From elephant-talk at arastar dot comFri Dec 22 08:58:01 1995 Date: Fri, 22 Dec 1995 04:06:08 +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 #252 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 252, Wednesday, 20 December 1995 Today's Topics: miscellaneous tripe Bruford and the Book Re: Elephant-talk digest v95 #251 Robert Fripp book citation KC recordings in 1986? Crimso on Fridays NST and Me Help with "Damage" The Wire review of B'Boom & A Blessing of Tears Who does what in Cage, Marine? And McLauglin and Fripp. Fripp's Footwear Re: Crimso Alumni network crafty shoes Fripp/Sylvian tour bootlegs Sound Quality of Compact KC Bill's part in B'Boom Islands odds and ends Bruford Rips Toni Childs "the woman's boat" Low Flying Aircraft Jamie in telvision? Bumper Sticker nme 1971 Levin discography/The Explorers CDConnection top 15 An Observations & questions by a KC Fan Re: Similarities Engine Longacre Review, NYC 11/24/95 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 This will be the last ET of '95. I'll take this opportunity to wish you all a very merry Xmas, and a happy year in 1996. Have a drink to ET! Best wishes to all Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Peter" Date: Thu, 14 Dec 1995 15:36:20 +0000 Subject: miscellaneous tripe A few quick things: I saw something on PBS called "The Disputation," a low-budget film featuring an actress named Toyah Wilcox. Is this Fripp's wife, or are there two performers with that name? On the recent rash of "Fripp-should-record-with-such-and-such, it-would-be-such-a-natural-combination" posts, why is everyone limiting it to other avant-garde guitar heroes? After listening to the Sugarcubes, I can't stop thinking about what a Fripp-Bjork recording would sound like. I'd also love to hear a Fripp/Anthrax jam just out of curiosity. Pete [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 14:12:10 -0600 (CST) From: 2F63BEAUMIER at VMS dot CSD dot MU dot EDU Subject: Bruford and the Book Hello to everyone, and thanks to Toby (if this gets in......) I have seen a lot of posts about the "When in Doubt, Roll" book by Bill Bruford I have this and the text and exercises are great and really helped not to SOUND like Bill Bruford but it created a series of situations whereby you can open yourself up to new creative processees at the set......my only complaint about the book is that the noodle head who did all the transcribing flubbed a lot in certain tunes....the "Presto Vivace and Reprise" is missing like 5-6 measures some in a whole transitional section of the music....."Industry" has bits missing, and certain accents are botched on songs like "The Drum Also Waltzs" I got this when I was using the book for lessons back in 1991!!! I just remembered these little spots of info from back then, not that I sit at my set 6 hours a day and try to play the hell out of that book......I remember something from this summer that Bill didn't like the book but that it was part of some contract that he had to fulfill.....I am not sure where this is from, however. But the text is great and the excercises are pretty challenging with starting and stopping and things like that--some cool pictures too! I really wish he would put out another book of excercises and rhythmic ideas I read in Modern Drummer a few years back with "A Different View", with Belew that Bill did this rhythmic thing (I think like on "Waiting Man") where he had a master right hand pattern that was repeated with the left hand- only a beat later or an eighth note later....etc etc......I tried this in a jazz combo I was in that did Stan Kenton tunes....The main swing pattern for the right hand was standard: spang, spang-a-lang with eighth not triplets....I did this clicking the hi-hat on 2 and 4 and then proceeded to play the same pattern on the snare only an eighth note later which proceeded to piss-off the piano player and the trumpet player as they could not find "one"!!! But it is just marvelous looping stuff like that!! I wrote to Hal Leonard 3-4 years ago asking about fixing the book buty got no reply....... But I would get it--- Good luck and "happy counting....." [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 13:13:09 -0600 (CST) From: Ryan Sutter Subject: Re: Elephant-talk digest v95 #251 This may not be the correct place to ask this, but since you are all my fellow Crimsoids and quite a few of you are musicians...does anybody know where I can find copies of the Fripp guitar columns from Guitar Craft circa 1989, 1990? I used to subscribe to the magazine when these articles were published but alas, I no longer have any of the articles. If somebody can help me, please e-mail me privately. Thanks in advance (and thanks to Toby...what a swell guy:) Ryan Sutter [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: H#YANDE at ccmail dot ceco dot com Date: Thu, 14 Dec 95 12:31:30 CST Subject: Robert Fripp book citation Hello All! For all of you who were looking for the citation for the Eric Tamm book about Robert Fripp, I've located a book store in Portland, Oregon (USA) that is willing to special order it. They've included the citation information for the rest of you. Phil >Hello! >Sorry for not getting back to you sooner, but there was a storm >and the city was evacuated. I know it's crazy, but it's true. >In any case, I took a look for this book at Powell's City of Books >(our mammoth mother store up the street--which will be on line sometime >in January). They have had it in in the past but are presently >out of stock. >If you'd like to special order it we can do that. It would take >us two to six weeks to recieve it, and the price would be >$13.95. Trade paperback seems the only way it comes. >Here's the citation I found: >Robert Fripp: From King Crimson to Guitar Craft 3/1991 >Faber & Faber Incorporated >Eric Tamm Trade Paper isbn 0 571 12912 9 231 p. $13.95 >If you'd like me to place a special order for it, just let me know. >Thanks for your patience, >Darin e mail dept. >Powell's Technical Books Web: http://www.technical.powells.portland.or.us >Email: orders at technical dot powells dot portland dot or dot us >Fax: +1 503 228 0505 Voice: +1 503 228 3906 Toll Free: (800) 225 6911 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 13:38:03 -0800 From: Rob MacCoun Subject: KC recordings in 1986? Back in November, Michael Keran posted on the gabriel-list an anecdote about meeting the members of Peter Gabriel's band. With his permission, here's a brief excerpt of interest to ET readers... >...About 4pm we spotted Tony Levin... On >a bike... He'd ridden from the hotel to the stadium! So we flagged >him down and talked with him for about 10 minutes. He mentioned that >King Crimson was doing another album (this was in 86, I believe...) and >we got the mandatory autographs while we basked in his glory, etc., >etc., etc. He left us saying that they needed to start the sound check >soon and rode down the loading ramp into the stadium.... I wrote to Michael to ask about this; I was surprised by the mention of another KC album circa 1986, since KC basically broke up around 1984 and didn't produce another album until 1994. I asked him if the date was a typo. His reply (again, by permission): >No, it wasn't a typo.... I wasn't really familiar with KC back then, >but the people I was hanging around with by the entrance were. One of >them asked about KC getting back together for another album and he said >something along the lines of "we've been thinking about it" or "we've >been talking about it." So it wasn't a definite answer. Does anyone else know anything about a failed attempt at a 4th album by the 1980's version of KC? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 17:04:39 -0500 (EST) From: David Lynch Subject: Crimso on Fridays On Thu, 14 Dec 1995 elephant-talk at arastar dot com wrote: > The show in question by James Poulakos in ET # 249 was the show > "Fridays". Crimson did two songs for that comedy show which I still > remember well to this day (KC, not the comedy). One of the songs was indeed > "Elephant Talk." The other was "Thela Hun Ginjeet." Crimson seemed to > enjoy doing this show quite a bit -- moreso than on Conan. Yes, Fripp even laughed during one of the songs (Belew messed up a line). They also played "Matte Kudasai", however this was not broadcast. eraserhead at iglou dot com / Not the dippy director / Tape trades welcome See the Soap WWW page at: http://www.rahul.net/ndanger/soap/soap.html [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "ToddM" Organization: LaserMaster Corporation Date: 14 Dec 1995 16:31:20CST6CDT Subject: NST and Me Oddly enough, my experience with the Fripp's new Standard tuning was both a good and bad thing. At the time, I was actually unemployed and tuned one of my electric guitars to the tuning and started working with it about three years ago. It was amazing - the first day when I truly realized the possibilities of the tuning was like an electric lightning bolt of creativity. I wrote four complete songs the first day and another three or four the next. It was kind of frightening - in one way it allowed be to toss a lot of old baggage away and start anew. I played exclusively with the NST for a solid week, and then, tried something: As a test, I picked up my other, standard tuning guitar and it seemed that, for that moment that it was dull as lead. I then moved back to the NST. I stayed with the NST for another six months and at the time the tremelo bridge on the guitar itself actually developed cracked bridge saddles! I actually ended up replacing the entire tremelo bridge later on, but the guitar spent about a year in storage as I was moving at the time and my other guitar seemed to suit me better at the time. I've finally put that guitar back together again and have it tuned and intonated for standard, and will most likely move back to NST on 01Jan. I find that in some ways what RF has discussed about the tuning to be true - the possibilities for chords alone are unbelievable - forget those cliches. And solos? Well listen to Fripp if you want some possibilities. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 95 17:52 EST From: valerip Subject: Help with "Damage" Hi! Some time ago somebody broke into my apartment and stole 60% of my CD collection including some rare and out of print CDs. Among those CDs stolen were "World Diary" autographed by Tony (miraculously I met Tony at San Francisco's Tower Records while vacationing in October and bought his CD again - it was a promo - and had it autographed again) and Sylvian/Fripp live CD called 'Damage'. I checked all local stores in Vancouver and Seattle, searched through all Internet on-line CD stores but in vain. This gold CD is out of print. But I hope it is still being sold somewhere in the world. If someone can help me to buy "Damage" I'd appreciate it very much. Please respond by mail. Regards Valery [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 21:09:23 -0400 (EDT) From: JPRICE at TrentU dot ca Subject: The Wire review of B'Boom & A Blessing of Tears Hello Crimsos, Here's a review from the Sept. '95 issue of "The Wire-Adventures in Modern Music". It was the first "Wire Winner" in that issue. Actually, that should be plural, as the review covers both "B'Boom" and "A Blessing of Tears". --------------------------- Wire Winner-In the Red King Crimson-B'Boom (Official Bootleg-Live in Argentina 1994) Robert Fripp-A Blessing of Tears (1995 Soundscapes Volume Two-Live in California) Recorded in Argentina last year on a DAT machine straight off the mixing desk at King Crimson's first shows for a decade, -B'Boom- has no post-production tampering, no mixing even, hence the live bootleg title. Robert Fripp is usually a perfectionist but these recordings took his fancy and were put out on a whim to counteract dodgey -and pricey- bootlegs. King Crimson's recent studio album -THRAK- has been touted by many as at least a partial return to their 73-74 heyday. Although the inspired, semi-improvised approach that brought rock near its limits in those days has receded, it's fair comment. The music on -B'Boom- is based on another constant: Fripp's riffery. Diamond-hard, multi-faceted structures prevail - dissonant, angular, but always beautifully logical. It's pared brutally to the bone, with Fripp barely playing a solo throughout. New tracks like "VROOOM" and "THRAK" display very similar forms to such old head-crunchers as "Red" and "Lark's Tongues in Aspic Part 2", also included here. Fripp's keen to explain that the new sextet incarnation of the group is essentially two trios of bass, drums/percussion and guitar. The upside on this recording is the huge, monolithic guitar sound; the downside is that both basses merge into one, and the percussion - so thunderous and inventive on -THRAK- (recorded after these performances) - is tentative and towards the back of the soundfield. Adrian Belew's vocals and lyrics are the comparative weak link, essentially acting as respite between the bouts of sonic bludgeoning. But anyone familiar with Gordon Haskell or Boz Burrell singing Pete Sinfield's hideously Rococo purple prose on Crimson's early 70s recordings will feel relatively spoilt. Fripp's Frippertronics tape-delay system - in use since his 1973 collaboration with Eno, -No Pussyfooting- was revamped on last year's solo release -1999 Soundscapes_Live in Argentina-. -A Blessing of Tears-, the second volume in the 95 Soundscapes series, is a selection of live improvisations recorded in California earlier this year. The hardware is digital and more sophisticated now (as used on collaborations with FFWD, The Orb, and Future Sound of London), giving rise to gorgeous, hovering atmospherics. Putting technicalities to one side, the music that Fripp achieves here is beautiful. The poignant sleevenotes, based on Fripp's elegy to his recently deceased mother, contextualizes the music's abstraction. Massive trawls of sound flowed through -1999-, but here the shifting, multi-effected, multi-tracked guitars evoke the cascading beauty of light pouring through stained glass. Though structurally nebulous, the hovering fragments of melody evoke the estatic devotionals of John Tavever or Arvo Part. Fripp's guitar playing, though peerless, rigorous and perpetually challenging, has never been so overtly emotional. This is guitar improvisation of rare, searing passion. Mike Barnes [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 23:15:06 -0500 From: DanKirkd at aol dot com Subject: Who does what in Cage, Marine? And McLauglin and Fripp. I've had this question on my mind for a long time: who does the fast talking on Cage? It just doesn't sound like Belew. Could it be Gunn? What about the spoken words on Marine? Same thing. We know Gunn to have vocalized on his own CD, and Belew just doesn't sound like that, effects or not. Any thoughts on this? sfcsic at mx dot iki dot rssi dot ru (Nicolay Shienok) mused about McLaughlin and Fripp ever doing anything together. Well, way back in ET (then Discipline) #66, 68 and 69 was posted an interesting interview of McLaughlin by Fripp himself. Almost a discussion, as Fripp talked about his views almost as much as McLaughlin. Use the ET indexes and archives to find these. Oh, just one more thing that I mentioned to Toby a few weeks ago. Someone mentioned how hard it was getting to pick out the news from the noise in ET these days. I think a simple solution would be for us to get back to using subject tags. If you have news about something happening or that is going to happen, preface your subject with NEWS: to highlight the fact. Maybe these can be placed at the beginning of the newsletters. It would also help if you made news postings separate from other topics in your post - i.e. multiple posts for multiple topics (within reasonable limits!), IMO. Finally, if we avoid the bothersome "Re: Elephant Talk #796" subjects and used more meaningful subject that could help too. Just a few suggestions. Merry Christmas to all, and best wishes for the new year!! 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: tlkalka%mailbox dot syr dot edu at cs dot man dot ac dot uk Date: Thu, 14 Dec 95 23:44:30 EST Subject: Fripp's Footwear I can't believe I'm posting about this topic. Having seen King Crimson twice in 1995, my friend who pays attention to this sort of thing commented that RF seemed to be wearing Doc Martin Air Walkers. Peace Terry [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 14 Dec 1995 21:59:44 -0800 From: eahoukal at ix dot netcom dot com (Eric Houkal) Subject: Re: Crimso Alumni >I was in the record store a couple of weeks ago and I saw an album >featuring David Cross, Keith Tippet, and two other people who's names >I've forgotten. The other day I went back to reexamine the CD, >but apparently it had been sold. Does anyone have any information on this >album? Keith Tippet and David Cross have extremely different styles and >I'm curious to see how the two harmonize. > I remember a group called Low Flying Aircraft being advertised around 1990 or so in an underdround catalog, featuring "former members of King Crimson", one of whom was definitely Cross. Unfortunately, I failed to snag the vinyl at the time and have never run across it since. This might be what you're referring to; hopefully somebody has the album and is willing to share a little more info. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ossi at kerfi dot hi dot is (Orn Orrason) Subject: network Date: Fri, 15 Dec 1995 09:34:56 +0000 (GMT) Reg. my former post "KC touches the darker side of your self". This does not mean the worse side or the side from the hell, it simply means it touches unchartered sides of you, which may well be a source for inspiration or healing. Because this side is unchartered many people get scary listening to KC. KC has simply changed my life and my attitude to music. Regarding the labum NETWORK which almost never mentioned here. I bought a copy in WOM/Muenchen 1985, On the cover is this photo of the yuppie Fripp quite unlike any other photograph of him. It is almost as he says "please buy this album, I am ok". Weel the album is nothing but digital remasters of previous issues like "here comes the flood with Peter Gabriel. The album sounds indeed very good , certainly much better than previous issues. On the b side were two song with David Byrne , one ot htem features him shouting all kind of ism. My memory does not bring me further. regards Orn -- ************************************************************** * * * Orn Orrason - Electronic Engineer * * University of Iceland - Systems Engineering lab * * Tel +354 525 4703 Fax +354 525 4937 em: ossi at kerfi dot hi dot is * * * ************************************************************** [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Caron, Antoine" Subject: crafty shoes Date: Fri, 15 Dec 95 10:00:00 EST In response to T.J. Mathews, in ET #251: Fripp's square shoes are the New Standard Shoes. The subject is vast, but we all know how ET's bandwith is precious, so: to the jugular. The New Standard Shoes' parallepipedoid shape give the craftie plenty of space to practice toe pressure and release exercices anywhere, without the innocent bystander wondering if one has athlete's foot. They fit smartly in the shoebox for efficient use of the "footprint". The shoebox is the cup that holds our whereabouts. Odor is that cup, broken. Most importantly, the blunt end of the New Standard Shoe allows Mr. Fripp maximal energy transfer without inflicting significant pain when kicking stupid people in the butt. Antoine W. Caron caron at biotech dot lan dot nrc dot ca [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 16 Dec 1995 02:18:17 +1100 (EST) From: Marcel Safier Subject: Fripp/Sylvian tour bootlegs I have been compiling a list of bootlegs from the Fripp/Sylvian tour through David Sylvian's newsletter and this is the result of various replies: Cat. No. Title/Venue - Date ? THE FIRST DAY/Japan - Mar 1992 FTCD0018 KINGS/Genova - June 1992 FTCD0046 KINGS, SECOND CHAPTER/Italy - Nov 1992 AS006 THE DAY BEFORE/Europe - 1992 OCTO174-2CD A NEW DREAM/Tokyo - 1993)- from the radio broadcast which is LSCD 52522 TOKYO 1993 ) available on laserdisc & VHS video DSRF211/2 THE ROAD TO GRACELAND/Festival Hall, Osaka - 21 Oct 1993 tape Toronto - 1 Nov 1993 (from live radio broadcast) Does anyone have any more to add? Cheers! Marcel [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 15 Dec 1995 10:49:51 -0500 From: "Gordon Emory Anderson" Subject: Sound Quality of Compact KC Does anyone notice the crappy, brittle sound quality on the 80s records, or is this my imagination? Although I always liked the songs on Discipline, I remember the album sounding kind of weak and base-less (yes, I hear the base notes, but they don't sound very rich or full). Having purchased the CD Compact King Crimson, I am particularly bothered. For instance the song Discipline sounds high-pitched and brittle. Anyone agree/know why? Is this because early digital recording technology was used, or perhaps some digital somewhere in the mixing, etc? Perhaps my memory is wrong, and this bad sound quality is limited to the CD. (It aint my stereo--believe me: Audio Alchemy Digital/Sonic Frontiers pre-amp/McCormack Amp/Thiel CS1.5 speakers.) Many people think the mastering process to CD is simply a matter of flipping a switch, but great care must be taken in the transfer, and choices must be made. Perhaps the digital mastering was done badly, though Fripp himself seems to have been part of it, so I would think not. What's the deal? -Emory. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 15 Dec 95 11:06:05 EST From: Jack Secret Subject: Bill's part in B'Boom Someone had asked about Bruford's improvising in B'Boom so I thought I'd throw my thoughts in... I don't have my cheesy little transcription with me so I'll be doing this from memory and will probably be kind of wrong (please don't thrak me!!!) I'm assuming here that Pat is playing the thumpy bass drum and Bill is playing the ringy sounding thing (kind of a bass sound). Pat's part is simple-the same pattern on the toms and the bass drum is usually on the first or first and second eigth notes of each measure. I'm a little fuzzy on the first few bars of Bill's impov but this should be pretty close: After Pat plays 4 bar of 6/8 by himself, Bill comes in with 8 bars of 6/8, 1 bar of 7/8, 2 bars of 6/8, 1 bar of 5/8. >From now on I'm almost positive this is what it is (at least the way I count it) Bill then plays a back beat which I count as 8 bars of 4/8, then 5 bars of 5/8, 4 bars of 7/8, 4 bars of 8/8, 4 bars of 7/8, 4 bars of 5/8, and then he plays about 7 bars of 3/8 before closing the section by playing the accent pattern with pat on snare. Counting it this way, there's almost always bass drum played on the 1 of every measure and the snare drum hovers around the 3rd or 4th eigth note of every measure. For the next section, after Bill plays the rolled version of the new rhythm on snare, they both play on toms. After doing that for a while, Bill plays the rolled version on snare again and then plays full set against what pat is playing. This part isn't too scary. You can count the whole in 7/8. The snare hits come on the 3rd and 7th notes of each measure with the bass coming on the one of each measure until the last few measures. For the last few measures of the improv it might be easier to count it in 7/4 because it sets up a back beat (almost) As for the versions on B'BOOM (the album), the themes are similar although not exactly the same--I haven't really listened to them yet. As I said before, this was from memory but hopefully it'll get you started. Comments and criticisms welcome. Later, Jack "Flack" Secret -art as expression, not as market campaigns will still capture our imagination- np [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: parki at algorithmics dot com (Brian Parkinson) Date: Fri, 15 Dec 1995 17:15:11 -0500 Subject: Islands Finally bought Islands, and I think that it is great ! Prelude: Song of the Gulls is realy nice. I read a rumour that we may be getting some live cuts from this early period - is that so ? I cannot justify the Frame/Frame box set - 'tis a lot of money for the last CD. Merry Christmas ! Brian Parkinson | | Life is complex - (H) 769-4586 | It has real and imaginary components. (W) 416-703-3669 x247 | [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 15 Dec 1995 19:55:51 -0500 From: ARCHITO at aol dot com Subject: odds and ends Hi Crimsoids! Odds and ends: 1. Just picked up a book you might be interested in. King Crimson 1969 -1995 (Marquee - Pony Canyon Inc). Nice picts, discography, ads (old & new), and interesting articles. At least I think so since they are written in Japanese! If anyone out there would (could) translate these to English on audio tape, I would be glad to transcribe them and post relevant parts to ET. I could photocopy the articles and send them to you (anywhere in the world) w/ U$D($) for tape and return postage. Any takers? If you want a copy of the book, try Twist & Shout in CO (303) 722-9951 2. Picked up a Fripp and Eno CD I was not aware of before titled: ENO & FRIPP London 1974 & Paris 1975.Reasonable sound quality ( probably a boot?). What stands out are three songs (ie Fripp's playing) , Wind on Water, Peter's clock and Oaken Gates. I am aware of Wind on Water from Eveningstar (EEGDC 3). Anybody aware of "Peter's clock" and "Oaken Gates" on other studio or live discs? 3. As per a previous request - I purchased a copy two weeks ago of the TOAPP Live in Japan laserdisk from Buster's Rock Dreams in NJ (609) 890-0202. Give them a call if you are looking for this. If you want the Sylvian & Fripp laser disk contact Mark Perry at PossProd at AOL dot com (also check out the video "Careful w/ that Axe! " Possible Productions is selling also. It's good!) 4. Is anyone familiar with other laserdisks of KC or Fripp besides Sylvian/Fripp Live in Japan & TOAPP Live in Japan. If so, please email me. Thought for the day: "There are of course many problems connected with life, of which some of the most popular are "Why are people born? Why do they die? Why do they want to spend so much of the intervening time wearing digital watches (and listening to King Crimson)? " my insertion with apologies to Douglas Adams and the Hitchhiker's Guide to the Galaxy. Thanks Doug Abshire ARCHITO at AOL dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 15 Dec 1995 22:42:18 -0500 From: tomhowie at nylink dot org Subject: Bruford Rips > > Since there have been multiple requests for Bruford's book "When in > Doubt...Roll!" I will post the info for it here. I happen to own the > book myself and the drum exercises are excellent and the notes for each > song by Bruford are excellent (and funny- especially his rippings of Yes > and Wetton) as well. I also own this book, and have read it many, many times. Bill is a tremendous inspiration to me, both through his musical abilities and his musical philosophies. However, in my many readings I have yet to come across any point in which he "rips" any of the musicians he has played with in his career. In fact, his comments about "white American males" notwithstanding, he doesn't "rip" anyone. If you're thinking of buying this book to fuel your disdain of Yes and Wetton (or "White American males"), you'll probably be disappointed. Buy the book for Bill's tremendous wisdom, and his wonderful dry English wit. There's enough text there (and information about KC) to satisfy anyone who doesn't play drums and is even marginally interested in Bill's ideas. tomhowie at nylink dot org Tomas Howie West Chazy, NY USA [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Trent H Blomquist Subject: Toni Childs "the woman's boat" Date: Fri, 15 Dec 1995 23:05:52 I just wanted to thank the person who reccomended "the woman's boat". Toni's voice is very nice and it is loaded with tons of Frippertronics and Trey Gunn on the stick. Also a nice track with Peter Gabriel on back vocals (David Rhodes on guitar on a number of tracks too ; - }). Any ways I highly recommend the album Trent. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 16 Dec 95 21:29 GMT From: ronc at cogs dot susx dot ac dot uk (Ron Chrisley) Subject: Low Flying Aircraft Date: Sat, 9 Dec 1995 19:32:31 -0800 (PST) From: Sasha Alain Wolf Subject: Crimso Alumni I was in the record store a couple of weeks ago and I saw an album featuring David Cross, Keith Tippet, and two other people who's names I've forgotten. The other day I went back to reexamine the CD, but apparently it had been sold. Does anyone have any information on this album? Keith Tippet and David Cross have extremely different styles and I'm curious to see how the two harmonize. Yes, the CD is called Low Flying Aircraft, and it was the brainchild of Dan Maurer (Cross' very good drummer) and Jim... Damn, I've forgotten his name. Anyway, Cross and Tippett are only guests on a few tracks. -- Ron Chrisley (ronc at cogs dot susx dot ac dot uk) http://www.cogs.susx.ac.uk/users/ronc/index.html Chill. Serve. Enjoy. Repeat. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 16 Dec 95 21:33 GMT From: ronc at cogs dot susx dot ac dot uk (Ron Chrisley) Subject: Jamie in telvision? I was away on Thursday, so I set my VCR to tape Deep Space 9 (no flames please) at 6.00 on BBC2. When I watched the tape, the very end of the previous programme was on the tape. The credits said: producer: Jamie Muir. Is this our Jamie? The listings said that the programme before was "the sky at night" but the snippet I saw didn't look like it was from that. Any ideas, anyone? -- Ron Chrisley (ronc at cogs dot susx dot ac dot uk) http://www.cogs.susx.ac.uk/users/ronc/index.html Chill. Serve. Enjoy. Repeat. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 16 Dec 1995 22:32:41 -0500 From: DnTMan at aol dot com Subject: Bumper Sticker Saw a cool bumper sticker the other day. I believe it came from Mobile Oil and said: `We supply Vrooom service' ! Even had the spelling right. Wish I knew how to get one. -Tom [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 17 Dec 1995 18:23:39 +0200 From: zeppo at thrak dot pp dot fi (Arto Seppala) Subject: nme 1971 Hi everyone, Here's a piece of Islands history. Hope you like it (and hope it's not too long). Merry Christmas to everybody. >From NME, December 1971 There is one thing many people overlook - that musicians, first and foremost, are ordinary human beings. They have feelings, emotions, regulation uppers and downers, periods of self-doubt plus the usual hang-ups that plague everyone's existence. King Crimson, currently touring America, have just emerged relatively unscathed from a period of mental stress - not of impending doom - just the aftermath of battle fatigue. Following what seemed like a decade of inactivity, the King assembled his new recurits, and for the next 12 months the Courtiers of the Crimson King committed Themselves to a campaign of concentrated rehearsals, tours and recording a new album "Islands" to the point where they almost drove themselves to the very brink of human endurance. "The thing is, you've got to be realistic about these things", a voice belonging to the band's demon drummer, Ian Wallace, quietly wafted above the etheral stereo sounds of their "Islands" album. "I don't care what anybody says, every band goes through stages where they get to know each other better...and we've just gone through all that", the voice added, as it came from within the depth of Wallace's frame which was reclining on a low stack of giant cushions. The voice continued. "Thankfully, we are all very responsible people who can talk things over. We've gone over all the humps and from here on in the music is definitely going to get better. The last tour was heavy" he stated in retrospect. "It was a test... a test of personal and collective stamina. We all got very tired, especially Fripp, but we had the strength and the initiative to surmount all that and still hold on to all that we have been working for." Having got that little load off his chest, it was time for coffee liberally flavoured with rum. The three of us - multisaxist Mel Collins was also present - previewed the acetate of the new Crimson collection. Warm and cosy two floors up - protected from the icy rain - just a street cry from Portobello Road, I listened attentively while Ian and Mel passed judgement. "On stage we tend to play somewhat different arrangements that you hear on record," the Wallace voice informed, as the stylus slipped into the first cut "Formentera Lady". "Speaking from experience, it would be like playing Puppet On A String every night", Wallace continued as he took a personal split second retrogressive step into his illustrious past. Quickly returning to the present, he continued "this track relates to Pete's experience earlier this year when he was touring the island in a VW." As the next track, "Sailor's Tale", filled the speakers with it's visions of sirens luring matelots to their doom, Wallace said, "Pete relates to souls and we relate to abstracts." This is demonstrated fully in the last track on the first side, "The Letters". This is a melodramatic saga of a woman receiving poison pen letters from her husband's mistress which causes her to go through numerous traumatic emotional periods which result in her commiting suicide. "Here we relate to the feeling of hate... love...peace and death", Wallace revealed, but added, "though most of our material comes from personal experience this is fictional". Turning to Mel Collins, he consulted his cohort and asked for a confirmation as he is often prone to do. "That's right, I agree with you Ian" the reticent Collins was to reply throughout our tete-a-tete. Boogallo a la Crimson came thundering out once the acetate had been flipped and the stylus gently afixed to the groove. Entitled "Ladies Of The Road" it proved to be an explicit rock n' roll ditty similar in context to those stories recently disclosed in a certain Sunday periodical. "Ah yes", Wallace chortled with Machiavellian delight. "It's based on experiences on the road with dirty little groupies", but added quickly, "of course that's only a figment of my lurid imagination. The lyrics are heavily veiled because they're really obscene". The final section in the album is given to a lenghty piece "Prelude" and "Islands" which features a dozen strings and an oboe augmenting the group. It was Wallace's opinion that words couldn't in any way do it justice. Returning to the subject of both the musicians and the public's role in today's musical invironment, Wallace had this to say: "I feel that in many ways people are different than they were in the mid-sixties. They take it all too seriously. Not the music, but the images that the music has made... and that's a real drag. I mean Mel doesn't live in a cave on the side of a mountain playing his flute to a herd of sheep and contrary to rumour I don't clean out public lavatories during the day". "I wouldn't mind living in a cave and playing to a herd of sheep", Mel commented, rather amused at the thought. "Well in that case, I wouldn't mind living on a beautiful south sea island in a community of friends...musicians, artists and poets". But wouldn't you miss communicating with an audience I asked, interrupting their daydreams. Wallace's reply was in the affirmative. He said, "It gives me a lot of energy". Collins' response was negative, "I don't think you need an audience...anyway I'm in search of pure sound". And so while they continued to depate to pros and cons of a hermit's existence and other fantasies, I made my excuses and left to battle the elements. zeppo zeppo at thrak dot pp dot fi [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 18 Dec 1995 10:52:35 -0500 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: Levin discography/The Explorers Hi I don't know if this has been mentioned but Levin played on some tracks (but not all) of an album by The Explorers--a band put together by Roxy's Manzanara and MacKay with a singer (James Wraith) who sounds a lot like Ferry. You can tell which tracks Tony plays on by the sound--the liner notes don't say who's on what tracks--but most of the tracks could have been played by anybody. Jerry Marotta also plays on this album. It was recorded in 1984 and released in 1985. The album is good, but not great. The first 3 or 4 songs are really good, then the rest really don't impress. Some of these tracks were re-released in the US on an album by Manzanara & MacKay called "Up In Smoke"(1989). CV [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 18 Dec 1995 12:39:59 -0500 (EST) From: Sergei Kantere Subject: CDConnection top 15 Folks, Thought you should know. One of the biggest (and my personal favorite) Internet CD store, CDConnection, has published the "top 15" charts based on their customer ratings in 5 genre categories. Only CDs that received 10 or more ratings qualified. I'm reproducing the Rock/Pop category chart here, without permission (or affiliation, blah-blah...). * Highest Rated ROCK/POP CDs * 1. 9.9 WRIGHT*GEORGE PLAYS LERNER & LOWE: IMPRESS BoS 122 2. 9.8 SATRIANI*JOE EXTREMIST RUT 1053 3. 9.8 JETHRO TULL THICK AS A BRICK CHR 21003 4. 9.7 POUSETTE-DART BAND BEST OF ARM 56857 5. 9.6 COSTELLO*ELVIS & ATTRACTIONS GET HAPPY!! RYK 20275 6. 9.6 CLAPTON*ERIC 461 OCEAN BOULEVARD ULT 594 7. 9.5 KING CRIMSON DISCIPLINE EG 49 8. 9.5 WYATT*ROBERT ROCK BOTTOM CAR 1634 9. 9.4 TEARS FOR FEARS TEARS ROLL DOWN-HITS 1982-92 PoL 510939 10. 9.4 IT'S A BEAUTIFUL DAY MARRYING MAIDEN SAN 4800 11. 9.4 RUSH 2112 ULT 590 12. 9.4 PARSONS*ALAN PROJECT TALES OF MYSTERY & IMAGINATI ULT 606 13. 9.3 KING CRIMSON IN THE COURT OF THE CRIMSON EG 1 14. 9.3 KING CRIMSON RED EG 15 15. 9.3 GENESIS SELLING ENGLAND BY THE POUND ATL 82675 Note that KC is the only band who made THREE entries (others weren't able to make more than just one). Best, Sergei Kantere Moscow, Russia (or should I have written "Sovien Union"? Looks like commies have won the parliament elections overwhelmingly... Pls come to my rescue if you don't hear from me for long ) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 18 Dec 1995 14:06:20 -0500 From: STONE967 at aol dot com Subject: An Observations & questions by a KC Fan Observations and Questions: 1) Re: Crafty Tuning - it appears from seeing KC in concert that AB does not appear to use it. (He appears to form the usual bar chord shapes) Has he ever used it? 2) As a guitar player of intermediate level I would love to see more TAB for KC songs. I searched the usual sites (ftp:nevada, etc.), but I would love to seem more. Anything & Everything on THRAK in particular would be fabulous. LTIA or Indiscipline, or Sheltering Sky would also be a few gems to have I have tried to figure these things out of course, but my ear is not always the best and of couse theirs the Crafty Tuning which can confuse things as well. 3) Is there a commercially available chord dictionary for Crafty Tuning? In general I don't like chord dictionaryies because they simply give you chords and not how to use them, but just to be able to visualize the shapes of the chords for the new system would be extremely helpful. See ya STONE967 at aol dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 18 Dec 1995 17:37:17 -0500 From: ASchulberg at aol dot com Subject: Re: Similarities Engine I found this interesting place on the Web called the Similarities Engine. You fill out some information, including 5 albums, and they get back to you in short order with a list of other albums you would probably enjoy, including a weighted ranking. I've attached my list but limited it to the top 25 (there were 88 items). I was surprised at the results since I expected replies with respect to *each* album but apparently it's as to all 5 albums considered as a group. There is an instant reply format that does work one on one, but it's in .htm format and so I'll have to clean it up before posting it for the albums that are pertinent here. Arnie Schulberg ASchulberg at aol dot com THE SIMILARITIES ENGINE By David Whiteis Results from your SIMILARITIES ENGINE WEB PAGE input http://www.webcom.com/se Your input was: No. Artist Recording ---- ------------------------------ ---------------------------------- 1 ROXY MUSIC SIREN 2 ROXY MUSIC COUNTRY LIFE 3 KING CRIMSON DISCIPLINE 4 BUFFALO SPRINGFIELD LAST TIME AROUND 5 KING CRIMSON THRAK ----- Results ----- Tied items (of equal Weight) are alphabetized. No. Artist Recording Weight ---- ---------------------------- -------------------------------- ------ 1 FRIPP,ROBERT EXPOSURE 29 2 FRIPP,ROBERT 1999 27 3 KING CRIMSON LARKS TONGUES IN ASPIC 26 4 GARBAREK,JAN I TOOK UP THE RUNES 21 5 TALKING HEADS REMAIN IN LIGHT 21 6 HAMMILL,PETER ROARING FORTIES 17 -- Notice: Result items below this line are low weight. -- -- See "Key to Weights" at the bottom of this page. -- 7 AKIYOSHI,TOSHIKO ORCHESTRA DESERT LADY-FANTASY 16 8 BRUFORD,BILL ALL HEAVEN BROKE LOOSE 16 9 BRUFORD,BILL FEELS GOOD TO ME 16 10 CARLTON,LARRY LARRY CARLTON 16 11 CATERWAUL PIN & WEB 16 12 CLOCK DVA ADVANTAGE 16 13 COLAIUTA,VINNIE VINNIE COLAIUTA 16 14 CUBY & THE BLIZZARDS GROETEN UIT GROLLOO 16 15 DALIS CAR WAKING HOUR 16 16 DEEP PURPLE LIVE IN LONDON 16 17 DRYWALL DRYWALL 16 18 ELLIS,DON ORCHESTRA ELECTRIC BATH 16 19 ENGLAND GARDEN SHED 16 20 FRIPP,ROBERT SOUNDSCAPES - LIVE IN ARGENTINA 16 21 GENESIS 3 SIDES LIVE (4 LIVE) 16 22 GILLESPIE,DIZZY GROOVIN HIGH 16 23 GROLNICK,DON NIGHTTOWN 16 24 GUNN,TREY ONE THOUSAND YEARS 16 25 HOENIG,MICHAEL DEPARTURE FROM THE NORTHERN WAST 16 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 19 Dec 95 20:46:24 EST From: julie hanlon <75317 dot 1663 at compuserve dot com> Subject: Longacre Review, NYC 11/24/95 sex, eat , sleep drink, dream life's mantra seated center front with the ever illustrious Hugh may the music rise in you the throne of Robert sits at your feet close your eyes 'til you're walking on air and the wind of King Crimson will rise to meet you soft or harsh mad or kind we will altogether meet here the calm before the in the center of who's storm? As a guest of Hugh O'Donnell's this evening, I had the great fortune of winning a center, front row seat, on the 4th and 5th night, for a scheduled week of apprearances on Broadway at the Longacre Theater here in New York City. Getting inside this air, that greets you the moment you've found your seat- a stillness - wondering, what is this- til' suddenly you're met by the onslaught of the California Guitar Trio. Melodies that distill humor, grace and mastery from their hosts. This merry trio lit the stage for King Crimson- an opening of warmth and welcome. Now, for most King Crimson fans, I would recommend to never see just one show in a scheduled week of such; you must see every show, for one is unlike the next. From a brief welcome by the CGT, we are cast into the wild embrace of King Crimson-whose mirth, mischief, madness, and melodies haunt you long after you've left the theatre. Adrian Belew's performance of One Time refuses to leave my thinking. The image of Robert Fripp's calm strength in the center of that wildness, is unforgettable: stillness claiming your attention- with this entire madness swept throughout the theatre! This is a band that doesn't give you a performance, they give you what they love, to their fullest expression possible; including us in this feast. As Keats said, " a thing of beauty is a joy forever". No mystery that the life of King Crimson still goes on..... Peace to all. Juliet Hanlon [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] 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 [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]