From elephant-talk at arastar dot comTue Nov 14 07:38:21 1995 Date: Mon, 13 Nov 1995 20:36:09 +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 #237 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 237, Monday, 13 November 1995 Today's Topics: frippertronics Meaning of LTiA and Emmanuelle Avenida Corrientes charade??? RE:ET#236 Ian Wallece with Bob Dylan Review of 'The Starving Moon' and 'Touch Wood' 1st live RED performance Wetton's equpiment (Re: ET #236) Re: Missing Gig Reviews of Denver 10/28 show David Sylvian Fripped Out ... No-Man review Re: Fripp-Off RE: Elephant-talk digest v95 #236 More blab from me re: Fripp & Bowie Theory on the Current Crimson Logo European tour? logos and missiles First Inaugural Address at IACE..... KC Atlanta show 11/11 Re: Logo Possibilities Audience problems... Camilla's Little Secret Re: Stravinsky The Crimson Symbol Re: Eat a Bug Gig Reviews Gig review, Orlando New Orleans KC Show.. New Orleans review, etc. Gig Review: King Crimson, Atlanta, 11-11-95 KC Atlanta show 11/11 Atlanta Treats KC Well!! Tix tix on sale for Longacre Theatre 24th & 25th E-Talk: Tix for sale [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 11 Nov 1995 11:02:13 -0800 (PST) From: Sasha Alain Wolf Subject: frippertronics Has anyone else noticed that the Frippertronics segment in the begining of "Haaden Two" and "Neurotica" are exactly the same? In some ways this does not surprise me given Fripp's penchant for recycling some of his guitar licks. However, the moods of the two pieces are so strikingly different from each other, that I wonder why he chose to use the same piece of Frippertronics for both. - Sasha "Mellotrons are cool!" - Beavis [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 00:43:51 -0500 From: DanKirkd at aol dot com Subject: Meaning of LTiA and Emmanuelle It doesn't look like this topic will go away so perhaps those who are interested should check out past ET digests in which it has already been discussed. From the ET Topics index: Meaning of "Larks' Tongues in Aspic" - 123,124,125(3),126(6),127(2),129(2),158 While I'm at it the Emmanuelle topic seems to be lingering too. For more on this one: "Larks' Tongues in Aspic II" in Emmanuelle - 115,116,195,196(3),197(5),229,230(6),234 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: MARCOS at bsgo dot cci dot org dot ar Date: Sun, 12 Nov 1995 03:45:26 Subject: Avenida Corrientes Organization: Beatriz Santiago Hi! This is, a hate to say it, my first post. I'm writing from Argentina, and I would like to know if there are other Argentines among the ET readers. I would love to get in touch with them. Someone asked how did we get into KC. I was trekking somewhere in the Patagonia when a guy that I met in this trip lend me Islands. I remember how Sailor's Tale shocked me, at once. It was really a great experience, and Islands still remains as something magical for me. Then when I came back to Buenos Aires I went to look for other Crimson's work and all I could find was ToaPP. I bought it and was a bit dissapointed except for Industry. With time I bought every Crimson CD, and my favourite period is the one from the years '73 and '74. I must say I was really surprised when I went to see them here in Buenos Aires at the opening of this tour, by the way what a honour for us. I loved the power of the music and went to see them four times. It was astonishing. Time after time. A double cd manufactured by an unknown Italian company was realeased with the shows in Argentina. Without knowing B'boom was coming out I bought it. The quality of the sound is bad, but having a live compact called Avenida Corrientes (Buenos Aires most tipical avenue) and from my favourite group, was enough to buy it. The songs are: Vrooom, Frame by frame, Sex..., Red, One Time, When I say Stop Continue, Elephant Talk, Indiscipline, Vroom Vroom. Matte Kudasai, Talking Drum, LTiA2, Heartbeat, Sleepless, Waiting Man, Matte Kudasai, Sheltering Sky, Neal Jack and Me, Indiscipline and Heartbeat. (Recorded in Buenos Aires, 1994, except for Waiting Man and Heartbeat recorded in Munich, 1982) Lately, I was thinking of joining the GC seminars. Does anyone could tell me his or her experience? Is it very important previous musical knowledge? Can you participate if you don't necessary want to end up being a musician? (I wish I could). Well I think this is all for today. Thank you all, and specially Toby. Great work. Marcos Radicella. Mendoza 3480 (5to.A) (1430) Buenos Aires Argentina PS: Does anyone knows an e-mail address with news on Peter Gabriel? Thank you again. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 02:23:44 -0800 From: "David A. Craig" Subject: charade??? Could someone *please* provide some specific release information for "charade"? Label and cat numbers would be ideal, but more general information would be helpful as well ... is it out in the us? britain? release dates, if not? ... also, is it listed as being by "alice"? (Is that the name the group is going by, or is she just going by first name, or are people just not bothering to give her last name?) thanks for the information ... david [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 20:46:00 +0900 From: Hideo Onodera mx Subject: RE:ET#236 Ian Wallece with Bob Dylan Subject:Ian Wallece with Bob Dylan In ET #236,James Hannigan wrote: >One question: In light of the Boz discussion, I noticed on my Bob Dylan >album "Street Legal" the drumming is by one Ian Wallace. The same as the >Islands drummer, anyone know? Yes,I think so.I'm not sure but I think some Japanese Rock Magazine added Bob Dylan's"Budokan""Street leagal"to discography of KC family. I saw Ian Wallace with Bob Dylan at Budokan. It was a very exciting concert. 5/11/12(Sun) 20:32 Hideo Onodera mxc02715 at niftyserve dot or dot jp [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 95 13:04:11 GMT From: Toby Howard Subject: Review of 'The Starving Moon' and 'Touch Wood' Recently, someone asked whether the two latest DGM releases, 'The Starving Moon' (Europa String Choir) and 'Touch Wood' (Gitbox) were worth buying. Having recently received these, and listened hard, my opinion is definitely a big 'yes'. The Europa String Choir comprises Cathy Stevens (viola), Udo Dzierzanowski (guitar) and Alessandro Bruno (guitar). I must say straight away that Udo and Cathy are friends of mine, and so I am unlikely to be completely unbiased. However, 'The Starving Moon' is a great album. The overall style is hard to categorise: the arpeggiated style of guitar playing is clearly reminiscent of previous Crafty releases, but less frenetic, and with only two guitarists instead of a roomful of manic Crafties, the feel is crisper, less cluttered, and more spatial. And the addition of Cathy's viola (sometimes multitracked) gives the 14 pieces a kind of 'chamber orchestra' feel. I was reminded of the Kronos Quartet at times. On one track, 'The Saving Grace', Cathy's viola duets with a soundscape from Robert Fripp, and it works beautifully. The guitars and viola are delicately -- and confidently -- played throughout, and there's a welcome intimacy to this CD. A beautiful album. Check out http://www.cs.man.ac.uk/aig/staff/toby/esc. With Gitbox, we have quite a different kettle of bananas. Gitbox are a New Zealand outfit, comprising guitarists Nigel Gavin (ex-member of the League of Crafty Guitarists), Kim Halliday, Russell Hughes, and Jonathan Pease, plus a number of guests. This is a wacky album. Instrumentally it's varied, to say the least: guitars, cello, sheng, piano, violin, bass, flute, voice and tabla appear in various combinations. The first track, Gavin's 'Wedlock', is a re-working of 'G-Force' from Intergalactic Boogie Express, and would appear to set the tone for an album heavily influenced by the Crafty school. But not quite: the Crafty feel is certainly there, but so are many other influences. The music on 'Touch Wood' is highly original, and eclectic. This time I'm reminded of the Penguin Cafe Orchestra, U2 (yes, really!), Brian Eno, multiple-12-string-period Genesis. This isn't an ignorable album: the first time I played it, I was trying to recover >from a shared bottle of Talisker whisky and three hours' sleep the previous night. I put the CD on, thinking some 'nice guitar music' would help me relax. The opposite: I spent the next 52 minutes 16 seconds *listening* to the damned thing. It's that good. Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 14:48:21 -0500 (EST) From: John Masecar Subject: 1st live RED performance re: Subject: 1st Live RED performance >BTW, also the title track from "Red" was never played live until in >Argentina in 1994 (released on B'Boom). >Wrong. "Red" was played during the "3ofaPP" Tour. I can remember (Greek >Theater, LA) Adrian saying something like "The name of this next song is >the same color as this guitar" Then they crashed into "Red." In fact KC performed RED as their second piece at the Masonic Temple in Toronto during the DISCIPLINE tour. Adrian Belew introduced it to the effect that "the title of this next song contains 3 letters". For many of us it was the end of a long wait. John Masecar [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 15:16:30 -0500 From: Bill Wade Subject: Wetton's equpiment (Re: ET #236) Says richie at nova dot net dot com (Richard Schiavi), re: LTIA >Does anybody know what Wetton is playing as far as >instruments go? As far as I know, he always used a good old Fender Precision Bass and (I think) Cerwin-Vega cabinet. I don't think he used effects of any kind, except perhaps fuzz. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 14:01:53 -0700 (MST) From: ecerb at indra dot com (Elaine C. Erb) Subject: Re: Missing Gig Reviews of Denver 10/28 show This show never happened. Discount coupons were being given out in Denver for the show in Colorado Springs. I think they had the night reserved in case the demand was there but held off since the show in the Springs did not sell very well. But I certainly saw a lot of folks from the Denver area who made the trek for the Sunday night show. Ah well, as long as they really do play Red Rocks next summer!!! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 14:01:47 -0700 (MST) From: ecerb at indra dot com (Elaine C. Erb) Subject: David Sylvian I first became aware of David Sylvian through his work with the group Japan. I find some of their work (and his as well) to be spotty. Moments of brilliance surrounded by other moments of mediocrity. But then he does have the kind of voice I can't listen to all day long. Highlights (IMHO) include: their cover of Ain't That Peculiar from Gentlemen Take Polaroids, and the first side of their second album, Obscure Alternatives, for ....Rhodesia and Automatic Gun. By the time of their album Tin Drum (which includes a song called Talking Drum!!) they had shifted focus from a glam-punk genre to more of an art rock approach and were working with John Punter who had produced Roxy Music. Tin Drum was rereleased by Virgin as an album simply called Japan which included some tracks from ...Polaroids. Ryuichi Sakamoto makes a guest appearance on this album. Sylvian has more recently recorded as Rain Tree Crow which reunites most of Japan. This is much more in the nature of Soundscapes though less engaging to my ear. Sylvian does make a highly recommended appearance on Sakamoto's album Heartbeat which also features contributions from members of Dee-Lite, Youssou N'Dour, Arto Lindsay, John Lurie, and Bill Frisell amongst others. Here again are more song titles echoing King Crimson, Heartbeat and Nuages! But I still think Jean the Birdman is one of the better songs Sylvian has ever sung. I'd be interested in hearing from other ET'ers on the albums that Sylvian has done with Holger Czukay in the late '80s. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 95 15:49:08 EST From: CRING at VNET dot IBM dot COM Subject: Fripped Out ... Hello Fellow Crimsoids, I'm a long time lurker, first time caller, so be gentle with me. I have never been fortunate enough to see KC before, but was quite pleased that I was able to see the St. Pete and Orlando shows last week. They were exceptional musically, and I cannot really add any other comments musically to what has already been posted, except, ahem, I have to ask with polite trepidation..WHAT'S WITH DEAL WITH FRIPP !?!?! He HIDES (?) in the back, with no light, and evidently has a 'germ aversion' as he disdains any sort of public contact, no matter how remote ? I have seen other's post on his attitude, and I personally do not think that he MEANS to be rude or arrogant, but that he just doesnt like human beings....In Orlando, he didnt even come out after the encore for the traditional bow; he bolted for backstage... I can imagine for the next tour, he will be playing backstage behind a curtain....I have heard of shyness, but I think that this is a real problem for him, and it was existent before the can throwing episode talked about here...(that bum must have had a good arm to reach THAT far behind stage to hit Fripp!!)...I wouldnt be surprised to hear if he quit clipping his nails and is watching 'Ice Station Zebra' non-stop a la Howard Hughes...Please all take this (attempt at HUMOUR) in the spirit intended...Not Fripp bashing, but slightly amused at the lengths he takes to avoid his fans....I just wonder if he ever goes Christmas shopping !! 8-) In a related note, Patrick Moraz was at the St. Pete show, and put on a quite nice solo evening Friday night in Clearwater. He played several tunes that he did with Bruford from earlier days.... Well all, thank you for your posts, and I do hope that KC & Fripp do continue to tour despite having to do it in front of people....8-) ========================================================================= [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 14:09:51 -0800 (PST) From: Jacob Aaron Gorny Subject: No-Man review I know it's a bit off the wall, but after having this album for awhile I thought it would be helpful to review No-Man's "Flowermouth." Flowermouth, in case you didn't know, has Fripp playing guitar on many of the tracks, and is IMHO an excellent album on it's own. Fripp does some things on here that are classic, but he also does some odd things that I have honestly never heard him do before. The lineup: Tim Bowness - vocals Steven Wilson - instruments (guitar, keyboards, programming) Mel Collins - Flute/Saxophone Ben Coleman - acoustic/electric violin Robert Fripp - Frippertronics, skysaw guitar, guitar Richard Barbieri - Electronics Lisa Gerard - backing vocals The tracks: Angel gets caught in the beauty trap - Great jazz feel. excellent saxophone solo over frippertronic, fading into a warm traditional fripp solo. Excellent drums and timing. Smooth strings. You grow more beautiful - Very Very No-Man in how it sound. Comparable to their earlier hit "Days in the Trees" in melody and hypnotic effects. Animal Ghost - Mellow and quieter. A very nice flute solo by Mel Collins. Ends with a soundscape frippertronic. Soft Shoulders - Quirky and a bit of white-man funk. Great use of electronic treatments on vocals and string section. Shell of a fighter - A cool song for the start, great interlude of a moody frippertronic/organ texture, moving into a brutal grinding reprise that vibrates with sonic energy. Like a cross between Orb and NIN. Fripp belts out texture on this one, but no solo. Teardrop fall - Techno poppy... my least favorite, but it has two cool fripp things on it. One great guitar solo that has a new sound to it, and on midi solo which I can't tell if it is him or a sample. then back to techno pop. Watching over me - a very deep moody piece. Slow and gentle. The bass drum sounds like it is being played with a brush (??) or perhaps it is a bass guitar string tuned loose. Either way, great crescendo and once again, excellent string ensemble. Simple - here is where Fripp's work really shines IMHO. First off, it sounds like a happy techno dance song, but as the song progresses it gets twisted. Add in a Fripp skysaw guitar line (which has a different sound than anything I'd heard before) and end it with a brutal and violent climax which drops off to a horribly moody frippertronic that was being built along the way. I had never thought that a soundscape like threnody for souls in torment would have an application in a pop song, but it is the perfect ending here. Things Change - all I have to say is, if you like the electric violin solo in By the Light of Day by UK, this song will make you pee your drawers. Hard hitting powerful prog rock. This song along with Simple, Shell of a Fighter, and Angel gets caught... are worth buying the album alone. Like I said, Fripp uses some sounds and soundscapes here like he hasn't used them before. Comparable to Secrets of the Beehive / David Sylvian for instrumental performance. An excellent buy. Too bad you have to order it from England.. it hasn't been released in the US as of yet. But it is well worth the price. -Jacob Gorny gornyja at whitman dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 17:18:29 -0600 (CST) From: Martin Wagner Subject: Re: Fripp-Off To Randall Powell, You mean you only just NOW realized that Fripp is an arrogant, self-absorbed ass? :) Just read his endless (though often amusing, it must be said) liner notes. He has never come across as the sort of person who would enjoy meeting fans or being in public much at all. Sorry you had to get a rude awakening. Martin [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 95 18:25:36 EDT From: boganp at alpha dot montclair dot edu Subject: RE: Elephant-talk digest v95 #236 Well, well, well... I see I'm not the only one who's less than impressed with Mr. Fripp's personality. Some years back, I saw Fripp with the LoCG at a small venue in NJ with a friend of mine; both of us couldn't have been much older than 17 or 18 at the time, were avid Crimson fans, and found ourselves com- pletely awestruck by what we'd heard that evening. I thought no harm would be done in saying a simple "thanks" to someone whose music and talent I held in high regard. When I approached Fripp's table after the show (standing at a respectful dis- tance, figuring I'd wait 'til he finished his conversation before approaching him. He suddenly stopped in mid-sentence, shot a glance at me, and said in an incredibly cold tone, "Right now we're talking, if you'll PLEASE excuse me". I was mildly crestfallen, but later came to the conclusion that the man is, regardless of his musical capabilities, a jerk. I realize that there are musicians who, like the rest of us, place a certain value on their privacy. However, music, especially if one's going to take it on the road and expose it to both the enjoyment and the criticism of the public, is, by nature, a very public event. As such, it calls for a com- promise on the musician's/artist's part, requiring that he and the audience meet each other halfway. It's especially a shame in light of some of the other musicians I've known and met. Adrian Belew was extremely gracious and funny after each of the three concerts at which I saw him (remarking, after someone observed how humble he was, "Well, it's okay to be famous, but there's no point in being a jerk about it."). Pat Metheny was very attentive and polite in his usual quiet way. The rest of KC struck me as very down-to-earth when I met them after their show this summer at the Count Basie theater. In each case, the musicians must've been exhausted; these aren't bush-leaguers, but rather people accustomed to giving 200% every night on very harsh tour schedules. By the same token, each has acknowledged that it's their fans who put them where they are and that allow them to do what they love for a living. I think it's time that Fripp and others of his ilk were reminded of the same thing. Thanks for listening. Paul (boganp at alpha dot montclair dot edu) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 01:24:26 -0500 (EST) From: Gideon B Banner Subject: More blab from me More about the logo -- find the K + C possibility interesting. Always struck me as being a straightforward, heavy type of symbol (reminds me of a minotaur, for some reason), much unlike the LoCG intricate Celtic knots. Somehow goes along with all the Pop Art imagery and words of the album insert. Thanks so much to the person who posted about Gunn's role in THRAK. I have been curious about this for an incredibly long time now, and am glad that I now have a guide to the whole album. Now all we need is a guide to differentiating PM from BB and RF from AB. In the last issue Randall Powell had the kindness to write about his undying dislike of Mr. Fripp. It strikes me as awfully strange that simply because Fripp blew him off that automatically invalidates his music. I recall that Ezra Pound was an anti-Semitic Nazi supporter, but he still wrote a lot of incredibly, influential poetry. Somehow Fripp's attitude toward Mr. Powell made him think that Fripp, Eno, etc. were constant masturbators. Sorry, but where'd you get this idea? And have you ever considered that perhaps Fripp might simply have been in a bad mood, or might not think or talk in the same manner that other people do? I guess my point is simply that you're being a bit quick to judge -- let the music stand on its own despite what you feel about the individuals who create the music. You're doing, in effect, the same thing that audiences do when they listen to Aerosmith, or Live, or GNR -- to think that the personalities of the musicians are directly in correlation to the music that they play. I don't want to offend, but I guess I'm just trying to say..... lighten up. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 00:44:17 -0500 (EST) From: James Hannigan > The fashion, glamour, soft-porn, hard core porn industries exploit > women. This sort of "trickle down" business is sort of like how the so > called liberal (but Murdoch owned) network news leading to shows like > Nightline, then Larry King, then Rush Limbaugh, Pat Buchannan, on to talk > radio, and then even ShortWave. > As long as civil society regards sexual exploitation as a matter of > freedom of expression/ privacy, women will continue to suffer and die at > the hands of men. etc., etc., etc. THIS is the kind of thing I don't want to read on ET. Please keep your politics and social policy views to yourself. Jim Hannigan [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 23:32:47 -0800 From: gank at wavenet dot com Subject: re: Fripp & Bowie Orn Orrason wrote: >I just read an interview with Bowie today where he said that he considered >Fripp at one stage for his most recent album Outside. > >He added that Frpp is "wonderful" but the convenience of working with >Mr. Reeves made the decision. > >I was disappointed when I read this as I feel that Bowie is giving up his >ultimate artist goal for the sake of convenience. I am not going to buy >this album. > >Let me add that I find Scary Monsters scary in quality and represents >Bowies and Fripp's best work. Fripp is magnificient here, Bowie made good >records before Changes (with Wakemen making the diff.) but has always had >medicore guitar players (Carlos Alomar) excepet of course on the Let's >dance album. In reply, I think that not buying the album because Fripp doesn't play on it is a little silly. With RF's involvement with the KC tour and Thraking about, it would probably have left Bowie waiting a long time before he could make his record! Besides, Reeves Gabrels' playing is more than competent on the record; he blazes! I just saw Bowie at the Hollywood Palladium on Halloween, and also got to see Tin Machine at the Roxy a few years back, and Reeves can burn it up with the likes of RF and AB anytime! To call the likes of Reeves Gabrels, Earl Slick (who did an admirable job of filling in for Stevie Ray on the Let's Dance tour), Mick Ronson (!), and Carlos Alomar (a GREAT rythym player, IMHO) mediocre is to not understand the subtleties of emotion one can get from an electric guitar. Not to mention RF and AB, who also play on Bowie records..... Outside is a return to form of sorts for Bowie; heavy on the Eno influence, the metallic edge of Tim Machine creeping in, and the sense of groove heard on Let's Dance evoked. People saying he can't keep up with the likes of Trent Resnoid are not paying attention. I haven't heard anything yet from Rez that makes me think he is worthy of kissing DB's feet, and thank God I didn't have to sit through NIN at the Palladium (although the opening band was Dogstar, Keanu Reeves' band! UUUUGGGGHHHH!!!!! A million times worse!!!) Sorry this didn't have much to do with Crimso, I just can't stand to see everybody tearing DB to shreds these days. Keep up the amazing work, Toby! Matthew MJM gank at wavenet dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 09 Nov 1995 21:21:33 -0500 From: Samuel Gustas Subject: Theory on the Current Crimson Logo For those into conspiracy theories, or any theories, for that matter.. On the front cover of the rather dubious document "The Principia Discordia", a handbook for Discordians, is the same logo as the six spoked symbol that Crimso uses right now. It is, however, verticle rather than horizontal on it. The possibilities to references between discordianism and discipline are mindless. ;) Sam [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 11:10:47 +0100 From: "Aas, Jon Heikki" Subject: European tour? Hello frippers, This is my first posting to the list so I'll present myself briefly before asking my question. My name is Jon Heikki Aas and I come from Norway unlike most of the list's subscribers that I feel are mostly American. My first Fripp experience was the Exposure album (I own the version with inscriptions in the inner grooves) and I really liked the guitar work on the louder parts. Then I heard Discipline which was different but very intriguing and has become better and better over the years. I didn't care much for Beat and wrote the band off until I recently heard Thrak by coincidence. In my opinion King Crimson of today is a rare watering hole of music you can actually listen to and get to know new aspects of all the time. It would be a poorer world without them. As the list is mostly focused on the American tour at present I would like to ask if anybody knows of plans for a European tour in the near future. Naturally I am especially interested in Norwegian concerts as I don't think King Crimson or any other Fripp projects have ever visited Norway. Jon Heikki [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 13:00:55 +0000 (GMT) From: Richard Beck Subject: logos and missiles My thoughts on a few of the messages in ET#236: > From: gsmath at wisenet dot net > Subject: Re: Logo possibilities > > One said he thought the 6 "spokes" were representative of the 6 musicians > in the band. Another said he thought it was obviously a "K" and "C" set on > their sides. > > Any other possibilities? This could get interesting... > > -- Stewart > >> From: JMYandel at aol dot com >> >> Methinks the new Crimson logo represents the double-trio. It has six >> "legs", each leg standing for a member. Also, how many incarnations of >> Crimson have there been, total? I get lost around the "Islands" group, >> but haven't there been around six versions of Crimson, from the >> beginning? If there is, that would seem very highly coincidental w/ >> the logo and the double trio! Could one of the more expert readers >> verify this? >> >> jonathan >> Whilst not particularly claiming to be an expert, I would like to add my comments to the general discussion on this subject: My initial take on the logo was kc on their sides - there is a company here in the UK called 'Kimberly-Clarke' (sp?) which manufactures paper towels etc. and uses a similar logo, but turned through 90 degrees (i.e. with the kc upright). My guess is that Crimso probably thought of something similar, only to discover this 'problem' with copyright (?) The '6 member' idea is a nice one. I doubt that 6 refers to the 6 versions of Crimso - I recall a small note in 'The Young Person's Guide To....' (1974) saying something like "Thanks to the management who have handled 9 different line-ups during the recording of these 9 albums". I apologise for the vaguaries, but I don't have the album to hand. > [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] > > From: E#KIRKD at ccmail dot ceco dot com > Date: Fri, 10 Nov 95 10:42:29 CST > > .... > So from these accounts we've got a small frisbee-like, red and white coca > cola can colored, halloween mask-like, crushed plastic cup-like, more than > paper/perhaps a cassette tape-like, program/plastic water bottle-like > object. Can anyone settle this and provide the definitive definition of > what did in fact hit Mr Fripp on Halloween night in Fort Worth, Texas? > > Dan > > [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Does it particularly matter? All that is important is that some moron threw something and that it hit Fripp. I was a bit annoyed with the audience at the Royal Albert Hall gig in London last April (May?). The crowd were shouting things out at inappropriate moments during quiet bits of songs (esp. Dinosaur - v. annoying). I like silence. I don't wish to hear some idiot's attempted witticisms when a song is often finely balanced between exquisite nothingness and violent energy. Thanx rb London [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 09:31:33 -0500 From: "Gordon Emory Anderson" Subject: First Inaugural Address at IACE..... Someone asked what this track from Exposure was all about. Some time back around '78 or so, I remember having read an article in the new OMNI magazine about Fripp's work and forthcoming album. (It was soon after Bowie's Heroes, which for many of us at the time was one of the ultimate and innovative rock records ever. It still is.) As I remember, Fripp promised to have a complete lecture from his Guru of the time included on the record at ultra high speed, and he also promised that it would be decodable. Does anyone out there know if it is really possible to decode this speech from the LP? And if so, has digitization made this impossible? As for Bowie's guitarists over the years, I would think Mick Ronson and Earl Slick better than mediocre (even great, in Rock circles), and Carlos Alomar actually quite a good rhythm guitarist. As for the best guitarists on the planet, some of them are: Allan Holdsworth, John McGluaghlin (is that how you spell it?), Julian Breame, and Fripp (it is probably too early to tell, but Stanley Jordan may end up on this list as well). Not in this category, but one of my favorites, is Bruce Cockburn (listen to "Water into Wine" on In the Falling Dark, or the whole album of Big Circumstance, particularly "Tibetan Side of Town"). -Emory [ It's John McLaughlin. Check out: http://www.cs.ut.ee/~andres_d/mclaughlin/ -- Toby ] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] >From Psychodot at aol dot com Sun Nov 12 18:45 PST 1995 Date: Sun, 12 Nov 1995 21:44:48 -0500 From: Psychodot at aol dot com To: kbibb at anthor dot arastar dot com Subject: Re: Logo Possibilities In response to Stewart's post: the meaning of the KC logo..... Not exactly sure of the possibilities but the next time anyone gets the chance, look at the back of a package of Huggies diapers. The company that makes Huggies is Kimberly-Clark and their logo is close if not exactly the same as King Crimson (or vice-versa). Just an observation. Maybe King Crimson is a subsidary of Kimberly Clark and Fripp is preparing himself for his incontinent salad days where he can sit on his "stool" and not "move". (insert own joke here)[__________________________]!!!!! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 11:08:16 -0500 From: DMB5561719 at aol dot com Subject: Audience problems... >up. I remember seeing KC in Cleveland and having to hear the entire drug >experiences for each song from these two losers in front of me, throughout the >entire show. I never really wanted to know that the guy in front of me always That's the real reason why I'm not going to the NY shows later this month, not ticket prices. I bought Varoom, Thrak, B'boom, Blessing of Tears, Intergalactic.. and whatever else. But I'm not going to waste my time and money to check out a show where other fans are so selfish that they can't shut up and enjoy the show. One of my friends pointed out to me that I just notice this because I go to post-classical concerts where audience etiquette is observed. Not true, I would have found that kind of behavior rude 20 years ago at a Yes concert. I'll be at home with my headphones on. : vent closed The in-store Frippertronic Soundscape show at J&R Music and at Washington Square Church in September were heaven on earth. A religious experience and the audience behaved the same. I'll have to write a bit someday about my experience at J&R. Mr. Fripp complemented me on my Robert Fripp String Qt. Tshirt! RF: I like the music on your shirt DB: Catchy melody. The shirt shows an excerpt from Fracture! bink... David Beardsley dmb5561719 at aol dot com ************************ IMMP music recordings: ************************ send email for a catalog of this ************************ strange beautiful music. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Justin Weinberg Subject: Camilla's Little Secret Date: Mon, 13 Nov 1995 11:05:45 -0500 (EST) The Band: Camilla's Little Secret The Album: _The Steps_ The Line-up: David Singleton: Bass, piano, musical direction Toby Campling-Richards: Keyboard, programming Martin Rawle: Lead, harmony, & backing vocals Georgia Lewis: Backing & additional lead vocals ! Paul Beavis: Drums & Percussion ! Bobby Wilcox [Fripp]: Electric guitars Label: S&R Cressidia Availability: via Possible Productions This album has been mentioned a few times on ET. I had heard good things about it, and was curious, so I got it. The single from the album, as some of you may remember, is "Tantalizing Eyes," the random-access record which contains various versions of the tune (depending on where the needle happens to go). On _The Steps_ there are two full versions of "Tantalizing Eyes." Both of these are quite good, particularly the second, which in my opinion contains a fabulous Fripp solo--despite having to put up with a teephone ring sound and vocals throughout half of it. But please, before you go rushing out to order _The Steps_, read the following: with all due respect to the artists involved, it's just not worth it. One thing that I always look for in a review is a good description of how the band sounds, so I'll do what I can to provide a good picture. This is a "pop" album. Many of the songs could have been American top-40 tunes during the mid-eighties, I think. The various sounds include piano and electric piano, that classic "DX7" sound, cheesy keyboard horns, a real strings section (the Frascati Quartet, with parts well-arranged by Singleton), unexceptional drumming, a bit of guitar, and vocals usually male-led, with female back-up. Fripp's presence on the album, aside from "Tantalizing Eyes" and annoying samples of him in "Frighteningly Beautiful," is rather minimal. (Note: I'm not saying that sampling per se is annoying, but that this particular sampling, and its use, are really annoying.) There are no instrumentals--all of the tracks are songs. The singer, Martin Rawle, has a voice somewhat similar to (and a bit weaker than) Trevor Rabin--both in timbre and in the fact taht it is often "processed"--but not as powerful (macho?) sounding. (At the beginning of one track, "Bea," he sounds like Sting.) Another contributor to ET mentioned that this album reminded him of Sunday All Over the World's _Kneeling at the Shrine_. Considering that Fripp, Paul Beavis, and Singleton were involved on both albums, such a thought is understandable. Yet it is in comparing these two albums that my greatest with _The Steps_ comes to the fore. I'm sure I was not the only one truly impressed with Beavis' drumming skills and his ability to lay down a very interesting beat with SAOTW. On _The Steps_, though, he is largely denied tyh eopportunity to do so, primarily because most of the songs are so, well, "blah." With the exception of "Sometimes I," he produces nothing recognizably similar to (or as good as) the grooves of _Kneeling at the Shrine_. Another exception might have been the track, "Stop Go," yet this song is so bad that listening to it is almost unbearable. (It might as well have been written by Gloria Estefan.) I'm convinced that _The Steps_ is a waste of Paul Beavis' talents. Let it be understood taht it is nothing like _Kneeling at the Shrine_. As I mentioned before, this is a pop album, and the songs on it are popo songs. They're light, at times Beatle-esque (The bass line from "Bea" is a variation on the one from "Come Together"): "Tantalizing Eyes" stands out as far superior to the rest of the album. The orchestral strings are abundant, the arrangement is good, and it creates a nice bed of sound over which Fripp lays down his solo. The album closes, after 20 seconds of silence, with the first moments of a third version of "Tantalizing Eyes," which sounds quite different from the other two, making me wish, as I'm sure has been apparent throughout the bulk of this review, that I had bought the single instead of _The Steps_. If only I had a record player. --- Justin Weinberg jrweinb at husc dot harvard dot edu P.S. See you at the Longacre on the 22nd: Row H, Center! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 11:08:23 -0500 From: DMB5561719 at aol dot com Subject: Re: Stravinsky Gideon B Banner writes: > Someone mentioned a few issues back that LTiA2 quotes from >Stravinsky's Rite of Spring. Is this actually the case? If so, where in >LTiA2 does this take place and where in the Rite of Spring is it taken >from? (grammar sucks, I know) I don't think so. They are probably thinking of the Augurs of Spring. I'd rather compar LTiA2 to a Bartok string Qt. bink, bink... David Beardsley dmb5561719 at aol dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 09:08:21 -0800 (PST) From: THRAK Subject: The Crimson Symbol Greetings Crizoids! Like many of you, I am very curious about the new Crimson symbol and would like to add my two cents' worth. A friend of mine gave me a book entitled "Principia Discordia" which has the assorted ramblings of an anti-religion (prose, poetry, pictures and phrases -- all very funny, I might add!) There was one picture that caught my eye and that was the symbol that Crimson now uses on their latest albums. In this book, it is called "The Hand of Eris." To the Discordians, Eris is the name of their goddess. Anyway, it makes reference to it possibly being satanic because of the horns on top, but then it says that it cancels out the satanism with the inverted horns just beneath. The statement concludes with an "I don't know." As for my opinion? I tend to agree most with those who say that each "finger" represents a member of the band. Though the "K" and "C" reference makes sense, too. But then it *could* have something to do with the devil, the crimson king -- Aww hell, I don't know! Flabbergasted by this band, as usual. LOVE IT!! -Joe. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 09:14:07 -0800 From: relph at mando dot engr dot sgi dot com (John Relph) Subject: Re: Eat a Bug sgoodman at primenet dot com (Steve Goodman) writes: >Now I could be wrong, and if I am I'll eat a bug, but was it not [...] Which reminds me: fans of the jazzier wackier aspects of the King Crimson oeuvre might appreciate Eskimo's recent album _Further Adventures of Der Shrimpkin_. Fairly wild stuff, mostly in a funky jazzy vein. Much fun to be had. And excellent musicians one and all. If you get the chance to see these guys (they hail from San Francisco) then by all means go see them. And the rekkid is worth getting. -- John -- Eat recycled food! It's good for the environment and okay for you. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] >From donews!aol.com!Nel3 Sat Nov 11 12:50 PST 1995 Received: from emout06.mail.aol.com by donews.cts.com with smtp (Smail3.1.29.1 #5) id m0tELLB-0000Y1C; Sat, 11 Nov 95 11:11 PST Date: Sat, 11 Nov 1995 14:11:42 -0500 From: Nel3 at aol dot com To: kbibb at anthor dot arastar dot com Subject: Gig review, Orlando Many thanks for signing me up to ET just in time to relate... the concert of my life...... king crimsonLIVE LIVE I TEL YOU LIVE!!!! 2gtrs, 2sticks, 2drums!!! Tupperware center(? - inappropriate place w/great acoustics, seats 2000) Orlando, Florida set list inlcuded: from the 70's: Red(2nd song in set) Lark's Tongue In Aspic Pt 2(2nd encore last song in set - everyone played flatout amps up b*lls to the wall - doubledrums beyond compare, fripp insane, levin grinding holes in your chest cavity) from the 80's: Thela Hun Ginjeet (1st actual song in set) Frame by Frame(filled w/behind the beat and ahead of the beat work by both the two drummers and the two guitarists) Elephant Talk(a crowd favorite) Indiscipline(drumming orgasm by Bruford) Neurotica(the most obscure song of the set - but nicely done especially vocals Three of a Perfect Pair Industry(as part of a medley with Thrak - levin playing perc. on stick) from the 90's: Vroom(1st encore 1st song) Coda(1st encore second song - double drumwork extraordinary - fripp again Walking on Air(1st encore third song) Dinosaur(3rd song of set - turned the power up a notch and blew the crowd out) B'Boom(mostly just Bruford and Mastoletto pounding away) Thrak This Time SexFoodEatDrinkDream also: two drum duets(the first of which opened the set) a stick duet a drum trio(2nd encore 1st song) and: a complete and untitled improvisation i was absolutely ko'ed by this band live - i'm ready to throw out my cd's and wait for a live cd - bootleg or not... Adrian Belew - loopy acting, grinning all the time, played a stratocaster and a gibson les paul hooked thru a roland guitar synthesizer - played piano on the guitar during the improvised piece - longs of mellotron parts in other songs on it - and just tremendous rhythm and lead parts throughout the concert. his voice clear and strong on all vocals usually backed by levin on high or low harmonies, occassionally backed by trey gunn.He played front and center stage. To his left Trey Gunn on stick and occassional bass - hard to pin down his partuntil midway thru the concert when i realized that he plays rhythm filler for both levin (low) and fripp/belew (high parts). very low key and probably underrated. his only real chance to shine was the stick duet w/levin and one or two quick solos. backing vox were passable. to belew's right was tony levin - stalking the stage on bass, stick and a standup electric bass (i think it might have been a stand up stick of some kind tho)which he usually bowed for cello-like parts. he laid down some of the most chest shaking bass lines, some of the most intricate stick work you could possibly imagine.... center far to the back of the stage on a raised platform and stool usually backlit from below was the mysterious mr fripp....setting the controls for the heart of the sun...usually by the time you realized he was soloing it was over and you were simply left to marvel at the sounds you had heard...other times often in rhythmic sections his playing was dominant over all...and on lark's tongue he unleashed some of the most awesome growling leads i've ever heard. never said a work, never acknowledged that he was even playing before a crowd. between him and belew on left and right of stage were the drummers.....pat mastoletto on the left and bill bruford on the right... i just don't know if i can continue... ok ok ok mastoletto is a slightly chunky guy who was dressed in a white shirt and nehru jacket. his kit was almost completely acoustic very flat with considerable amounts of percussion devices perched just above the tom toms. at times he would lurch out of his seat to bash things just out of his reach. his rapport with bruford was absolutely telepathic! - and he had more than his share of solo space which i must say he used to great advantage... but bill bruford, bill bruford was simply the most amazing presence i have ever seen behind a drum kit. his kit by the way contained a core set of acoustic drums directly in front and around him with a layer of electric drum pads over them, a control box beside him to alter pitches and effects and four very high symbols above that. bruford wore a suit and didn't even take off the jacket until midway thru the set. one thing i noticed about his drumming style - it's all in the wrist for him and lower arms. (not unlike dan marino) the reason he gets off his attack with such speed is his ability to just flick those wrists with such power... bill bruford, my friend, is a devastating drummer whose equal i now know i have never seen. put aside the telpathic communication with mastoletto, put aside the demon snippets he constantly laid down in front of us. what truly astonished me was the way these two drummers would be building up greater and greater ferocity, each one's solos ebbing and flowing like the tide and then, and then bill would just turn it up another notch on his own and leave mastoletto (a damn good drummer) in the dust... the mind boggles i tell you... air beats, double/triple/quadruple timing the beat, playing ahead and behind the beat, crunching the beat with mastoletto right down on top of levin's throbbing bass lines, filling the space and yet leaving space for everyone.... miraculoso... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 00:43:39 -0600 From: medtek at ghgcorp dot com (Sandra J. Prow) Subject: New Orleans KC Show.. My first (and probably only) posting here... I won't post a playlist or anything like that because I'm just too mentally incapacitated from the concert to remember what actually went on. We live in Houston, but Kirk had to work that night, so we decided to take a much needed vacation in nearby New Orleans and see King Crimson. Kirk's the big KC/Fripp fan, I'm more of a Yes fan, but both of us are very very big fans of Adrian Belew and I just loved Thrack so we were really looking forward to this trip. We had a very hard time getting a hotel, but as luck would have it, we were able to get a (handicap- Kirk is in a wheelchair) room at a hotel not one block from the House of Blues! It was quite interesting to pass by the tour bus on the way here and there and hear passersby guess what the bus and big Ryder truck were for. We arrived early (doors open 8pm, show at 10pm) at 7:30, and there was already a long line waiting to get in. The House of Blues is a standing room only club, so the first person there gets the best place to stand. The workers at the club kindly put us at the head of the line and explained that they would let us into the venue a few minutes early so that Kirk would be able to see above the standing crowd. It's a multilevel site and they have a series of little elevators to get him around. Anyway, I'm getting ahead of myself. While we were standing at the head of the line, we could see several of the band running in and out of the venue through some glass panes in the door. Trey walked by, and Bruford was running around. Then we saw Fripp. He was standing near the sound boards (as mentioned in a previous issue of ET) drinking out of a cup. He then walked over to the glass panes and stared out the door right at us, but strangly enough, no contact was made. He just stared and stared and stared at us and we stared back at him. It gave me the impression of animals in a zoo, but I'm still not sure who was the spectator and who was the animal. We were ushered to a nice little area to the left of the stage which was slightly elevated above the rest of the floor. Kirk parked right at the edge of the elevated part and I perched myself on top of the stair rail next to him. People straggled in slowly after we got settled, some of them were already pretty annoyingly stoned. One fellow in a pretty purple acid haze wandered out the side exit door near us, which must have sported a silent alarm because he was shortly followed by one of the club employees. He never returned. His buddies were engaged in a boisterous backslapping good time, even though it was over an hour to showtime. They yelled some pretty rude things right as CGT took the stage, but quickly shut the hell up (for the most part) after CGT got going. Now keep in mind, I had never seen CGT before, nor heard any of their music. They started in with "Yamanashi Blues" and I was completely sucked in. The interaction between these guys was captivating as was their music. I couldn't tell you how long or how many songs they played, but I do know that I wanted them to go on and on. All I can say is the CGT peformance alone was worth the $600+ we laid out to attend this show. Is that strong enough? KC took the stange pretty much as described in previous issues, and I'm sure the reviews will tell you what their play list was. I do know that Fripp seemed to have some sort of technical trouble and conferred with a roadie for about 5 minutes before he could finally start playing. It seemed to involve his pedals and the roadie was working feverishly on his hands and knees trying to correct the problem. He was finally successful and we were on our way. We could not see Pat at all so I am sorry to say that I can't really say anything about his performance, I didn't even see him until after the show. I particularly found Fripp fascinating. When not playing he sits stock still, although toward the end he did look up and smile at Bruford briefly. I'm sure I looked like an idiot throughout the entire show because I must have had my mouth wide open. The precision of his music is immaculate. Again, I had never seen Trey Gunn perform, but I found him fascinating as well. Tony Levin was the same Levin I'd seen with other artists. I always enjoy his performance, he's fun and animated and I love the sound of the stick. Bruford's drumming has always been a big part of music that I love, and he did not disappoint. He was wonderful. Adrian was just something else. I love to watch this man perform. He's obviously having so much fun singing and playing, it's infectious and entertaining. I really wanted to meet him this time around, but he apparently left soon after the show was over. The audience: they started out pretty boisterous, and some were loud and wouldn't shut up during the one quiet section (where the band waits for it to get quiet). At one point, Tony got hit with a flying something or other (it was very light). He picked it up and put it off to the side out of the way. Some drunk woman tripped going up the stairs and spilled her drink all over Kirk and my brand new T-shirt. There has also been some discussion about the lack of women at the shows- I wasn't the only woman there, I think there were actually quite a few! Some of them even seemed to get it. One woman snapped a picture of Robert and Trey as they ran out of the venue long after the show, which I thought was extremely rude. Her companion chased poor Pat down the street and made him autograph something and took a picture. It gave the impression of a shooting gallery. We were waiting around for Adrian, but some woman poked her head out the door and said that he had already left. We were seriously bummed. (I have reasons for wanting us to meet him so badly which I will not go into here) After the show, I went up to Bert (before I knew which one he was) and asked him "are you Paul?" He said no, but immediately his face lit up and he said "You're the one who sent the email!" (I had sent email to Paul telling him how much I enjoyed his journals and was looking forward to the show, etc) He introduced me to Paul, I introduced them to Kirk and we all had a nice conversation. What wonderful people these men are. It's no wonder their music is beautiful, they are beautiful people themselves. As far as the show goes, I now understand what Fripp means when he says "Listen _through_ the music." This music did strange things to my head and my soul. It moved through me. I think it changed me permenantly. Kirk and I both have been emotionally drained for the entire week since the concert. It's kind of a renewal for me. We've discussed flying to Chicago to see the last show of the tour (?) but I think we're out of money. That we would consider this makes me think that this show is like a drug, addictive and intense. Perhaps they weren't blowing moist air over the band, but instead blowing cocaine into the audience. I don't know. All I know is I want to go back, I want more, and I dispair that I may never get to see this show again. ~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~|~| http://www.ghgcorp.com/medtek Sandra J. Prow | YES! medtek at ghgcorp dot com | I medtek at bix dot com | Know My medtek at beta dot delphi dot com | SIG sprow at sdpcmail dot jsc dot nasa dot gov | Is Too Long! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Ashley Morris Subject: New Orleans review, etc. Date: Sun, 12 Nov 1995 19:34:21 -0600 (CST) Hello all, Saw KC on Saturday and Sunday nights in New Orleans. They played the house of blues, a small venue, which has both good and bad aspects. The good was being right on top of the band (Sunday night, literally), and the bad, since it was so small, they didn't set up their light show, or their backdrop, and Pat was stuck in the back corner of the stage and had to peek out to be seen. The California Guitar Trio was excellent, and a perfect opening act. Perfect in the fact that their style didn't clash with the headliner, and they played just long enough. On Sunday, I saw 2 of the guys hopping a streetcar on St. Charles with their guitars. Maybe they were playing for change in the quarter. The stage was absolutely packed with gear. To give the monitor tech room, everything was kind of shifted to the left. Herr Fripp had about 3 feet on either side of him between the sheets of plexiglass. Tony had a neat rig, Adrian's rig looked tiny, what with the two single 12" bag end cabs, and midiator controlling everything. Trey's footwork was almost as impressive as his fretwork, with two full pedalboards, and constant minor tweaking. Bill and Pat's setups looked exactly as described in Modern Drummer, except for the annoying sheets of plastic. Bill had an incredibly clean looking setup, just one small mic on each drum, and 2 overheads for the cymbals. Pat also had 2 overheads for his plethora of Paistes, and on Saturday night, he accidentally thwacked an AKG 414 with a stick. He then moved the mic up a notch. There were also 2 414s on the crowd. Fripp came out first and started diddling around on his stool. After about 5 minutes, Pat and Bill came out. Due to the small stage, Pat had to go around back and enter on the opposite side of the stage. He didn't even come out for the group bow at the end. Then Trey came out. A few in the crowd seemed to think it was Adrian, I guess due to the ponytail. No such problem with Tony. Finally a huge cheer for Adrian. The music was fantastic, the soundman did a wonderful job with one exception, the drum electronics. Occasionally, Bill's simmons would get drowned out, and most of the time you couldn't hear Pat's wavedrum at all, even when looking directly at the thing. The first night, my friend Elliott and I decided to be total fans. We just stood in the crowd and watched the show. The second night, we had the VIP treatment, and sat in the balcony. I was directly above Trey. At one point, Elliott told Trey "Tell Pat we love him". Trey did. You could sense the awkward "new kid in town" feeling for Trey and Pat. Being directly above Trey, we got to see exactly what he was doing. The first night, a lot of his work kind of escaped us. The second, we got to see and hear what he was doing much better. The 'swell' effects from his volume pedal were remarkable. Another benefit of our proximity was being able to actually hear Adrian strum his guitar when he was playing the string parts. It was odd to hear the faint twang, then the swell of the synths. Pat also had a very loud personal mix that second night. Tony just amazed me, going from his 'godzilla' bass lines, to beautiful bowed parts, to unfathomable stick work. We got to talk to Tony a little bit before the show, and a little bit after. We asked if there was any chance they may play 'sleepless' this tour. He said that he asked Robert if they could go over that song today, but Herr Fripp said no. Tony said they may play it later in the tour. Then in a bit of bizarre coincidence, Elliott and I were driving in the quarter down Decatur, blaring 'Sleepless'. Elliott said "Hey, weren't those people at the show?". Then we saw, it was Tony and 3 of his friends. I rolled down the window and said Hi again, with 'Sleepless' in the background. A priceless moment. It was a no smoking show, and when Pat came up to us after the show, the first thing he asked for was a light for his cigarette. He was carrying a magarita that Fripp made. Pat was kind of astounded, saying that Robert never did this. Maybe Robert wanted to get blitzed, because his guitar rig totally went out for about 5 minutes in the middle of the show. The sound tech came on stage and worked feverishly, and finally repatched stuff to get some sound out of his rig. Pat said he had a new set of Aqua lava-lite Montineri drums coming, with all concert toms. Considering how great his 12" tom sounded, it may be a great choice. Pat was genuinely happy to be in the band and playing the music, as was everyone in the band. Even Robert smiled when they all took a bow. Bill, Pat, Tony, and Trey were all very friendly and accessible. I saw Adrian only for a second, but he was as down-to-earth and friendly as ever. I first met Adrian on the Bears tours, as I'm an old time fan of the Raisins. He surprised me with his genuine compassion for the fans, as diametrically opposed to Fripp's stand-offish behavior. I think he makes the perfect frontman for the group, as his guitar work goes perfectly with the songs, and his vocals and lyrics seem to add a bit of softness and "pop"ishness to the group. The entire band blew me away with their mastery of their instruments, especially Tony. I never thought I could enjoy a bass solo, but he could make a whole concert interesting with only bass licks. I enjoyed the show thoroughly, and enjoyed getting to talk to everyone but Robert. They are all class people, and phenomenal musicians. Seeing musicians play that well either makes you want to give up playing entirely, or go home and start woodshedding. ashley morris P.S. Visit the Psychodots/Bears/Raisins web site at: http://sushi.st.usm.edu/~hamorris/pdots.html [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: chlamy at anatomy dot emory dot edu Date: Sun, 12 Nov 1995 21:51:33 +0000 Subject: Gig Review: King Crimson, Atlanta, 11-11-95 Hi: I just recently discovered "Elephant Talk." I love it, you are doing a wonderful thing. I saw Crimson here in Atlanta last night. What follows is a review of the show. Edit as you see fit. The Roxy, whose capacity is just under 1,100, is an intimate theater setting, great for rock fans who want the small-scale venue without the overtones of a nightclub. The California Guitar Trio took the stage at precisely 8:00, leaving the scene-makers in the bar to scramble to their seats. The CTG were highly entertaining. Their interpretations of Beethoven and Bach won applause from the crowd, but it was their quotation of the ultra-fast middle section of "21st Century Schizoid Man" that brought a roar of approval. The surf music encore was appropriately light to bring their set full circle. Crimson took the stage to the thundering rack-tom duet of Bruford and Mastelotto. It set the stage for blistering show in which percussion was prominently featured. It was immediately apparent with "Thela Hun Ginjeet" that Crimson's new drummers have developed a very impressive telepathy. Located at opposite ends of the stage, with Fripp separating them, there isn't much opportunity for trading obvious cues. The effect of the entire band is overpowering. With all the melotron effects on "THRAK," I wondered how Fripp would accomplish those in concert. Would he bring a melotron, that notoriously delicate, old-tech monster, on the road? Of course not. With the opening strains of "Dinosaur," it was Belew's guitar with MIDI-ized melotron samples, a really weird effect. Fripp's effects were amazing. It is a strange experience to watch Fripp's fingers and try to correlate to sounds coming from his guitar. It's a struggle. During his "soundscape" intro to "B' Boom," Fripp produced a sound like that of a jet taking off right over your head, only to have it get louder and louder, until it seemed like the building would tumble down. He appeared to be frantically twiddling knobs until the wash of sound started to die away. Mistake or not, it was pretty wild. After a hard-rocking "People," with its coda so reminiscent of the Beatles "I Want You (She's So Heavy)," Gunn and Levin performed an intricate stick duet, which finished with each one humorously deferring to the other for the honor of leading into "Indiscipline." The final encore saw the return of the rack-toms that Bruford and Mastelotto had used to start of the show, this time with the addition of rack of percussion instruments and Adrian Belew. The three of them worked out on a neat percussion jam that alternated delicate grooves on rims, cowbells, etc. with thundering series on the toms. Mad fun. After a monumental version of "VROOM," the band closed out with "Coda: Marine 475" to bring everybody back to earth. Amazing show. Wish I had gotten tickets for the second show, too. Richard Sheehy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 09:40:24 -0400 From: Jose dot Douglas at turner dot com Subject: KC Atlanta show 11/11 The concert was excellent, California Guitar Trio was worth the price of admission. Went w/my wife, who's not the biggest KC fan, and a good friend who hadn't heard KC music until three weeks ago when I introduced him to THRAK. We had 3rd row seats which were very good. During intermission my wife & I got up to go the restroom & to check out the T-Shirts. My friend said he wasn't going anywhere, he has happy were he was! After the KC show, both my wife & my friend agreed that that was the best concert they had ever been to, and that was not coming from KC fans, no I take it back, it was coming from KC fans, they love it! I was worried about the Atlanta crowd, but was very surprised! I only heard one person yell "Freebird" all night long, and people were quiet all thru the show, at least where we were sitting. A friend of mine had balcony seats, and he said there were some people talking thru the show & he had to tell them to shut up. I think I might go to a Lynrd Skynrd concert asd yell "Dinosaur", or maybe "Red" for the heck of it a couple of times, and then leave! We had a great time, and it looked like KC were enjoying themselves as well. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] >From Psychodot at aol dot com Sun Nov 12 13:11 PST 1995 Date: Sun, 12 Nov 1995 16:10:16 -0500 From: Psychodot at aol dot com To: kbibb at anthor dot arastar dot com Subject: Atlanta Treats KC Well!! I went my first Crimson show last night in Atlanta and even though I did make the 3 hour drive in 4 hours (Thanks to Alabama football traffic) and all without possessing a ticket, all went extremely well. The show started at 8pm and my roommate (future ex-non-Crimson believer) and I forked out the $5 parking fee and walked up to the entrance at 5 till. Of course, both shows were SOLD OUT (and we knew it) but we were hoping to find someone with extra tickets. Between us, we had $100 and were willing to pay for decent tickets. Long story short (too late), we got 7th row center stage for $45 each... And damn well worth it. We got seated as CGT were beginning to play. We both could not believe our ears. They were incredible. The audience gave them standing ovations and were courteous throughout their whole performance. During the "intermission", everyone was talking about their style and their unbelievable uniformity. The only thing was, no one knew who they were. Around 8:45pm, King Crimson came out. As I expected, they sounded excellent. Thela Hun Ginjeet kicked butt for what seemed like forever and the crowd loved it. The show continued till around 10:30 and seemed to follow suit with every Crimhead's account of the show. Nothing was thrown, no strings were broken and Free Bird was never yelled out by anyone. Some observations my roommate made: "Why is that mannequin on the backrow in the center with the guitar dressed like Peter Pan?" (Fripp was wearing a white shirt with a black vest, black tights and boots) "How many times are they going to play VROOOM?" "This song (People) sounds like the Eurythmics" (I didn't speak to him after that comment) He told me he liked the Adrian Belew show very much and asked me if he could borrow a KC CD for his car. Looks like I converted him. The drum trio of Pat, Bill and Adrian was very enjoyable. I'm sorry, but Pat Mastelotto to me, looks an awful lot like Terry Gilliam of Monty Python and I couldn't help but wonder if he was going to start banging coconuts together. Overall, the show was a success and the Atlanta crowd was very warm, inviting and appreciative. After "Dinosaur", Adrian said they would be performing a short version of it on the Conan Obrien show Tuesday, Nov 14. Adrian was proud. Fripp was expressionless. Please don't flame me for this but even though this is Fripp's project, it DID seem like it should have been billed as the "Belew/Bruford/Levin Experience" instead. -Rob [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 12 Nov 1995 17:57:31 -0500 From: MrBERWELL at aol dot com Subject: tix on sale for Longacre Theatre 24th & 25th Just in case it hasn't been mentioned yet, tix are available for Longacre Theatre in NYC on Friday and Saturday, the 24th and 25th. The price----- $60.00 !!!! Plus service charges, of course This price does not include the vaseline. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 13 Nov 1995 09:40:41 -0500 From: (gjohnson) Subject: E-Talk: Tix for sale Tickets for Sale: I cannot attend KC show @ Longacre on Monday November 20. 5 Tickets available - 15th Row center. If interested, please call: John Urich (609) 844-0074 Lawrenceville,N.J. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]