From elephant-talk at arastar dot comTue Oct 24 07:03:16 1995 Date: Mon, 23 Oct 1995 22:48:22 +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 #231 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 231, Monday, 23 October 1995 content-length: 55449 Today's Topics: Fripp 91/live Re: Elephant-talk digest v95 #230 Sex Sleep Eat Drink Dream More on Muir and Incus comments Earthbound in CD Jamie Muir on Incus Sylvian/Crimson Bruford/Moraz Live CD Adrian Belew DATs? FSOL - Lifeforms Peter Sinfield's "Stillusion" Re: Elephant-talk digest v95 #230 headcandy Gordon Haskell News from Italy KC and Camel Good Fripp Albums Earthbound Re: Elephant-talk digest v95 #230 Edith Fripp's eulogy in ET ET Post Re: Subject: Pat Mastelotto on The First Day??? Mingus, Jazz & Fripp Thrak: The Motion Picture c B'Bummer 'Thrak' on vinyl? re:Pat Mastelotto on The First Day??? ET Posting Re: PFM photos of ghosts Re: Elephant-talk digest v95 #230 A beginning Query Daryl Hall album LTiA in Emmanuel GIG REVIEWS Auditorium 10/21/95 GIG REVIEW: Berkeley Oct 20th. GIG REVIEW: bicycled to the Zellerbach Gig review TIX KC in Columbus, OH Tickets NEED NEW HAVEN TICKETS Ticketmaster does it again! one ticket for sale, Austin, Nov 1, best seat in the house! Memoirs from the Ticket Line Aaaaaaaaaaaaaaaaagggggggghhhhhhhh!!!!!! TIX--LongAcre Ripoff! [[][][][][][][][][][][][][][][][][][][][][][][][][][][] 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/topics-index/etopics.html 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Niko P., 2743 (AUWI)" Organization: Uni O., FB Wirtschaftswiss. Date: Thu, 19 Oct 1995 14:10:38 GMT+100 Subject: Fripp 91/live Hi Crimheads, I just happen to take notice of the release of a Fripp CD called INTERGALACTIC BOOGIE EXPESS - LIVE (DGM 1991). Does anybody know this one??? NIKO [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Re: Elephant-talk digest v95 #230 From: reive at phantom dot com (reiver phonics) Date: Thu, 19 Oct 95 13:23:20 EDT Organization: Phantom Access Technologies, Inc. / MindVox Going to try to cram several topics into one post again..... First.... the damn porn movie thread: I haven't even been reading ET that long and this one keeps coming up... can someone who knows something about this with some level of detail please please write up a little synopsis and get it added to the FAQ. It was interesting the first time, but I am thin on patience for it now. The (ir)relevance of Fripp's liner notes: Yeah, they probably are irrelevant to much, or most of the audience. But that's fine. He is fortunate enough to have albums as a vehicle for expressing himself and if he chooses to do this in part by said liner notes (regardless of what portion of the audience could care) then that's cool. I presonally have a great deal of respect for anyone who is willing to put themselves out there in a personal and emotional way regardless of how it is received. Of course though, I'm a writer and quite personal in that endeavor, and having more than once gotten flack >from people (including editors I've submitted to) for this, I appreciate others who choose to take such risks. Another example is a folksy album I bought recently by a singer called Jewel. She included some of her poetry in the liner notes. Personally, I didn't think it was very good, but I thought it was cool of her to take this chance to say everything she could. Japan gig reviews: Fabulous detail! The effort is appreciated. -Racheline -- Racheline Maltese | "My neighbor with no arms wanted reive at phantom dot com | to know how it feels to let reive at chewy dot wookie dot net | someting go." http://www.phantom.com/~reive | -Jeffrey McDaniel [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 1995 17:46:22 -0600 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: Sex Sleep Eat Drink Dream Hi folks Just got the new CD single. Lineup is as follows: 1. Walking On Air (live) 5:29 2. Sex Sleep Eat Drink Dream 3:42 3. Heartbeat (live) 3:55 4. One Time 4:00 5. Silent Night 2:50 Track 1 was recorded at the Wiltern in LA on 7/1/95. Tracks 2 and 4 are edited versions taken from THRAK. Track 3 is from B'Boom and Track 5 is a Frippertronics loop composition by RF recorded in NYC in 1979 for a Christmas flexidisc. Nice cover design in shades of cool green with a design that on first look appears to be two hemispheres of the brain but is actually (I believe) a cell dividing. Cheers to your ears, CV [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 1995 19:18:53 -0400 From: KnKreutzer at aol dot com Subject: More on Muir and Incus Since my last posting on Jamie Muir and Incus Records, I've made my way to a Derek Bailey page on the World Wide Web. It's one of a whole slew of pages on European Free Improvisation. There are links to good discographical information on all Derek Bailey / Music Improvisation Company albums, along with pictures of the albums. A number of these - and not just the ones that Muir appears on - have Jamie Muir artwork (paintings and photographs) on the covers. So the site's worth a visit if you're interested in seeing a few samples of his work. The address is: http://www.shef.ac.uk/misc/rec/ps/efi/mbailey.html One of the best WWW sites I've had the privilege to visit - along with E-T's own, of course. Kenneth Kreutzer Kent, Ohio (KnKreutzer at aol dot com) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 19 Oct 95 19:28:07 EDT From: "Neil J. Cavanagh" <76111 dot 3636 at compuserve dot com> Subject: comments I think the CGT are really incredible. Just wanted to show my support for them in the aftermath of a lot of criticism here. When they started their set as I was walking into the Orpheum Theatre here in Boston I felt like I had entered a magical environment that had only been hinted at through the Guitar Craft records. It was beautiful. I think Fripp should be free to write whatever he wants in his liner notes. I imagine that almost all would ETers agree, but the sort of criticism Fripp has received here(and the CGT has received for playing Ovation guitars) is really, in my opinion,quite absurd. Dig it or don't. Move on. There are many more CD jackets that you may prefer reading and plenty of groups that do not use Ovations; enjoy them, I do. For you Web browsers I've put up a "Night Watch" page. I thought it would make a nice impression to have Rembrandt's painting and Palmer-James' lyrics juxtaposed. Put on your trusty Bible Black record and you have a KC multimedia experience (of an admittedly low quality.) You'll find it at http://www.tiac.net/users/njc Neil [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 10:33:42 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Earthbound in CD Fellows, there is already CD'd Earthbound available in Tokyo. I think I've seen it even last year or before that. If you desperately want it, you should contact "DiskUnion" CD shop, "Shinjuku Record" , "Warehouse" or "Wave". I saw one at DiskUnion last week, next to "USA". Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Organization: Brooklyn Psychogeographical Association Date: Thu, 19 Oct 1995 23:29:41 -0400 From: dmandl at panix dot com (David Mandl) Subject: Jamie Muir on Incus >From: KnKreutzer at aol dot com >Subject: Jamie Muir on Incus > >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! I'll accept the challenge. Battered Ornaments were a band including Chris Spedding, Nisar Ahmad Khan, Roger Potter, and others. I know of only one LP, "Mantle-Piece" from 1969, and Muir's not on it. It's a big favorite of mine, though. Jazzy, progressive (but not "prog") pop with lots of very nice eastern and middle eastern touches. Lyrics by Pete Brown. I highly recommend it if you can find it. Boris I don't know anything about. --Dave. -- Dave Mandl dmandl at panix dot com http://wfmu.org/~davem [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 00:56:07 -0400 From: ad827 at freenet dot carleton dot ca (Jeff Green) Subject: Sylvian/Crimson I am surprised to have seen no reference in these pages to what I thought was common knowledge, that while forming the latest incarnation Fripp asked David Sylvian to front the band, presumably in lieu of Adrian. Perhaps I just missed any discussion to this point, but it seems to me it raises some pretty fascinating questions about what that project might have been like. No doubt very much like "The First Day", which has on it the VERY 21st Century S.M.-ish "Firepower". Perhaps someone has more information on this subject. Jeff Green [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 14:12:03 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Bruford/Moraz Live CD I found a CD titled The Story of "Pb" by P. Moraz and B. Bruford. It is from Improvisation Label (IL-3668132/14) but on the CD itself it's written "Promotional Copy Not for Sale". But the fact is it is being sold at a CD shop called Warehouse in Tokyo. The CD is a double-album with 15 songs taken live (through line-mix) at Laforet Museum Hall in Harajuku, Tokyo on July 4, 1985. The recording is of a very high quality. It has " introductory talks" done during the concert by Moraz and Bruford. The CD was quite expensive somewhere in the range of 6500 yen (65 US dollors) but it's worth listening. Disc 1 "Innings", "Blue Brains", "Hazy", "Eastern Sundays", "Cachaca (Baiao)", "Galatea" Disc 2 "The Dream also Waltzes", "Impromptu, too", "Flags", "Children's Concerto", "Machines Programmed by Genes", "Moraz Solo from Time for a Change - Serenade", "Jungles of the World","Temples of Joy" Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Erik Subject: Adrian Belew DATs? Date: Fri, 20 Oct 1995 01:48:37 -0400 (EDT) Hello, I'm looking for any Adrian Belew stuff on DAT (or video). I'd especially like to get one of his acoustic shows. Please email me and/or check out my outdated home page if you can help. I'll hopefully be updating my DAT list soon. Erik epb3r at fermi dot clas dot virginia dot edu http://fermi.clas.virginia.edu/~epb3r/ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 20 Oct 95 01:58:10 EDT From: "Neil J. Cavanagh" <76111 dot 3636 at compuserve dot com> Subject: FSOL - Lifeforms Hello all...hope this is new for someone..I got the Future Sound of London's Lifeforms CD recently and was pleased to hear a bit of KC sampled on track 8 on disc two. Right around 1:16 into the track there is a sample/loop of Bruford's log drum intro to 'The Sheltering Sky.' It is speeded up a bit and doesn't last very long. (It is heard again around 4 minutes into the song.) I enjoy it. Many of you already know that Fripp contributes to track 3 on disc one. - Neil [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 17:48:48 JST From: ohsawa at csg dot sony dot co dot jp (T. Ohsawa) Subject: Peter Sinfield's "Stillusion" There is a CD titled "Stillusion" by Peter Sinfield. It's from Voiceprint. It is said that this CD contains the songs from the Still album plus so-far-unreleased materials from Sinfield. The CD cover looks like the Still album but the title is written Stillusion. If someone heard the unreleased portion, please let us know how it's like. Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 07:32:47 EDT From: michale jeter Subject: Re: Elephant-talk digest v95 #230 Hello, folks. I posted a few issues back about wanting to do a Crimso get-together here in NYC. Well, now that things are a little more definite, I would like to begin that process again I will only be able to attend one show, and have decided to attend the Nov 25, Saturday show. Anyone whois interested, e-mail me here, or, better, call me at 718-372-85 56. Michael Jeter [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 12:11 BST From: ronc at cogs dot susx dot ac dot uk (Ron Chrisley) Subject: headcandy 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 > >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. There must be more than one version of Headcandy. Mine has only one track, and it is CDROM data. -- 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: Fri, 20 Oct 95 10:49:40 EDT From: jreilly at gdai dot com (John Reilly) Subject: Gordon Haskell Someone posted awhile back pointing out the lack of Gordon Haskell on the Frame by Frame box set. I raise the question again: was there a falling out between Mr. Fripp and Mr. Haskell or some sort of contractual prob keeping Gordon off the release? It strikes me odd that the two studio pieces from his era were re-worked. Cadance and Cascade has his vocals replaced by Adrian and Bolero is billed as a re-mix (to remove his contributions?). The lack of Lizard material strikes me as odd givin that some of the other albums are almost entirely included. Also missing are live selections from the period between ITCOTCK and LTIA, a lot of which, though never performed live by Haskell, has his touch in the writing/arranging. What gives? JJR [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Giorgio_Fairsoni at mix dot it (Giorgio Fairsoni) Subject: News from Italy Date: Fri, 20 Oct 1995 15:15:21 +0000 Hi folks Pietro Russino, who was part of the League of Crafty Guitarists, features as a special guest in the mini CD "Diving Into The World" by Bebo Baldan, a Venetian musician and composer. David Torn also appears in the mini CD and in the complete version of the work, "Earthbeat". Both the mini and the regular CDs were recorded between NY and Florence and has just been released by Materiali Sonori. In order to receive "Eathbeat" and "Diving Into The World" just send $16 for the CD and $14 for the mini CD (plese add $3 for p&p) at the following address: EXIT Via Monte Antelao 18/1 30174 Venezia Mestre Italy The future project of Pietro Russino e Bebo Baldan will involve Trey Gunn. Keep in touch. Cheers, Giorgio Fairsoni [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 11:10:29 -0500 (CDT) From: Philip A Patston Subject: KC and Camel Dear Trivia Fans, Mel Collins plays on early KC and some Camel albums. are there other connections between the two bands? Thanks in advance, Phil. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 11:08:44 -0500 (CDT) From: Philip A Patston Subject: Good Fripp Albums IMHO good Fripp albums are the first of the Andy Summers/Robert Fripp collaborations and the collaboration with Toyah, sunday All Over The World. both show off the guitar skills as well as some of the angst of KC. Phil. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Katie Clifford Date: Fri, 20 Oct 95 12:50:40 -2400 Subject: Earthbound I have reliable info that Earthbound is going to be released within a year. And RF is planning to release a tremendous amount of KC material over the next couple of years. Also, I'am trying to find any photos of KC taken in usa during 1969,1970. Thankful for any help. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 10:00:45 -0700 From: Rob MacCoun Subject: Re: Elephant-talk digest v95 #230 In my Oct. 12th message about Headcandy, I forgot to mention that the track listings on the box don't correspond to the actual track lengths, suggesting they reordered it. So the box says Fripp plays on tracks 3 and 5, but he actually plays on different tracks. I don't have the CD with me, so I can't say which ones, but any ET subscriber will quickly be able to figure it out. (Although, as someone mentioned earlier, Eno does a great job of imitating certain serpentine Fripp sounds on synth, as heard on another Headcandy track. My use of "serpentine" comes from a 1970s Lester Bangs profile on Eno, which referred to Fripp's guitar as a snake slithering through Eno's garden. The original quote was more eloquent, but you get the idea.) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 13:26:17 -0400 (EDT) From: Gideon B Banner Subject: NEED NEW HAVEN TICKETS I unfortunately had to go through Ticketmistress to get my two tickets to the New Haven show, but was given seats in Row X. Ugh. Does anyone have two extra tickets a bit closer they'd be willing to sell to me? I'd be eternally grateful for better seats. Or do you know of any organization I can contact to get better tickets? I saw the Max Roach Quartet playing with the Uptown String Quartet the other day -- a great show -- and the bass player from the MRQuartet was playing some sort of electronic bass that I think is called a "bass double" -- it was a good bit smaller than a normal upright, had very little body (a few pieces of wood and a fretboard), had pick-ups, and produced some really beautiful sounds (due in part to the player, in part to the instrument). Is this what Tony Levin plays in concert? I always thought he had some sort of electric upright. And I had always assumed JM's solo at the beginning of "Talking Drum" was on congas or something similar, until I saw an actual "talking drum" advertised in a music catalogue. Is this an actual instrument? And what precisely is a mellotron? About the slow fade-ins on Discipline releases: I've always loved these. I love the long one that opens "1999" -- it makes you strain that much more carefully to hear the music, and then when it gets to full volume you are truly enveloped in sound. Same thing happens on the switch from "B'Boom" to "Thrak" on Thrak -- "B'Boom" ends somewhat quietly and "Thrak" begins at a very high volume, in full force. Makes you me cringe a little every time. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Caron, Antoine" Subject: Edith Fripp's eulogy in ET Date: Fri, 20 Oct 95 13:46:00 EDT I strongly agree with Toby about the inclusion of this remarkable text in ET. I was deeply moved by it. I must admit I have personal reasons for that too: I was stunned to find out that Mrs. Fripp was born on an October 14th (same as yours truly). In addition, my own brother was born on May 16th (Robert Fripp's birthday). Now, I never was a big believer in numerology and cosmic connections; however...maybe it all makes sense that I always felt so close to the frippian/crimsonian thing. (I can already picture some statistician raining on my parade with hard cold facts, but that's besides the point). I'm going down to New Haven on Nov.18th...and no statistics can prevent that... Antoine W. Caron P.S. My new Quadrasynth keyboard has sounds called "King's Court" and "Starless" (mellotronish a mort!): some programmer at Alesis gotta be one crimhead! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Phillips Bob Subject: ET Post Date: Fri, 20 Oct 95 10:39:00 PDT I've seen Mingus' name come up a few times in ET in the last few months. As I recall, an early "Rolling Stone" review of the late 60's/early 70's dismissed King Crimson's music as "inferior recycled Mingus licks" or something of the like. The questions are: Does anyone else remember this review -- it might have been by Robert Christgau? Have KC ever "borrowed" Mingus elements or themes in their music? If so, where? If not, was the reviewer just blowing smoke or what.... Bob Phillips DFI [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 95 21:44:51 BST From: Jason Thornton Subject: Re: Subject: Pat Mastelotto on The First Day??? >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??? >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??? You are correct. Jerry Marotta played drums on the album "The First Day." Pat Mastelotto, however, played drums on the tour supporting the album. The band included Fripp, Sylvian, Trey Gunn, Michael Brook, and Mastelotto. 1/2 of the double trio that makes up the latest incarnation of KC! (BTW, Sylvian was asked to be a member of the new KC at first as well). Basically, "The First Day" was almost the new King Crimson album, it seems. Cheers! ___________________________________________________________________________ Jason Thornton "He who does not assert himself jthornton at ucsd dot edu thereby remains free of blame." San Diego, CA --Lao Tzu "Organic Machinery" Chapman Stick, Silver Polycarbonate, #2125 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 16:51:05 -0400 From: "Gordon Emory Anderson" Subject: Mingus, Jazz & Fripp Yes, "baddest" means excellent, surpassing, almost frightening in magnitude of talent. As someone apparently knowlegable about Jazz, I am suprized you didn't know this. Jazz musicians have used this term since the 60s, the general public catching on much later. Just to prepare you, the term "monster" is even stronger--"Fripp is a monster" being appropriate. Also in that realm, but used exclusively by Jazz folks is the term "motherfucker" (I am not joking, and know what of I speak, coming from a family of pro musicians). This leads me to ponder a question I have always wondered, the answer to which I already have an intuitive grasp of: with Fripps' chops, why didn't he move over into the Jazz realm, where he would be heard by a class of listeners far more able to appreciate his work than most rock fans?--just read many of the questions asked during the compuserve interview (a waste of access, for the most part). It could be argued the Fripp wants to be a big fish in a crappy pond, but that is not ultimately the answer. The answer probably lies adjacent to why I listen more to rock than to Trane, Bird, Mingus, Rollins etc...., despite the fact that these men are this century's Mozart, Beethoven, Bach and Stravinsky. Waitaminute, Stravinsky was this century's Stravinsky! A Crimson concert for me is almost a home of sorts, at least this was my feeling a few months ago here in NYC. A feeling--pleasurable, powerful, sweeping but little or no demagogery, men who will play something I myself could not have thought of.....you know all this. I brought my Chinese wife (her first rock concert), and she described it as being similar to a Mao Tse Tung rally, but without the abuse pouring down through the words, controlling and manipulating. She thought it a lot of fun, after all. Well, as usual I blab on, so edit this at will, if you wish to include it in ET. I'll be back. Emory. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: aprasad at ccs dot carleton dot ca (Anil Prasad) Subject: Thrak: The Motion Picture Date: Fri, 20 Oct 95 18:15:41 EDT Does anyone know if Bob The Fripper is planning to film any of the Thrak shows for commercial release? ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ Anil Prasad aprasad at ccs dot carleton dot ca ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ Visit the INNERVIEWS website featuring in-depth interviews with some of the world's most interesting and innovative musicians! http://www.carleton.ca/~aprasad ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 19:20:31 -0400 From: OlafurT at aol dot com Subject: c king Crimson is like a stone that keeps pounding on my head. Its starting to HURT ! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 1995 14:17:38 GMT From: mike at blackcat dot demon dot co dot uk (Mike Dickson) Subject: B'Bummer I've just bought 'B'Boom' and have listened to it about three or four times now. After having done so I'm really almost glad that I didn't go to see the band play the material. Their recording technique is now such that they can replicate their studio sound almost to perfection on stage. This might stir some people, but not me. The trouble with this ability is that nothing live is half as interesting as it might otherwise be. That, together with a total lack of any half-decent improvisations (sorry, but I find 'Two Sticks' to be totally unmoving) and the expense incurred in actually buying this double CD make it a complete washout as far as I'm concerned. Even Belew's voice sounds precisely as it does on 'Thrak', intonation, timbre, everything. The only thing that marks this as a live recording is the applause and the occasional extraneous sound here and there. Other than that, this could pass as a studio record. (Of course, they did this trick before with SABB, but that was at least all new material) Sorry if this flies in the face of the popular opinion I read in 'Elephant Talk', but having bought both 'Thrak' and 'B'Boom' I can't help having the distinct impression that I've bought the same thing twice. I don't think I'm going to make this mistake again. ------------------------------------------------------------------------------- Mike Dickson [Team OS/2], Black Cat Software Factory, Musselburgh, Scotland mike at blackcat dot demon dot co dot uk - Fax 0131-653-6124 - Columnated Ruins Domino [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 19 Oct 1995 14:42:41 GMT From: mike at blackcat dot demon dot co dot uk (Mike Dickson) Subject: 'Thrak' on vinyl? kohern at direct dot ca (kevin patrick o'hern) wrote... > 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? I don't * know * absolutely for certain that they weren't on vinyl, but I would rather doubt it. Judging by the length of the albums they would have to cram about an hour's worth of music onto one LP and that is invariably a recipe for repellant sound quality. Since quality of that nature appears important to Fripp I would hardly imagine he'd permit a vinyl release. ------------------------------------------------------------------------------- Mike Dickson [Team OS/2], Black Cat Software Factory, Musselburgh, Scotland mike at blackcat dot demon dot co dot uk - Fax 0131-653-6124 - Columnated Ruins Domino [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 21 Oct 1995 14:56:01 -0500 (EST) From: steinka at UCBEH dot SAN dot UC dot EDU (Amy D. Steinkamp) Subject: re:Pat Mastelotto on The First Day??? >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??? >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??? Read the article in Modern Drummer (Nov. '95) with Bruford and Mastelotto on the cover. It will answer your question! And it's interesting to see how he came upon it. Amy Steinkamp [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Phillips Bob Subject: ET Posting Date: Sat, 21 Oct 95 17:37:00 PDT I've been surprised to read the smattering of notes over the last months from those ET'ers who consider "Lizard" to be one of their favorite KC albums -- and particularly from those who have praised its recording quality. As a KC fan in the 70's, I bought each of their albums as it was issued and found "Lizard" to be a major disappointment - especially in terms of recording quality. My (vinyl) copy of "Lizard" features: - a narrow dynamic range with both high and low frequencies severely compressed, - vocals that sound like they were recorded in a tin can, - levels of tape hiss and "crackling" on several tracks, particularly "Indoor Games" While I appreciated, at least in theory, the avant garde approach that KC were taking to using classical instrumentations in a rock setting, the defects in sound quality turned me off and I stopped playing it after about five listentings. As a result, in my mind, it has always stood well below all the other KC studio recordings as the worst. Did I get a defective copy or were there problems in the pressing? Is the CD "digitally remastered" and does this make a difference? Should I buy Lizard on CD and give it another chance? (As a reference point, I rate all the other 70's KC albums very high, including "Islands") I'm happy to take answers off-line Bob Phillips bobp at dfi dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 22 Oct 95 14:19:12 EDT From: "Kent Smith (BART)" <75061 dot 2323 at compuserve dot com> Subject: Re: PFM photos of ghosts From: David Maclennan Subject: Sinfield's "Still" Date: 16 Oct 1995 10:03:38 +1300 "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... ++++++++++++ I've been wondering what the h**l was the name of the LP. Has anyone seen this on CD? I like it, didn't like the previous LP and never heard of the band after that. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 95 14:28:43 EDT From: John Saylor Subject: Re: Elephant-talk digest v95 #230 [x] >From: "Peter" >Subject: THRAK/Fripp's guitar playing > >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. I am no expert, preferring to listen rather than dissect, but I have a feeling that the pitch collections he uses are often symmetric. In other words, you take the twelve steps of the octave and group them into smaller repeating units that form regular patters in the context of the twelve step [chromatic] scale. The fully diminished chord [b d f a-] is one example, as is the tritone [c f+]. The diatonic scale [white notes] is actually quite irregular from this perspective. Those irregularities give it much of it's tonality and charachteristic melodic twists, whereas the more regular division of the chromatic scale into symmetric units sounds alien to most people. The double trio formation is one that reveals a mind concerned with symmetry and order, and many of his compositions consist of a repeating the same figure and increasingly embellishing it. This could lead to a discussion of Robert's artistic vision [for lack of a better term], the play off of order and chaos- surprise and routine; but I'll let the members of the list decide if that is worth pursuing. But back to pitch collections, I suspect that there might also be ones that change as the range expands. For instance, most musicians think of a scale as something that covers an octave and repeats the same pitch collection in each octave. This is not necessarily so. And in Robert's soloing, he will often choose notes outside of the harmonic background to make an artistic point [again, not the best phraseology]. So, good luck in your search- who knows where it will lead you! -- John Saylor MIT E40-335 617/253-0172 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 95 18:33:30 -0700 From: Steve Goodman Subject: A beginning Query First, a large thank you for the continuing work on ET. I'd have been contributing before now except for the life of a software/network consultant in the L.A. area. One thing I DO find time for is guitar playing, disobediently ever since 1972, when I secreted an unused guitar upstairs and started tuning it differently in order to understand it better. (I later found that I was using traditional blues open-chord tuning, but that's another story). Since 91, when I was given an EBow and found it useful on my acoustic guitar for some reason, I've been soloing on occasional hikes up to the San Gabriel Canyon (when the time change occurs, biannually), thereby also building up the stuff to play in front of other people. When Eno first described the tape loop process used in Discreet Music, I tried it at home with less-than-good equipment bought second-hand, in varying levels of quality, and taped most of the results. Back in '90, after lusting after the Electro=Harmonix 16-Second Delay for years, I settled on a Digitech 7.6 second delay unit, and experimented more with ambient looping. It wasn't until I finally let someone else run the mixing board during a session with Oil Junkys, that I realized that the Ebowed electric guitar work I was doing could stand 'on its own'. Thus my question, given the above. I'd like to perform this material, which, one might easily admit is similar in a lot of respects to either Frippertronics, Enossification, or Soundscapes (though on a much lower- budget level), and mainly put it through PA systems live at places like, say, Ice Cream Parlours. What would Mr. Fripp's idea be about this? I tend to think along the lines that even slight imitation is in my case profoundly complimentary, and while I have a drive to perform the work and bring it to people who might otherwise not hear it, I still have the utmost respect for people who have been recording this type of music for over 20 years. Yes, I've debated the enrollment in the GC courses, but lacking the money and time, I've had to rely on my own resources to achieve what's been done so far. Any suggestion as to whom to address this to would be of immense help, as RF's email address isn't exactly public information. Thanks in advance. Steve Goodman sgoodman at primenet dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 1995 22:29:17 -0400 From: DouglasO at aol dot com Subject: Daryl Hall album SoulAlone at aol dot com asked about a Daryl Hall album w/ Fripp. Prior to Fripp's Exposure release, Hall did record an entire solo album w/ Fripp. However, Hall's record company balked at releasing it for quite a while, apparently thinking it too "weird" for the fans of Hall & Oates. It was eventually released; I believe after Exposure. I heard one or two tracks on the radio (WGTB in Washington, DC), but I never heard the entire album. Maybe someone out there has a copy? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 23 Oct 95 02:15:03 EDT From: Robert Forman <73652 dot 1423 at compuserve dot com> Subject: LTiA in Emmanuel > 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. Well, it is a "tension and release" kind of a piece, isn't it. It was used in the film during "sex" scenes, particularly during a rape. It was not the original music, it was replayed and if memory serves, somewhat rearrainged. The part of LTiA used was the phrase that repeats and gets louder until it, um, climaxes. Bob [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] GIG REVIEWS [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 1995 13:16:07 -0700 From: mopix at sirius dot com (michael harrison) Subject: Marin Vets Auditorium 10/21/95 Hi again, One thing is for sure true, the middle section of Thrak has become an astonishing stretch of music, (or noise depending on how you call yer sounds). This is my personal favorite new vein for the group. I've listened to "When I Say Stop Continue" many times and yearn for this particular shade of Crimson. In the "Oh I hope someone got this on tape department": An usher of great age was standing nearby our seats throughout the show, and to say the least, she was perplexed by the proceedings. The sweet part was that she used the soundscape moments to seat latecomers, and would talk loudly as if that was the proper time to take care of usher business. The tone of her voice kind of jabbering rhythmically in the background was an interesting improv with Mr. Fripp. I don't recall anyone even ssshhing her. After the show we queried her opinion of the night,(note that this Auditorium was sort of home turf for the Grateful Dead and I half expected some response like "it was weird, but not that weird"). She smiled and chuckled as she said "I don't think my opinion would be the same as yours". Unfortunately, it was hard to judge from row 27 because the sound around there was really poor. The big crashing bass sounds from Tony, Bill, Pat, and sometimes Trey were lost to us back of house folk. This makes me think that it is really hard to mix this band night after night with the same excellent results. Is there a technical reason why touring bands can't place speakers in more spots in bad venues to improve overall audio spread? So I focused on the quiet parts last night. Adrian Belew is really opening up on both "One Time" and "Walking on Air". His extended solo during WOA was inspired. No special percussion set up during the encore, very little Adrian banter, I wonder if the recent time change is hitting hard and making King Crimson tired? I really admire bands with hard work ethics. Slugging it out through a tough schedule, not whinning on stage, putting a lot of effort into the music despite the adversity. Robert Fripp and company work very hard and it is greatly appreciated. Tony Levin and Trey Gunn seem to be recreating the extended stick opening to ET each night. Its fun to see them both listening to each other and reacting via fingers and strings. Robert Fripp is playing so well, I am humbled even attempting to write about it. All I can do is quote A.B. from this summer and warn everyone to "strap on your seatbelt" for this tour. Does anyone out there know if the second Denver show is going to happen? Yours truly, Michael [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: GIG REVIEW: Berkeley Oct 20th. Date: Sun, 22 Oct 95 22:14:33 PDT From: oedipus at cruzio dot com (Ed Korczynski) Yowza! Kablam! VROOMVROOM! Paraphrasing Adrian's comments to the crowd just after walking back on stage after the 2nd of 3 standing ovations, "This is the first place we've played after being in Japan for three weeks. It's a great place, and it was really good playing there, we were just talking about it backstage, it's just that the audiences there are ..... reverent. (pause) It's great to be back!" (Huge roar of appreciation from the crowd). So to all of our friends in Japan, when the band finishes playing LTiA2 and you feel like you've been washed with the very music of the gods and every cell in your body is vibrating with a gigantic YES, then it's more than O.K. to let out a big sound of appreciation! Which is all to say it was a fantastically excellent show. (though whoever was running sound EQ'ed it way too loud in the high end, typical sign of the professional mixer who's done way too many shows and has lost his highs) The one really new thing was a very cool drum trio thing with two frame drums and a row of tuned metal bowls that Bill, Pat, and Adrian all played at once. Also, I swear that CGT just keeps getting better. Seen 'em 4 or 5 times now in the last couple of years, and the first shows were stiff but showed promise. Friday's brief warm-up was really solid, they flowed, they grooved, everyone loved 'em, and even their tone is vastly improved. I call 'em excellent. (Though we did notice a few fumbled notes in some of the fast runs, they covered quite smoothly). I LIKE IT! -edo [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 21 Oct 1995 01:58:24 -0700 From: mopix at sirius dot com (michael harrison) Subject: GIG REVIEW: bicycled to the Zellerbach Hello readers, Needless to say, good show last night in Berkeley. Mr.Fripp didn't quite get to his spot before the crowd started to welcome him. (the plastic sound barriers are looking worse for wear and travel). He blended in with the taped soundscape seamlessly and off we all went... The song list was very similar to the last show in Tokyo. After a blistering and tight "Red", Adrain asked, (possibly with real concern): "Anybody get hurt?" I was in the fourth row (audience right), and had a nice view of R.F.'s control box. It seems to boil down to five or six setting buttons and a knob. Sometimes R.F. twirls the knob round and round, other times he kind of jogs it from side to side. The result is a lot of spanking great noise. I'm wondering if anyone out there can explain the twirl and jog techniques? Early on in the first set, Tony Levin did an imitation of one of Adrian's body twang moves, this cracked both of them up for a few moments. Biggest change from this summer (not counting added songs) is the middle section of Thrak. Mr. Belew gets this piano sound going, and the boys all cut loose for some inventive improvisation and powerful noise. This looked like it was the most enjoyable piece for the musicians to play, although Indicipline looks like a lot of fun as well,(especially for Adrian). The dual bass intro to Elephant Talk has blossomed from its seeds in Argentina. Trey Gunn had some excellent upper register answers to Tony Levin's musically posed questions. Possibly a hint of fatigue on everyone's faces; its a long flight from Tokyo to SFO... Added percussion bit during the encore is fun and its great to see Bill Bruford center stage for a spell, but I did miss the extended percussion thing A.B. did on his guitar this summer at the Fillmore shows. Full house and responsive crowd, Zellerbach is a good venue. It will be interesting to see what gives tomorrow. Later for now, Michael p.s. Thanks to Tom Ohsawa for the excellent reports from Japan! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 21 Oct 95 03:39:26 0000 From: Paul David Thiem Organization: Institute for Human Development Subject: Gig review This is not Paul Thiem, this is Paul's friend Emanuel using Paul's Mac at 3:05 a.m. after seeing Crimson at Zellerbach in Berkely CA. THEY WERE INCREDIBLE. I recently saw them at the Warfield in June or July earlier this year after an 11 year haitus. Thoroughly mesmerizing. As many other Friper/Crimson neophytes I have spent many an hour in deep meditative states listening to the genius of Fripp and crew. There latest effort seems to reflect the current state of humanity with its ever continuing manic state with brief interludes of tranquil inflection. The harshness of "I'm a dinosuar, somone is digging my bones" contrasted to "One hand tied, one step behind etc, etc sums up the human race in so many words. That is what is so appealing about Crimson. the music is anything but comercially motivated. DEEP man DEEP..... Substance. True artists at work. Adrian Belew's voice was as clear and piercing as ever. He sounded better in person than on any recorded media I have heard to date. As for Fripp, ever the enigma, shrouded in shadows in the middle of everything. What is he thinking anyways. Strange thing,... i was listening to several discs which had recordings from the Voyager spacecraft. the recordings were of several difffernt sounds eminating from space. Various sounds emitted from the heavenly bodies recorded by sophisticated devices on the Voyager. The interesting thing is that some of these sounds resembled the sounds Fripp generated during his Soundscapes recordings in South America. The similarities are mindblowing. Being an artist myself (fine art black and white photographer) I tend to look for the core meaning in most artistic endeavors I come into contact with. The music of Crimson has always had a profound affect upon my being. Add a few Red Tail ales at 3:00 am and out pours this gibberish. Blah, Blah, Blah!!!! Boy do I need to buy a computer. Thanks Paul. Hope this was slighlty entertaining. E-man ps. Hello Mr Fripp. Thanks for all the Fish ..................more to come? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] TIX [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: steedb at er4 dot eng dot ohio-state dot edu (Brian David Steed) Subject: KC in Columbus, OH Date: Thu, 19 Oct 95 13:16:49 EDT I just found out (despite Ticketmaster's puny attempts to keep the information from getting out) that tickets for the KC show in Columbus, OH go on sale Saturday, Oct.21. See ya in the front row! Brian [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: STANLEY_JONES at HPATC3 dot desk dot hp dot com Date: Fri, 20 Oct 95 15:34:00 -0400 Subject: Tickets I know this is short notice (with my inexperience I hope this is even a notice) but here it goes. Due to the current universal vibrations, I've found myself holding two unclaimed tickets for KC at the House of Blues in LA on 10/22/95. If anyone's interested please send me an e-mail at 'ipstan at aol dot com'. Don't use the return address posted with this message, as I won't be checking that box until after the show. Oh, the price, what I paid for them $42.50 ea. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 13:26:17 -0400 (EDT) From: Gideon B Banner Subject: NEED NEW HAVEN TICKETS I unfortunately had to go through Ticketmistress to get my two tickets to the New Haven show, but was given seats in Row X. Ugh. Does anyone have two extra tickets a bit closer they'd be willing to sell to me? I'd be eternally grateful for better seats. Or do you know of any organization I can contact to get better tickets? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 21 Oct 1995 14:19:21 -0400 From: DanKirkd at aol dot com Subject: Ticketmaster does it again! The good news: I got tickets. The bad news: It was hell getting them. I got 3 separately located tickets in section 109, main floor, in row L, M and N. Section 109 is center, so sound should be good, hopefully these are 12th thru 14th row seats and not worse. The price is steep, and I'm not sure about it. The paper indicated the highest priced tickets were 37 or 39 dollars, but these are 44 plus dollars each, BEFORE service changes, so 50 bucks! Given how ticketmaster dealt with me I should have got them free of service charges. I got thru to the West Lafayette ticketmaster at about 12:02. I ask for three, best seat tickets. The lady found 3 together in the middle of row F, balcony. I asked if she couldn't get three separately located tickets that were better, and then she started complaining that I had asked for three tickets, bests seats and that's what she got. I told her I didn't care if the seats were together or what the price was, but all I wanted were three of the best seats she could get - a tough concept for someone to understand in this business I guess. The "conversation" suddenly starts degenerating out of control and she's upset at me because she was having to do things all over again, I don't know... Then she starts telling me that she doesn't like my tone (by this time I'm practically going thru the roof as I'm visualizing all good seats getting snatched up by other more fortunate people!), and she's demanding respect and politeness and I don't know what else. Then she's all quiet and I'm going, "What the ...!!!" and so I break down and say I sorry, blah blah, and then she just hangs up on me!!! I couldn't believe it! So I call back. Busy. I call Milwaukee. Busy. I try again, and this time I get thru, but I'm on hold listening to beautiful music and I'm thinking back to the last time I called Milwaukee and I was on hold forever. This time I figured I wouldn't get suckered again. So I call West Lafayette again. Busy. Then I call Indianapolis. I get through pretty fast and make my order again, specifically indicating that I wanted three separately located tickets, best seats, etc... And I wait. And wait. I ask if he's got the event up yet. He says he's working on it. I wait. I wait. At the first place they got it up instantly, so I'm getting impatient. I ask again if he'd got the event, and now I'm switched to hold! Next thing I know I've been disconnected! This is unbelievable! I'm having a heart attack! Why am I being cursed? It couldn't have been a chain letter I recently got and hadn't sent on - wrong type of bad luck. So I start calling places all over again. I get through to the Indianapolis site pretty fast, and this time I made my request and demanded that I don't get hung up on, explaining that already twice that had happened to me. Its 12:10 now. Its been a hellish 8 minutes. This new guy also is having trouble getting the event up. Finally he gets it, but now he's having trouble getting 3 tickets that are separate. Is this so hard!? Finally he gets the tickets, but by now I've had my heart attack and I'm spent. What a way to get tickets. No wonder people can't stand them. Dan -- Daniel A. Kirkdorffer | "Though the course may change sometimes Email: e#kirkd at ccmail dot ceco dot com | rivers always reach the sea." Robert Plant DanKirkd at aol dot com +----------------------------------------------------------------- WWW: http://users.aol.com/dankirkd/danhome.html [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Oct 1995 11:58:49 -0700 From: yockey at slip dot net (Steve Yockey) Subject: one ticket for sale, Austin, Nov 1, best seat in the house! Well, it's *potentially* the best seat in the house, since all tickets are general admission. Selling for face value plus the "convenience" fees I paid. (approximately $22) email steve at scopus dot com if interested. thanks, steve [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 1995 11:13:52 -0400 From: JimKlo at aol dot com Subject: Memoirs from the Ticket Line Well, I got my tickets for the 11/29 show at the Rosemont Theatre in Illinois for myself, my son and his three band mates. Anyone with tickets reading this...see you there! GETTING the tickets was quite an experience. Got to the box office at 9:00AM, and the line was already about 50 people strong. Tickets went on sale at 12 NOON for King Crimson, but at 10:00 AM the box office would open for David Copperfield. It was about 40 degrees, 15 MPH winds, snow/rain mix. All worth the wait. About 10:30, I found my way into the 15x9 ticket lobby, and the Crimso line. Counting the heads in front of me, I was 8th in line! No problem. 11:15AM. People are still buying Copperfield tickets, and the Crimson line winds throughout the lobby. I believe I am still 8th in line, although there are some usurpers leaning against the wall in front of me. 11:30AM. The lobby is packed with about 100 people. One guy is slowly making his way from the back of the line to the front. Everyone still seems friendly. I lost track of the end of the line. I have my umbrella poised, ready to use it if necessary to retain my place in line. 11:50AM. Things are getting tense. The "one guy" is now standing closer to the ticket window than me. The Crimson "wave" is closing in on the Copperfields, ready to jump up to the counter. 11:59AM The first guys in line get to the window and start buying their tickets. The Copperfields are all pushed to the side. The "one guy" magically shows up at the ticket window to get his 8 tickets, ignoring the catcalls from the back. 12:05PM. I got my 5 tickets and got out of there. It took five minutes, but I still got main floor, although it was in the second section. To those of you who I talked to in line, it was nice passing the time with you. See you there. To those of you who came late and pushed your way to the front, I hope you get four flat tires on the way to the concert!!!! What would Robert say ? Jim K. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Oct 1995 12:22:56 -0400 From: DanKirkd at aol dot com Subject: Aaaaaaaaaaaaaaaaagggggggghhhhhhhh!!!!!! I had this really bad feeling last night that the tickets I got were not King Crimson tickets. The price had me thinking something was wrong. So I called this morning and found out that ticket-idiots had sold me tickets to the wrong event!!!!!!!!! I was the owner of 3 tickets to CHICAGO at the Rosemont Theatre on Nov 17th, not KC at the Rosemont Theatre in CHICAGO on Nov 29th!!! I have corrected the problem by getting the tickets switched, but the new tickets are in rows 19, 20 and 22 in section 107 off to the right. I am cursed! Dan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 23 Oct 1995 09:40:13 -0600 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: TIX--LongAcre Ripoff! Hi all I'm just going to post this and leave because I'm flaming mad $50.00 for tickets at the Longacre? I thought $40.00 for Town Hall was a bit much. I guess Bob took a page from P.T. Barnum's book in that you'll never go broke by underestimating the intelligence of the public. bye for now CV [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]