyone!

Another newly released album which may be of interest is by U. Srinivas and
Michael Brook called "Dream". It is on the Real World label (CDRW47). This
has a Stick contribution from Trey Gunn on the first track "Dance". The
album was recorded at Real World Studios where "THRAK" was recorded.

The album is basically a collaboration between Indian electric mandolin
player U.Srinivas and Michael Brook. Brook is best known for his work with
Brian Eno and inventor of the Infinite Guitar which has also been used by
U2. The record has four long tracks, mostly instrumental and improvisotary
and includes contributions from Nigel Kennedy, Nana Vasconcelos, Jane
Siberry, James Pinker and others.

Another album, which I am not sure has been discussed previously within the
Newsletter is "Flowermouth" by No-Man. This album includes very strong
contributions from Robert Fripp on a number of tracks. It was released last
year on the One Little Indian label (TPLP 67CD).

Fripp plays solo guitar, skysaw guitar and Frippertronics on six
tracks. The solo on the long first track, "Angel Gets Caught in the Beauty
Trap" is particularly exceptional and must rank as one of his best as
contributing player.

On recording Fripp for the album, Tim Bowness of No-Man commented in an
interview for The Wire magazine: "We recorded him in Stephen's (Wilson,
other half of No-Man) bedroom and it was the best Frippertronics concert
ever, in your own house. We invented these obvious strategies for him to
work in. So, say we wanted him to do some hoary old rock 'n' roll playing,
we'd have these photographs of Buddy Holly and we'd cross-fertilise them
with pictures of Fripp. He was witty, astute, intelligent; he didn't dent
his legend one bit".

It is also to be noted that Mel Collins plays sax. and flute on a number of
tracks with Fripp. Other musicians who appear include Richard Barbieri and
Steve Jansen (both ex Japan) and Lisa Gerrard (Dead Can Dance). The album
cover is by The Bill Smith Studio with photos by The Douglas Brothers.

The album is highly recommended.

Extract, copyright with The Wire. I hope they don't mind. I do
subscribe. You should too.

Dr. Barrie Sillars

---------------------------------------------------------------------
Barrie Sillars  |   /~)     /\        /        | bsillars at phase dot com
Senior Design   |  /-~hase /_/evices /_imited  | Vox:+44 01582 445000
Engineer        | Dunstable, LU5 4TS,  England | Fax:+44 01582 445060
---------------------------------------------------------------------

Date: Sat, 17 Jun 1995 15:13:21 +0100
From: "Mathematical Institute, (01865) 2-73525" <nelson at vax dot ox dot ac dot uk>
Subject: QUERY for Elephant Talk
Is there any information available on when the (said to be) double-CD of KC
live in South America will be released?  As far as I can see, in the UK one
can't even get the live version of "Red" that is supposed to be on the
Dinosaur single, since the single isn't in any record shop I've found.

On the subject of which: it was said on the newsgroups when The Great
Deceiver came out that the idea was to follow this with two more boxed sets
of live takes, one from 1981-4, the other from antiquity.  Is this still
planned?  I suspect the ancient one would be fairly painful, (imagine
Earthbound expanded to 4CDs, without the subtle editing) but the 1980s one
would be quite something.

Ah well.  Like many others in this forum, I'd like to put in a word for the
California Guitar Trio - as a Bach fan, I was impressed by the way they
played the entire fugue to BWV 565 at the Royal Albert Hall gig: not
everyone in the audience knew what they were up to, but I hope a few of us
did.  If you haven't heard it, their finest recording by far is the
transcription of the immortal Passacaglia (alas, without fugue) on the RF
String Quintet album.

     Graham Nelson
     Oxford University, UK

Date: Sat, 17 Jun 1995 18:10:58 +0100
From: Julian Parry <parry at cica dot es>
Subject: re:re the youngest KC concert attendee
(1) Thankyou for spotting the 6-year old in the audience Jim. Can anyone
beat that? I make it that the tee-shirt owner must have been approx. -6
years old when she bought her shirt. Did they enjoy the show?

(2) On FZ: I will ignore an Englishman's twisted sense of humour.

Julian Parry.

Date: Sat, 17 Jun 1995 13:17:00 +0400
From: reiwampa at ccs dot internet dot ve (Julio d'Escrivan)
Subject: Schoenberg vs. Stravinsky as KC's stylistic reference.
The reason I don't see Schoenberg as the main stylistic reference for KC's
atonal or polytonal wonderings is that except for Schoenberg's music which
specifically makes an issue of being pulse driven, say in one of the five
pieces for Orchestra or fragments from the Orchestral var. op.33 or perhaps
even passages from Pierrot, his music isn't really about pulse and metre,
it is about pitch relations. This seems to me to be proved by the fact that
he eventually became the musical developer of 12 tone music (not having
been the inventor !). Now, for rhythmic organization (or compositional
improvisation) we must really look towards Stravinsky, mainly. Stravinsky
does make pulse an issue. He is well known right up to his 12 tone period
for his use of ostinatti and interlocking patterns although perhaps a band
closer to this would be Gentle Giant, KC can be definitely classified in
this group, especially the 80's material although LTiA and many others come
into this category also. The main difference is that where Stravinsky
interrupts his patterning at seemingly odd places and juxtaposes them with
contrasting material, thus undermining a constant predictable pulse (gentle
Giant does this too), KC's music is metrically dense in regards to layers
of metre, that is to say "vertically", it seems to me that KC creates more
of a "groove" rather than continuously interrupting it as can be found in
Strav's Danse Sacrale from Le Sacre or Soldiers Tale or say passages from
Orpheus, or the Greeting Prelude, etc, etc, etc. The Stravinsky "rhythmic
style" can be sometimes described as additive: (3 beats +2 beats) - (3
beats +1 beat) - (3 beats+ 2 beats) - (then a change of metric unit from,
say, 8ths to 16ths, then back again to added beat measures) and so on.

The greatest virtue of KC is that it can be enjoyed at a purely gut level
but then it can be admired and enjoyed technically as well !

reiwampa.

(Great list Toby !)

Date: Sun, 18 Jun 1995 09:41:47 -0400 (EDT)
From: Nicholas Joseph Bratton <nbratton at umich dot edu>
Subject: Adrian's strat(s)
Bonjour,

At the Ann Arbor show I was somewhat puzzled by Adrian's livid Fender
Stratocasters.  Instead of the standard trio of tone and volume knobs
located near the jack and pickup selector, Adrian's guitars had one knob,
which was tucked up near the bridge pickup.  Is this a variation on the
strat which is a widely available option, or is it a customization
exclusive to Belew?  Whatever is the case, he sure played it in stunning
fashion.

Also- my vote for King Crimson film roles- Steven Segal as Trey Gunn.

Cheers- Nick

"Anything that is popular automatically cannot possibly be interesting
musically."  Brian Eno

Date: Sun, 18 Jun 1995 11:00:44 -0700
From: mkoehler at ix dot netcom dot com (Mark Koehler)
Subject: youngest KC concert attendee
Julian Parry wrote:

>What is the youngest recorded attendee at a KC concert?

>   I'll start the bid at 16 years and 10 days when I saw them on March
>13th 1982 on the discipline tour, Buckinghamshire, UK (I was short for
>my age and Belew spotted the little squirt in the audience and smiled
>at him- it was the best concert I'd ever attended).
>

Well, the title may lie with someone else now. But assuming KC make to
Atlanta in the fall as promised, our daugther Crimson (it's on the birth
certificate) will attend a KC show at 10 or 11 months.

Mark Koehler

Date: Sun, 18 Jun 1995 13:19:44 -0700
From: dmax at ccnet dot com (dmax)
Subject: piano-"Yeah!"
Well, maybe I'm behind the times, but I finally had VROOOM VROOOM Coda up
at frightening volume today. I can't remember anyone mentioning the extreme
end of the song/album after the last note fades out and you hear -> a
tinkling happy piano that finishes a song, and then a man's voice assert:
"Yeah!"

So what's the word on this? (Sorry if it's been discussed into the ground
already on the list...)

*front row balcony seats for the Warfield show Jun 26th! tee hee hee...*

Got to pay no mind to innovation...
Just over and over with the same sensation
Till your ego swells and your output dwindles.
You can tell everyone that you've been swindled.             -John Hiatt

From: j dot ppontorier at genie dot geis dot com
Date: Sun, 18 Jun 95 20:37:00 UTC
Subject: Bruford interview on NFTE
     The editor of the YES digest called _NOTES FROM THE EDGE_ is scheduled
to interview Bill Bruford this week. In a noty in the digest he said to
submit all questions to him no later than than JUNE 21.  His e-mail address
if hunicutt at uncwil dot edu . I subscribed to the digest by sending e-mail to
NFTE at sol dot cms dot uncwil dot edu. nThe digest is put together very nicely. There's
alot of good information on band and solo activities of present and former
band members (hence the BRUFORD inbterview). Maybe after the article comes
out, I can get permission to reprint it here on ET.

     I also had a few thoughts on King Crimson in general. I've read in
past issues that people thought that Fripp is rude for being in the
shadows, and for not showing expression while he's playing. In my humble
opinion, I don't think people ,appreciate how much Fripp is actually doing
on stage. King Crimson is and has always been a Robert Fripp controlled
show. Not only is he playing his parts, but in some case is also playing
some of the other parts, he is in total control of what everyone on stage
and off stage is doing. This takes a t tremendous amount of concentration
!! When a single note goes astray from any member of the band you can see
(if you can catch them at an outdoor show) awlful expressions on his face
of disapproval. Fripp is a genious and sometimes geniuses can tend to be a
bit introverted.  That, in my opinion, not being rude. He's trying to make
sure everything goes right so we get our money's worth at every show.

                                    take care all !!
                           j dot ppontorier at genie dot com

Date: Sun, 18 Jun 1995 19:16:56 -0400 (EDT)
From: Michael Kelly <NUMBERSIX at delphi dot com>
Subject: Crowd Behavior
I promise to stop moaning about crowd behavior after this post.  I
certainly do not want to foster one of those threads that goes on and on
until we all foam at the mouth and fall over backwards. BUT.........

I really look forward to a KC (or member there of) concert.  I spend many
hours listening to music of all kinds and see it as a major event.  Just as
many would see a concert by say.... Yo Yo Ma.

>jh at cadre dot com (Joe Hartley) wrote:

>and bellowing between songs seems more a part of applause than
an attempt to remind
performers what their names are.<

I see "bellowing between songs" as appropriate and yelling performers names
as silly although to be expected.  Either of those behaviors during pieces
just plain sucks.  Its not what I paid to hear.

>(there's also some humor involved in this genre: the
Rockyesque "Yo,
Adrian!").  But I thought yelling out the Indiscipline lyrics
had no class
at all -- it's just so darn obvious, at least yell out
something creative,
eh?<

Im not sure that "Yo Adrian" was ever funny although it certainly was old a
long long time ago.  It also strikes me as appropriate as yelling "Yo Yo Ma
Ma" in between movements of a symphony.

>When he stopped, some wanker from row ZZ in the top balcony
shouts out "Hey, Bob-by!"  Fripp looks up, mouths "Bobby??",
shrugs, and
goes back into the wallpaper-shredding mode.  Pretty funny.<

And the funny part was.......???????  I attended a LCG show in Boston where
RF verbally vaporized an overzealous fist waving "Hey Bobby" yelling
standing in a sit down venue "fan".  When the League returned to the stage
RF took the time to speak to the audience and one person in particular
regarding how disappointing it is to have someone like that in an audience.
I wonder how RF can contain himself at KC shows like the one in Boston.  Im
beginning to foam so I will stop moaning now.

On a more positive note!

M. S. (Peg)  AtKisson (matkisso at opal dot tufts dot edu) wrote:

>I thought it was Laurie Anderson who said, "Talking about
music is like dancing about
art."

Laurie was quoting Steve Martin who said "Talking about music is like
dancing about architecture".

Date: Sun, 18 Jun 1995 20:40:11 -0400
From: goneal at freenet dot vcu dot edu (Gene O'Neal)
Subject: "import" questions
heelllo

at was at my local "import" store and was looking at the catalog they had
and i saw very few k.c. titles but to getting to the point, is 21st CENTURY
SCHIZOID MAN and LAMENT have the same trakc listings and if so which one
has a better sound quality..and the same for CIRKUS and CIRKUS 71...I
didn't see a track listing for SONGS FOR EUROPE in the discography..can
anybody help? the same for ABSENT LOVERS the owner told me not to fool with
vinyl but I'll trust anybody who says it is good quality and worth it.  i'm
also looking for a sound quality rating and listing of RETURN OF THE
CRIMSON KING and along with a quality rating of A WEIRD PERSON'S GUIDE TO
KING CRIMSON btw ...he did have a boot (oops i mean import) in the catalog
that is not in the disc. its called FORMENTERA (or was it FERMENTERA)
MEMORIES 3/27/72 sorry no track listing nor company name..any info for any
of these questions would be GREATLY appreciated.  thanx

--
  this                                     Gene (Cinder) O'Neal
    night  king crimson                    goneal at freenet dot vcu dot edu
 wounds                                 loving old and sometimes new
time                                 progressive and alternative music

Date: Sun, 18 Jun 1995 20:46:42 -0400
From: dnash at atlanta dot com (David Nash)
Subject: 2 Replies
>From: GFDrakeley at aol dot com
>Subject: Setting the record straight
>
>It's about time somebody sets the record straight as to what instrument
>Trey Gunn plays on the King Crimson tour, so here goes.....Trey does not,
>repeat does not, play the Chapman Stick(r), he plays a Warr Guitar(r). To
>those who thought they've seen a Stick duet between Tony and Trey, you
>haven't. To the misguided soul who said he'd finally seen a Grand
>Stick(r), sorry..no you haven't !! Wake up and post the facts straight
>please, a Warr Guitar is not a Stick, a Stick is not a Warr Guitar, Trey
>does not play the Stick in the KC live shows, Tony does not play the Warr
>Guitar in the KC live shows, got it ???

Have you tried Prozac?

and...

>DnTMan at aol dot com

> Someone said something about a song on Lizard about the Beatles. Which
>one? I never caught that, but I did notice the drawing of the fab 4 on the
>cover +yoko.

"Happy Family", at the time,(1970) was a very accurate little Beatle story.
Yoko is in the story, too.

"Do like the Hindu: The best you Cando!" mohandas_k_ghandi at afterlife dot com
David E. Nash (The one from High Point, NC)
dnash at atlanta dot com
gnash42213 at aol dot com

Date: Sun, 18 Jun 1995 21:44:21 -0500 (CDT)
From: BARON JONATHAN J <jbaron at falcon dot cc dot ukans dot edu>
Subject: Re: Elephant-talk digest v95 #199
To All,

KC was great in Chicago (Wed. 6-14).  The California Guitar Trio (opening
band) was great as well. they reminded me of McLaughlin's, DiMeola's, &
DeLucia's album "Friday Night in San Francisco-(1981)."

JB

From: "BARRIE SILLARS" <BARRIE at phase1 dot uk dot phase dot com>
Organization:  Phase Devices Limited
Date:          Mon, 19 Jun 1995 07:52:34 WET
Subject:       Creaking Crimson
Is it me or my hi-fi, but has anyone else noticed a strange creaking noise
throughout the "THRAK" version of "One Time". It occurs about seven times
throughout the song on the left channel. Maybe it is due to pick-up from
the guitar or some exotic percussion.

On reflection, it is probably the first recorded instance of Fripps'
rocking chair.

----------------------------------------------------------------------
Dr.Barrie Sillars|                              | bsillars at phase dot com
Senior Design    |    Phase Devices Limited     | Vox:+44 01582 445000
Engineer         | Dunstable, LU5 4TS,  England | Fax:+44 01582 445060
----------------------------------------------------------------------

Date: Mon, 19 Jun 1995 04:12:41 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: Adrian's daughter
>From ET 199:

>Adrian (and wife Martha) were delightful and I finally had the opportunity
>to ask him questions I had always wanted the answer to.We talked about his
>recent visit to the Fender factory (he had them custom paint that wonderful
>irridescent orange one). The origins of "Theela Hun Geenjeet", how Crimson
>came to reform..how his daughter was doing (gifted art student) and how
>much he and Martha like Nashville.

  My girlfriend is from Lake Geneva, WI and consequently went to high
school with Adrian's daughter - she (my girlfriend) directed a play and
said Adrian's daughter tried out for it...she was rejected...ah well. Good
to know she is a gifted art student, though.

Date: Mon, 19 Jun 1995 04:20:46 -0500 (CDT)
From: Watcher Of The Skies <MOHANJP at AC dot GRIN dot EDU> (John P Mohan)
Subject: Minneapolis
  I will NOT bore you all with a review of the MPLS concert review, since
there will be plenty of those already. I did note that Adrian's
Indiscipline trick 'o the night was to look at his watch and patiently wait
while rowdy crowd members were saying his lines for him...

  After the show I had an entertaining conversation with Paul Richards
about the posts he's been sending. Very nice, personable.

  Some time after we left the theatre, my friends Tom and Emily and I were
hanging around the loading dock behind the theatre on a tip that band
members might eventually emerge. Sure enough, I soon found myself standing
right behind Mr. Bruford himself, but did not know it until he turned
around and was right in my face. I extended my nervous hand and thanked him
for the music, telling him I was a drummer as well and sharing my
experience with double drumming. He was very polite and seemed interested
in what I had to say. I also spoke with Pat Mastelotto and told him how
impressed I was with his contributions...I had no idea how many of the
insane percussion noises on THRAK were his doing!

  Eventually, Adrian also emerged and seemed in a hurry, turning down
autograph requests. Upon some questions as to Mr. Fripp's whereabouts, he
spread his arms in an exasperated/apologetic gesture and said, "What, do I
LOOK like Robert's keeper?" He seemed entertained by our enthusiasm but was
equally eager to get on the bus and did not stick around to chat.

  In summary, I was very impressed by the concert (of course), the GCT, but
most of all, by the fact that I was granted the opportunity to thank my
absolute favorite drummer and role model, Bill Bruford. I know it was
impossible for him to know from a few seconds of chit chat just how
profound an impact he's had on my playing, but it was a very rewarding
moment and one that I will never forget.

  Thanks King Crimson, and I hope to see you again soon!

JP

Date: Mon, 19 Jun 1995 10:03:03 -0500 (CDT)
From: "Larry R. Nittler" <lrn at howdy dot wustl dot edu>
Subject: Carpet Cleaning
I was riding my bicycle into work this morning, and I passed a carpet
cleaner's van emblazoned with "MOBLE CLEANING UNIT" in large red letters.
When Fripp used to go on about "mobile intelligent units", was he
envisioning a society of carpet cleaners?

Just a thought,
Larry
___________________________________________________________________________
|      Larry R. Nittler		   Human beings were invented by water as |
|      lrn at howdy dot wustl dot edu	     a means of transporting itself from  |
|   Interstellar Dust Buster         one place to another. -- Tom Robbins |

Date: Mon, 19 Jun 1995 12:27:18 -0400
From: pcallo at vt dot edu (Paul A. Callo)
Subject: Re:Contacting Fresh Air, etc.
This is for the person who asked how to contact Fresh Air on NPR.  The
Fresh Air Home Page can be found at:http://libertynet.org/~freshair/fa.html

In response to this conspiracy theory... What album cover for Islands do
you guys have???  Mine is mostly white with little Islands of color.  To
the best of my knowledge, this is the original album, so where's the "I"???

One last thing, can anybody tell me if the definitive edition of Lizard (is
there one?) has "fixed" the sound mixing "problem" on the title track.
 he first time I listened to the album I was frustrated that I could not
here Jon Anderson's vocals but lately I have come to wonder if his voice
wasn't intentionally "mixed under".  Some artists do this because they feel
the words aren't as important as the sound of the voice.  Does anyone have
any information or opinions about this?
P.C.

From: E#KIRKD at ccmail dot ceco dot com
Date: Fri, 16 Jun 95 12:23:52 CST
Subject: GIG REVIEW: Chicago and Milwaukee
Hello to all and happy 200th to ET!  (Boy has this baby grown fast!)

I am glowing in the aftermath of two very incredible, powerful, and
delightful shows!  The passing of KC and the CGT through Chicago and
Milwaukee have left me both happy and sad.  Happy at the pleasure of seeing
this great group of musicians playing music I have loved listening to for
years and years, and yet sad because of their moving on westward without
me.  If only they could take up a permanent residency at a venue in this
area - one can dream. }-)

My seats for both shows could hardly have been better in my mind: 2nd row
balcony.  In Chicago I was over to the right a bit, and in Milwaukee I sat
over to the left a bit.

Some observations:

- The Milwaukee show was not sold out.  Chicago sold out fast.  However,
some "fans" at the Chicago show obviously couldn't get enough of themselves
and yabbered and partied throughout.  The Milwaukee audience listened and
was more polite.  To the guy who offered me an elbow in the mouth if I told
him pipe up again: you may have been twice as big as me, but dinosaurs had
pees for brains too!  If you want to talk, save us all the annoyance and do
it elsewhere folks!

- KC played "Heartbeat" in Chicago, but left it out in Milwaukee.  I don't
believe they replaced it with anything else, so the show in Milwaukee was
about 5 minutes shorter.

- "Red" was awesome in Milwaukee!  In Chicago I noticed 2 false starts by
Belew (?) when they changed movements/themes which really threw me for a
loop, and the band I think too.  Belew forgot to switch effects on
"Indiscipline" in Milwaukee which got a more humorous response.

- The "THRAK" improv was more off the deep end in Milwaukee.  I kept
thinking of LTiA days. :) The improvs were among the most exciting parts of
each show.  The sense of the unknown and experimentation, and the interplay
between the performers as they each did their own thing and then rejoined
in the collective THRAKking was a joy to hear and see.  The 80's band did
less of this until ToaPP.  I hope the 90's band does more.

- Both the Bismarck and Riverside theaters were similar venues.  It would
be a shame if they moved to larger venues.

- My fiancee commented that Fripp seemed to account for only 1/8th to
1/12th of the performance as a whole in her mind.  This was her first
encounter and perhaps was the impression Fripp intended by his sitting in
the dark, out of any direct lighting, as if he was trying to say, "see us
play but focus on what the other guys do and see that I alone am not King
Crimson, these other guys make us what we are."  - Over the two shows I was
constantly amazed by all the players.  Belew demonstrated his own version
of guitar discipline and was in very good voice.  Levin expressed his joy
of playing and provided killer bass sounds (esp. LTiA II - matching
Wetton's thunderous bass).  Fripp really let loose, in his minimal movement
way.  I'm not fooled - this guy has always been the heart and soul of this
band.  Bruford played with little sign of effort.  I love the way he just
suddenly cracks a big smile as he realizes how much fun he is having.
There are different drummers for different needs.  KC needs Bruford's great
style - it wouldn't be the same without him.  Gunn did all kinds of things
with his hands and fingers that amazed.  He accounted for soundscapes, bass
notes, all kinds of new sounds.  Mastelotto really whacked and complemented
Bruford's drumming perfectly, and added nice percussion work.  He made the
sticks look like rubber.

After the Milwaukee show I went over to where the CGT were selling their
CDs and after figuring out which one was Paul Richards (the one with curly
hair), introduced myself as an ET reader and thanked him for his ET
postings.  I encouraged him to send more, perhaps an extra special one for
ET #200.  The CGT were very good, and perhaps more "on" in Milwaukee.  I
never thought I'd hear the Shadow's Apache live.  The final swell in Bach's
Toccata and Fugue always gives me chills up my spine, and they didn't
disappoint.  I got a little emotional from the feeling inside.

I then was able to see Adrian Belew as he left the theater and signed
autographs.  He was very friendly and answered people's questions at the
same time - he even obliged a lady who wanted a hug instead of an
autograph!  He commented that he tries to perform in smoke free venues for
his voice, and that the band would like to stay together as long as
possible, but will need to take things slowly for that to happen.  Then
Bill Bruford came out followed by Tony Levin and Trey Gunn.  I got to shake
both Bill and Tony's hand and thank them for the great show.  Bruford look
tired, but signed some autographs.  His words to me were simple: "Nice
shirt" (I was wearing my "Red" t-shirt).  Someone asked if yellow was his
favorite color, to which he replied, "No, I just have bad taste".  Levin
too was very friendly.  He was passing out Papa Bear info.  Gunn looked at
first like he wasn't expecting much attention, but a number of people gave
him warm compliments too.  Fripp avoided us all and got into a 4x4 that the
others joined him in.  He did give us a wave from within.  People sign,
people decline to sign.  To each his own.

I can only think that the next studio recording by this band will be even
better than the last.  I can't wait!

Daniel Kirkdorffer
e#kirkd at ccmail dot ceco dot com

(Sorry for the long post, but it was covering 2 shows and it has been 13
long years!  - [Toby, are you passing out ET birthday balloons?!])

Date: Fri, 16 Jun 1995 15:04:43 -0600
From: michaell at cs dot wisc dot edu (Michael Lee)
Subject: GIG REVIEW: King Crimson in Milwaukee [6/16/95]
Organization: University of Wisconsin-Madison
(A copy of this message has also been posted to the following newsgroups:
rec.music.progressive)

I do remember one thing.

It is difficult to put a King Crimson live performance into words.  I've
been listening to Crimson for seven years now, and it's my first chance to
see the entire band together live.  One thing is for sure; the live
performance is unlike anything I've ever heard before, and is absolutely
miles away from what is on the album.

First of all, the California Guitar Trio was a wonderful opener.  They were
clearly enjoying themselves, and it was an intense, unique experience.  I
realized that I had talked to Paul Richards five or six years ago after a
Crafty concert in Madison, when one batch of new Crimson rumors had just
started.  The sense of humor they have was quite evident; and it's
interesting to see how they have used the vocabularly they learned from
Fripp used to speak their own words.

As far as Crimson goes, what can be said that hasn't been?

The layout of the musicians were very interesting:

 PM  RF  BB
 TG  AB  TL

We had very good seats -- on the right aisle, about 10 rows or so back.
Close enough to get a very good view of everyone.

One thing I was interested in seeing was how the different "pairs" of the
double trio format worked.  Bruford was clearly liberated by the chance to
not have as much of a responsibility as a time keeper, and it was also very
interesting seeing him send Mastelotto signals; at one point clearly
sending him a signal to quiet down.  Mastelotto is *big*.

Fripp was very still, not moving for long periods of time.  Not having the
spotlight on him has a very interesting effect, especially in the center.
I saw Fripp once with the Crafties years ago, and it was interesting to see
how he was in an electric context.

As far as the music goes....wow...  The new material was much better live
then on the album, especially on songs like "One Time" and "People".  There
was a thickness to the music that is difficult to describe.  One Time had a
lot more going on in the background, Bruford filling in some light
percussive touches.  The challenge of the band is to switch from the vocal
pieces to the long instrumentals.  It's sometimes easy to ignore the vocal
pieces, but it's the contrast that makes it all the more rewarding.

Red was smoking, of course.  Thrak was an immense pleasure, with a long
venture into musical exploration, unlike anything I have ever heard before,
and proved to be quite a free for all.  I had hopes that this would be a
band that it would be often difficult to follow who was playing what, and
this was one place where that turned true.  Talking Drum/Larks Tongues PT
II was a joy as well.

The absence of any Beat or Three of a Perfect Pair tracks was interesting.
I would be interested in seeing some other older tracks as well; but then
that may just be my tremendous desire to see "Starless" live... :-)

Get the program.  Very interesting thoughts from RF.

I like it!

--
Michael Lee
michaell at cs dot wisc dot edu
Computer Sciences Department, University of Wisconsin-Madison
<A HREF="http://www.cs.wisc.edu/~michaell/">On The Web</A>

Date: Fri, 16 Jun 1995 13:33:04 +0400
From: mckenna at interaccess dot com (McKenna W. Rowe)
Subject: GIG REVIEW: Milwaulkee, 6/15/95
Hello, all!  I am a new member of the mailing list.  I'm looking forward to
hearing from you.

I just wanted to take this opportunity to say how absolutely phenomenal
King Crimson was last night.  Saw them at the Riverside Theatre in
Milwaukee.  Was anyone else there?

I highly doubt I'll ever see a show in my lifetime that can even compare to
last night's.  I have never seen such a great lineup of fantastic
musicians.  I think this is definitely the most talented line-up of Crimson
personnel-and my friend and I that went wonder if they've even hit their
peak yet!!  The stage set-up was very exciting with the symmetrical drum
kits and subtle, tasteful lighting effects.  We were right by the sound
board so the mix was great.

What amazes the most was the incredible intensity of the show.  I think
Crimson is every bit as intense, if not more, than Metallica or some group
like that-it's just that it's controlled, disclipined intensity.  In an age
of bands like Green Day throwing beer on the crowd and telling them to fuck
off, seeing a group of musical geniuses conduct themselves like gentlemen
was a welcome change.  (Not that I have ever been dumb enough to go see
Green Day.)  They even get dressed up-Bruford looked like a Catholic school
boy in his white shirt and tie.

I had trouble, as did my companion, distinguishing sometimes the guitar
parts-it looked like either Fripp or Trey Gunn could be playing at certain
times...though who can tell anything with Fripp encased in shadow the whole
time?  I personally have always enjoyed watching Tony in particular...he's
got a lot of flair...I especially dug the whole interplay between him and
Trey before slamming into "Elephant Talk" ya-hoo!!!!!!

Also-Crimson not only can crank out the hard-driving, abstract kind of
grating guitar chords (Thrack, but they can kick back and let loose with
such beautiful ballads (i.e. Matte Kudasai...)  Did I mention that Adrian
Belew's voice is in such fantastic shape?  I have had some operatic
training and I can tell that he takes care of it....he sounded fantastic.
If you want to classify Crimson as "jazz", I think a lot of times jazz
groups get too caught up in their own technical jams-but Adrian has a great
knack for catchy, rich melody lines and lyrics.

I also have to give credit to the California Guitar Trio.  They were
awesome and engaged my attention every second.  The Bach fugue blew my
mind.

I think the audience practically wanted to give a standing ovation after
every song..I know I did.  To me, Crimson is just at the absolute pinnacle
of musicianship...I think they fuse rock/jazz quite successfully.  It's
also interesting to watch them knowing they haven't got tp prove a fucking
thing , you can see on their faces they just enjoy playing the music so
much...

Please let me know your thoughts on the show, and I couldn't stress enough
how this is a show not to miss.  these guys have been around for a long
time and their music is as young, fresh, and intense as ever.  I wish
Gabriel would inject a little more aggression into his stuff.

McKenna

"Nobody can make you feel inferior without your consent..."
                                                     -Eleanor Roosevelt

"Like flies to wanton boys, so are we to the gods..."
                                                     -King Lear

From: "tim siefkes" <timsks at visi dot com>
Date:          Sat, 17 Jun 1995 10:31:39 +0000
Subject: GIG REVIEW: MINNEAPOLIS 6/16/95 - afterthoughts
While I don't wish to add yet another semi-redundant concert review to the
list, I do feel the need to add just a few words of acknowledgement to what
was indeed a terrific show in Minneapolis last night.  KC, of course, was
magnificent, and I'm so glad to have had the chance to see them in a live
context again.  Their power and "controlled chaos" works like only they can
produce.  For a band that has been in evolutionary existence for over a
quarter of a century, they still challenge themselves to come up with new
and essential music.  Once we settled in, and the mix came together, I
heard the voice of the Crimson King emerge from that stage and it spoke to
us.  The King is indeed still alive!

But the pleasant surprise of the evening was the California Guitar Trio.
Even reading about their performances here in E-T didn't prepare me for
what to expect.  I just went in expecting something "pretty good".  Well,
my friends and I were more than gratified by their performance.  Truly
splendid stuff, and I will be adding both their CD's to my collection
shortly.  The CGT rounded out the bill just perfectly to make a most
perfect evening.  Their "Tocatta and Fugue" nearly moved me to tears, it
was that good.  A word of advice to those who haven't yet seen this tour:
don't get there late as many people I witnessed last night.  You won't want
to miss the opening performance!!  A big open letter of THANKS to the CGT
for adding their talents to a truly spectacular show.

Tim Siefkes
timsks at visi dot com http://www.visi.com/~timsks

Minneapolis, MN

From: "ToddM"  <ToddM at laserm dot lmt dot com>
Organization: LaserMaster Corporation
Date:     19 Jun 1995 14:31:29CST6CDT
Subject:  GIG REVIEW: Minneapolis Crimson Concert
The first thing that struck me about the show was the great seats I had -
the far right edge of the balcony so the view I had of the group was above
as well as across.  Many friends who had seats towards the center or on the
main floor complained that they could not see certain performers - I on the
other hand had a birds eye view of them all and got a lovely view of
Fripp's gargantuan monster rack (two TC Electronic 2290 Digital Delays,
Eventide Ultra Harmonizer and god only knows what else - it was chilling to
experience the Fripp fuzztone sound in person).

But I am remiss: the opening act, the California Guitar Trio came out and
captured the audience with their "take no prisoners" musical style and
quickly won over the audience.  Many people seated adjacent to me felt that
the guitarist wearing the hat was Fripp in disguise, but it was really Bert
Lams.

Paul Richards with his fuzz-e-bow Ovation acoustic raised eyebrows on a
number of occasions, once using slide to create a shattering blues number
and on another piece a very Fripp-like e-bow solo leading into what sounded
like Frippertronics with delicate acoustic guitar overlay.  Delicious.
Wailing leads is something you do not expect from an acoustic guitar
(strange to find synchronicity in this - when I was in Jr. High School I
experimented with fuzz distortion on a Yamaha classical guitar.  At the
time I didn't have an electric and longed for that sound.  I was amazed to
see someone actually using this for viable musical work..)

Yes, they did indeed play a snippet of Schizoid Man to wild cheers from the
audience.  Thankfully, the audience was well behaved that night and illegal
chemical intoxicants were nowhere to be detected.  It seemed that this
audience was very willing to sit quietly and listen, for the most part.

Hideyo Moriya sat stage left lending delicate filigree and ridiculously
complex harmony lines to many of the tunes.  Unfortunately, they didn't
play his amazing Kan-Non Power this night, but they did play the Toccata and
Fugue in D Minor and blew everyone away.  The group justifiably received a
loud and lengthy standing ovation.  One of the best and most consistent
opening acts I've ever seen

Hey guys, why don't you create a guitar instruction book called "Learning
the Chords that Hurt!"  Ouch.

Okay: Crimson.  The recordings don't come close to showing the kind of
power this outfit can generate live.  Patrons pasted into the back of their
seats with white knuckles holding to their armrests comes to mind.  At
certain points, I was afraid that plaster would start falling from the
ceiling (specifically: Red, Thrak, the instrumental portions of "Sex...").
I've seen major rock artists perform live, none of them came close to the
power and fury that this group can generate.  It made speed and thrash
metal bands look silly and feeble by comparison.  It was like watching a
hurricane at work.

The sound really didn't get completely sorted out until several numbers had
been performed.  Due to the way I was seated, I was able to get a very good
view of everybody and see just what was being contributed to each piece of
music from each musician.  When I first came into the auditorium, I
immediately mistook Mastellotto's kit for Bruford's.

Surprisingly, Bill played on a scaled down kit with a number of Simmons
pads and was light, agile and airy with lots of quick rhythmic interludes.
Mastellotto performed on a huge kit and was the power drummer, a bruiser.
While Bruford added polyrhythmic interplay over the top, Pat played his kit
as if his sticks were baseball bats.  If I were on the receiving end of the
drumsticks, I'd go for Bruford's every time since I'd be a dead man if I
was being hit by Mr. Mastelotto.  Interesting to see the interplay between
the two and the signals they were able to give one another to complement
the music.

Belew was perhaps a touch more exuberant than the shows I'd seen him before
in.  He jumped around and leaped in the air as if the music itself could
levitate him.  Not that there weren't moments of uncertainty.  "Frame by
Frame" was played at a tempo a bit faster than the album and Belew
unfortunately missed the point where he sings "Step by Step..." not once,
but twice.  I felt sorry for him since the sound hadn't really gotten
itself together and really, it was amazing that anyone can sing and play
those kind of time signatures at that tempo at the same time.  Belew was
spot-on the rest of the evening and excelled on guitar.  The guy can really
stretch out when needed.  It was cool to see him do the high fuzztone line
on the intro of red, leaning back with Fripp in the shadows.

The evening started with Marine 475 (which, ironically was reprised later
when they played "Vrooom") and progressed into Frame by Frame.  I
especially enjoyed Dinosaur as it seemed to be the tune where everything
jelled (I loved the lightining effects on that particular tune, I won't
ruin it for those who will be attending).  Fripp's solo on that tune was a
standout (I could see his hands moving like hummingbird's wings in
silhouette).

Tony Levin was always on, of course.  The guy makes it look so easy it's
ridiculous, moving back and forth from electric bass, stick and standup
electric bass.  He was always audible and looked like he was enjoying
himself.  It did appear that his backup vocals were undermixed in Frame (as
was Fripp's guitar playing the extremely fast figures) until the mix was
leveled a bit.  Watching him use the "Funk Fingers" while playing "The
Talking Drum" broke me up since it looked like his fingers were dancing as
fast as they could.  The Belew-Synth-Violin solo here was a highlight as
was Trey's instrumental sparring.  The squealing violin part ended and when
Fripp broke into Lark's Tongues Part II the place went wild.

Trey Gunn - I could see and hear him.  His rack had some of the same
components that Fripp had.  In fact, it appeared that both Gunn, Belew and
Fripp were all using guitar synthesizers of some sort at various points
during the show.  Gunn appeared to act in some capacity as a keyboardist
(playing synth like pads), a guitarist (playing both rhythmic and lead
parts), and bassist (playing parts that were different from Levin's, but
complementary in timbre and pitch).  The Stick and Warr-Guitar were both in
evidence.

Robert Fripp was seated in the shadows (and the occasional spotlight that
shone on him by accident or design) and played guitar in a criminally
proficient manner.  His parts ranged from blistering guitar solos to
ridiculously difficult rhythmic plectrum guitar parts, to icy synth washes
to soundscapes of liquid texture as well as powerful chording.  You may not
have been able to see him, but you couldn't avoid hearing him.  His rack
looked like as tall as a refrigerator.  Watching him play in the shadows
you could see a guitar technique that was built upon efficiency of
movement.  His guitar sounded simply grand.  At the end of the evening (the
house was packed and the fans boisterously shouted their approval) he put
his hand up above his eyes to shield from the lighting glare and took a
long look from stage left to right to see all of these people who'd come to
see the band.

He shook hands with Adrian, then they hugged and Robert smiled.  It was a
nice sight. They all took a bow.  The second encore's highlights included
Vroom Vroom and Walking on Air.  What was really nice about the latter
piece is that at the very end, the swirling soundscape guitar part that
Robert had been playing didn't end.  Robert stopped playing, put his guitar
down, pushed several buttons on his immense rack and came to the front of
the stage with the rest of the band members - the sound swirled on.  The
last chord from the digital delay finally stopped about five minutes later
to applause from the remainder of the house.

By that time, I'd bet the band was already on the tour bus since it was
parked just down the block from the theatre.  I passed by the bus on the
way to my car and saw a large TV in the back window already on.  The
California Guitar Trio were in the lobby signing autographs just after the
concert.  It was a great show.

I hope they'll be back with another record when this tour and project winds
down.

Oh: forgot one more thing: before the show they played some really
excellent burbling Fripp/Gunn(?) ambient (soundscape?) styled music over
the house pa.  I'd love to hear that that music would be available for
purchase someday - I really liked it.  It was like the next logical
extension after 1999.

ToddM at laserm dot lmt dot com
Todd Madson - Associate Technician
LaserMaster Technical Support Services

Date: Mon, 19 Jun 1995 14:38:05 -0600
From: keeks at maroon dot tc dot umn dot edu (Tom Keekley)
Subject: GIG REVIEW: Minneapolis
Well, I saw them live and was, honestly, blown away.

That was a fantastic show and ALL of the guys were great. I was much more
aware of Trey Gunn than I inticipated after reading the posts here. I play
guitar and I can't believe he plays that Stick/guitar (forget the luthier)
the way he does. Amazing! Adrian was very cool and his vocals are always
fun. Fripp ripped in the dark. The drumming was as great as I had read
here. Mr. Levin was his usual, funk-finger-thick-thumbed bass master.
(Tony, I wanted to buy your disc there!!!! Now I have to wait for the mail
order!!) The sound was great and the hall RUMBLED when Tony and Trey
roared.

A very diverse and appreciative crowd, but I don't want to be sitting
during a show!!!! I wish peple who wanted could stand at shows like that! I
wanna move and dance during stuff like Dinosaur and Frame and I wanted to
SLAM DANCE during VROOOM!!!

And to the guys in CGT - - fantastic! Loads of fun.

(Which of the three is the one posting to ET??)

I can't wait for the live disc.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 Tom Keekley (n/a) (keeks at maroon dot tc dot umn dot edu)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

From: Scott T Anderson <sanderso at gac dot edu>
Subject: GIG REVIEW: Minneapolis
Date: Mon, 19 Jun 1995 11:52:11 (CDT)
KING CRIMSON; Historic State Theater; Minneapolis, MN; 16 June 1995

Here is the set list, as best as I can remember.  I'm not sure where
"Elephant Talk" fits in, so I'm guessing.  Basically, this may not be the
right order, but I know these are all of the songs/pieces/whatever that
they played:

Improvisation (TL on upright, RF soundscapes, BB joining, then band...)
VROOOM VROOOM Coda (interesting as an opener)
Frame By Frame
Dinosaur
Red (what a gratifying experience to finally hear this live!)
One Time
Long, ominous RF soundscape, drummers appear...
B'Boom (amazing... BB's hands move like hummingbird wings)
THRAK (hellish, frightening free improv section in middle)
Matte Kudasai (where did THIS come from??? Nice juxtaposition...)
Elephant Talk
People (FRIPP GETS A SPOTLIGHT!)
TG and TL stick duet, BB enters on VERY complex drum solo over vamp from...
Indiscipline (AB races through lyrics, audience begins to shout "I DID!")
Sex Sleep Eat Drink Dream
VROOOM VROOOM (I'm not sure about this place in the order)

ENCORE #1:
Long improv featuring drummers leads into...
The Talking Drum (not sure I like the funk fingers on this one)
Larks' Tongues in Aspic Part Two (YES!)

ENCORE #2:
VROOOM (finally!)
Walking on Air (band quietly exits the stage as Fripp plays soundscape
                which is looped to serve as exit music)

First, I was glad to see that Fripp had assumed a central position on the
stage (after what I had heard about his nearly offstage position in
Europe.  The spotlight was even on him a couple of times!!!

"Indiscipline" was quite amusing.  AB RACED through the first set of
lyrics.  Then he waited.  People in the audience randomly started shouting
"I DID!"  Ade played it cool... he even looked at his watch once, eliciting
the intended laughter of the audience.

The most gratifying moment for me was when the band kicked into "Red."
I've always liked that song, but now I've experienced it the way it was
intended... in person, and at the right (LOUD) volume.  At times I thought
things were a bit too loud, but that volume was just right for "Red."

Overall, this was simply the best show I've ever seen.  I hope this
incarnation of KC lasts at least as long as any other did.  I want to see
these guys again!

Scott T. Anderson
sanderso at gac dot edu

Date: Mon, 19 Jun 95 16:32:57 PDT
From: wurster at jeeves dot ucsd dot edu (Andrea Wurster)
Subject: TICKETS - San Diego
2 tickets to only San Diego appearance!
Main floor, row P
Copley Symphony Hall
June 28, 1995 8:00 pm

Face value (what a deal!)

Respond privately by email only, please.

Thanks,
Andrea


Mike Stok