From elephant-talk at arastar dot comTue Mar 5 06:46:21 1996 Date: Mon, 4 Mar 1996 22:41:17 +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 #263 Errors-To: toby at cs dot man dot ac dot uk Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: Elephant Talk Digest #263 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 263 Monday, 4 March 1996 Today's Topics: Re: Poll request for info Re: Lark's Tongues Explanation reply to #259 Larks Tongues & Thela origins & the Discipline gigs LTiA Meaning? / LTiA3 - Huh? Gamelan music etc. Re: Elephant-talk digest v95 #261 this night wounds time Thela Hun Ginjeet... "Thela Hun Ginjeet" The sound of Thrak interesting observations and stuff "Watery Maid?" I don't think so... "A New Dream" Needs the lyrics of Show of Hands Fripp at Union Chapel, London 20/3/96 THG RE: National Public Radio (NPR) aqueous trollop Set Lists Wanted It's Grammy time! correction of my previous post... Re: Fripp & Orb KC in "Guitar" magazine The Mincer Frame by frame thela hun ginjeet D. Stewart, etc. Response to Lark's Tongues in Aspic Meaning in ET #261 Anagram of Thela Hun Ginjeet Let the drums do the talking. Re: Elephant-talk digest v95 #261 Remastering of '80's Trilogy crafty orgasms Comparison of LTiA and USA ambient music software Cover of Essential KC Python Connections Fripp and O'Rourke Fripp and Metallica Re:FFWD David Torn's new release Proposed collaboration: Fripp and the Kronos Quartet Administrivia: POSTS: Please send all posts to toby at cs dot man dot ac dot uk Visit ET on the web at www.cs.man.ac.uk/aig/staff/toby/et For all administrative issues, such as change of address, withdrawal from the list, etc., send a message to the following address: toby at cs dot man dot ac dot uk ** If you want to opt for new 'ET BULLETIN' service, where instead of the whole digest you receive a short email announcing the latest edition is out, and where to read it on the web, email me, toby at cs dot man dot ac dot uk, saying: "ET BULLETIN -- YES". ** The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ---------------------------------------------------------------------- Date: Mon, 26 Feb 1996 16:29:31 +0200 From: Tefkros Symeonides Subject: Re: Poll Okay, ETers, the results are being calculated as you are reading this and this is the LAST CHANCE for anybody to send their votes. Just some comments on what I've got so far: Red, LTiA and Discipline (in no particular order) are competing for #1 and especially Red and Discipline are putting up quite a fight (with each other, while LTiA is, I believe, going for the gold). Anyway, you'll soon know. Right now I am casting my vote as well, which, if you're interested, is: 1. Court of the Crimson King (an underrated masterpiece, IMHO) 2. Red 3. The Great Deceiver Best regards, Tefkros Symeonides ------------------------------ From: "Jonathan Taylor" Date: Mon, 26 Feb 1996 11:46:51 CST Subject: request for info Hello to everyone at Elephant Talk. I am a student at the University of Central Arkansas and I am currently studying Rhetoric. I am doing a major research project and would like to use RF's philosophies on craft as my topic. If anyone feels that they have anything useful (ie. www sites, knowledge of existing articles, or general info) please e-mail me privately, thus clogging my mailbox instead of Toby's. Thank you very much. Jonathan Taylor jt0452 at cub dot uca dot edu ------------------------------ Date: Mon, 26 Feb 1996 13:34:44 -0500 From: dalane at oxygen dot bbn dot com (Dave Lane) Subject: Re: Lark's Tongues Explanation Organization: BBN Domain Corporation JRStoat at aol dot com wrote: Subject: Lark's Tongues Explanation > To dispel some of the confusion over the title's origins, Monty Python did > not use Lark's Tongues in Aspic as the name of one its confections in that > sketch. [...snippertronics...] > Eric Sorry, but I have to ask you this question: Are you half a bee? --Dave ------------------------------ Date: Mon, 26 Feb 1996 14:06:11 -0600 From: weldwrld at bitstream dot net Subject: reply to #259 In reply to Olivier Mlhomme in #259: I'm sorry, but 25 years of listening to barely competent guitarists whine about DRUMMERS RUINING THEIR PRECIOUS LITTLE MUSIC is quite enough, thank you. I suggest you contact the following: Elvin Jones Max Roach Loiue Bellson Charlie Watts Jack DeJohnette Bill Bruford Pat Mastellotto Airto Moriera Michael Blair Sheila Escovedo Stan Lynch Tony Williams Dave Mattacks Bill Berry Steve Jordan and any other drummers you may be dimly aware of. Please let them know that they, by their pathetic attempts to pose as "real musicians" (via actually tuning their drums), are interfering with your timeless craft. Especially those jazz guys with their puny 4-piece kits. What a bunch of losers. How do they expect the horn and guitar players to change keys with those damn tuned drums? You've won me over. Today I will fill my shells with tapioca. Please tell me what to play. Joseph Pettini Welding World Design your one-stop solution for...something or other. ------------------------------ Date: Mon, 26 Feb 1996 12:12:10 -0800 From: davidp at hotwired dot com (David Pritchard) Subject: Larks Tongues & Thela origins & the Discipline gigs Rumor or modern myth laced, perhaps, with a sprinkling of fact has it that Fripp disappeared off to America for a while, on his return he was accompanied by a modern day witch with whom he was rumored to be romantically involved - the next album KC released after this trip was Larks Tongues the cover of which is an ancient witch's symbol and Larks Tongues in Aspic is an ingredient for a witch's potion - myth, rumor? I don't know but it's not entirely implausible and, from what little I know of Fripp, a much more likely explanation than him "borrowing" a line from a Monty Python sketch! As for Thela Hun Ginjeet - I am much more certain. It's an anagram of heat in the jungle. Beacuse, as Belew explaines ... no self respecting rock band can sing a song called Heat In The Jungle. Thanks to Russell for his remanissances of the Discipline gig at Her Majesty's. It brought back great memories - I too was there and remember my excitment when the band played Red and remember the shock when the album came out the band had changed its name from Discipline ... to King Crimson! .. as for the date, I can't even remember what year it was! My friend wrote a very long letter to Fripp after the release of Discipline explaining why he thought it was a mistake to call the band King Crimson - to the surprise of us all (you will understand, I am sure) ... Fripp wrote back!! - a postcard from Wimborne. I dont remember much of what Fripp said but two phrases do stick with me ...."If you like somebody that is your responsibility, not theirs." and "...your definition of King Crimson is frightening..." Cheers David ------------------------------ Date: Mon, 26 Feb 1996 15:08:45 -0500 From: "I Only Paint What I See..." Subject: LTiA Meaning? / LTiA3 - Huh? Okay, I'm surprised no one else has mentioned it, but it seems to me that at least part of the "meaning" of 'Lark's Tongues In Aspic' is presented musically in the segue between 'The Talking Drum' and LTiA part 2, ie: the incrdibly dissonant, sustained screech. Programmatically, this signifies to me the act of killing the larks. Metaphor? Transforming something traditonally considered pretty into something to be consumed. Perhaps yet another take on Fripp's attitude of the vampiric audience? Who knows? Just a thought. While I'm here, and since bandwidth doesn't seem to be quite as precious a commodity as it was during the tours, I'd like to pose a question to the readership: What am I missing in 'Lark's Tongues In Aspic, Part 3'? The first section is brilliant, but when the second (longer) section arrives, it just seems like (forgive me) mindless noodling over an unenthusiastic rythm section. What gives? Am I totally missing the point here? The live excerpt of this piece in the boxed set comprises only the second part, as though it is the more significant portion. Yet the live version sounds even more lifeless and pointless to me than the studio version... Can somebody (_Anybody_) give me a handle on appreciating this tune? _Dave_ ------------------------------ Date: Mon, 26 Feb 1996 15:20:03 -0500 (EST) From: Gideon B Banner Subject: Gamelan music etc. Couple of questions: I keep hearing that the 80s Crimson took influences from minimalism (via Belew's connection to Talking Heads and the New York minimalist music scene and Fripp's concepts of music and Bruford's African and other non-Western influences) and gamelan music. I understand the minamilist influence; but the gamelan one confuses me. I'm not that familiar with gamelan: what's the connection? (I've actually always thought of "Sheltering Sky" as a sort of North African Muslim religious call, what with the Paul Bowles title and the beautiful wailing guitar washes in the middle of the song.) When I went to see Fripp and the CGT and the House of Blues about a year back, after each show (there were two consecutive shows) Fripp and I think some of the CGT members came off stage to play right in front of the audience with a group of Japanese (I believe they were all Japanese) guitarists. Anyone else remember this? Who are they? And here I was all the time thinking it was: "What are remain / Thela hun ginjeet / What are remain / Leaving the jungle streets." Oops. ------------------------------ Date: Mon, 26 Feb 1996 15:18:10 -0500 Subject: Re: Elephant-talk digest v95 #261 From: lordabay at pipeline dot com (michaeldamianjeter) STONE967 wrote: After reading Belew interview in the most recent Guitar Magazine I wondered if anybody knows why he doesn't use NST and maybe more importantly how does Mr. Fripp feel about that? My guess is that the NST is something Robert developed for himself in order to find new ideas(and as an aside, this is the main reason one uses NST. It is not a question of being "easier" or "harder." Consider, for instance, that most guitarists have spent many years learning the language of fourths, albeit with one third(EADGBE). Crafties learn a lanuage of fifths, again with one third(CGDAEG). By way of analogy, when you learn a second spoken or written language, you find that there are certain phrases which are easy in the new language, more difficult in the old. Consider: In English, there is only one you. In Spanish, there are tu', usted, tuus', and ustedes. Tu' and tuus'(sp?) denote the familiarity with which we know someone, a nuance that English is devoid of except in informal use(the Southern "ya'll" comes to mind). In another example, Greek has three words for love: eros(sexual), phileo(sp?)(familial), and agape, a spiritual love, usually of Deities. As far as how he feels about guitarists using the NST, the fact that he has hired Belew indicates that he does not look down on someone who chooses not to walk his path. -- michaeldamianjeter There, by the waterside Here, where the lens is wide You&me, By the sea Taken in Tranqulity I am a Camera--St. Trevor of the Horn ------------------------------ Date: Mon, 26 Feb 1996 14:12:30 -0500 (CDT) From: Watcher Of The Skies (John P Mohan) Subject: this night wounds time Another rather trivial post, but it may be some comfort to know that this has nothing to do with Monty Python sketches or NST or Fripp's shoes. On the SaBB booklet (and T-shirt) is the quote "This night wounds time". This sounds dreadfully familiar but I can't place it. Is it Shakespeare? I know the album title is from Dylan Thomas... JP. ------------------------------ From: "Symula, Rebecca E. (MSMAIL)" Subject: Thela Hun Ginjeet... Date: Mon, 26 Feb 1996 17:28:37 -0500 i know i wrote before concerning part of the same subject, but in this case...i'd rather you use this post, than the other. Thanks Toby, Beckie Symula In response to Norma....about the meaning of Thela Hun Ginjeet.... I was fortunate enough to see the Thrak tour in November '95 and even more fortunate to meet some of the members of the band. While talking to Adrian Belew, I asked the question "What does T. H. J. mean?" He looked at me, seemingly amused, and said "Nothing, it doesn't mean anything. Actually it's an anagram for Heat in The Jungle." My friend and I laughed a bit at our selves for completely missing that and then asked what he sings other than "Thela Hun Ginjeet" and Heat in the jungle streets" Again he replied, "Nothing, I make it up to go along with the music, so it sounds good". In #261, there was a question about whether it's Adrian speaking in the "sampled" parts of THG, after talking to him, I'm pretty convinced it's his own voice. He explained to us that it really happened to him, so I would guess it's actually him. I hope that answers the questions. About a month ago, there was a post that made a comment that the band was not very friendly or even approachable. Granted, I did not have the opportunity to meet Fripp, but the rest of the band that I met were some of the friendliest people I've ever met. They didn't seem to want to push us, nor the drunks that hung on them until 2am, away. I'm sorry some people have had bad experiences, but Adrian Belew spent a good while talking to me, trying to get me to telephone Bill Bruford's room so that I could meet him; not telling me to leave. I did not call him, but my point is, in no way were the band members cold. Lighten up people. If band members seem a bit cold, try having people you don't know and have never seen, calling you, asking for autographs and begging for opinions and maybe you'll understand how annoying it can be. The last thing I want to address is the female Crimson fan issue. When I was at the show in November. I was talking to the tour manager and he was shocked that I was actually a fan rather than just a "Debbie" (as Bill Bruford calls it). He asked me why I liked the music. The only reply I could come up with is that the music pretty much fills you up. I've gone to concerts where the artist plays and does fancy stage tricks then leaves. That's not what it's about. It's the music, itself. There's a sort of power or passion in the music and the words. Don't give me the idea that it's too loud or even too much guitar...I just don't buy it, there are too many female Megadeath fans. I've been listening to Crimson since I was 6 years old and loving it ever since. I don't think it has anything to do with what sex you are, it's the capacity you look for in music. If you're looking for dance music, you're looking through the wrong window at Crimson. I wish people would stop characterizing by sex. Find people who feel the music and you'll find the Crimson fans, male or female. Thanks for the time, I'd be interested in hearing responses, Beckie ------------------------------ Date: Mon, 26 Feb 1996 17:46:25 -0600 From: penseur at intellex dot com (Ed Poe) Subject: "Thela Hun Ginjeet" According to an interview somebody posted up here a few months ago, Belew had intended to title his song about crime in the streets "Heat in the Jungle." Fripp suggested he come up with something more interesting, so he "sat down with some Scrabble pieces" and reworked the letters to get "Thela Hun Ginjeet, which doesn't mean anything but is fun to sing." The voices you hear in the background are from two different tapes: the first is Belew's, as he wandered around the streets outside the studios, doing his own monologue about how the street is a "dangerous place." He bumps into two thugs who see the tape recorder, grab it, press play, and hear "He held a gun in his hand." They assume he's a cop and plan to beat him up. The rest is pretty self explanatory. The trick of the song is that when Belew returned, Fripp started *another* (hidden) tape recorder, and got down everything Belew said ("Look! I'm still shaking!"). The story you hear Belew relaying is true. The t-shirt he had on was a Frank Zappa tour shirt, if anyone cares. - e - - - - - - - - - - - - "When I was five years old, my mother informed me that I was a genius. This, of course, came as no surprise to me." - Nicholas Slonimsky - Musician, Composer, Historian, Lexicographer ------------------------------ From: ossi at kerfi dot hi dot is (Orn Orrason) Subject: The sound of Thrak Date: Tue, 27 Feb 1996 01:05:55 +0000 (GMT) My opinion on Thrak's sound is rather negative. This record is recorded in Peter Gabriels studion. If anyone has heard US or other recording made there he will hear similarities in the sound. The sound is dark, a little murky an lacks a kind of aura,=20 is to processed, and lacks in depht, is two dimensional. The music of KC is dark, so is the recording. In my opinion the B'boom recording, which was simply taped of the mixing deck to a DAT has more freshness to it. In spite of some short- comings there the sound is more vibrant there. Peter Gabriel must have bought studo monitors with to much mid-range and lacking in treble. My equipment: Technics SL-777 Mash player, Celestion 3000 hybrid ribbon speaker, Orrason Audio Electronics MOSE-FET=20 amplifiers and LINN/ITTOk/ASAK turntable (whcih is not used for this review but I just had to tell you) ET is now suffering from little KC activity. Please don=B4t=20 write more on the meaning of Lark's tounges and what Hela Gun Hinjet means or I simply quit with ET. =20 --=20 ************************************************************** * Orn Orrason E.E. Univ. Iceland - Systems Engineering lab * * Tel +354 525 4703 Fax +354 525 4937 em: ossi at kerfi dot hi dot is * ************************************************************** ------------------------------ Date: Mon, 26 Feb 1996 19:25:21 CST From: cappsas at WKUVX1 dot WKU dot EDU Subject: interesting observations and stuff To KC Fans, We are new to Elephant Talk and are really enjoying it. The description by the person (can't remember who) first intro to Discipline was excellent. I first heard D through a college station - Indiscipline was the song. The energy reminded me of In the Court... I thought it was awesome but the rest of the album seemed weird. After several times it became one of my favorite albums. About the women at KC shows: My wife and I noticed the lack of women and most seemed like dates (especially the heavy metal looking dudes). In fact, the three of us experienced the same rude type of female in Cincinnati as X (can't remember that person either - I delete old mail) ran into. My wife overheard the female person say something about hoping that the people around her wouldn't yell a lot. Well, being a southern rednectified city slicker, I can whistle and yell with the best of them. (Plus I like to yell BRUFORD) KC was as awesome as we hoped and the yelling (not during the quit parts) made her turn around a few times. About Fripp avoiding people: We were waiw bald guy wgnT"morh or usuring this we saw Fripp quickly dash into the stage door - Was Tony a Fripp ploy to avoid people? We have talked with Adrian several times before and I think he likes to talk with people. I guess Fripp doesn't. Oh well !!!! About Earthbound: I bought it when EG rereleased it and returned it thinking it was a bad pressing. Wrong - It's just a lousy recording that is worse than most bootlegs. If your speakers are already blown, it would sound ok. I would not recommend it to anyone. Just something to recommend - a band called the Either Orchestra has a CD called "The Half-Life of Desire" has a remake of Red on it that is awesome. It's 11:21 minutes long and is kind of like Glen Miller meets King Crimson. I saw them live in 1990 or so and they didn't play Red which made the show kind of suck (improvisational jazz horn crap) I think they are a college jazz band because of the lack of big named people and their ages. The CD is copyrighted in 1990 and is on Accurate Records, P.O.Box 390115, Cambridge, MA, 02139, USA. Let me know if anyone has heard their version of Red and what they think of it. "This is a dangerous place...." ------------------------------ Date: Mon, 26 Feb 1996 18:26:51 -0800 (PST) From: The Man Himself Subject: "Watery Maid?" I don't think so... > I believe the lyrics run, "Watery maid / Thela Hun Ginjeet / Watery maid > / Deep in the jungle streams" -- and I must thank you for that last one, > I wasn't sure on that myself. :) DOES 'Thela Hun Ginjeet' mean anything, > or is it simply an anagram as others have stated? Try this: "Water remain/Thela Hun Ginjeet/Water remain/Heat in the jungle street." "Thela Hun Ginjeet" is an anagram of "Heat in the jungle." I heard that Fripp didn't like the latter as a song title and asked Adrian to change it. The spoken bits throughout the tune are Adrian Belew recounting an actual event wherein he was accosted by street hooligans. Fripp secretly recorded Belew while he described his experience... ------------------------------ Date: Mon, 26 Feb 96 19:23 PST From: Erik dot Simpson at on-ramp dot ior dot com (Erik R. Simpson) Subject: "A New Dream" >A few months ago at a record fair I saw a bootleg CD (could it have been a >double CD?) of a Sylvian/Fripp concert. If I remember correctly it was >Italian and 'Darshan' was mis-spelt 'Darsham'. Has anybody bought this CD >and if so what is the quality like? My experience of bootlegs is that they >are generally best left alone as the sound quality is usually low and the >price high (this one was 25 pounds sterling). >Yes, I know that bootlegging is reprehensible but the prospect of a live >version of 'Jean the Birdman' was almost too much to resist. I believe you are referring to the double CD titled "A New Dream". It is among the best sounding bootlegs I have heard. Granted, I almost never buy them, basically for the same reasons you stated; price, quality, and the dubious morality and/or legality involved (see how flexible my scruples are when it comes to Sylvian and Fripp). The levels are a little low, and (compared to "Damage") perhaps the overall sound is a trifle thin, but everything is crystal clear, unlike almost all bootlegs I have come across. I have heard that this is the soundtrack of the Japanese laserdisc of Sylvian/Fripp in concert, which would explain the clarity of the sound. Basically it has all the same songs as "Damage" with the addition of "Jean The Birdman" and "Exposure". If you liked "Damage" you'll like this, but you have to ask yourself if you want to pay that much money for what amounts to 2 songs, assuming you have "Damage". Granted it is a different performance, but not a radically different one. I bought it a few months before "Damage" came out and it was a treasured posession until "Damage" came along. I think "Damage" is the superior package when all is said. "Damage" is one of the great live recordings of all time, IMHO. Fripp shines on this recording unlike anything of his own or Crimsons in quite some time. Maybe it was just easier to hear him in a somewhat starker situation than the current Crimson lineup but I felt he was also unencumbered by the theoretical and philosophical concerns he frequently grapples with in Crimson and was able to just play, which he did exceptionally. As did Sylvian. As did Gunn, Mastelotto and Brook. Regards, erik reid simpson--eriks at on-ramp dot ior dot com http://www.ior.com/~eriks/ ------------------------------ Date: Tue, 27 Feb 1996 10:51:11 +0100 From: riesz at falcon dot mufi dot hu (Riesz Ferenc) Subject: Needs the lyrics of Show of Hands Hello ! Could someone mail me or post the lyrics of the songs of LCG's Show of Hands ? Thanks, RF ------------------------------ From: Brian Thomson Subject: Fripp at Union Chapel, London 20/3/96 Date: Tue, 27 Feb 96 09:15:00 PST In addition to the free sessions at the Queen Elizabeth Hall, there will also be a full concert at the Union Chapel on 20 March - a Wednesday, and the official First Day of Spring! (according to my calendar) Along with RF will be the Europa String Choir, whose album, "The Starving Moon", came out in Nov 1995 on DGM with RF as a guest. The Elephant Talk WWW site has a section about them: http://www.cs.man.ac.uk/aig/staff/toby/esc/ Venue Address: Union Chapel, Compton Avenue, Highbury Corner, Islington, London N1 Tube: Highbury & Islington (Victoria line) I'm surprised nobody wrote about it in the last issue of ET, since it's announced on the same page of Wire magazine as the QEH sessions... personally, I hope Trey also makes an appearance. (How about it, TG?) Cheers... Brian Thomson, London bnt at ibm dot net ------------------------------ Subject: THG Date: Tue, 27 Feb 1996 20:24:20 +0900 From: Masaki Kurokawa Hi, >> Also, someone back in #257 or #258 (sorry, don't have the issue or the >> name of the inquirer anymore) was asking about the "sampled" spoken-word >> sections in THGJ -- I've always believed that those parts are original to >> the song, not samples, and that the speaker is Adrian Belew. Can anyone >> verify that? I have read in the book 'Robert Fripp - From King Crimson to Guitar Craft' (written by Eric Tamm) that it is Adrian Belew talking about how he got surrounded by a gang and they took him as a plainclothesman (" 'He held a gun in his hand.' 'You're a policeman!' ") on his way to the studio. (" 'Look, I'm not cop / Look, look. I'm in this band here, you know. And we're making a recording, you know. It's just about New york City, it's about crime on the streets...' Explanations going nowhere.") According to the book, the words were secretly taped by Fripp. Sorry, but I have only read the Japanese edition of the book, and so this may differ from the exact expression on the original book. +-----------------------------------+--------------------------------------+ |Masaki KUROKAWA |" You won't find it here | |Keio University,JAPAN | Look another way | |e-mail:s95336mk at sfc dot keio dot ac dot jp | You won't find it here | |http://www.sfc.keio.ac.jp/~s95336mk| So try another day " - John Petrucci| +-----------------------------------+--------------------------------------+ ------------------------------ From: "Mathews, Thomas J." Subject: RE: National Public Radio (NPR) Date: Tue, 27 Feb 96 08:32:00 EST >Chuck Benz >Subject: RE: Fripp music on NPR >I wasn't going to ask, but since tj seems to have an in with NPR... >The other day, I thought I heard a fraction of LTIA in between stories on >NPR, but it was "unplugged" - perhaps not even Fripp playing it. Did I >imagine it, or is there something of that nature about ? (And I'm pretty >sure it was NOT the brief segment of Fripp warming up before a concert on >an unamplified gibson that appears in the TOAPP video - the sound was a >normal accoustic guitar). If no one can figure it out, maybe tj can check >with his NPR sources. Ahh gee why me? My one* NPR source is out of town. I'm recomending you try the other source: http://www.npr.org/programs/atc/music/ It seems you really do need to know the exact day otherwise you might not ever find it. They (npr) do seem to have a few 'out takes' of tunes from all over (and a very close match to my entire collection). I currently have my knuckles crossed that they cover a bit of the upcoming London sounscapes event and have Belew do some live orchestration. *A good friend - I lent her some David Torn and she squeezed some into one show. tj buy art not cocaine ------------------------------ Date: Tue, 27 Feb 1996 11:36:04 -0500 (EST) From: "M. S. AtKisson" Subject: aqueous trollop > From: Darius [re: Thela Hun Ginjeet] > I believe the lyrics run, "Watery maid / Thela Hun Ginjeet / Watery maid > / Deep in the jungle streams" -- and I must thank you for that last one, > I wasn't sure on that myself. :) -- and I must protest. I believe it is "Water remains / ". Peg. ------------------------------ Date: Tue, 27 Feb 1996 12:06:46 -0500 From: ASFSeattle at aol dot com Subject: Set Lists Wanted Can anyone be kind enough to provide me with accurate set lists from the following shows?: Vancouver - 6/21/95 San Diego - 6/23/95 L.A. (HoB) - 10/22/95 Thanks, Lembond ------------------------------ Date: Tue, 27 Feb 1996 15:31:47 -0600 From: cheevy-james at mail dot utexas dot edu (James Hines) Subject: It's Grammy time! Hey everybody! Tomorrow night (Wednedsay) is the Grammy awards and incase you forgot, Crimson is up for best instrumental for VROOOM. I'm sure that they won't devote any amount of time to this award, but when they go to commercial breaks, they usually say awards that were presented earlier in the evening. Look for it and hopefully they will win. Just to hear the words "King Crimson" on the grammys would be great. Oh, Peter Gabreil is also up for an award, Secret World Live for best long-form video. I'm not sure which network is doing the ceremony this year, but I'm almost tempted to say Fox. Check your local listings. THRAKkin until the cows come home, James "THE MAN" Hines (not the Crafy one) cheevy-james at mail dot utexas dot edu ------------------------------ Date: Tue, 27 Feb 1996 21:03:50 -0600 From: penseur at intellex dot com (Ed Poe) Subject: correction of my previous post... In my desire to dash off a history of "Thela Hun Ginjeet" I neglected to fact check, and made a mistake which I would like to fix here. The article of clothing Adrian Belew wore was not a Frank Zappa t-shirt as I stated; according to the liner notes in the Frame By Frame box set, he was wearing a Talking Heads vest. Oops. Guess I should be more careful. :-) -e ------------------------------ Date: Wed, 28 Feb 1996 16:21:13 +1200 From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan) Subject: Re: Fripp & Orb >I think what the reviewer meant was that Fripp did work with ORB members on >the album _FFWD_ (and I guess you could say FFWD is the name of the "group" >too: it stands for the members' names: Fripp, F____, W____, and D____. >Sorry I don't know the names). Although Fripp certainly may have done work >with ORB in the past; but I don't know of it. I think you'll find he appeared with Messrs *F*ehlman, *W*eston and *D*r. Patterson on the album "u.f.orb", although his work there is fairly minimal... yopu have to listen hard before you start to hear the Frippian fingerprint. James ------------------------------ From: "Peter" Date: Wed, 28 Feb 1996 00:02:05 +0000 Subject: KC in "Guitar" magazine I finally picked up the March issue of Guitar for the Practicing Musician with all the KC stuff. Now that I know (more or less) what's going on throughout "Vrooom," it's one of my favorite songs to play along with. And the transcription answered a burning question for me: Yes, it looks like playing in the NST is as hard on Fripp as it is on the rest of us. He really gives himself quite a workout! The Belew interview is very informative, but after reading the Fripp interview in this issue and the one in Guitar World last summer, I wonder why anyone ever bothers to interview him! He never really says anything and spends most of the time needling the interviewer or making airy soliloquies. But I guess that's just our little Fripp... BTW, there is an excellent picture of him with his guitar on page 30 which gives a good view of his hyper-efficient playing posture. I never realized just how high up he's got his guitar hoisted, but after a quick adjustment on my Strat, I find those high notes much easier to reach. Pete ------------------------------ Date: Wed, 28 Feb 1996 00:32:43 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: The Mincer Richard Beck wrote... > > What's the story with the end of "The Mincer" on SaBB? It just cuts > > out as if the tape had run right off the reel. Is that what actually > > happened? > See also 'One More Red Nightmare' from 'Red'. Another truncated ending just > as it reaches the zenith. This is a complete halt, rather than the slowing > down/breaking up of 'The Mincer'. I was led to believe that it actually was the tape running off the reel as the song was being recorded live. It might be an echo of Fripp's wish to keep the 'feel' of the performance intact, fluffed notes and everything. *------------------------------------------------------------------------------- Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-653-6124 *------------------------------------------------------------------------------- ------------------------------ Date: Wed, 28 Feb 1996 14:09:58 -0600 (CST) From: Alicia Sepulveda Subject: Frame by frame Would everyone agree that the lyrics to FbF are: "Frame by Frame/Death by drowning/In your own/Analysis//Step by Step/down by numbers/In your own/Analysis"? Also, in what language does Matte Kudasai mean 'Please wait for me'? Pablo ------------------------------ Subject: thela hun ginjeet Date: Wed, 28 Feb 96 23:04:28 CET From: Marco Massei First of all: sorry for my English! :-) > Date: Wed, 14 Feb 1996 12:18:03 -0600 (CST) > From: Norma Heinisgirde > Subject: Groon/Thela Hun Ginjeet > I was wondering if anybody knew what the spoken words were during 'Groon' > right after the climactic point. Also, does anybody know the words that > Adrian Belew sings in 'Thela Hun Ginjeet?' I have a lyrics book with the words of all the KC's songs. It says: <"Thela Hun Ginjeet" is the anagram of "Heat In The Jungle">, just like the words of the song say: << What are their names / Thela Hun Ginjeet / What are their names / Heat in the jungle street // "Well, first of all, I couldn't see his face / I couldn't see his face. / He was holding a gun in his hand. / Hem, speakin', this is a dangerous place!!! / This is a dangerous place!!" // ... // I said: "They are so nervous themselves that those guys are gonna kill me for sure". / I couldn't believe it. / Hey, look, I'm still shaken! / It's weird you've got streets like this!! / It's a dangerous place! // So, suddenly these two guys appeared in front / and stopped really aggressive, starved at me: / "What-what's that? What's that on that tape? / What have you got there? / What are you talking about?" / I said: "Oh no!" / They grabbed it from me, they took it away from me, / turned it on and it said: / "HE HELD A GUN IN HIS HAND, THIS IS A DANGEROUS PLACE!" / They said: " What dangerous?!! / What gun?!!! You're a policeman!!! " / Anyway I had the name written on my shirt / and I told them: / "Look, I'm in this band, you know? And we're making a recording, it's just about New York City, / About carnal streets, / the explanation is going nowhere". // Finally they decided to let me go to my wife, / so I walked round the corner, I was shaken for this / and I really thought: "This is a dangerous place once again!!!" / We should have appeared like two policemen! / Ah! Ah! >> AMUSING!!! :-))) So long! -- ___________________________________________ Marco Massei mc9456 at mclink dot it ------------------------------ Date: Wed, 28 Feb 96 16:50:31 CST From: "Bernhardt, Todd" Subject: D. Stewart, etc. Robert Parducci wrote in #260 how pleased he was that he received correspondence from Dave Stewart -- not surprising to me, since I had the pleasure to sit and chat with him and Barbara Gaskin for about a half-hour while the middle act in a three-act bill -- which included my band as the opener and Dave and Barbara as the headliners -- performed. He's a very nice guy, and when I met him during soundcheck he was a bit chagrined at how long he was taking (wrestling with his Prophet II keyboards!) -- I told him no problem, that I was happy to be on a bill with him, and that I had seen him perform on that very stage (The Bayou in Washingtoon, DeeCee) with Bruford (one of several times I saw that band). After our set, which he complimented me on (!!), we sat in his dressing room while he and Barbara got their set list together, talking about an interview with Stewart Copeland that he had recently done for Keyboard magazine (Dave's actually quite a good writer, and that reminds me, Robert -- any info on where to get "Introducing the Dots"?), and talking especially about Earthworks. "All Heaven Broke Loose" had just come out and I was particularly enamoured with it at the time, viewing it as a return to the more melodic approach of the first Earthworks album ("Dig" is probably my least favorite of the studio albums), so we talked about the differences between the albums and I asked him about his experience co-producing the first album. He told me he had told BB to "can the bass player," but at that point Bill wanted more of a traditional jazz sound and wanted to stay away from electric bass. Ultimately, as you all probably know, BB followed Dave's advice. Anyway, blah, blah, blah. Basically, he was very nice and down to earth, and made me feel very at ease. He even complimented my drumming! (Or at least I think he did -- I was in a very aggressive funk-rock band at the time, and we ended our set with a song that was very thrashy, with the snare beat going double-time toward the end, combined with a 16-note pattern on the kick for the last eight bars. He said my playing reminded him of this drummer he knew who had no drum cases, and would drive around town in his van like a maniac, so that the drums would bang all over the place, making "quite a racket." When I looked rather chagrined at this, he laughed and said, "No, no, I meant that in a good way -- really. I kept thinking you were going to go double-time and then double-time again.") Anyway, Dave does have excellent taste in music -- besides playing with and providing "reasonably advanced harmonic advice" to BB, he and Barbara have covered XTC's "Roads Girdle the Globe." Obligatory KC content: Finally couldn't take it any more, so I gave by '73-'74 Frame by Frame CD to my brother, bit the bullet and bought LTiA, SaBB and Red. Ahhhhh .... totally worth it. "Fracture" and "Starless" unabridged. "Trio." "The Mincer." And esp. the title cut on SaBB. I can't believe I waited this long. ------------------------------ Date: Wed, 28 Feb 1996 21:36:15 -0500 From: Vroom96 at aol dot com Subject: Response to Lark's Tongues in Aspic Meaning in ET #261 In a book I've been reading titled "Robert Fripp - From King Crimson to Guitar Craft" by Eric Tamm, he explains on page 67 that Jamie Muir invented the title LTIA. It was Muir's response when asked what an instrumental piece Crimson had just laid down on tape in the studio reminded him of. ------------------------------ Date: Wed, 28 Feb 1996 21:40:56 -0500 From: Vroom96 at aol dot com Subject: Anagram of Thela Hun Ginjeet In Eric Tamm's Book on Fripp he states on pg. 142 that Thela Hun Ginjeet is an anagram of Heat in the Jungle. ------------------------------ Date: Wed, 28 Feb 1996 22:02:04 -0600 (CST) From: Dixie Gene Ross Subject: Let the drums do the talking. Greetings Crimso's, Dixie, my wife, and I had Will Landin over for dinner the other night. Will is bass player I'm working with in a power trio. Will was the principle tubist for The University of Texas at Austin Symphony Orchestra. Not only is he killer on the 6 string bass but he is also one of those gifted players with perfect pitch. After dinner and some good wine I asked him to help me analyze the drum tunnings in King Crimson and how they related to various songs. He is a big KC fan and was most happy to do this. What we discovered was very interesting. Most of the drums were tuned to pitch. Rarely we found them not to be. In some of the songs the drums were in key with the song, in some they weren't. On THE COURT OF THE CRIMSON KING on ITCOCK, Michael Giles tuned his drums: snare-F# toms high to low: E D B and kickdrums -about 2 cents short of D. The first part of the song is in the key of D. The drums serve: F#-major3rd; E -9th; D-tonic; B - major 6th. When the key changes to E major after THE DANCE OF THE PUPPETS, the drums serve: F#-9th; E - tonic; D-7th; B perfect 5th. A note from Will,"In the new key E major the 3rd-G# is a tri-tone or augmented 4th to the second tom-D. This inter-locks perfectly with the composition!" The toms tuned E D B are at uneven intervals. This is more the norm than the exception with KC. On ONE MORE RED NIGHTMARE from RED, Bill Bruford tuned: snare- C#, toms high to low F# E C# B, kick- A. In the part of the song where the drums solo the key is E with sustaining guitar G#. Here the drums serve: F#-9th; E-tonic; C# major 6th; B-p5th; and kick-A-p4th. Once again uneven intervals on the toms. Bill remains consistent with this tuning on LTiA and live on THE GREAT DECEIVER. Jamie Muir tunes: snare - D; toms high to low C# D F# - very uneven intervals. Listen how Jamie's snare ( a half step above ) works with Bills on LARK'S TONGUES in ASPIC pt 2. While listening to this cut the dog next door started barking in time. Will said " That dog is in key with the music. Synchronicity once again with LTiA. On THE GREAT DECEIVER CD-2; 21st Century Schizoid Man, Bill's snare starts to go out of tune. It's not uncommon for a drum to drop a half step when played vigorously under hot stage lights for an hour. This was the encore. The snare in C# moves down to C. In the middle of the song it is 1/4 step out then falls down to C. The song is in C -minor so as the drum falls out of tune it falls into key! Bill used a different tuning on ELEPHANT TALK on DISCIPLINE: snare-E; toms high to low D A E; kick -E. Even intervals on the toms. The song is in A-minor, so E-p5;D-p4;A-tonic;E-p5. After the snare roll, boom-splash. The boom is an A. On RED on B'BOOM Bill has gone back to the standard Bruford tuning: snare - C#, Toms high to low F#, E, B. ( no C# tom this time). At the end of the song a D-tom can be heard. This is Pat Mastelotto. At the very end of the song Bill hits the snare drum as illustrated in Modern Drummer Nov. 95 page 53. This corner rim-shot brings out an F# harmonic with the C# of the snare. (p4th) Pat Mastelotto's snare on DARSHAN on DAMAGE does the same thing. His is tuned to B with an E harmonic. (p4th) Uneven intervals on the toms here too: D G E Bb. Pat also uses a C electric drum. To adapt to Bill's tuning for KC Pat uses: snare - E, toms high to low D Bb G ( a G minor triad). He uses this tuning both on Thrak and on live cuts. A bit of irony here, a song with the most dissonant drum part is on one of the softest songs. WALKING ON AIR both live and on THRAK is in F# minor. Pat's toms, a G minor triad, are a half step above ( you can't get more dissonant than that) but listen to how lovely they sound with the track. Drums can be tuned to a discernable note. When played they hit the note then slope off. This is why they can be used in a different way than a well tempered note from a guitar or keyboard. The use of uneven intervals in his tuning gives the drummer an angular approach to the music. Not only should one tolerate a drummer tuning his drums but he should be encouraged to do so as well. Thanks to Will Landin for lending his ears. B'BOOM, Dick Ross ------------------------------ Date: Wed, 28 Feb 1996 22:19:09 -0700 (MST) From: "ERIC D. DIXON" Subject: Re: Elephant-talk digest v95 #261 STONE967 at aol dot com wrote: > After reading Belew interview in the most recent Guitar Magazine I wondered > if anybody knows why he doesn't use NST and maybe more importantly how does > Mr. Fripp feel about that? Fripp has said before that when you work with musicians as good as those in King Crimson, you don't tell them what to do. I think he's confident in Belew's ability to play music that is true to Belew. And Fripp has often acknowledged that Crimson isn't Fripp's band -- it's a composite of musicians. > Also does Fripp object to Fingerstyle Guitar? No. In fact, while Trey Gunn was attending Guitar Craft courses, Fripp suggested he try a Stick. Gunn had previously played keyboard, bass and guitar. Eric D. Dixon eric at du2 dot byu dot edu Hey you! Yeah, you! Check out my homepage... http://newsline.byu.edu/newsline/StaffResumes/dixon/eric/brickpage "The Two-Holed Button concealed its apprehension." -- Edward Gorey ------------------------------ Date: Thu, 29 Feb 1996 01:55:35 -0700 From: archie at Synopsys dot COM (Archibald W. Campbell) Subject: Remastering of '80's Trilogy Fellow Crimsonoids, A simple question: Why, oh why, did Fripp remaster Beat, Discipline, and Tree Of A Perfect Pear? I really liked the sonic touches that were on the vinyl versions, particularly "Sleepless". BTW, I think Belew is every bit as good a guitarist as Fripp, and a well-nigh perfect counterpoint to Fripp's structured formalism (This is not to say that Belew is not a disciplined guitarist) Viva Bob Clearmountain and the original producers! Regards, Archie Campbell archie at synopsys dot com *----------------------------------------- "Anything played wrong twice in a row is the beginning of an arrangement." -Unknown (at least to me) *---------------------------------------------------------------------------- *----------------------------------------- ------------------------------ From: ckaratnytsky at nypl dot org@cs.man.ac.uk Date: Thu, 29 Feb 1996 17:38:15 -0500 Subject: crafty orgasms Friends-- Due to overwhelming public interest, I have decided to present herewith my findings on the New Standard Chromosome, as I have recently identified it in the gene structure of the female King Crimson fan. I would like to acknowledge my colleague Antoine Caron's groundbreaking work in the genre of crafty scholarship with regard to his now legendary treatise on the New Standard Shoes (See: Caron, Antoine W. "Crafty Shoes" in ET #252). Without that work, this one would never have been written. Really. New Standard Chromosome The Orgasm was set up to work, and work well. Part of the equation was that it was free to work well, or not. So, part of the equation was that (at least at King Crimson concerts) it probably would. So, part of the equation was that the Orgasm would need, um, some fine tuning and tinkering, maybe even a little headache now and then... * * * The concert is the process within which the Creation arranges for our orgasm to be experienced sufficiently that we may be free once more to be without headaches at concerts. That is, the act of music returns the gift of orgasm to us. * * * Orgasm is an actual event, and a process. For the orgasm to enter our bodies, we need to allow the process of the concert to take place within us. * * * The orgasm is struggling to be born through the music while carrying the passive repercussions of the headache. The chromosome is the bridge between. Chris All apologies due to RF. Mea culpa, mea culpa, mea maxima culpa. ------------------------------ Date: Fri, 1 Mar 1996 09:53:18 +0100 From: "Riesz, Ferenc" Subject: Comparison of LTiA and USA Hi ! LTiA is usually ranked among the top albums of KC. Indeed, this new line-up with David Cross and John Wetton brought up a lot of fresh musical ideas. LTiA (especially Part 2) featured for the first time that repetitive, asymmetric-rhythm music which is exploited later in Fracture, Red and dominates over the crafty and Discipline era. But...something is missing from this album. Some kind of feeling, a feeling that is present in the subsequent albums of this line-up. It seems to me sometimes that professional studio musicians are playing, not King Crimson. The musicians don't feel each other. Or something wrong is done with mixing ? You can however find in USA (live 1975) what is missing in LTiA. The songs >from LTiA (LTiA 2, Exiles and Easy Money) are performed with the deepest emotions and a perfect musical knowledge and virtuosity, sounding much-much better than on LTiA. This difference is the most striking in Easy Money. The LTiA version is well-done, but lacks that kind of intense delicacy which makes the USA version one of the finest music that KC ever recorded ! It's also very nice as Asbury Park (another masterpiece) leads continously into Easy Money ! (BTW: the middle instrumental part of Easy Money is faded away omitting the return of the first vocal part...WHY ?) RF ------------------------------ Date: Fri, 1 Mar 1996 13:14:28 -0600 (CST) From: Dixie Gene Ross Subject: ambient music software While surfing through ambient music sites in nerd world I found: SSEYO KOAN PRO - windows music creative software. Brian Eno says,"I see SSEYO KOAN PRO as the most promising idea in musical technology for many years. I've been dreaming of something like this for ages. Here it is, and it works." Check out the SSEYO home page- www.sseyo.com. If anyone has downloaded the SSEYO KOAN and/ or KOAN PRO, I could dig a review. Send to dixross at tenet dot edu. Thanks, Dick ------------------------------ Date: Sat, 2 Mar 1996 13:20:54 -0800 (PST) From: THRAK Subject: Cover of Essential KC Greetings once again, fellow Crimnoggins! Just a very short observation that might touch your fancy. I noticed that on the cover of the Essential King Crimson boxed set there are latin (I presume) words in all four corners of the box cover. I believe they are latin words for "Air, Fire & Earth and Water" reminiscent of the song "In The Wake of Poseidon". Be forewarned, the words are very vague and hard to see. In fact, their album cover designs by Bill Smith, are just as intriguing as the music within. Does anyone out there have a favorite album cover? They seem to get better with every new release so my opinions on the matter change frequently. Thraks for your time and thraks to Toby once again for putting together the most intelligent, inspiring newsgroup on the 'Net. Take it easy, all! -Joe ------------------------------ Subject: Python Connections Date: Sat, 2 Mar 1996 16:37:37 -0500 (EST) From: "John Brann" From: John Brann Organisation: Not while I'm at home Hi, Although Monty Python can't be blamed for the title 'Lark's Toungues in Aspic' (I believe it was a delicacy of Roman cuisine), I do know of one solid Python connection. In 'Haaden Two' on Exposure, a number of 'found' voices pass comments over the music. The third is incomprehensible. Played backwards (oh the joys of vinyl!) it is revealed to be the voice of Graham Chapman saying: "One thing is for sure, the sheep is not a creature of the air" The quote is from the on of the original BBC series, I'm afraid I can't quote chapter and verse (i.e. year and episode), but I do recall seeing the sketch. Regards, John -- Beavis and Butt-Head; Vladimir and Estragon for the '90s. finger jbrann at panix dot com for pgp public key ------------------------------ Date: Sat, 2 Mar 1996 16:44:37 -0600 (CST) From: groon Subject: Fripp and O'Rourke I've been subscribed to ET for several months now and I have read many interesting collaboration ideas for Mr. Fripp. Fripp and Fleck, Fripp and MacKaye (most recently), Fripp and Bjork (?!?!), etc, etc, the list goes on. Well, here's my two cents, and I wouldn't contribute if I didn't think it was a terribly good idea: Robert Fripp and Jim O'Rourke. In case you are not familiar, O'Rourke is an experimental guitarist from Chicago who plays ambient, and very interesting guitar music. Perhaps this collaboration has already been suggested some time ago; I haven't been on the list that long. Both are interested in ambient music, and it seems very apparent to me that O'Rourke's sporadic and eccentric guitar work must be heavily inspired by Fripp. I could imagine the craziness that would occur if these two great musicians got together. I think their styles would complement each other quite nicely. Anyway, I just felt it needed to be said. -Groon groon at showme dot missouri dot edu ------------------------------ Date: Sun, 3 Mar 96 02:36:46 UT From: "Captain Zenith" Subject: Fripp and Metallica Get this! Apparently, Kirk Hammett, lead guitarist of Metallica, who formerly thought KC was a "math band", has become quite engrossed in Robert Fripp's guitar playing and said that THRAK was one of his all top five favorite ablums along with two of the Bowie albums that Fripp performed on. If this is so, perhaps Metallica's next album (due out soon I hear) will be Fripp influenced and well worth the purchase for KC fans interested in bands under the influence. Adam J. Cummins "Eat me? Wouldn't you rather discuss fine arts, philosophy..." -Beyond lies the Wub ------------------------------ Date: Sun, 3 Mar 1996 22:01:23 -0500 From: graeme wyllie Subject: Re:FFWD >I think what the reviewer meant was that Fripp did work with ORB members >on the album _FFWD_ (and I guess you could say FFWD is the name of the >"group" too: it stands for the members' names: Fripp, F____, W____, and >D____. Sorry I don't know the names). Although Fripp certainly may have >done work with ORB in the past; but I don't know of it. >I know someone very into house music and its subgenres (techno, ambient, >tribal, etc.) who just bought a double-CD compilation called "Trance >Europe" (or something like that: can't remember the exact name) I think its called Trance Europe express, i have seen it but never bothered picking it up yet. From the makers of volume, no surprise it has a blue cover with some kind of fish on it. On the subject of FFWD, F and W are Fehlman (sp?) and Weston whilst the D is 'Dr' Alex Patterson of the Orb. Kris Weston i know is mentioned on all the Orb releases whilst Dr Alex is the man generally responsible for the Orb. For more information check out the following http://hyperreal.com/music/artists/ffwd/ffwd.html which has some sound snippets available but not much else. As far as i know, the album is a complete one-off but still well worth getting. And the oRb themselves can be found at ... http://hyperreal.com/music/artist/orb.www/ Not sure how much relevance this has to ET but the info is there if you want it. be seeing you graeme p.s. on the subject of people, it would be cool to see RF working with either Bill Laswell or Jah Wobble would be interesting. ------------------------------ From: Giorgio_Fairsoni at mix dot it (Giorgio Fairsoni) Subject: David Torn's new release Date: Mon, 4 Mar 1996 08:25:21 +0200 I just received the following press note from CMP Records: >>>>>>>>>>>>>>>>>>>>> David Torn "What means solid, traveller?" Last year saw the release of "Tripping Over God", the result of sonic pioneer, David Torn's ongoing exploration of personal possibilities via solo recording and performance. Working alone in his small home studio, he produced an album of incredible musical density. This new album "what menas solid, traveller?" created under similar conditions, takes the liestener yet further on a sonic trip through David's twisted perspective on The Blues and psychedelic cyber-punk world of sound. Ambient with attitude! As David says.... "I play the Blues, albeit from the point-of-view of a post-psychedelic-quasi-punk-cyberdog-fuzzbox-non-market-driven-high-contrast - ambient-artist with a junk-food-junkie's bent towards deconstructing-musical-high-technology til it sweats'n'bleeds'n'starts-to-smell -lifelike-all-over-you..." David has teamed up with computer-graphics artist, William Latham, who will provide a visual backdrop for David's live solo performances, planned for later this year. The album's artwork has also been provided by Latham. DAVID TORN "what means solid, traveller?" (CMPCD 1012) Release date: April 9th 1996 <<<<<<<<<<<<<<<<<<<< That's all, folks! Counting the days... Bye, Giorgio Giorgio Fairsoni Via Monte Pertica, 2 I-35143 Padova Italy Phone & fax: (++) (49) 8802235 ------------------------------ Date: Mon, 4 Mar 1996 09:03:15 +0100 From: "Riesz, Ferenc" Subject: Proposed collaboration: Fripp and the Kronos Quartet Hi ! There have been several suggestions with whom should Fripp collaborate. I suggest another partner: the Kronos Quartet. In contrast to the ideas presented here before, this collaboration is really feasible and will be realized in the future :-). Why Kronos ? o Both Fripp and Kronos are committed to high-quality music. They both possess an open attitude to other music ideas. o Kronos has already some connection to rock and jazz. They are playing e.g. Jimi Hendrix and some jazz pieces. o Both Fripp and Kronos have some connection to repetitive music. o Fripp is apparently fond of strings. Guitar is a stringed instrument itself; KC features some string players (e.g. in Islands or consider David Cross; Fripp often uses melotron imitating strings). The Double Trio formation is a kind of string quartet: disregarding the drummers, the two guitars correspond to the two violin lines, Trey's stick to viola and Tony's bass to the cello. The collaboration should proceed in the following--consecutive or even simultaneous--steps: 1.Kronos plays first Fripps previously released compositions arranged for string quartet. For example, Sailor's Tale, Prelude: The Song of the Seagulls, Red, LTiA 2, Providence or Discipline are especially suitable for string-quartet performance. Or consider the guitar craft pieces. 2.Next, Fripp should wriete pieces dedicated to Kronos and they will play them in their concerts. 3.Finally, they should work together. A string quartet and soundscapes: an ideal connection. The three-year commitment with the Double Trio will expire soon: the next one should be with Kronos. I am looking forward to it. RF ------------------------------ End of Elephant-Talk Digest #263 ********************************