From elephant-talk at arastar dot comSun Oct 22 17:00:20 1995 Date: Thu, 19 Oct 1995 08:44:33 +0800 From: elephant-talk at arastar dot com Reply to: toby at cs dot man dot ac dot uk To: elephant-talk at anthor dot arastar dot com Subject: Elephant-talk digest v95 #230 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 230, Thursday, 19 October 1995 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] My apologies for the size of this issue. Work hassles meant this issue got delayed. I can already hear your mailboxes groaning... :-) -- Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Today's Topics: King Crimson vs. Mingus? Jamie Muir on Incus Elephant Talk Post Re: Elephant-talk digest v95 #229 Jars of Clay Headcandy Re: Elephant-talk digest v95 #229 Jars of Clay Slow fade ins (Elephant-talk digest v95 #229) (no subject) Pat Mastelotto on The First Day??? KC in porn movies Earthbound, CGT elephant talk post talking drum on B'boom more than just Schiziod Man on GCD RE : Indiscipline Live Re: Fripp's recent liner notes Tamms: Fripp Book Unavailable? Re: Elephant-talk digest v95 &229 Re: Elephant-talk digest v95 #229 Crimso music in French erotic movie!, what I like HEADCANDY & CD PLAYER bb & pm interview Wetton and Lake Jazziz Interview/UK Reunion Jars of Clay Re: Elephant-talk digest v95 #229 Wetton concert Crimson Videos Re: Elephant Talk #228 Re: Elephant Talk #229 (Eatrthbound on CD) The First Three (box of Crimson pic discs) Good Fripp Albums Sinfield's "Still" XTC pounding it home early samples Greg Lake Live CD David Sylvian Concert THRAK/Fripp's guitar playing Tony Levin appearing in Concord, CA Elephant Talk #229 Re: Elephant-talk digest v95 #226 GD Box Set & Liner notes vinyl query For ET: David Cross special performances this week in London Instructional video "Bruford & The Beat" Keith Tippett Blueprint John G. Perry's album "Seabird" Interview with H. Moriya (CGT) TIX-U-LIKE New Haven ticket still for sale NYC shows @ Longacre 11/20-11/25 (no 11/23) Marin Ticket Redux Bay Area Tickets for Sale Tickets Offer RUSH RUSH NYC shows @ Longacre Theater GIG REVIEWS KC "Review" at euphony.com KC Review Tokyo Oct 14 VROOOOOOOOM LIVE! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] POSTS: Please send all posts to toby at cs dot man dot ac dot uk The ET archives: WWW Home: http://www.cs.man.ac.uk/aig/staff/et/ Topic Index: http://www.cs.man.ac.uk/aig/staff/toby/et/index/topics/etopics.htm FAQ: http://www.cs.man.ac.uk/aig/staff/toby/et/faq.html FTP The Americas: ftp.qualcomm.com, in /pub/et Rest of world: ftp.cs.man.ac.uk, in /pub/toby/elephant-talk EMAIL Send "index elephant-talk" to listserv at arastar dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 12:47:43 -0700 From: suture at portal dot ca Subject: King Crimson vs. Mingus? You know, It's seems to me that there is a tendency towards "train spotting" within ET (Mr. Mister, "was it the Tubes drummer with XTC?" etc.) But then I read Michael Jeter's post and thought: "I can't let that one go, even if I SHOULD be addressing KC matters!" Michael Jeter wrote: "Mingus was one of the baddest musicians to have ever walked the face of the earth." I can only imagine three explanations for this remark: 1. "baddest" means "very good" and Mr. Jeter is a great fan of Mr. Mingus. 2. The NPR broadcast he heard consisted solely of extremely rare unreleased material that was very weak (unlikely). 3. Mr. Jeter has cloth ears and has never heard Mingus' outstanding work (of which there is plenty to be heard). I'd recommend Changes One and Two, Black Saint and the Sinner Lady, Mingus X 4, and Ah Um. Even if one didn't care for the music, to call him a "bad" musician would simply be asinine. Now, on topic, I think that "Healthy Colours 1 to 4" are an utter waste of time. Were these tapes sitting around waiting for an excuse to be released or was it created anew for filler? I'd rather the "Essential Fripp and Eno" be a COMPLETE package incorporating the entirety of "Pussyfooting and Evening Song". That said, I still feel that "Let the Power Fall" is the standout Fripp solo excursion. And don't forget: "Visualize Whirled Peas" Mark Mushet Suture Productions P.S. I'm starting a Ralph Towner mailing list (nothing as elaborate and evolved as Toby's efforts!). If you're interested in getting on the list for periodic updates vis-a-vis this amazing guitarist's activities e-mail me at: suture at portal dot ca and include "Ralph" as your subject. P.P.S. Does anyone know if Sylvian and/or Fripp are planning any western Canadian solo dates? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 16:04:49 -0400 From: KnKreutzer at aol dot com Subject: Jamie Muir on Incus Scott Tatina's very informative posting on Jamie Muir (E-T #229) indicated that, in addition to Derek Bailey's *Dart Drug,* Muir played on two albums with Derek Bailey's Music Improvisation Company - one on ECM and one on Incus. Pages 232-233 of the 1992 edition of *The Penguin Guide to Jazz* list two Company albums with Muir, but both are on Incus. One is *Trios* (Incus LP51, recording date 5/83), the other is *Music Improvisation Company, 1968/70* (Incus LP17). The latter is referred to in the text as a "pre-history" of Company, which was not actually founded until 1976. A brief glance at the ECM Records Web site shows no sign of any Company albums or of Jamie Muir. Was one of the two albums listed above originally on ECM? Or was there a third Company album with Muir that is now altogether out of print? Eric Tamm's book on Robert Fripp (p. 62) also indicates that Muir worked with the Battered Ornaments and Boris. A tip o' the hat to anyone who can tell us who THEY are! Kenneth Kreutzer Kent, Ohio (KnKreutzer at aol dot com) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 95 16:59:44 PDT From: "W. Brennan Carley" Subject: Elephant Talk Post >From: SoulAlone at aol dot com >Subject: Daryl Hall >... >Is there such a thing as a recording of "Exposure" on which Daryl Hall >sings all the vocals? I've heard the rumors for SO long, and I'm not sure >if it even exists. Robert Fripp did record an album called Exposure, in (about) 1980. It was part of a three-part Fripp project which included a Daryl Hall album he produced and a Peter Gabriel almbum he produced. Daryl Hall sang on some of the songs on Exposure, but not all. Exposure is NOT typicall Darul Hall music, but is a great album. >From: Christian Hack >Subject: Crimso music in French erotic movie! >... >A few days ago I watched (accidentally, of course!) on TV here in Germany >the so-called "soft-erotic"-movie "Emanuela" (from 1974 or 75/director Just >Jaeckin). Did anyone ever notice that the music which is played throughout >the movie is nothing else than a slightly varied arrangement (partly >transposed) of LTiA, Part 2 played by a sort of pop-dance-orchestra? Yes, Fripp noticed and sued the producers involved. I'm not sure what happened, but I think they paid up for copyright infringement. W. Brennan Carley Instinet Corporation, 875 Third Ave., New York, N.Y. 10022 Voice: (212) 310-9568 fax: (212) 593-8007 e-mail: carley at instinet dot com Mail sent at 16:59:44 on 10/12/95 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 14:28:43 -0700 From: Rob MacCoun Subject: Re: Elephant-talk digest v95 #229 >Date: Fri, 6 Oct 95 14:10:04 -0400 >From: alan s cohen >Subject: various > >>I think the result of those sessions are on "The Essential Fripp and Eno," >>in Healthy Colours I-IV > >Actually, Healthy Colours is what Fripp and Eno recorded back in the late >'70's and was never released. I recently Emailed DGM in England to try and >find out what happened with their last collaberation. I was told that it >wound up on Eno's CD-ROM Headcandy. Does anyone know if there's anything on >it that is playable on a conventional cd player? The first track of Headcandy has the multimedia data for running the visuals; the remaining tracks can be played on an audio CD player. Tracks 3 and 5 include Fripp, though his contributions are subtle, not pronounced. IMHO, this falls far short of Eno's usual masterful work. Some interesting ambient dubbish textures, but it sounds derivative of the people who are derivative of Eno -- the recent rave-based chill-out genre. I assume that ravers are the intended market; e.g., the visuals -- lots of undulating mandala figures in primary colors -- are described on the box as "psychedelic." The packaging is very cheezy--looks like the set of Rowan and Martin's "Laugh In" TV show circa 1967. Visually, it can't compare to Eno's video installations, but of course video technology and museum installation settings provide a better medium than a desktop Pentium PC. Perhaps I've set your expectations low enough that you'll be pleasantly surprised. Rob MacCoun Grad School of Pub Policy, Univ. of Calif. at Berkeley 2607 Hearst, Berkeley CA 94720, t/510-642-7518, f/510-643-9657 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Bradley Stewart Cook Subject: Jars of Clay Date: Thu, 12 Oct 1995 16:42:27 -0500 (CDT) Bob Keeley inquired about the Christian band called Jars of Clay. The reason you haven't heard of this band is because they are relatively new and they just released the album, which Adrian Belew did indeed produce and play on. He only played on 2 (maybe 3 songs) and he did not play guitar. He played mandolin on one song. (the song sucks.Folk meets Enigma and the Benedictine Monks) and he played some nice cello on an other song. I don't own this album..my roommate does, so I haven't listened to it many times in depth, but I would say the album really isn't worth the price. It is mostly folk-pop and only has a few semi-high points. This band is the latest "buzz" in Christian music, and you know how "buzzes" go.... Brad Cook bsc0150 at tam2000 dot tamu dot edu ps Bob, Check out a Christian band called DigHayZoos...good music, good musicians...send me some email Now back to something relevant. :) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 17:56:42 -0400 From: Otherroad at aol dot com Subject: Headcandy In reply to the query about Eno's CD-ROM, HEADCANDY, I do have that and I do confirm that all the music can be played on a regular CD player. I have played it in both my computer and my regular CD player. Just skip track one. The track information is as follows. 1. CD-ROM material 2. Castro Haze (5:50) 3. Manila Envelope (7:30) 4. Spunk Worship (6:51) 5. Beast (5:55) 6. Alloy Balcony & Jets Overhead (11:14) All tracks written and recorded by BRIAN ENO, except tracks 3 & 5, which were written by BRIAN ENO and ROBERT FRIPP. Additional musicians: Richard Bailey - Drums on 2&4; Robert Fripp - Trumpet Guitar on 3 and Guitars on 5; Geoffrey Oreyama - Percussion on 3. As for the CD-ROM itself. I do find it to be quite intriguing. It's not very interactive, though, as one might say about Peter Gabriel's EXPLORA 1. Rather I would compare it to an installation in a museum of modern art. So, if you appreciate modern art, you would appreciate HEADCANDY. Gary [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 16:19:47 -0700 (PDT) From: David Pritchard Subject: Re: Elephant-talk digest v95 #229 In ET v95 #229 somebody mentioned the use of a poor imitation of LTiAII in Emanuelle - indeed Fripp knew about this and in fact went as far as sueing the film producers (I think sucessfully) at the time - an early hint of Fripp's views on where copyright resides! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: matt at infopros dot com (Matthew F. McCabe) Subject: Jars of Clay Date: Thu, 12 Oct 95 23:39:36 +0000 (GMT) >From: Robert Keeley >I was paging through RELEASE magazine the other day, a magazine devoted to >Contemporary Christian music, and found an ad for the self titled debut >album by the group JARS OF CLAY. There at the bottom of the ad reads >"Produced by Adrian Belew and Jars of Clay." >Is anyone aware of >Belew's involvement with this group or what this album sounds like? As best as I can remember Belew only produced one song on the album and played some instruments other than guitar....violin maybe? The music sounds nothing like Crimson. I didn't listen to the tape long because the style/music/songs didn't catch my attention. It's acoustic guitar orientated with lots of vocal harmonies and programmed drum beats. Basically it's nice, middle-of-the-road, pop music. The recording is really clean and well produced. Personally, I wouldn't recommend the album...but that's just me (and the singer's voice ain't that great either!! IMO). Matt ----------------- matt at infopros dot com ------------------------------------------------------------------------ Matthew F. McCabe InfoPros matt at infopros dot com 6060 Sunrise Vista Dr., Ste. 1825 phone (916)725-5558 Citrus Heights, CA 95610 fax (916)726-8223 "The online communication firm." ------------------------------------------------------------------------ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 19:20:29 -0500 From: sanderso at gac dot edu (Scott T. Anderson) Subject: Slow fade ins (Elephant-talk digest v95 #229) Mark Sullivan discussed the slow fade-ins in Fripp's work like "1999." Other notable examples of such fade-ins occur in King Crimson's "The Devil's Triangle" and "Trio." I always wondered why Fripp did this, too. I found it quite annoying. After experiencing KC live for the first time this summer, I understood. These low levels are designed to cause you to listen to the music at the correct volume, at least, the volume Fripp wants you to hear them at. If you have the beginning of a piece at a very soft but audible level, then when it really gets going, it'll be as LOUD as Fripp intends it (and I believe he likes it QUITE loud). When I listen to the soundscapes in this fashion, they are absolutely mesmerizing. At a loud volume, the music has an almost hallucinatory effect--it overcomes all of my senses, and my entire being is focused on the music. It is really quite wonderful. The problem is that this is not a very practical way of producing an album. Most people are limited by less-than-ideal listening conditions, not to mention a stereo system that probably can't HANDLE the volumes Fripp desires. If I listened to this stuff as loud as Fripp wants me to (which I would like to experience, sometime), I'd blow out my speakers, add to my already disturbing level of tinnitis, and surely annoy many people around me. So, Robert, thanks for trying, but consider those of us who do not live in a perfect world. A final note--I LOVE "A Blessing of Tears." This is some of the most moving music I have ever heard in my life. And it's relatively audible right from the start! 8^) -- Scott T. Anderson Gustavus Adolphus College sanderso at gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 95 01:25:11 0500 From: tonyola Subject: (no subject) Mike Dickson (mike at blackcat dot demon dot co dot uk) recently said... > You aren't wrong about anything you've said [about Peter Sinfield's > 'Still' album], but you missed out the bit about the hopelessly > pretentious lyrics which are so bad it really distracts from anything > decent in the music. (Which is rare enough) Anyone who writes 'I need to > suck the breasts of time and freeze its milk in ink' has something of a > problem. Mike is absolutely right - Sinfield's lyrics on 'Still' are ghastly. However, early 70s progressive rock is just chock full of bad, pretentious lyrics. Genesis' 'Lamb Lies Down on Broadway' has wonderful music but also has an utterly incomprehensible libretto (when one has to refer to an album's lyrics as a "libretto", perhaps that indicates where the problem lies). Most Yes albums - especially 'Tales From Topographic Oceans' - have strange, cryptic lyrics. I won't even go into Peter Hammill's lyrics on early Van Der Graaf Generator albums. Need I mention Procol Harum? There are lots more examples, but I won't try the patience of ET readers. I'm sure each one of us could easily add to the list. Please don't think that I'm defending Sinfield or 'Still'. It's just that this particular genre of music (which I love dearly) seemed to invite tortured metaphors, vague artsy references, big words, and unnecessarily florid language. I don't try to interpret this stuff when I listen to progressive music - I just treat the vocals as yet another instrument in the mix. FISHBOY asked... > Can anyone out there give an opinion on what is a good introduction to > Fripp's work outside King Crimson? For starters, check out Fripp's first solo album 'Exposure', which was released in 1979 and is readily available on CD. There's an incredible variety of material on this record - (sort of) straight rock'n'roll ("You Burn Me Up I'm a Cigarette"), Red-ish instrumentals, reworked songs from the first two Peter Gabriel albums ("Exposure" and "Here Comes The Flood"), atmospheric mood music, and stuff that will make your hair stand on end ("Disengage" and "NY3"). Guest vocals by Daryl Hall, Peter Hammill, and Terre Roche. Lots of great guest musicians (Phil Collins, Brian Eno, Tony Levin, Jerry Marotta, Barry Andrews, Narada Michael Walden). All in all, an essential record for any Crimhead's collection. .Chris Van Valen (vanvalnc at is2 dot nyu dot edu.) asked... > I have noticed no mention of Earthbound. Is this also not available? I > know that I've never seen it. I've only seen this album once - a British import LP in a roommate's record collection in the early 1970s (Boy, that dates me, doesn't it?). This was a single, non-gatefold album with a black cover, silver lettering, and no pictures or illustrations. It was an official issue by Island Records that was never released in the US. Decent music recorded live in 1971 in Orlando, Florida, but let down by horrible recording quality. According to the liner notes, the recording was done on a cassette machine in the back of a VW bus - and it shows. Cassette technology was only a few years old then and was still very primitive - anybody who wanted to record with any semblence of quality in 1971 used a reel-to-reel deck. I've heard contemporary bootlegs that sounded miles better than this. I have never seen 'Earthbound' on CD, and I've done a hell of a lot of digging for obscure treasures in CD stores since 1986. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 19:38:36 -0500 From: sanderso at gac dot edu (Scott T. Anderson) Subject: Pat Mastelotto on The First Day??? In ET #229, Thomas J. Mathews said: "Mastelotto drums superbly on _The First Day_ which seems to be (?) his first outing with Fripp." I don't think Pat played drums on "The First Day"... according to my liner notes it is Jerry Marotta, who was SUPPOSED to be the lone drummer in the new KC before the double trio concept materialized and Bruford came back into the fold. So the question remains... how did Mastelotto end up in KC??? -- Scott T. Anderson Gustavus Adolphus College sanderso at gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 19:43:58 -0500 From: sanderso at gac dot edu (Scott T. Anderson) Subject: KC in porn movies Sorry to make so many posts to one issue... I should really read the whole thing and take notes, then post about everything at once. Well, I am just procrastinating in preparing for the GRE (which I haven't done at all, and it's in 2 days...), so cut me some slack.... Anyway... Christian Hack mentioned the appearance of modified versions of "Larks' Tongues in Aspic Part 2" from the "Emmanuel" porn-film series. I haven't seen these films (really, Toby, I haven't!), but Fripp mentions this in the Great Deceiver booklet, something to the effect that it has been brought to his attention that the music was used, though without his prior knowledge or approval. Sorry I can't quote it directly... I think my booklet is back at home. Okay, I'm shutting up now (maybe).... -- Scott T. Anderson Gustavus Adolphus College sanderso at gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: tlkalka at mailbox dot syr dot edu Date: Thu, 12 Oct 95 20:49:35 EDT Subject: Earthbound, CGT 1. A CD release of Earthbound is forthcoming. Earthbound II has been promised for 1996. 2. A contributor commented that he found The CGT's Shizoid Man break to be cute, but not really entertaining. I can only reply that the break did not appear in all the performances, although in Buffalo there seemed to be a hint of VROOOM in one of the tunes. Sorry you didn't like 'em - as far as I can tell they've been blowing a lot of people away. Peace TErry [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 21:41:14 -0400 From: MikeTEACHR at aol dot com Subject: elephant talk post Hey there sports fans! I got a hold of an extra copy of the Fripp: Careful with that Axe Japanese import Laserdisc. I'm will to sell fro substantially less than market value of $60-$70. Please email me ASAP as it will not last. A great disc; interview and CD quality soundbites of Fripp, Crafties, older KC, etc. (Insert perfunctory cool quote here) Mike miketeachr at aol dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 23:02:32 -0400 From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Subject: talking drum on B'boom This particular version of the song has got to be my most favorite KC song of all. Trey Gunn's stick playing is incredible! I can only imagine what it must have been like to witness this performance live and in person. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 12 Oct 1995 23:05:32 -0400 From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Subject: more than just Schiziod Man on GCD I must mention that other pre-73-'74 material exists on TGD, namely Catfood and Peace (a theme) from In the Wake of Poseidon. well it's goodbye. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: mike lockyer Subject: RE : Indiscipline Live Date: Fri, 13 Oct 1995 06:29:52 +-100 > From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) > Subject: KC Gig Review - Tokyo > Indiscipline is always appreciated by the audience. It's a song that you > could tell whether KC is in good condition or not. The blank/no-sound > (short) spaces inbetween various musical phrases are the key to creating > high tension which makes this song a very unique product. Especially, the > spaces such as the one right before and after "I wish you were here to see > it" and "I like it" in the end. A half-second or even a quarter of a second > make big difference when these blank spaces are concerned. So far, for me > Oct 2 gig had the best tension in Indiscipline. The song title rightly > imply the nature of this music piece. Discipline is probably the only > solution to achieving such a high tension in music. I've seen it live how > difficult it is. Even for such talented players/artists like KC. My thanks to Tom Ohsawa for the atmospheric and informative reviews. For those of us living in the remoter parts of the UK there are a real treat. I particularly agree with his comments re Indiscipline as it has always been one of my favourite tracks live and a song the band seem to like playing (I even saw RF laughing during a performance at Oxford Polytechnic in early 80s) The Oxford Polytechnic gig does not seem to be mentioned in the gig list in Young Person's.... (any one else remember it ?) Any one have any idea of future (old or new) KC live releases ?? Thanks for a great list Toby Mike Lockyer [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 95 09:31:27 BST Subject: Re: Fripp's recent liner notes From: Phil dot Kime at ed dot ac dot uk (Phil Kime) Mark Sullivan says: Mark> Couldn't let that description of the BLESSING OF TEARS liner notes as Mark> "contrived exposition" go by without a comment. Mark> [...] Mark> So I would argue that there is *musical* justification for the personal Mark> matters discussed in them; and I Mark> commend Fripp for having the personal courage to reveal himself so openly. Mark> At the risk of offending the original poster, perhaps it helps to have had Mark> some of the sorts of life experiences he's talking about. Personally, I have always been one to defend Fripp's outpourings against those who consider them pretentious but of late, I find them irrelevant and straining the boundaries of credulity. Whether one has had the experiences or not, I would hardly consider them musically relevant. Death can effect your music, yes, but in ways irrelevant to the listener. One can sympathise with him and possibly see how it may have effected his life and, resultantly, his music. I fail to see why that is of any relevance to an audience concerned with music. I do not see it as a strength or a weakness in the man: merely an irrelevance. The talk Fripp took part in on IRC was particularly pointless. Being an intelligent man, he is aware of the sort of person and mentality to be expected on such things but chose to be cryptic and epigramatic to almost comic proportions. It is trivial to appear intelligent and enigmatic by being terse and stylised in his position and considerably more difficult to do so by being lucid. For me, the line at which his comments passed from being enigmatic to contrived has been crossed and I feel that I have held on longer than many. Fripp's music is quite brilliant but that does not mean one has to overestimate his extra-mural competetences. p -- = Phil Kime (Phil dot Kime at ed dot ac dot uk) = = Centre for Cognitive Science/Dept of Philosophy = = Edinburgh University = [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 08:23:07 -0400 (EDT) From: Frank Lockwood Subject: Tamms: Fripp Book Unavailable? I've been trying to get the Tamms/Fripp book through the usual channels (World's Biggest Books in Toronto) and have been told that is is out of print and will no longer be available. Does anyone have a copy or access to one that I could purchase? Thanks. FL [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 95 10:05:19 EST From: "Segal, Adam" Subject: Re: Elephant-talk digest v95 &229 Two comments To the person who wanted to know which Fripp (non-KC) album to start with, I would recommend Exposure. It has a little bit of everything from KC-like pieces to League of Gentlemen like pieces to Fripp and Eno pieces (Water Music/Here Comes the Flood). And a cast of stars (Daryl Hall, Peter Gabriel, Phil Collins, Peter Hammill, Eno, etc). Next I would probably recommend the League of Crafty Guitarists Live album (although any of their albums will do, they are all reasonably good, but interchangable). The League of Gentleman album is excellent dance music, and takes off from where Under Heavy Manners started (also recommended). God Save the Queen is a continuation of the Fripp and Eno work, but unfortunately the best documentation of this period of Fripp's work comes from bootlegs, as GSTQ does not include any of the solos, only the basic loops. A compilation of some of GSTQ and LOG was released as God Save the King. I would avoid Let the Power Fall which I find tedious. The Fripp and Eno albums are excellent, but extremely ambient; EG records released them as a double cassette at one point. The Lady or the Tiger (Fripp and Toyah) is an oddity and worth listening to, but it is primarily a story album with music, rather than the other way around. To the person who "discovered" that LTIA 2 was used in Emanuelle, I would just point out that this has been known to Fripp for a long time. Crimso got no credit for the music. Fripp sued them and received a settlement. This is detailed in an article he wrote for Musician magazine on the topic of royalties and bootlegs and where his quote about live performance and virginity comes from. Somebody out there probably knows exactly when it was published but I don't off the top of my head. The entire article was also printed on the back of the jacket for the KC bootleg Indisciple Mining Rocks. aesi (is that a short enough sig for you?) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Jeremy Lakatos Subject: Re: Elephant-talk digest v95 #229 Date: Fri, 13 Oct 1995 11:24:41 -0400 (EDT) > From: Christian Hack > Subject: Crimso music in French erotic movie! > > A few days ago I watched (accidentally, of course!) on TV here in Germany > the so-called "soft-erotic"-movie "Emanuela" (from 1974 or 75/director Just > Jaeckin). Did anyone ever notice that the music which is played throughout > the movie is nothing else than a slightly varied arrangement (partly > transposed) of LTiA, Part 2 played by a sort of pop-dance-orchestra? I do > not know if there are any credits for Crimso. Was this topic ever discussed > or does anybody know something about these facts? I read in the article where Fripp cries out against bootlegging that they did this, didn't credit Fripp, didn't pay royalties. He took them to court and got the royalties. I've wondered about this since I read that article. How in the HELL do you get LTiA in a soft-porn flick. It ain't that romantic or erotic... sort of the opposite, I tend to think. -- If you can tolerate amateur poetry enough to do a SUCK/NOT SUCK poll, PLEASE check out http://grove.ufl.edu/~jeremy. (jeremy at grove dot ufl dot edu) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 18:39:55 +0100 From: eolsson at mithras dot cologne dot de (Eric Olsson) Subject: Crimso music in French erotic movie!, what I like >A few days ago I watched (accidentally, of course!) on TV here in Germany >the so-called "soft-erotic"-movie "Emanuela" (from 1974 or 75/director Just >Jaeckin). Did anyone ever notice that the music which is played throughout >the movie is nothing else than a slightly varied arrangement (partly >transposed) of LTiA, Part 2 played by a sort of pop-dance-orchestra? I do >not know if there are any credits for Crimso. Was this topic ever discussed >or does anybody know something about these facts? Yeah, I've heard about this. Though I find it difficult to picture RF watching soft-porn movies, he apparently noticed it too, and he also noticed there are no credits for KC. I think he wrote something about it in the Great Deceiver liner notes. I haven't got a copy of it here, maybe someone who does would like to post a summary. I seem to remember other KC tunes showing up in other soft-porn movies, but then that's probably because I turn the sound off and crank the stereo when watching them. Sometimes I accidentally have a beer too. Eric Olsson --> eolsson at mithras dot cologne dot de [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 19:12:17 +0100 (NFT) From: "C. Kazzer Anglistik" Subject: HEADCANDY & CD PLAYER Hi, all, In the last issues alan s cohen wrote: >Actually, Healthy Colours is what Fripp and Eno recorded back in the late >'70's and was never released. I recently Emailed DGM in England to try and >find out what happened with their last collaberation. I was told that it >wound up on Eno's CD-ROM Headcandy. Does anyone know if there's anything on >it that is playable on a conventional cd player? The PC version is fully playable on any conventional CD player. Only the track listing doesn't seem to agree with the order in which the pieces appear on the CD. Claas [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 15:26:00 -0700 (PDT) From: Russell Fischer Subject: bb & pm interview For you completists out there, there is a rather good interview with Mssrs. Bruford and Mastelotto in the latest issue of _Talking Drums_, an up and coming drum magazine published in Maryland. The piece touches on a number of topics covered in the recent _Modern Drummer_ cover story (Nov. 1995, for those who don't yet know) such as how Mastelotto got the gig with KC and how the drummists view their respective contributions to the new Crimson. There are nice bits about how "When I Say Stop, Continue" was recorded, the meaning of the new roach-like Crimson logo, plus short talks with Joe Montineri (who built Pat's kit) and KC's drum tech, Ian Gault, none of which are covered in the MD article. Other drummists and percussionists covered in the issue are Omar Hakim, Paul Wertico, Luis Conte, and the drummist/percussionist duo from that oh-so-soulful guy, Michael Bolton (gentlemen, fire those raspberries!). To inquire about this issue (Vol. 3, No. 2), write to Talking Drums P.O. Box 1490 Severna Park, MD 21146 The cost of a single issue is $3.95. Northern California residents can probably pick up the issue at Drum World in San Francisco (last time I checked, though, Drum World tacked on a couple of bucks to the cover price). You can call Drum World at (415)334-7559. I am in no way affiliated with _Talking Drums_ or Drum World (thank God!). Russ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 95 15:56:21 PST From: "Hoard, Chris" Subject: Wetton and Lake Jazziz Interview/UK Reunion Just to let you know--Jazziz has an article on "forgetting the 70s" a series celebrating prog-rock, and in the current issue Wetton and Lake are featured prominently, and the UK reunion is mentioned. A friend of mine recently (who rarely gets excited about "progrock" anymore, came accross the Italian release of UK live in Cleveland in '78 and played it for me -- an unbelievable performance all around, and the band played a lot of music with Holdsworth which either never made it onto either album, or was re-arranged. This performance was as frightenning and inspired as anything I've heard from 'The Great Deceiver," although admittedly the focus of the music was Jobson's keyboard violin--but as a devoted Crimsoid, I have to say it's a must listen and the quality of the recording is on the order of 'Great Deceiver.' Having spoken with Allan Holdsworth and his wife about the UK Reunion, there is a potential disagreement about Allan participating brewing. After thinking it over, apparently Wetton and Jobson approached Allan to just contribute a few solos, whereas Allan is very interested in the project, but likely would not participate if he's to be limited to a role only as a peripheral studio musician/guest. Allan's point was, the inspired chemistry of the first band worked because the group essentially had four equal participants--if at least three of those four are not involved, it's just Danger Money redux. It's a shame if because of this AH does not get to participate, and of course if he does not, I'm afraid we'll be in for more Asia, rather than UK... Wetton management has been in contact with Holdsworth's -- and Holdsworth is very keen to participate. But I think if it means flying him to New York to record solos for a couple of days, he rightfully is asking himself, "why bother?" --CH [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 22:48:02 -0400 From: Earthpots at aol dot com Subject: Jars of Clay This is in reponse to Bob Keeley's inquiry about Jars of Clay, a new band produced by Adrian Belew, yes the one we know and love. Thanks for bringing them up, Bob- I was waiting for someone to comment so I could :) Since I'm the brother of the founding member of Jars of clay, I'll elaborate and give the "inside scoop", briefly if possible. Jars formed at Greenville College in IL less than 2 years. After winning a national contest, they were heavily courted by nearly every CCM record company in existence. They signed the deal with Essential ( a division of Brentwood and distributed by Zomba) and cut their first non-indie release, self-titled, in May of '95. They were very fortunate to have Adrian work with them and met him through his neice who they know from church in Nashville. Since Adrian now lives in Nashville, he took some time out and helped the guys produce their first major-label album release at his studio with Noah Evans (he also played bass and mandolin on Liquid, which is to be released early '96 as a single). Since then, it's had two #1 hits on the Christian charts, #2 album on the Christian charts for 7 weeks straight, and has been in the Billboard Top 200 and the Heatseekers chart. They will be touring with Michael W. Smith in 1996, playing for 10,000 - 12,000 seater-venues per night. The album is being released for secular distribution on Oct. 24, and all of your typical chain "mall" record stores, and rackjobbers, etc. will have the cd. Yes, they are Christians. No, they don't try to force their personal relationships with God on anyone else. And no, I'm not sure if Adrian is a Christian, he'd have to answer that one himself. But, I doubt he'd dismiss any music because of the religion of the band members, and I'd hope that none of the ET readers would either. Jars are of a new brand of music, that cannot be compared to anything else. They use powerful, dense 4 part vocal harmonies, NO electric guitars, 2 acoustic guitars, lots of orchestral instruments, meaningful lyrics and analogies, fast drum beats and ethnic percussion, and a few samples like Gregorian chants. Mix all this with four incredibly talented musicians, all under the age of 22, and you have Jars of Clay. Open those minds wide and check them out! :) Any personal email questions and discussion are more than welcome. I run a newsletter for them to which 600 people are subscribed, feel free to join us. -Andy Lowell, KC collector of 9 years, ET subscriber of 2 years- my first post ever! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 1995 23:06:21 -0500 From: jdehm at gold dot interlog dot com (JD Murray) Subject: Re: Elephant-talk digest v95 #229 In ET#229, alan s cohen wrote: >>I think the result of those sessions are on "The Essential Fripp and Eno," >>in Healthy Colours I-IV > >Actually, Healthy Colours is what Fripp and Eno recorded back in the late >'70's and was never released. I recently Emailed DGM in England to try and >find out what happened with their last collaberation. I was told that it >wound up on Eno's CD-ROM Headcandy. Does anyone know if there's anything on >it that is playable on a conventional cd player? That is indeed sad news. I too had read the snippet in Rolling Stone with Fripp going on about working with Eno and how Eno can play a funky bass and still uses tags saying 'hit this key'. Too bad their getting together only resulted in two tracks on Head Candy: Manila Envelope and Beast. I was hoping for so much more. The Wintel version of Head Candy has audio tracks that can be played on an audio CD player. The bad news; the running time of the audio/visual part is shorter than the Mac version. Well,maybe Eno and Fripp have a few tracks locked in the vault for future release! Regards, JD -- >><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<>> All that we see or seem is but a dream within a dream. -Poe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ http://www.interlog.com/~jdehm/home_page.html [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 14 Oct 1995 11:46:51 -0400 From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Subject: Wetton concert The Wetton concert last night featured just JW and an acoustic guitar and a grand piano. I estimate 40-75 people made the show and I would guess most were Asia fans. Anyway, JW played 3 Crimson tunes, which I thought to be the best performances of the night. He did Book of Saturday, Easy Money and Starless and Bible Black. Easy Money was pretty intersting, JW was going pretty good on an acoustic solo and he was really hitting some bass notes, but he calmed down when the sound system started to go wacky. (Although the sound guys delayed the start of the show to get everything right, I thought the sound quality was pretty bad) He also sang the Original lyrics ("Well I thought my heart would break when you doubled up the stake." at the beginning and then the tradition live lyrics "Well I argued with the judge but the bastard wouldn't budge cuz he caught me licking fudge..." My overall impression was that although the sound quality was poor, JW forged ahead withoutcomplaint. His voice is as good as it ever was and itreally carried the show. well it's goodbye.. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 14 Oct 1995 14:28:07 -0400 From: DnTMan at aol dot com Subject: Crimson Videos Stickers & Crimheads: I recently procured a 2nd VCR which means I can now copy some of my vids. If anyone's interested I have the following: Three of a Perfect Pair (live in Japan) Frejus Thela Hun Gingeet & Elephant Talk live on "Fridays" TV show Bruford & the Beat Larks Tongues Pt 1 live on Beat Club (German TV show) w/ J. Muir! - and other non-KC stuff (Genesis, Marillion, Yes) The format is VHS and I wish to trade for other prog videos or rare audio stuff. - Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 14 Oct 1995 18:13:43 GMT From: Russell Whitworth Subject: Re: Elephant Talk #228 Gary Wright writes: > I > think it would be interesting to see someone compile a list which would > reflect other music that was popular or released in the same time-frame > as some of the older King Crimson albums. The purpose of this exercise > would be to demonstrate how far ahead of their time the band has been > (and continues to be) relative to their peers. (Or at least other > popular musicians.) Glad to help (a little). I've mentioned Ian MacDonald's "Revolution in the Head - The Beatles' Recordings and the Sixties" before on ET. It has an appendix of music and current affairs month by month covering the career of The Beatles. The music listed is that considered by the author to be most important (not necessarily the biggest sellers), and it relates to the UK rather than USA. Three entries include reference to KC: November 1969 ============= The Beatles: Starr begins recording Sentimental Journey. 6 US: Come Together/Something. 7 UK: The Wedding Album. 22 Come Together/Something peaks at No 4 in UK chart. 25 Lennon returns his MBE in protest against Biafra, Vietnam and 'Cold Turkey slipping down the chart.' 29 Come Together/Something tops the US chart (one week). 45s: Archies: Sugar Sugar. Christie: I'm Gonna Make You Mine. Hollies: He Ain't Heavy He's My Brother. Fleetwood Mac: Oh Well. Upsetters: Return of Django. Bowie: Space Oddity. Beatles: Someting. Plastic Ono Band: Cold Turkey. Tremeloes: Number One. Jimmy Cliff: Wonderful World Beautiful People. Joe Cocker: Delta Lady. Stevie Wonder: Yester-me Yester-you Yesterday. Junior Walker: What Does It Take. Kenny Rogers: Ruby Don't Take Your Love To Town. LPs: Beatles: Abbey Road. Cash: At San Quentin. Various: Motown Charbusters Vol 3. Led Zeppelin: II. King Crimson: In The Court of the Crimson King. Ten Years After: Ssssh. Fleetwood Mac: Then Play On. Bruce: Songs for a Tailor. Pink Floyd: Ummagumma. Rolling Stones: Through the Past Darkly. Current Affairs: 1-6 Sex Fair in Copenhagen. 5,15 Anti-apartheid protestors fight with police during South African rugby tour of Britain. 14-24 Apollo 12 moon mission. 24 Lt William Calley charged with ordering massacre at My Lai (March 1968). 27 The Rolling Stones play Madison Square Gardens. May 1970 ======== The Beatles: 8 UK: Let It Be (LP). 11 US: The Long and Winding Road. 13 World premier of Let It Be film in New York. No Beatles attend. 18 US: Let It Be (LP). 45s: Greenbaum: Spirit in the Sky. England World Cup Squad: Back Home. Dana: All Kinds of Everything. Simon and Garfunkel: Bridge Over Troubled Water. Stevie Wonder: Never Had a Dream Come True. Frijid Pink: House of the Rising Sun. Move: Brontosaurus. The Band: Rag Mama Rag. Christie: Yellow River. Moody Blues: Question. Supremes: Up the Ladder to the Roof. Jackson Five: ABC. LPs: Simon and Garfunkel: Bridge Over Troubled Water. McCartney: McCartney. Beatles: Let It Be. Soundtrack: Easy Rider. Williams: Greatest Hits. Jethro Tull: Benefit. Black Sabbath: Black Sabbath. Creedence Clearwater Revival: Willy and the Poor Boys. Various: Fill Your Head With Rock. Led Zeppelin: II. King Crimson: In the Wake of Poseidon. Current Affairs: 4 Four students shot dead by National Guard during riots at Ohio State University. 5 Furore in USA over invasion of Cambodia. 28 Maoist students riot in Paris. June 1970 ========= The Beatles: 13 The Long and Winding Road tops the US chart (two weeks). 18 McCartney is 28. UK Pop: Emerson, Lake and Palmer form. 7 The Who perform Tommy at the Metropolitan Opera House. 45s: Christie: Yellow River. Mungo Jerry: In the Summertime. England World Cup Squad: Back Home. Moody Blues: Question. Tom Jones: Daughter of Darkness. Ray Stevens: Everything is Beautiful. Mr Bloe: Groovin' with Mr Bloe. Jackson Five: ABC. Beach Boys: Cottonfields. Marvin Gaye: Abraham, Martin and John. Fleetwood Mac: The Green Manalishi. Arrival: I will Survive. Free: All Right Now. LPs: Beatles: Let It Be. Simon and Garfunkel: Bridge over Troubled Water. McCartney: McCartney. Who: Live at Leeds. CSNY: Deja-Vu. Soundtrack: Easy Rider. Jethro Tull: Benefit. King Crimson: In the Wake of Poseidon. Led Zeppelin: II. Ten Years After: Cricklewood Green. Elton John: Elton John. Joni Mitchell: Ladies of the Canyon. Current Affairs: 19 Conservatives defeat Labour in general election. Edward Heath becomes prime minister. . my conclusion is that there were a LOT of influential groups around in 1969/70 - quite a remarkable period for music. There is one other excellent KC reference in the Glossary: "Mellotron. Cabinet containing a bank of tape-loops of wind, string, and brass tones played by a keyboard, each key triggering a tape of one pre-recorded note in a particular timbre. Invented by a Birmingham firm in 1963, it was used by logal group The Moody Blues and later, and most famously, by King Crimson on the title track of their album In The Court of the Crimson King. John Lennon claimed to own the first Mellotron ever sold." Incidentally, I'm still convinced (until someone comes up with evidence to the contrary) that the author Ian MacDonald is not the King Crimson member Ian McDonald - mainly on the grounds of spelling! And yet... my copies of Exposure (vinyl and CD) include thanks to "Ian MacDonald" as one of the artists involved but not appearing. Bye for now, Russell Whitworth. "Yes, but what _kind_ of Dinosaur? That's the problem." - Stewart Whitworth, then aged 4 (specially shortened and customised ET sig!) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 15 Oct 1995 02:44:31 +0100 (MET) From: Per Andersson Subject: Re: Elephant Talk #229 (Eatrthbound on CD) Hi all! Earthbound IS available on CD, but depending on how you look at it. There is a Japanese bootleg Earthbound, looking just the way it probably would do if it was reissued the right way. But it is VERY expensive, at least where I saw it (~35US$) /Per [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 14 Oct 1995 20:56:36 -0700 From: takatek at ix dot netcom dot com (James Grigsby) Subject: The First Three (box of Crimson pic discs) Just purchased "The First Three" a box containing picture disc CDs of the first three King Crimson albums. I discovered: 1. This set is an import from Holland. 2. While "In the Court..." is included in the remastered "Definitive Edition", "Poseidon" and "Lizard" do not appear to be the remastered versions. I had previously bought "Poseidon" in the remastered version, and so did a comparison listen. While the remastered version does put the drums in more relief (i.e. more high frequencies), the other mastering seems to capture more of the original LP sound - smoother bass and more realistic sounding woodwinds. I don't have the "Lizard" remastering for comparison. I'm wondering if you or other Crimsonites had any experiences with this box and comments about the relative merits of the remastered Crimson titles. Regards, James Grigsby takatek at ix dot netcom dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 15 Oct 1995 11:40:30 -0400 From: Ross McKenzie Student 31 Subject: Good Fripp Albums This is in response to the following: > What's a good Fripp album? Response: The album "Exposure" is very good and a must for any Fripp fan. The album is more of a variety of Fripp's tastes in loops, pop, experimentation, and rock n' roll ("You Burn Me Up I'm A Cigarette"). "Exposure" features Peter Gabriel ("Here Comes The Flood") among others. Other great albums featuring Fripp outside of Crimson include: David Bowie "Heroes" David Bowie "Scary Monsters" Brian Eno "Another Green World" Brian Eno/David Byrne "My Life In The Bush of Ghosts" Fripp/Eno "Evening Star" Fripp/Eno "The Essential Fripp and Eno" Fripp also made a number of recordings with David Sylvain, one of which I have entitled "Damage". All the above mentioned albums feature stellar guitar work by one Mr. Robert Fripp. Fripp's latest album "A Blessing of Tears" is a beautiful continuation of Fripps "Soundscape" series. Fripp has appeared on many other recordings outside of Crimson, these are personal favorites. Peace, Rob [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: David Maclennan Subject: Sinfield's "Still" Date: 16 Oct 1995 10:03:38 +1300 I've seen a couple of people dissing Pete Sinfield's "Still" album in ET recently so I thought it's about time someone stuck up for it. I got "Still" back in 1974 and I've always rather liked it. Sure, the production's a little weedy in places (but the CD version is a HUGE improvement in that department!), and yes, Sinfield's no great shakes as a singer. And as for the lyrics, well, he's always been a but lugubrious, even with early KC. They sounded really meaningful when we were 17, but that was then and this is now... Songs like "Under the Sky", "Song of the Sea Goat" and "Night People" are great, but they are by no means the only good points on the album. I find "Still" a nice album to "lay back" to, and even after 21 years I still dig it out from time to time. "Still" came out at the same time as my all-time favourite prog-rock album, PFM's "Photos of Ghosts", but that'a another story... BTW, had a COOl dream last night, in which I was watching a TV programme or video that was a documentary on KC, with great live footage of the current lineup in action!! Oh how I wish it had been more than a dream! -- David Maclennan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 15 Oct 1995 19:49:55 -0700 (PDT) From: Sasha Alain Wolf Subject: XTC There has been so much talk about XTC lately that I often wonder if this newsletter is really about KC or not? I think the whole "Pat Mastelotto/XTC" thing has been talked to death. If we really want to discuss XTC, lets talk about their keyboardist's appearance on "Exposure" (Barry Andrews). Did Fripp just pull this guy out of a hat or what? I'm not even sure what songs he plays on? For instance, that synthesizer sound on the song "exposure" could very well be frippertronics, yet also could be Barry Andrews. Not that the guy sounds bad, I'm just curious is how he got on the album in the first place. Also, I have a question for you Toby. Don't you think it's in VERY poor taste including the eulogy to Edith Fripp's funeral on the home page? [ No, not at all. Robert sent me that eulogy offering it for publication in ET. -- Toby ] - Sasha [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 15 Oct 95 22:56:02 EDT From: John Saylor Subject: pounding it home At 11:48 10/12/95 +0800, you wrote: >From: Tatina_S at mediasoft dot net (Scott Tatina) [x] >Art is >not a mirror-it is a hammer. OUCH! I think you missed the nail and just pounded your thumb- But that's the only damage. [nothing to reflect it back] \jsaylor [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 16 Oct 1995 16:39:34 +1300 (NZDT) From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan) Subject: early samples >Someone brought up the sample of CothCK from Merday Morn again and it >reminded me of a commet my cousin made about it. He mentioned that this >was the earliest example that he has heard (me too) of one song sampling >another. Can anyone think of anything earlier? Was KC the pioneer of the >most common practice in rap music? Does the mighty Crimson King have a >secret urge to drop Bruford and Mastelotto and hire a good beat box? Will >the next album feature songs such as "I May be a Dinosaur, but I'm Still a >Gangsta, Ho" and " Thrak the Police!"? Find out same Thrak time.....same >Thrak channel. The Beatles, with the fade out from "All You Need is Love", from 1967, used "She Loves You", "Yesterday", "In the Mood", "Greensleeves", and the Trumpet Voluntary. Not strictly a sample, since it was a live recording of the tracks mentioned, rather than going back and using the original tapes, but... Also, numerous comedy records of the fifties (such as "Spaceship Landing Downtown") used snippets from contemporary rock'n'roll songs. But hey, wait! This is a King Crimson list :) James [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 16 Oct 95 17:28:28 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Greg Lake Live CD Hello Everyone, There is a new (I think) CD by Greg Lake out from King Biscuit Flower Hour Records, Inc. It's a live concert CD. Recorded o Nov 5, 1981 at the Hammersmith Odeon, London. This CD contains 21st Century SM and In the Court of the CK. Both done in a rather guitar rock style. Lake is doing vocals and guitar. Gary Moore is doing the lead guitar and back vocals. Tommy Eyre is on keyboards, Ted McKenna on drums, Tistram Margetts on bass. KBFH Records is in New York. Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 13 Oct 95 15:25:55 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: David Sylvian Concert Hi, Comment on Mr Peter Smart's post: As far as I know, D. Sylvian is giving two concerts around Tokyo/Yokohma area. I will be going to Oct 17 concert in Tokyo. If I find something interesting, I'll post it on ET. Since KC is in town right now, I wonder if RF meets DS (this week?) during his stay in Japan. Or are they going to miss each other? Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Peter" Date: Tue, 17 Oct 1995 00:33:19 +0000 Subject: THRAK/Fripp's guitar playing I finally got THRAK this week. I'm impressed! Adrian's been drinking his milk or something; he no longer sounds like David Byrne's little brother. What really surprises me is how good some of the actual songs are- I keep putting on "Dinosaur" and "Walking on Air" (still getting used to "People") before the instrumentals which are usually much, much better than anything with lyrics. This album represents a real listening challenge, esp. the orchestral-sounding parts, which could be Fripp or Belew playing guitar synth, Fripp on the Mellotron, Trey Gunn doing something weird on the stick, or Tony Levin playing the upright with a bow! I guess the concert will clear up a lot of this for me. Love the two-drummer lineup... Other thing: I've been trying to figure out some of Fripp's solos on "The Bridge Between" with no luck. Does anyone know what modes or scales he generally uses? What he plays doesn't usually fit into the church modes very well so it must be something of a synthetic nature. Even with the new tuning, he's still got the same twelve notes as the rest of us, so there must be something he falls back on. Pete [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 17 Oct 1995 06:53:14 -0700 From: Kenley Neufeld Subject: Tony Levin appearing in Concord, CA Hello all Tony Levin will be appearing at the Concord, CA Tower Records on Wednesday, October 18, 1995 from 6:30-8:30 PM. "Tony Levin will be at Tower in Concord to sign autographs and promote his first solo CD "World Diary." Tower Records, 1280 Willow Pass Rd., 510-827-2900 [ Drat! Sorry you CA people for not getting this post out sooner. -- Toby ] __________________________________________________________________ Kenley Neufeld | University High School (San Francisco) | Associate Librarian neufeldk at usfca dot edu | Electronic Media Coordinator URL: http://www.usfca.edu/usf/neufeld/kenley.html [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 15 Oct 95 16:36:13 EDT From: Philip Curme <100535 dot 433 at compuserve dot com> Subject: Elephant Talk #229 Much time is spent by admirers of Frank Zappa's music in identifying examples of "conceptual continuity" within the great man's many artistic endeavours.Examples within Fripp's works are less obvious - but.....................how about the following two tenuously connected links :- On the album "Earthbound" the song Groon dissolves into a storm of feedback at the end of Ian Wallace's excellent drum solo.From this maelstrom of sound a driving, incessant, nagging beat emerges - sounds just like an underground train (boom ditty boom,boom ditty boom,boom ditty boom). 26 months on at The stanley Warner Theatre,Pittsburgh,Pennsylvania KC improvise a song (Doctor Diamond from CD3 of The Great Deceiver) in which John Wetton sings "I am the driver of an underground train".Spooky eh... I've always been a sucker for railway songs.... "Trans Europe Express" by Kraftwerk. "Down In The Tube Station At Midnight" by The Jam. "Casey Jones a Steamin' & A Whistlin" by erm...Casey Jones. Phil Curme. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 17 Oct 1995 12:46:04 -0700 From: SezZ at eworld dot com Subject: Re: Elephant-talk digest v95 #226 >I personally would >like to see this band try something like a revamped rendition of Sailor's >Tale or In the Wake of Poseidon.I think Adrian Belew's vocal ability would >make the latter very interesting. How many of you think that this band >should give a try at performing one of Crimson's older classics. I think this band could do a killer version of "The Great Deceiver". "Fracture" would be wonderful, and "One More Red Nightmare" would be incredible with two drummers. Of course there's always "Cat Food" and I think a riot would ensue if they did "21st Century Schitzoid Man". I'm there next week at the House of Blues gig in LA. Can't wait. - Sez [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 17 Oct 95 20:30:35 EDT From: Josh Emery <73174 dot 3300 at compuserve dot com> Subject: GD Box Set & Liner notes >Is anyone but me disappointed with the Great Deceiver box set? For one, >all of the Lark's Tongues songs seem somehow empty without Jamie Muir. >What is the Talking Drum without the chaos of Muir's opening conga solo? I >missed the little *doing*, *doing doing* by Muir (I forgot the name of the >instrument) after Wetton's sustain of the title lyrics. I love these discs. What can you say about the absence of Jamie - he didn't stick around. I think Bruford's drumming is amazing. I think you have The Talking Drum confused with Easy Money - there are no lyrics in The Talking Drum and the *doing*, *doing doing* follows Easy Money. > Why doesn't Fripp >include any live stuff from the Lark's Tongues period or the Red period? Lets see Larks' Tongues Part I, Book of Saturday, Exiles, Easy Money, Talking Drum, Larks' Tongues Part II - looks like every Larks' Tongue s period song there is to me. The band broke up after RED - they never toured after it. When the 80s Crimson formed Fripp said one of the reasons they played Red was because the old Crimson never did play it live. >Couldn't let that description of the BLESSING OF TEARS liner notes as >"contrived exposition" go by without a comment. It's a matter of taste, of >course -- but I found them extremely moving, literally to the point of >tears when I read them the first time. These notes (along with the ones in >the INTERGALACTIC BOOGIE EXPRESS disc) put the lie to Fripp as unfeeling >and coldly intellectual. While his writing style is still rather formal >and controlled, he's forthright and open about important events in his life >which had some direct bearing on the music. So I would argue that there is >*musical* justification for the personal matters discussed in them; and I >commend Fripp for having the personal courage to reveal himself so openly. >At the risk of offending the original poster, perhaps it helps to have had >some of the sorts of life experiences he's talking about. I agree completely. As I lost my mother last year I found the notes in Blessing of Tears *very* moving. And remember, youu don't *have* to read them and they don't cost extra. Josh [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 18 Oct 1995 12:01:41 -0700 From: kohern at direct dot ca (kevin patrick o'hern) Subject: vinyl query Hi, does anyone know if 'Thrak', 'Vroom', or 'B'Boom' were released on vinyl (most likely in Europe I suspect), if so who do I talk to? Someone asked, "what's a good Fripp album?", 'The League of Gentlemen' is my personal favorite. I also read some talk on John McLaughlin a couple of issues ago, try a listen to his album with Shankar (not Ravi). Speaking of which, has anyone seen 'Liveevil', by Miles Davis on CD (nowhere to be found in Canada)? bye, ohern [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 18 Oct 95 21:00 BST From: ronc at cogs dot susx dot ac dot uk (Ron Chrisley) Subject: For ET: David Cross special performances this week in London David Cross rang me yesterday to tell me that he will be *acting* in a play which he also wrote and for which he composed the music. The music, I gather, is a cross (ugh; no pun intended) between minimalist (he says he uses a Philip Glass-type figure) and Japanese folk music (?). Interchange Studios Wilken Street London NW5 (near Chalk Farm?) 7:30 (music starts at 7:00) Oct 18, 20, and 21 only I'm going to try to make it on Saturday. -- Ron Chrisley (ronc at cogs dot susx dot ac dot uk) http://www.cogs.susx.ac.uk/users/ronc/index.html Chill. Serve. Enjoy. Repeat. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 1995 01:10:06 -0600 (CST) From: John dot P dot Mohan at lawrence dot edu Subject: Instructional video "Bruford & The Beat" I don't know if this has ever been mentioned here before, but I don't ever recall reading about it. I just recently purchased an old instructional video by Mr. Bruford entitled "Bruford & The Beat". I got it for about $25 from the Steve Weiss catalog company. It was made in 1982 and is 30 mins. long. It has short interviews with Steve Howe and Robert Fripp, but is mostly footage of Bill fiddling around on his kit (the weird Discipline-era drumkit). It also goes into detail regarding the rhythm to the song "Discipline" and ends with a neat (if somewhat silly) performance by the band, playing along with the album version of the song. A very entertaining and amusing video, if somewhat dated due to the radical changes Bill's playing and equipment have gone through in just 13 years. But it does give some insight into soloing and warmup techniques which I found very inspirational as a drummer and Bruford fan. Also check out the lavish Nov. _Modern Drummer_ article on Bill and Pat if you have not yet done so. JP. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 95 17:51:21 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Keith Tippett Blueprint Hi Everyone, Last week I saw a re-issued CD "Blueprint" by Keith Tippett newly on sale at a CD shop in Tokyo. The shop is DiskUnion Shinjuku Branch. The album was originally released in 1972. R. Fripp is the producer. Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 95 17:55:46 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: John G. Perry's album "Seabird" Can anyone tell me what sort of music is played on the album "Seabird" by John G. Perry? I read that the album credits guest players like M. Giles, G. Richardson, etc. The CD is available from Voiceprint (VP-169CD). Perry was with Caravan and Curved Air. Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 95 18:30:23 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Interview with H. Moriya (CGT) This is a partial translation of an article from a Japanese magazine "Arch Angel". They interviewed Mr H. Moriya of CGT on March 5, 1995 at Pit Inn (a jazz/rock club) in Tokyo. AA. Tell me how you joined the Guitar Craft. HM. I went to the US and attended Barcley College of Music. The education there was very worthwhile including the study of basic theory for two years. But after that the college required me to study even higher degree of theories. I doubted if that was necessary for me and started skipping classes. At around that time, I learned that there was the Guitar Craft led by Robert Fripp whom I had been a fan of since long time. The information in the GC was not as open as it is today, including the guitar tuning method. I was told not to touch any guitar for a week before I joined the GC. I was told to bring along an acoustic guitar and a metronome. AA. Do you use music sheets at CG? HM. You are not required to have the knowledge of music sheets because you cannot call it a music if you only play according to what's written on the music sheets. AA. Tell us about how you formed the CGT. Why did you decide to have three members? HM. I joined the GC in 87. I played in The League of Crafty Guitarists during 87 - 90. Just before The League was disassembled, at a concert in Seattle, Robert Fripp asked me and other few members "with whom we wanted to play after the disasssembly". We decided to form a group with four members who raised their hands at that time. But one member had to retire because of a problem with his finger, a common problem for guitarists. That's why we are with three members now. Of course there are many things that you can only do with four members. Most of the repertoirs we had were abandoned. But I think we became stronger than before because of that. Because The League had a lot of members, small mistakes were not so apparent. Also, the more experienced members could bring up the level of unexperienced members by playing together on the same stage. With only three members, you cannot rely on those. (to be continued) Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] TIX-U-LIKE [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Peter" Date: Thu, 12 Oct 1995 15:38:01 +0000 Subject: New Haven ticket still for sale Just a reminder, I've still got a third row seat for the New Haven show on 11/18 for sale ($32). E-mail me if you want it! Pete [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: jbrainin at mordor dot com (Jonathan Brainin) Subject: NYC shows @ Longacre 11/20-11/25 (no 11/23) Date: Wed, 11 Oct 1995 21:39:55 -0400 I called the Longacre Theater (actually Teletron) today about ticket availability for these shows as I have every day for the last two and one half weeks. Much to my suprise, they actually had some concrete info to give me! Tickets for these shows will go on sale, ONLY BY PHONE, Sunday, October 22 at 9 am. Prices were not yet announced. See you there, Jonathan Brainin [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 14 Oct 1995 15:12:15 -0700 (PDT) From: Isaiah Singer Subject: Marin Ticket Redux This is my desparate almost last minute attempt to resell one (1) ticket for the Marin show this Saturday (Oct.21st), which I can no longer afford. Please respond soon! Thanks, Isaiah Singer [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 18 Oct 1995 16:11:17 -0800 (PST) From: "Tony Garza (415)723-7180" Subject: Bay Area Tickets for Sale Hi everyone, The last time King Crimson came here to the Warfield all my friends came up here from Texas (what more of an excuse do you need!). This time all my Texan friends have backed out of flying here for the 2nd round of shows and have decided to see them locally. Hence I am in posession of four tickets to the Zellerback show Oct. 20, and four tickets to the Marin show which I would be happy to sell at face price to anyone who doesn't cause distractions during the show. Garza_t at hosp dot stanford dot edu 415-723-7180 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 18 Oct 95 08:20:45 PDT From: dunn at intellicorp dot com Subject: Tickets Offer RUSH RUSH Toby, our Mercury of Crimson light - I have extra "low tier" tickets for this friday's Berkeley show. I would like to dispose of them at cost to other crimheds. Failing preliminary distribution via this medium I will be found outside the hall drinking double late's in a discipline shirt hawking these beautific seats. Contact Me: Casey Dunn 415-965-5678 dunn at intellicorp dot com thanks! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: jbrainin at mordor dot com (Jonathan Brainin) Subject: NYC shows @ Longacre Theater Date: Mon, 16 Oct 1995 23:24:46 -0400 FYI, the phone # to call this Sunday, October 22 at 9 am to get your own tickets to see Crimso at the Longacre is 212/239-6200. Also, if it helps to know where the theater is, the Longacre is located on West 48th Street between 8th Avenue and Broadway. See y'all there! Jonathan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] GIG REVIEWS [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Brian Thomson Subject: KC "Review" at euphony.com Date: Mon, 16 Oct 95 13:18:00 PDT I hesitate to call it a review - I think you'd all better have a look at: http://euphony.com/euphony/articles/36/Crimson/KingCrimson-TC.html Honour Sufficiency brian [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 17 Oct 95 18:04:27 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: KC Review Tokyo Oct 14 Hi Everybody, This is my last review of KC gigs in Japan. For those of you who hadn't seen my post on the past KC gigs in Japan, please look at them first. The KC Gig at Tokyo Kohsei-Nenkin Kaikan (Tokyo Welfare Fund Hall), Tokyo on Oct 14 It started off with CGT at 17:00. They did the same round as Oct 10, the only difference being the insertion of "long version of 21st CSM". They did short versions on other dates. Oct 14 was their last gig in Japan. CGT ended at 17:23. KC came on stage slightly after 17:30, following the soundscapes on tape. First, RF walked in alone from the left side of the stage with a guitar in his hand. A very big applause as he climbs up the box I talked about before. He started to fade in with his scoundscapes overlapping on the tape. This time he used higher tones for soundscapes than before. Lights faded out. TL walks in next, followed by BB with his tie and jacket. Then TG and PM enter. They started doing improv, TL on stand-alone slim bass, to make violin-like sounds. KC did this improv rather long. Longer than other gigs. AB came in last. The first song was Thela Hun GG. Again they used the taped words of "Dagerous place". It seemed that AB steped on a button to start the taped words. The songs were played in following order: 2. Red RF was spotlighted in the middle part (first time I saw him spotlighted during this Japan tour). TL played the bass line quite differently. Overall a good KC performance. Very tight. BB contributed to have the song end with a great strength. Drums were very good throughout the whole gig. 3. Frame by Frame The division of work between PM and BB is well done. 4. Dinosaur The drums were excellent. RF did a very short solo-like interval between the vocal parts. AB did, like other concerts, manipulated sounds on guitar to givea semi-classic-like interlude where the song gets quieter. It matched very well with TL's stand-alone bass playing high-tone notes. 5. One Time BB stood up and did his drumming almost through the entire song. TG gave a mellotron/keyboard-like sounds with his guitar-stick. 6. Vrooom TG/guitar-bass-stick and TL/bass did an interlude. TL's bass line moved up and down quite a bit. 7. Soundscapes RF started. This time PM didn't go off-stage but did not play in the beginning. RF's guitar gave out quite different soundscapes than those at other nights in Japan. He probably used "female voice" and "chruch organ" type of sounds. RF mixed that with an acute metallic guitar sounds in the middle of the soundscapes. 8. B'Boom Soundscapes continued to B'Boom. BB used synth-drum to create bell-like sounds, which was also new. 9. Thrak In the beginning, TL used a bow to play his bass guitar and did improv totally different from what I've heard so far. AB manipulated his guitar sounds a lot, including piano sound. After all, this is another Thrak re-creation with massive improv. I liked this very much. RF did a solo in the middle part, which was followed by total silence (short one). Then KC members went into something like "modern music" type of improv, with synth-drum. AB did a solo after this. Another short break (silence). And then, very heavy "Thrak"-king sounds. The treatment of these breaks (silence) is effective. The ending part was done by AB with quiet guitar chords, creating almost voice-like sound. 10. Neurotica Taped words were used for the "talking" part. Stage lighting turned to yellow/blue, giving an "alert" feeling. The lighting also resembled car head lights passing by. TL did a back-up vocals. RF solo included. 11. Sex, Sleep, Eat, Drink, Dream RF solo in the "bridge" part of the song. AB's guitar sounded like RF's in the '70's. I like that sound. 12. Walking on Air This song had always been the last song of the gig after two encores in previous gigs. On Oct 14, KC brought it forward. TL used stand-alone bass. AB did the lead guitar in the interlude portion. AB's guitar sound reminded me of "Don't let me down" by the Beatles. I'm not criticizing: I like the sound. 13. Two Sticks -Improv A short solo by TG, no TL this time. In other shows, TL always accompanied TG. Not on Oct 14. TL came in later to form an improv-weaving. No percussions. BB actually came walking down from his "box" and sat together with AB in the front portion of RF's box. TG produced a clear/clean sounds, contrasted by TL's stick with more distortion (but not radical). TG also did RF-like phrases. 14. Elephant Talk It was superb. The best in all gigs KC did in Japan that I saw. The mix was also good. You could hear everyone perfectly. "It would be difficult I guess for KC to re-do it" was my honest impression. 15. Indiscipline Started off rhythmically, unlike other nights. BB kept the rhythm constantly without putting in breaks. After the "I repeat myself"-portion, improv by RF and BB was heavy. encore (on Oct 14, the special BB/PM/AB drum/percussion session came later. Not here.) 16. People BB, unlike the other nights, played together with PM all the time. He did not stand up and keep himself off the percussion. TL wore, like other nights, long finger-picking nails (?) for bass-hitting. TG/AB solos were included. 17. Vrooom, Vrooom encore 18. The special drum/percussion session On Oct 14, AB added hand clapping which audience followed. 19. LTiA Started with TL's phrase. He wore those "figernails" again. The song was very solid. The best I ever heard. The last KC gig in Japan was an unique occasion with different order of songs (RF had a paper in front of his with the titles of songs on it, I think), very very solid mixing, tight drums and percussion (the best I heard this year) and in the end while walking off stage in the dark - RF stopped for a moment at the very left side of the stage and then put his hand at heart facing the audience. We couldn't see his face but it was clear. That's what I call great musician. Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 16 Oct 95 11:06:54 PST From: "Allen Huotari" Subject: VROOOOOOOOM LIVE! hello below is a review of the Oct. 12 Omiya gig in Japan I'm forwarding this to the list for the "witness", a Japanese friend of mine who wishes to be known as Kirk...dig the enthusiasm ajh _____________________________________________________________________________ Hi, Allen- Although the seat that I took was terrible to fit myself into because of lack of leg and knee space, the performance of the band was perfect. The VROOOOOOM band live in Omiya-city on October 12 will be sure to let people admit it as one of the historic events in the area! Crimsonia made a long line along the street to the entrance of the hall before its opening. The Large Hall of Sonic City Center building swallowed THRAK maniacs up to its maximum RED zone capacity. From 7:00 pm it took off with 30 minutes of California Guiter Trio show and started by Robert Fripp appearing at the deep position of the stage. I remember only the beginning and ending of the order of the program; they started with Thela Hun Gingeet followed by Red, they ended with Talking Drum and Larks' Tongues in Aspic Part 2. As per other songs, I think they played; VROOM with CODA, VROOM VROOM, Frame by Frame, Sex Sleep Eat Drink Dream, One Time, Improv-Two Sticks, Elephant Talk, Indiscipline, B'Boom, THRAK, People, Cage, Dinosaur, Walking On Air, Percussion ensemble and more. Sleepless was not played, that was a thousand pities. Bill's drumming in B'Boom was exciting, perfect and fun to see. I have never realized that his drumming was this great before seeing his live performance. The percussion ensemble by Bill, Pat and Adrian was played before Talking Drum. The location of the members was as follows; ------------------------ / ++++ +++++ ++++ \ / | Pat | | Fripp | | Bill | \ / ++++ +++++ ++++ \ / \ / +++++ ++++++ +++++ \ / | Trey | | Adrian | | Tony | \ / +++++ ++++++ +++++ \ / \ ---------------------------------------- Stage Front I did not understand the intention of why they did not give any spot lights to Robert Fripp through the show. It looked as if Robert was taking break from the start to the end of the show or he was just a staff. My seat was positioned at the front row on the second floor of the hall and the stage was too far to recognize their faces and what they were doing. I should have brought a telescope with me. The sound balance was not bad. Volume level was not too loud unlike the Silver Elephant. I did not feel any necessity for ear plugs this time. Best regards, KirK ------------------ koichi-ka at aix dot or dot jp NCB02312 at niftyserve dot or dot jp [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] The views expressed in Elephant Talk are those of the individual authors only. Elephant Talk is released for the personal use of readers. No commercial use may be made of the material unless permission is granted by the author. Toby Howard, Elephant Talk editor. http://www.cs.man.ac.uk/staff-db/toby-howard.html toby at cs dot man dot ac dot uk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]