From elephant-talk at arastar dot comWed Nov 29 19:46:44 1995 Date: Wed, 29 Nov 1995 08:56:47 +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 #246 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 246, Wednesday, 29 November 1995 Today's Topics: Thrak medley/The Great Lyricist Bake-off/Jeff Berlin/ET.U. Misc. Frippertronics and my experience Live Crimson ET Submission T. Levin's Techniques More info's on Alice re: Where are the new KC tunes? Roland (users group) In Wake of the Crimsoid (fwd) Belew/Levin notes Sartori in Baltimore County Fripp's Black Beauty Dr. Diamond/T. Levin From the Source to the Mouth Levin posts EG/Caroline housecleaning CD-ROM "Headcandy" McDonald & Giles Re: Elephant Talk #245 Levin; Longacre mini-review RE: drum trio & Gunn's playing tape wanted! Re: Elephant-talk digest v95 #245 Cost of doing Business King Crimson and the Coconuts Fripp fifth tuning froth Moderation and Intollerance. Marine 475 Tshirt question Chicago Here I comeK!!!!!!!!!!!! Prog. Rock tour KC Interviews GIG REVIEWS 11/25 gig Armageddon at the Longacre 11/22 :-) 11/27/95 Columbus Ohio Set Gig "Review" Rochester 11/16 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 THE MODERATOR We have a serious bandwidth problem on ET. The following topics have been judged by ET readers to have been "done to death", so no posts about those please. THE EXPIRED LIST 1. KC on Conan 2. Fripp's approach to fan encounters 3. Things that hit Fripp on the head 4. Larks Tongues in Aspic in "Emanuelle" 5. Why and when people shout FREEBIRD. 6. What substances to ingest prior to a KC gig 7. Who is the best vocalist KC ever had? 8. Are Pete Sinfield's lyricas any good? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 24 Nov 1995 12:32:47 -0500 From: Nel3 at aol dot com Subject: Thrak medley/The Great Lyricist Bake-off/Jeff Berlin/ET.U. Toby - I rec'd. four ET's in one day - you ARE a busy man.... Some observations/questions/comments: Thrak medley at the Orlando concert - I was suprised that no one picked up on the Thrak into Industry medley I witnessed at the Orlando concert. Has this not been repeated in any subsequent performances? Did ET readers deem it less interesting than the oft-discussed Conan-vid-cut, Fripp-bonking or Freebird-shouting? Sinfield vs Palmer-James vs Belew - I'd have to 2nd Saku.Mantere's recent comments (ET244): put Sinfield into context of the late 60's. Palmer-James was certainly adequate to the 70's band; Belew to the 80's-90's band. None of them are THE focal point, but I for one would miss them and vocals greatly from any KC. Scott Sinner's remarks about "a guy named Jeff Berlin" - A GUY named Jeff Berlin just happens to be a jazz electric bassist who manages to play nearly to the level of Stanley Clarke and Jaco Pastorius on four Bruford albums and two Kazumi Watanabe albums. You need to check these out! Olivier Stehelin's (or Dominique Stehelin) remarks concerning what is and what is not appropriate for ET - Hey, it's not ET.University, it's just a place where a wide variety of people can share random thoughts about subjects crimson. Some subjects bore, some annoy, SOME are educational. Notwithstanding the overabundance of the aforementioned topics at the beginning of my post, I welcome most of this stuff. Believe me, where I live there are precious few to discuss KC et al with, let alone revel in the music with... That said, many thanks to you for the Bruford interview transcriptions - dare I say? - I've learned a lot! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 24 Nov 1995 12:48:24 -0500 (EST) From: Sergei Kantere Subject: Misc. Hi folks, BTW, leaving in Russia, I couldn't afford to make it for this tour. Could it be that someone who's yet to attend any of the remaining shows would kindly buy a tour booklet and (upon receiving from me a check covering all expenses) mail it to me c/o my NYC-based employer? If you can do me this huge favor, please e-mail me privately. If you could also drop in a cassette with Conan's show - I'll be extatic. I missed it for the same reasons. TV system is not a problem, I'll find a way to convert it! Thanks everyone. Peace, Sergei Kantere The Associated Press Moscow bureau skantere at ap dot org [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 24 Nov 1995 14:16:02 -0500 From: MLeonetti at aol dot com Subject: Frippertronics and my experience I just wanted to first thank you for this great forum! I've been lurking for several months, and I finally got time to post. Just want to share some unique observations, experiences, and anecdotes that I've had over the course of the last 20 years as a fan of King Crimson and Robert Fripp. I'll have to do this in a series of posts because this may take a while to type all that I want to share. My basis for sharing these experiences is as follows: - Long time fan of Fripp/Eno/Crimson and progressive music - Musician - Play Guitar , Bass, Piano, Organ, Banjo , Percussion, Compose and Arrange - Ex-Crafty Guitarist Attended GC4 -level 1 GC9 - level 1.5 - Attended more than 12 Fripp/Crimson/League of Gentleman/CGT shows Before I get started, I want to say hi to all my fellow Crafties, and to thank everyone who has posted in the last few months. I want to tell stories of my experiences which may be of interest to anyone who subscribes to this newsletter. As a teaser in the fashion of Entertainment Tonight, my stories will touch on topics including: - Fripp's bathrobe clad tongue lashing - Fripp and the Flying shoe - Quaffing a few with RF - My shower with RF - Robert's Big Stink - Guitar Craft Journal - Head Candy - Robert's Letter - My Mom and the Frippettes - Show stories - Performing with R.F. MC_1: I'll start this series off with a show story. This story is about the first time that I saw Fripp. It was Friday February 20, 1979. Robert was touring as a small, mobile, intelligent unit performing informal Frippertronics. This particular series of shows was to benefit WXPN, the progressive non-commercial radio station which is affliliated with the University of Pennsylvania. At the time 'XPN was facing funding cuts, and various artists were solicited to perform benefit shows. I was a student volunteer at 'XPN at the time . Kimberly Haas and John DiLiberto, who went on to National Public Radio to produce "Echoes" and other widely acclaimed Electronic Music shows, were huge Fripp fans, and I believe Music and Program Directors respectively of 'XPN. They had arranged for Fripp to perform informal Frippertronics in the Houston Hall auditorium, which was the Student Activities Center. The room itself is real intimate holding perhaps 200, and very beautiful. Friends of mine, who were also volunteers at XPN, were working the door, and providing stage security. I arrived early and eagerly awaited the doors being opened. Soon a crowd of staffers and fans crowded the corridor to the auditorium. Shortly thereafter, Kimberly and John, with Robert in tow arrived I believe from dinner. After everyone was seated, Robert promptly plugged in, apologized for feeling ill, and warned us that he might have to suddenly leave the stage. He then asked if there were any questions. After answering several questions, usually in quite unexpected ways. He asked for the audience to call out notes to base his improvisations on. I had heard Frippertronics on record before, but nothing prepared me for the sonic cyclone which I soon found myself in. Laser beams of sound ripped the air that evening and the room seemed to come alive with the confluence of music, audience, and performer. I had never heard and felt music like that night. The power of the music both its intensity and its intelligence were quite overwhelming. The music seemed to me to unfold in an amazingly logical way. Robert appeared to cry out of anguish, perhaps over the effects of stomach virus that he mentioned earlier. Fripp's equipment then consisted of the Fripperboard - Fuzz, Wah, and Volume Pedals, a Les Paul Black Beauty and 2 Revox A77s to create the loops. I believe that the outputs were running directly to the PA. Many years later in Eric Tamm's book on page 120 this evening is mentioned. Robert said " I was soloing over the Frippertronic loop and heard the next note and played it and heard the next note and played , and I was weeping as I was playing because something was beginning to move." and "I've been going at music for 23 years, from a person who was wholly unmusical - tone deaf with no sense of rhythm - and now something is beginning to open and I'm just beginning to hear soemthing about music on the inside, just about." So that explained part of the magic of that particular evening. I subsequently attended the next show the following afternoon and was again overwhelmed by the power of the music. That's it for now. I'll touch again on this story and its implications to me in later posts. It is impossible to achieve the aim without suffering. - Marc Leonetti [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 24 Nov 1995 15:13:03 -0500 (EST) From: Mike Stok Subject: Live Crimson Recently I was able to take a friend who hadn't been exposed to King Crimson to the gig at Springfield, MA. In order to "prepare" him I lent him my copy of B'Boom so that he'd have some chance of recognising some of the music. He had a blast at the gig, and one of the comments he made afterwards was that the live album didn'd do the music justice. Maybe he was experiencing the music without any expectations and better able to experience the moment completely. Certainly going with someone unfamiliar with Crimson music made me listen in a different way. You know, maybe that Fripp chap really does know what he's talking about when he's describing the special atmosphere and relationship during a performance. The other reviews have described the gig to death - I enjoyed being a part of the evening (albeit a relatively passive part :-) Looking forward to the next album/tour (...but no expectations...) Mike -- Mike Stok | The "`Stok' disclaimers" apply. stok at pencom dot com | Pencom Systems Administration (work) stok at cybercom dot net | Cyber Access (play) http://www.cybercom.net/~stok/ | The inevitable WWW page (?) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 24 Nov 1995 21:22:06 -0500 From: Theslammer at aol dot com Subject: ET Submission In the previous issue it was stated with regard to The California Guitar Trio's11/21 performance: > I have two criticisms, which may actually be only one criticism depending > on how you look at it: First, there were some bass effects going on which > tended to make the music sound muddy instead of having the crispness it > deserves. I don't know if it was a bad mix, or if their equipment needs a > tune-up, so to speak, but it could definitely be improved in my opinion. I think that the bass effect was quite intentional in order to get a bass line going & provide some bottom to the performance. Three guitars playing in the same range (or 2 in the same and one higher up) all the time would lack the color & interest provided by the arrangement used by the trio. Jim [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 25 Nov 95 02:05:57 EST From: Suntower Systems <70242 dot 1520 at compuserve dot com> Subject: T. Levin's Techniques I would like to provide some information and clear up some recent misinformation regarding some Q&As on Mssr Levin's techniques: 1. On 'Sleepless', Tony plays straight eighth notes with his thumb on the Music Man. The 16th note effect comes from using a digital delay as a 'slap back echo' device which echoes his notes back. All he does is make sure that the delay is timed so that the tempo fits the song. The opening volume swell is simply a volume pedal on a single note before the echo machine kicks in to start the beat. 2. 'Funk fingers' is what Tony calls his playing bass with wooden sticks attached to his finger tips with rubber straps. The technique gives a percussive sound very siimilar to the 'snap' one gets plucking the string with the index or middle finger in funk 'slapping' technique. The difference is that every note has the same percussive sound so you can get a more 'stick- like' tone and play faster passages than one could normally with a traditional slapping technique. In a couple of interviews Tony said that he started using it with Gabriel on 'Big Time' but really refined it when working with Yes as a way to replicate Chris Squires fast picking technique. Tony said that he could not pick as well as Chris (who can) and the 'Funk Fingers' approximated the sound. Regards, jc Harris PS: It seems like these issues are getting longer and longer and yet, the quality is (forgive me) going down. Any chance on a bit more brevity from my fellow KC lovers? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 11:21:05 +0200 (CET) From: PEZZUTO at axple1 dot le dot infn dot it Subject: More info's on Alice On #237 "David A. Craig" asked info on "Charade" CD and on Alice. Here are some notes on Alice focusing her collaboration with KC members. Alice (whose real name is Carla Bissi if I well remember) is an Italian singer, and keyboard player, who started her career in '78 with the collaboration of the composer F. Battiato. Over the years the quality of her sound has been growing up and since the second half of '80's she started collaborations with ex-Japan, Dizrithmia and KC members and she herself is a fan of KC. In 1986 she published PARK HOTEL (EMI 64-1187711, for the vinyl, I don't know the release number of the CD) with Tony Levin playing bass and stick (inside the disc there is a photo of Alice with a smiling and moustached T.Levin). After "troubles" with EMI, her new CD (Charade) has been published by WEA (0630-10417-2). Among the guests there are Trey Gunn, CGT and Paul Richards. Her CD's sould be easy to find in Europe and USA. I don't know in the rest of the world. Ciao, Stefano pezzuto at le dot infn dot it [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 14:32:18 -0500 From: gadget at ultratech dot net (R.D. Collins) Subject: re: Re: "Jeffrey A. Weinberger" concern over things over 22khz in ET # 244 1- To start with, the normal hearing range of a human being is between 20hz and 20khz.Most anybody with even modest exposure to our noisy planet,combined with the normal aging process gradually takes their toll on our hearing functionality.We realistically get little over 16-18khz.This range of hearing is further reduced when an individual is exposed to regular and excessive volume level's from any source. 2- When we "Hear" frequencies over 20khz, we are actually hearing the interaction of the "sum & difference" of those frequencies within the audible range.The partials, multiples, ocataves, side frequencies etc of the upper and lower "inaudible" range can in part account for the tonality of the "audible" range.This can be visualized as what we see when pebbles are thrown in a pool of water at random intervals.The resulting concentric patterns and their interplay are very analgous to the way sound waves behave. 3- Most recording meduim's electronics are optimized for performance within the normal hearing range, but this tangent would be to involved in this forum due to it's technical nature (?). 4- In the digital editing world it is possible to change the "character" of a sound without effecting all of it's elements ,this is not entirely possible with tape, less it be transfered into the "digital" realm.With digital editing it is possible to change speed and length while not effecting the pitch, or modify segments of a piece of sound or music stucturally while mainaining it's length, in fact most time & pitch based elements can be changed without effecting the character of the other.Once agian this is not the correct forum for a detailed discussion.I apologize for boring anyone, or for any glaring errors I may have made. Thanks Here in Neurotica................So Long "everything in moderation, including moderation" R.D. Collins gadget at ultratech dot net [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 14:37:52 -0800 From: Rob MacCoun Subject: Where are the new KC tunes? Other than the drum trio encore and some new improvisational passages (e.g., in Thrak), I don't recall anyone mentioning hearing any new (unrecorded) tunes at any of the KC concerts reviewed here. I don't mean to be an alarmist, but given the on-again, off-again nature of each incarnation of KC, I'd find it reassuring to hear them trying out some new tunes (not counting new Beatles tunes). When I saw them in Ann Arbor circa early 1982 (I don't have the master concert list from FbF with me), it was at a phase of their Discipline tour roughly comparable to their recent Thrak concerts, and I distinctly recall hearing rough drafts of some portions of Beat; e.g., I vaguely recall them playing Neal and Jack and Me as an instrumental, or perhaps with a different chorus. (Can anyone provide confirmation or correction on that?) My nightmare is that the next album will be called "PEOPLE" and will feature re-re-recorded versions of VROOM, VROOM VROOM, THRAK, B'BOOM, etc. Rob MacCoun Grad School of Pub Policy, Univ. of Calif. at Berkeley 2607 Hearst, Berkeley CA 94720, t/510-642-7518, f/510-643-9657 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 17:46:08 -0500 From: gadget at ultratech dot net (R.D. Collins) Subject: Roland (users group) Hoping I'm not to late, I just wanted to mention to those who where not aware that the Roland (users group) magazine v13n2 has a brief but interesting article on KC, and their equipment relative to Roland product of course.If you are un-aware of this publication it can usually be found in larger music stores.There is a price on the cover but in Toronto it has always been given as a courtesy mag. Here in Neurotica................So Long "everything in moderation, including moderation" R.D. Collins gadget at ultratech dot net [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 18:52:50 -0500 From: MatrickIV at aol dot com Subject: In Wake of the Crimsoid Personally, one of my favorite Crimson tunes is Pictures of a City on the Wake of the Posidon album. I have never heard anyone comment on this song or on that album in general. Just currious to know what other people think of it? I think IWkofP is probably the best of the early Crimson era. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 25 Nov 1995 17:02:46 -0500 From: Psychodot at aol dot com To: kbibb at anthor dot arastar dot com Subject: Belew/Levin notes Hello everyone! 1. As for what/who Tony Levin has played on/with...my first time to hear his work was in 1980 on John Lennon's "Double Fantasy". Of course, Levin's name didn't mean squat untill I began following Crimson in the mid-late 80's. On the record sleeve, there is a picture of Tony sitting next to John and Yoko and amazingly enough, in fifteen years he hasn't changed a bit. 2. Pertaining to Adrian's guitar playing [or pickin' as we say here in Alabammy] :) I have his out-of-print instructional video and he talks about playing with Crimson. In fact, I read somewhere that he had flown back from England the night before he was to shoot the instructional video and was suffering from the flu. He'd gotten the flu from being dunked under water numerous times during the making of the Sleepless video. Anyway... he explains and demonstrates various riffs, solos, etc. and I believe he plays some Crimson. (I havn't watched it in years) ALSO, If anyone has a recording of Belew's recent Beatles cover "Free As A Bird", I'll make an even swap for the video. BTW, after hearing the "new" song Sunday night, I couldn't help but imagine Adrian covering it. It was too weird reading about his version at the Longacre in NY here on E.T. a few nights later. I know trading is taboo... sorry if I offend anyone :) Thanks to whomever made the comparison of Hendrix playing Sgt. Pepper the day after it was released. I havn't thought of that in years. God forbid... McCartney finds out about this. I don't think I could stomach a McCartney collaboration... even though Adrian would probably love it... but then again? Thraks for listening.. <<<>>> [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 26 Nov 1995 00:23:18 -0500 (EST) From: Adam Levin Subject: Sartori in Baltimore County I've spent the last week in a bit of a funk because I couldn't scrape up the cash to go up to New York for the Longacre shows. Tonight a friend dragged me to see Primus at the UMBC fieldhouse. I was pretty underwhelmed. Until they came out and started to play the encore, that is. My ears pricked up immediately. They were playing "Sartori in Tangier"! They played it for a good minute before veering off into "Jerry was a Racecar Driver" The crowd was mostly full of 14-18 year olds who only seemed to recognize the Primus songs that have made the radio. There is a good chance that I was one of the only people there who recognized the nod to Crimson. -Adam --- "A baked potato is more intelligent than a raw potato." - G.I. Gurdjieff [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 26 Nov 1995 09:38:04 -0500 (EST) From: John Masecar Subject: Fripp's Black Beauty Here's a good one... According to an article in Guitar Player magazine a few months back, the Les Paul Black Beauty guitar Fripp appears with on stage is NOT his Les Paul Black Beauty, but rather a Japanese copy. According to the article, early on in Fripp's touring career a roadie/guitar-tech told Fripp he was tempting fate by taking such a valuable instrument out on the road, for fear of theft or damage (some instruments are truly irreplaceable). On advisement, Fripp had a Japanese Tokai Les Paul copy fitted for his purposes and it's been his road guitar ever since. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 26 Nov 1995 14:20:11 -0500 (EST) From: Jed Levin Subject: Dr. Diamond/T. Levin Can anyone provide the words to the song Dr. Diamond? Also, which album does that song appear on, beside the Great Deciever set? Regarding other albums that Tony Levin has played on (yes, they ARE countless!), I'm a little ashamed to say that one artist I sort of enjoy, and discovered because of Tony Levin's presence on one of his albums, is Randy Vanwarmer. He was a one-hit wonder from the late 70s, early 80s. His one hit was called "Just When I Needed You Most, and is basically an easy listening song. But he has one album, the one with T. Levin, which I really consider a progressive rock album, called "Terraform." The second side is, except for one song, about a 15-minute suite, about space travel in the future. Levin plays some great bass, and it's a great track. I guess the rest of the album really isn't progressive at all, but Vanwarmer, IMO, often treads the same lyrical ground as Warren Zevon, and he's a very good songwriter. He has his dogs, but he has a lot of good songs too. If anyone has EVER seen any of his albums on CD, I'd love to know. I'm always hoping Terraform will come out on CD. This is REAL KC trivia, I suppose... Jed Levin (no relation, as far as I know!) jlevin at panix dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 26 Nov 1995 14:17:14 -0500 From: stick at atlas dot earthlink dot net (Stick Enterprises, Inc.) Subject: From the Source to the Mouth I'd like to reply to John Mohan's post of 17 November about The Stick and Warr guitar. I was glad to read his impressions of Stick player Greg Howard's solo concert. Greg is an active and creative artist and friend, and I have the fortune to have created and to manufacture the instrument he chose to play. I was not so glad to read Mohan's interpretations of what my thoughts and feelings might be about other instruments. In his post he comments that I am "none too pleased with Mark Warr and feel the Warr guitar is a silly facsimile of The Stick". I'd have to differ with him on at least one count - I don't regard Warr's instrument as "silly". Given equivalent strings and their gauges and interior construction, equivalent pickups and their locations, and the same setups done with equal skill, both instruments will sound and play alike when they are tapped. Warr has adapted to his bass guitar the essentials of my work and creation, that is, the tapping method of all fingers of both hands equally at right angles to the neck, also the main Stick tunings of reversed bass 5ths to melody 4ths in two separate string groupings, and the extensive musician and customer base of excellent and experienced Stick players whom he is now actively soliciting. These three elements are the essence of The Stick and of my continuous work and teaching since 1969 when I discovered on my guitar the basic tapping method of two independent hands oriented perpendicular to the strings. He may not have copied my minimal bodiless design, but I feel that he and two other supporters who together use the "TouchStyle" trademark are laying claim to the greater innovations which I contributed and taught to them. Mohan got part of his story right, but in the process he mis-spoke on my behalf. Anyone interested to know more about current Stick production, models, tunings, supporting materials, recordings, etc., please feel welcome to send me a private message of inquiry. Discussions flow like a river. You have a source, and then you have a mouth. Emmett Chapman [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 26 Nov 1995 20:46:31 -0500 (EST) From: Gideon B Banner Subject: Levin posts I've been receiving a great deal of posts about work Tony Levin did outside of Crimson. Unless anyone has any objections, I will keep receiving information for another week or two and then compile all of the information and post it to ET. Keep sending the info -- ggggbbbb at minerva dot cis dot yale dot edu. Cool beans. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 00:35:36 -0500 (EST) From: Adam Levin Subject: EG/Caroline housecleaning I've just been browsing some of the online CD stores. I noticed that all but one of the Toyah CDs that were available just a few weeks ago are now gone. The same is true for Crimson's _The Great Deceiver_ box. According to CDNow, these titles were discontinued on November 22nd. Other notable deletions are: Daevid Allen _Good Morning_ Iain Ballamy _Balloon Man_ Tony Banks _Curious Feeling_ Eno/Budd _Plateux of Mirror_ Holger Czukay _Radio Wave Surfer_ Edgar Froese _Aqua_, _Epsilon in Malysian Pale, _Pinnacles_ Gong (pretty much the whole catalog, Griffin is re-releasing most of it) Steve Hackett _Defector_ Peter Hammill _Fool's Mate_, _In Camera_, _Over_ Jon Hassell _Dream Theory in Malaysia_ Hatfield & the North _Hatfield & the North_, _Rotters Club_ Steve Hillage _Fish Rising_, _For to Next-And not Or_, _L_ _Motivation Radio_, _Rainbow Dome Musick_ Jansen/Barbieri _Stories across Borders_ Mick Karn _Dreams of Reason Produce Monsters_ Loose Tubes _Open Letter_ Moraz/Bruford _Flags_ Anthony Phillips _Private Parts 3_, _Slow Dance_ Klaus Schulze _Beyond Recall_, _Blackdance_, _Dresden Performance_, _Timewind_, _Live at the Royal Festival Hall_ Keith Tippett _Dartington Concert_ Tippett/Sheppard _66 Shades of Lipstick_ Van Der Graff Generator _H to He Who am the Only One_, _World Record_ Robert Wyatt _Rock Bottom_, _Ruth is Stranger than Richard_ These are titles that have been dropped here in the US. They may or may not still be available elsewhere. Hopefully these albums will find there way to other labels. -Adam --- "A baked potato is more intelligent than a raw potato." - G.I. Gurdjieff [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ohsawa at csg dot sony dot co dot jp Date: Mon, 27 Nov 95 15:58:03 JST Subject: CD-ROM "Headcandy" Hello Everybody, Is there anybody who can explain to me the quality of the CD-ROM "Headcandy" from Opal Ltd? Its music is done by Brian Eno. Also RF is participating it as a guest. Is it worths buying? Bye, Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 15:04:21 +0100 From: Jacek Czajka Subject: McDonald & Giles Hi everybody, I need some information about lp. "McDonald & Giles" and "Earthbound" on CD. I heard that there are available only in Japan. Best regards Jacek Czajka czajka at merkury dot atm dot com dot pl [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 15:42:12 +0100 (MET) From: markus gruber Subject: Re: Elephant Talk #245 This is Klaus Bergmaier from Austria saying Hi to all ETalkers! Looking through some RF-discographies I always missed the 1984 single "1001 Nacht" by Austrian band "Ronnie Urini & die letzten Poeten", which featured Mr. Fripp on Mellotron! "1001 Nacht" (1001 Arabian Nights) was the most expensive single recording that ever happened in Austria. The lyrics were written by the famous author and poet H.C.Artmann, Ronnie Urini set them into music, sang and played vibraphone on it. Other musicians: Chris Mayer (g), Rudi Schwab (b), Wolfgang Stelzer (dr), Robert Fripp (mellotron), Andy Slavik (organ). BTW Andy Slavik is now a famous producer in Germany and has already worked with the likes of Eela Craig, LaToyah Jackson, Ruth McCartney, Sally Oldfield and many others. Ronnie Urini also worked with a lot of other famous musicians: he had Nico of VU fame on harmonium in 1985, played with Chet Baker (tour and single 1985) and Ollie Hallsall (guitarist of PATTO and The Rutles), had Mars Bonfire (composer of "Born to Be Wild") as his organ player 1989 and 1990, before I took his place for 1990 and 1991. Afterwards he had no keyboarder although I usually contribute organ, piano and synth stuff to all of Urini's recordings. Urini had his greatest hits in the early 80s (including a no.1 with a cover version of Lee Hazlewood's "Summer Wine") and he had a no.1 on an LA-based radio station in 1989 called "Wild Venus on Wheels". His work with Fripp ranges among his best songs. The song is not available anymore! Bye, Klaus [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 10:44:58 -0500 From: "Gordon Emory Anderson" Subject: Levin; Longacre mini-review Concerning Levin: As the studio rock bassist, I'm willing to bet he himself cannot remember all the records he's on. I have not, however, seen anyone mention his work on Amnesia by Richard Thompson. Also, while helping to move an old piano from Media Sound to Top Cat rehearsal studios in NYC back in 84 or so, I remember hearing a pretty, unearthly sound emanating from the open door of a recording studio. Passing by, I saw the silhouette of Levin's bald pate with stick jutting up. Apparently, he was recording a tune sitting in the control room by using the studio itself as an echo chamber. I believe this was a Levin tune that appeared on a multi-artist sampler at the time. I found it amusing that they had us moving a piano down an adjacent flight of stairs while this recording was going on. As for the Longacre, I attended the Tuesday night gig, first row mezzanine. Although I found the town hall gigs slightly fresher, some of the stuff done that evening was more interesting. Although the first couple of tunes were fairly rote, Levin and Bruford really started to get into it. At the beginning of Thela Hun Jinjeet, Bruford would not quit playing that intro, turning it into a fairly extended solo that seemed to amuse Belew quite a bit, who turned to look, waiting for a que to start the rest of the tune. My brother the drummer went nuts: as a jazz drummer, Billford is his idle. Thrak was amazing. When I first heard it on disk, I didn't really get it. But now, I feel it the ultimately expression of this 80s KC abstract-Stockhausenesque-rock-monster sound. It descended into an quiet-ish improv section that seemed like a guided tour through purgatory or something. After it surged upward momentarily, it slunk back down. Soon afterward, Belew pulled it out into nuerotica by starting a low wail on his guitar that rose into the nuerotica siren. I don't know if they had ended this improv that way before, but they came in perfectly. Quite impressive. As for the fans, they were well behaved for the most part. At one moment between songs, the high-pitched hoots of the audience harmonized for a moment into a strange feedback sound. After the encore, some shouted for "Free as a Brid!" Before exiting, Belew said "For a moment there I thought you said Free Bird. I guess he's aware of the gag. As for Fripp, he still has not really taken the kind of role he played in the 80s. I keep waiting for him to take a towering monster solo, a la Sheltering Sky. Except for certain moments, I felt like he could have been replaced with a recording of himself and the effect would have been unoticable, and believe me I'm listening. He of course had some brilliant moments. I also keep hoping I'll hear more from Trey Gunn, who sounds beautiful when he's allowed to come through. As for the sound, I'll still believe these relatively small halls KC plays in NYC are just too small for good sound. When they all are wailing, it sounds at times like patterned white noise, though impressive just the same. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Mathews, Thomas J." Subject: RE: drum trio & Gunn's playing Date: Mon, 27 Nov 95 12:42:00 EST >From: medtek at ghgcorp dot com (Sandra J. Prow) >Subject: Drum Trio >Does anyone know why this was not performed in New Orleans? This might just be timing. They did it for both shows in Atlanta. Did they do it in Texas, AZ or CA? It seems that changes in the set were made during the tour. My hope is that Fripp will include a tour diary about those changes along with the Live US95 release. I hope he might include comments about his viewpoint of the different audiences. They should call it USABoom. yeah. >From: JMYandel at aol dot com >Subject: What Gunn's playing, part two >Last time I talked about Gunn's part's on Thrak, and this time I'll list >his parts on B'Boom. Your efforts are heroic. I applaud you. >He is an incredibly restrained musician (not at all unlike Fripp) and >doesn't take the spotlight from others. This should be due to many years with Fripp including Guitar Craft. His future should be bright. >BTW, I thought it was rather interesting that he too noticed the Eno influence >on TG's 1000 Years. I will give it another listen with this in mind. So thank you jonathan. tj [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 27 Dec 1995 14:07:30 -0500 From: bpp105 at psu dot edu (Benjamin Perry) Subject: tape wanted! Hey ETers! If anyone out there has a friend with a friend that knows someone that taped the 11/15 show at the F. M. Kirby Center in Wilkes-Barre, I would be interested in executing a trade. I really enjoyed the show, and would like to share it with friends who were not able to attend. I am also interested in any of the New York shows, especially one featuring Adrian's solo rendition of the "Free as a Bird" song. Respond by personal e-mail to: bpp105 at psu dot edu Thanks a lot! Bennie -------------------------------------------------------------------------- Benjamin Perry bpp105 at psu dot edu "And what if all of animated nature Be but organic Harps diversely framed, That tremble into thought, as o'er them sweeps Plastic and vast, one intellectual breeze, At once the Soul of each, and God of all?" Samuel Taylor Coleridge, "The Eolian Harp" (1795) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Ashley Subject: Re: Elephant-talk digest v95 #245 Date: Mon, 27 Nov 1995 13:10:53 -0600 (CST) > From: medtek at ghgcorp dot com (Sandra J. Prow) > Subject: Drum Trio > > >The enchores were as spectacular with the Drum Trio being a real crowd > >pleaser. > > Does anyone know why this was not performed in New Orleans? Was the stage > too small? > Yes. The whole venue was too small. So small, Pat couldn't be seen, they couldn't fit in the backdrop, they couldn't use (and didn't unpack) the vari-lite, and didn't have room to do the drum trio. Sigh. At least we were very, very ,very close to the stage. ashley [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 15:39:55 -0500 From: ASFSeattle at aol dot com Subject: Cost of doing Business In et #242 Sandra Prow writes: >My point is that it's >entirely possible Mr. Fripp and friends are losing money on this tour. You >never know. Me, I'll just lay my money down for the items that they offer... It's sad to think but very realistic point that Sandra makes in ET#242. Many reviewers have told us they called the theater day of the show and there were "tons" of tickets left. A tour of this size has got to cost big dollars. And if they're not selling out 2-3000 seat theaters, that might explain why the ticket prices are high. Some of you might recall that after Frank Zappa's last tour in ' 88 he threw in the towel after sustaining a sizable loss on that tour (after all travel expensese & musicians' salaries were paid). Granted the money was not the only cause for FZ retiring from "rock" concerts. My point (and I believe this is Sandra's also) is simply that we all should enjoy the gift we have that the Crimson King is here for us to enjoy. Think how many of us felt in 1984 when they were done? I for one hope that the band members make enough to sustain themselves & keep going and that they enjoy what they're doing enough to keep bringing the music to us the fans. Rgds, Matt [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 27 Nov 1995 18:58:38 -0500 From: 74762 dot 304 at compuserve dot com Subject: King Crimson and the Coconuts When my brother asked his 50-something boss if he could leave work early for to see a concert in NYC, his boss said its OK and asked who was performing. "King Crimson", my brother responded. "And the Coconuts? I've heard of them -- grass skirts and all that", the boss responded. "Yes. That's right. King Crimson and the Coconuts." Needless to say, our new name for Crimson is "THE COCONUTS." And by the way, the luau (11/20) was fantastic! -Ringo G. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Peter" Date: Mon, 27 Nov 1995 20:12:28 +0000 Subject: Fripp fifth tuning froth Hi. I was wondering if any of the guitar players out there have experimented with Fripp's "new standard" tuning, and if so, what you were able to do with it. I retuned my Strat a few weeks ago, and since then, I've come up with some pretty whacked-out stuff but I still don't have a good way to play the old major scale or simple chords. Help! Pete [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Moderation and Intollerance. Date: Wed, 22 Nov 95 18:44:34 PST From: Ed Korczynski John Perry-Barlow, in a public talk I attended, explained that community of any sort cannot continue to exist without some degree of intollerance. This statement is in direct contradiction to the rather naive concept advanced in many places these days that tollerance is always a virtue. In fact, we should not only not suffer fools gladly, but we should also not suffer personal attacks on previous posters, or long theses on why an individual's favorite thingy (lyricist, lyric, solo, etc.) is profoundly better than anyone else's favorite thingy. It appears that we are now practicing a sort of healthy intollerance of posts that would otherwise drive most of us away. This is good. People fish, people beef... -edo -- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 28 Nov 1995 09:26:51 -0600 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: Marine 475 Hi all This may have been posted before, but does anyone know what Marine 475 is about? Also, is that Adrian speaking on it, or is it somebody else? Just wondering... CV [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: rhea at sas dot upenn dot edu (Rhea A Frankel) Subject: Tshirt question Date: Tue, 28 Nov 1995 14:26:56 -0500 (EST) Hi. I just bought a Crimson tshirt with various album covers on the front. I recognize all but one of them. The cover on the bottom has the earth with a face superimposed. Can someone identify this album for me? Thanks. Rhea Frankel [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 28 Nov 1995 15:47:09 -0500 From: MatrickIV at aol dot com Subject: Chicago Here I comeK!!!!!!!!!!!! Driving 500 miles to see Crimson. Should be a blast!!!!!!!! Has anyone heard what KC is planning to do after this tour? My guess is that they will start on a new album. KC seems to be very prolific when they are active. History shows us that they average an album a year when in full musical force. From what I have read in recent interviews with the band memebers is that they seem to be excited about the new line up, and all have spoken of band goals for the future in terms of the "double trio" format being develped more. Seems like the goal might be to intergrate more improvisational peices into their albums and live shows. This seemed to be the case with the early 80's incarnation. ToaPP was about half structure and half improv while Discipline was mostly structured tunes. Beat had a little more improv. We can only hope for more spontanious music because that is when the "REAL" magic and power of KC's music comes to life. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 28 Nov 1995 17:29:19 -0500 From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Subject: Prog. Rock tour I have been hearing all kinds of rumors about a so called prog. rock tour being in the works. This tour will reportedly feature some of the better known prog. rock bands (U.K., ELP, and Yes). Has anyone heard anything like this? Is crimso going to be involved? well it's goodbye. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 28 Nov 1995 20:38:21 -0700 (MST) From: ERIC DIXON Subject: KC Interviews In an issue of ET a few days ago, Joe Mel asked whether KC or KC's management is usually evasive about granting interviews. When KC came to Portland last summer, a friend of mine interviewed Tony Levin. He sent an e-mail request to Papa Bear Records, and Levin himself wrote back, saying an interview would be no problem. The interview was great, my friend said, and Tony was gracious and humble as always. He mentioned elephant-talk and said that he hardly ever reads it. He also said [complete paraphrase] that it's pretty scary that people have so much time on their hands that they can write and read endlessly about a band, which I thought was pretty funny. At any rate, that was early in the tour, so they may (probably) have tired of giving interviews and meeting overexcited fans by now, and Tony's attitudes and practices don't necessarily correspond with the other members in the band. Eric D. Dixon eric at du2 dot byu dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]