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 #267 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 267 Thursday, 21 March 1996 Today's Topics: New U.K. Words and listening experiences That '82 German KC Recording Frippophilia Greg Lake King Biscuit Flower Hour Re: FbF Meaning Technicalities KC-Related Albums USA A few things... "In The Dead Of Night" UK digest What I see as the reason LTIA is suited for a symphony Earthbound Fripp plays on another Cheika Rimitti CD mysteries of the universe evolution of Fripp laserbeam solos Tony Levin news wow on ET South Bank, March 1996-- Fripp Soundscapes Mini-Review Fripp and Cavaleri Fwd: Heartbeat Frippertronics FSOL w/Fripp Re: Avenida Corrientes CD Administrivia: POSTS: Please send all posts to toby at cs dot man dot ac dot uk UNSUB/ADDRESS CHANGES: The DIY List Machine is back! At www.cs.man.ac.uk/aig/staff/toby/et/list/ Visit the *new* 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. ---------------------------------------------------------------------- From: Jose dot Douglas at turner dot com Date: Fri, 15 Mar 1996 10:40:39 -0500 Subject: New U.K. Hi y'all, I've heard that Robert Fripp is to be playing guitar on some of the new U.K. project. I personally would have rather had Mr. Holdsworth. The story I heard was that Holdsworth refused because they (Wetton mgmt) would not let him have any creative (songwriting) imput whatsoever in the project. Allan Holdsworth is coming out with a new album in a couple of months however! No tour for 96 his expected however. Wouldn't Mr. Fripp's involvement turn this into a 70's KC rather than UK? (that's why I'd rather have Holdsworth) I mean, you have Fripp, Wetton, and Bruford involved! Call them League of Gentlemen as originally planned then, and not U.K. This project should be interesting, especially considering Mr. Wetton has not done anything progressive since... ??? Does this mean there are basically 2 King Crimsons going on at once? I can just see it; U.K. opening act for KC! One worn out Bruford after each show, and one sore fingers Mr. Fripp as well!! Just some thoughts! Regards, Jose jose dot douglas at turner dot com http://www/geocities.com/TheTropics/3109/ ------------------------------ From: "Caron, Antoine" Subject: Words and listening experiences Date: Fri, 15 Mar 96 12:55:00 EST Thread: my posting about ET becoming big and boring: KB305 at aol dot com (Kevin B.) said: "It sounds like Antoine's idea would be an attempt to put into words our own >listening experience when KC took us, as individuals, into its confidence... >...such experiences would mean nothing to the outside observer. My >enlightening moment with KC has nothing to do with yours." Why? Because Fripp said so? I think our experiences can be the same or can be different. Who cares, really. Either way, it's certainly more interesting to me than tuning bagpipes to NST or bragging about your stereo. I agree with Michael Peters that "the extraordinary is not easy to talk about", but Michael does a very good job when relating his experience of listening to KC. I could really identify there : "lying on the floor in the dark and turned up the volume, then we listened to the whole record without doing anything else, and allowed the music to carry us away...". Very interesting comment about feeling "thorouhly cleased inside after listening to it " (Red). Also thanks I.P. Freely for sharing your great Epitaph/Cascade moment with us. That's exactly what I had in mind. Keep it coming. "All your dresses are on the floor, all your dreams out the door" (Ian Stephens/Redshift) Antoine W. Caron ------------------------------ Date: Sat, 16 Mar 1996 19:05:34 -0500 From: lbh2 at cornell dot edu (Bruce Higgins (via remote)) Subject: That '82 German KC Recording Bill Brody, LOJ, MOBB wrote: >I recently happened upon a double CD set, a boot I'm sure, called Avenida >Corrientes recorded mostly from the '94 Buenos Aires concerts. On the >second CD are 6 tracks from an '82 show from Germany. Is anyone familiar >with this recording? I recently acquired a copy of an FM broadcast labeled "Mannheim, Germany 9/12/82". The tracks are: Waiting Man/Thela Hun Jinjeet/Frame x Frame/Elephant Talk/ Drums>Indiscipline/Heartbeat/LTIA pt II (ugly cut in middle) Other than the disemboweled LTIA II, this is the best-sounding unreleased recording from that period I have heard, coming in a notch above the Montreal 84 KBFH. Performancewise, well, it's hide under the couch time. Absolutely ripping; I prefer it to both Frejus and the ToaPP performances. Given the paucity of live boards/broadcasts from that period, I would strongly suspect that these are one and the same. -Bruce <><><><><><><><><><><><><><><><><><><><><><><><> L. Bruce Higgins lbh2 at cornell dot edu Marquis du Pwag "Alternative" to *what*?!?!?! ------------------------------ Date: Sat, 16 Mar 1996 16:07:26 +1000 From: ebest Organization: Centred Learning Subject: Frippophilia Hi ETers! This is my first correspondence with your newsletter. I have been a RF & KC fan since the early seventies. I even attended a Guitar Craft course in 1990. My purpose in writing is a point of concern. I have noticed a strange psychological aberration which may be called Frippophilia. This virus sometimes breaks out badly on this site, although I also experienced it among some of the participants of the course. Its symptoms include placing a certain musician on a pedestal that excludes his work from criticism and attempting to fend off such criticism by the use of inane truisms or cryptic utterances that are either directly borrowed from this musician- and therefore they must be right[?]- or that are imitations of this style. Forgive me if I am wrong- it is difficult to diagnose accurately >from such a distance- it appears that David Kirkdorffer's defence of the sound quality of Thrak, appears symptomatic of this abberation. [But I have seen more severe cases.] Permit me to reply with a syllogism of my own: All men are fallible. Robert Fripp is a man. Therefore, Robert Fripp is fallible. Thrak may sound the way Mr Fripp & Co wanted it to sound. This does not place either this work or this person in a unique position: there are many artists who have artistic control of their work. But this does not give them privilege from criticism, for art essentially involves a social relationship. There is no performance without an audience, an audience can not avoid evaluating a performance and performers need not be their own best critics. Put most bluntly, it is completely valid for a member of an audience to believe and argue that a performer got it wrong. Back to my main point: to those of you who suffer from Frippophilia, music is everywhere and irrepressible. While you continue to obsess over this unique channel of the muse, you run the danger of not only impoverishing your musical experience, but of never finding your own voice, thereby sabotaging your own holy calling. Listen widely and play- anything. Go to Folk festivals. Enjoy! ------------------------------ Date: Sat, 16 Mar 1996 21:59:56 -0600 From: rkern at indy dot net (Ron Kern) Subject: Greg Lake King Biscuit Flower Hour If this is old news, I apologize in advance... King Biscuit Flower Hour Records has recently released a Greg Lake solo concert that was recorded in 1981 at the Hammersmith Odeon, London England. The last two cuts are 21st Century Schizoid Man and In The Court Of The Crimson King. Gary Moore plays guitar. The two cuts are interesting; in fact the whole darn thing is pretty nifty - especially for this 38 year old that used to get, well, uh, wasted listening to ELP during the college years. The sound quality is pretty good - decent digital remastering IM_V_HO. >From the liner notes: But it is the shows closers, Crimson's "Schizoid" and "In The Court..." which make this recording so special. (about Schizoid Lake says ->) "I think it was an important song, now that I look back I think it did bare influence on the music of that time....And I think for a lot of people, the first Crimson Album was their first exposure to serious music in a rock and roll form. I think it was also the pioneering album for technology in the sense of the mellotron and where orchestral sounds were brought into modern music." A note of thanks to all of you ET folks; I do appreciate all of your insight and knowledge - ET is truly a pleasure to read. Toby, may I have one little minute about my run in w/ RFRIPP? At the vogue theater in Indianapolis, Indiana (SRO for about 500 people) Crimson came through after Three Of A Perfect Pair was released (why, I'll never know, but I counted my blessing!). My wife and I got to the theater early; hardly anybody was there so we were able to get great seats right next to the soundboard in the balcony. I went over to the bar to get a couple of drinks and realized that Fripp was sitting at the far corner of the bar having a drink. I simply said good evening and told him we were really looking forward to the show and felt it was a privilege to have Crimson at our humble theater. I bought him a drink. Fripp said that it was very decent of me to do that and then we briefly engaged in some conversation. He seemed like a regular "joe" and was really laid back. They played with reckless abandon that night, Belew and Fripp challenging each other all night. As there were probably only 300 people in attendance. That's all, thanks for Peace Ron Kern -30- ------------------------------ Date: Sun, 17 Mar 1996 12:46:39 -0500 From: "Weissenburger - Jeremy S." Subject: Re: FbF Meaning >The only problem with Chris Koenigsberg's theory about "Frame By >Frame" alluding to Peter Greenaway's film "Drowning By Numbers" is >former preceded the latter by several years... Didn't Belew write this about Fripp's over-intellectualizating? (And please let's not have 30,000,000 posts about FbF's meaning. We just got through THG...) --Jeremy ------------------------------ From: "Drew Nisbet" Organization: inforamp.net Date: Sun, 17 Mar 1996 13:03:40 -500 Subject: Technicalities >As for Thrak sound once again, while I do still maintain that it is well >recorded and a blast to listen to much of the way, i have come to agree with >some of the comments of Orn Orrason: on the intro to Dinosaur, Fripp seems to >be playing something really cool, but it is so far down in the mix as to be >very hard to make out at times. Perhaps you're right: perhaps they chose a very >particular-sounding monitor, maybe with a peak at a crossover frequency. The >actual type of monitor, I believe, is mentioned in the liner notes, but I had >never heard of it. I guess I can understand why technicians like to analyse these types of things, but to me they are counterproductive. KC, like most other magical amalgamations, is more than the sum of its parts. Pulling it apart to examine its components is like performing an autopsy on a thriving organism - you're going to end up with a cadaver - something quite a bit less special than what you started with. Absorb the whole rather than reflecting the partial. (Where the hell did that come from?!? It must be the Scotch.) Drew. *------------------------------------------------------------------------- Our forefathers had civilization inside themselves, the wild outside. We live in the civilization they created, but within us the wilderness still lingers. What they dreamed, we live, and what they lived, we dream. - T. K. Whipple, Study Out the Land *------------------------------------------------------------------------- druid at inforamp dot net http://www.inforamp.net/~druid ------------------------------ Date: Sun, 17 Mar 1996 11:46:18 -0500 From: Mark2u at aol dot com Subject: KC-Related Albums A month or so ago several people replied to my post requesting info on some David Cross albums. One person in particular seemed quite knowlegeable on all three albums. (I appologize for not recording the poster's name). I purchased the earliest of these albums, "Memos From Purgatory", as it seemed to have that poster's highest recommendation. I was expecting something along the lines of UK, but maybe more disappointing. I just listened to it this afternoon and was quite plesently surprised. NOT just straight-ahead "politically correct prog-rock" as one poster countered. I found it to be quite interesting. Lots of tension and release. Not quite Crimson, but interesting nevertheless. Also, while I was there I saw a CD I had never heard of (maybe someone else has mentioned it before and I was just asleep.) I purchased it. It is by Michael Giles, Jamie Muir and David Cunningham. The title is "Ghost Dance" and was composed as a soundtrack to a film of the same name. It was recorded in 1983 and this CD was published in 1995! I also listened to this CD after the Cross CD. I also found this enjoyable, although in a different way. It is not what I would categorize as prog-rock, maybe even more closely akin to Windham Hill (but more challenging). It is mostly texture, much in the same way as Eno, although never quite as haunting. Lots of percussion (both Giles and Muir). Lots of "world" influence. Kind of like "musique concrete" with a rhythic structure. The liner notes discuss the composition process. I would definitely recommend it, but not for everyone on the list. It reminds me of "Deep Listening" by (Pauline) Oliveros, Dempster & Panaiots. If you like KC because it reminds you of Primus, don't buy it. If you like experimental music, like to be challenged with new musical perspectives, and want to see what a couple of KC Alumni have been up to, then give it a listen. ------------------------------ Date: Sat, 16 Mar 1996 20:01:24 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: USA wombat at aonline dot com wrote... > I have always found the sound quality on it exceptional for a live > album. Lets not forget we are talking about 1975. What other live > albums from that era would you say were recorded better? Obviously I'm not about to attempt to sway your opinion on one of your favourite recordings, but there are enough overdubs on this supposedly 'live' album to make it sound better-than-average. (Now that you come to mention the quality of 'live' albums from 1975 or so, King Crimson recorded 'Starless And Bible Black' the year before, the live portions of which sound of manifestly superior quality that 'USA') *------------------------------------------------------------------------------- Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-653-6124 crimson at blackcat dot demon dot co dot uk : Columnated Ruins Domino : Cheetah Soon! *------------------------------------------------------------------------------- ------------------------------ From: "bnt at ibm dot net" Subject: A few things... Date: Sat, 16 Mar 1996 19:45:39 -0000 1) The Union Chapel, London Soundscapes concert planned for 20/03/95 has been cancelled - a pity. Udo, if you read this; was there a specific problem? 2) In the latest Polygram mid-price catalogue, they include "The Cheerful Insanity of Giles, Giles & Fripp" which will be sold in their mid-price promotion on a A320-for-three basis. If they do it in the USA, that translates to about $9-$10 or so. They also printed a picture of the cover. I STILL don't believe it! Of possible interest to other progressive music fans, the promotion also includes:20 The complete Rush catalogue up to "A Show Of Hands" (1988); most Emerson, Lake & Palmer; a ton of serious reggae & dub from Island records incl. Marley, LKJ, Cliff; and (via a quick scan) selected albums by Anthrax, Barclay James Harvest, Big Country (remasters), Camel, Clapton, Deep Purple, Faith No More, Fish, The Jam, Joe Jackson, Elton John (plenty), Jon & Vangelis, Level 42, Magnum, The Mission, Van Morrison (eh, Toby?), The Police, Soundgarden, Supertramp, Traffic, U2 (1st 3), Ultravox, Velvet Underground, and Yello! A chance to fill the gaps in my collection...! Cheers ------------------------------ Date: Sun, 17 Mar 1996 14:31:12 -0600 From: Joe Loda Subject: "In The Dead Of Night" UK digest Could someone either post or reply with information regarding this digest? Thanks Joe jloda at interaccess dot com ------------------------------ Date: Sun, 17 Mar 1996 17:51:42 -0600 (CST) From: Andrew Suber Subject: What I see as the reason LTIA is suited for a symphony The two greatest things of importance in accepted art are theme and form. These two qualities create a synthesis. A work of art without form is nonexistant; a work of art without theme is inane and meaningless. I feel that LTiA has themes that make it a work of classical proportion. With this same reasoning, I buy a classical book(the Bible, for instance)in the most beautiful, frilly, gilded form I can buy. The essence of LTiA does not change, even when transposed into musical notation, but a certain form may be more fitting. The themes in LTiA can be expressed in a ragtime guitar solo, but they are better in the original. I feel that changing the form of LTiA into a symphony with all of the gilded trappings of classical music could help me understand its theme a bit better. The theme of ItCotCK, however, seems to be so rooted in the form it posesses. A piece of classical music based upon it would not offer any improvement in my undertanding. I am being very egotistical, I am simply doing my best to understand the music I enjoy. andrew ------------------------------ Date: Mon, 18 Mar 1996 08:39:54 +0000 From: RKE at konbib dot nl Subject: Earthbound Hello, I am new on ET, and so if through this mail I restart something old & boring all over again, I am very sorry and beg you to pay no attention. My point is: why does everybody hate Earthbound? OK, the sound quality is mediocre, but if Earthbound would have been a bootleg, it's sound quality would probably have been rated "fair". My point is, that on Earthbound are some of King Crimsons most adventurous moments, and especially the role of Mel Collins is really fascinating. I think it is his "finest hour", at least as a member of KC. The jazz-funk-rock sound of the album also does justice to the drummer, whose work here I like a lot more than on Islands. So, the sound quality being poor, consider it as a rare & legendary jazz-recording. I'm sure you will hear increasingly more good things in it. The Hague, Robert Eksteen [ Please reply by private mail to Robert, not ET -- Toby ] ------------------------------ Subject: Fripp plays on another Cheika Rimitti CD Organisation: IRISA / INRIA Date: Mon, 18 Mar 1996 10:49:47 +0100 From: Eric Rutten A new Cd of Cheika Rimitti (the grandma of Rai music from algeria) has come out, with tracks from the sessions for the previous album (Sisi Mansour). These tracks are four: two new ones (long) and two remixes of a track from Sidi Mansour (shorter). Fripp plays on the first and last. The latter is 20mn long, and features a background of frippertronics behind the meandering voice. Eric ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Eric Rutten | e-mail: rutten at irisa dot fr IRISA / INRIA, projet EP-ATR | phone:+33 99 84 72 33, fax:+33 99 84 71 71 Campus de Beaulieu | telex:UNIRISA 950 473F F-35042 RENNES cedex - FRANCE | http://www.irisa.fr/EXTERNE/projet/ep-atr ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Mon, 18 Mar 1996 04:24:00 -0800 From: "David A. Craig" Subject: mysteries of the universe |We all hold CotCK in high regard ... [snip] No, we don't. travel light, david ------------------------------ From: ckk at pobox dot com Subject: evolution of Fripp laserbeam solos Date: Mon, 18 Mar 1996 14:23:58 -0600 Indeed, Fripp lead laserbeam solos used to be a mainstay of King Crimson, Eno, Bowie, Gabriel, Frippertronics etc. albums up until his "Drive to 1981" period when he shaved off his beard, cut his hair, and released "Exposure". After that, his lead solos became less frequent, shorter, totally concentrated and more precious, and achieved a "disembodied" voice, freed from the constraints of the "traditional" rock guitar left-hand-fretboard-and-right-hand -plectrum-picking cliches, more like the breathing-influenced phrasing of a wind instrument... It's educational to put on "The Cheerful Insanity of Giles, Giles, and Fripp" and hear the much more conventional rock guitar player on that album, to consider his development of his style, in contrast with his most intense laserbeam-but-still-guitarlike solos of the KC period with John Wetton on bass. At least for me in my younger days in the 60's and 70's, as a searching young psychedelic guitarist searching for a mentor (before I gave it up and switched to bass :-), sometimes I would need to search for the "meat" of Fripp's laserbeam lead solos, among the "broccoli" of everything else :-) I would live for the solos all over Starless & Bible Black, on "Baby's On Fire", side 1 of No Pussyfooting, Bowie's Heroes, etc. :-) I would think hard for hours, as a player myself, doing acid etc. listening to his albums, about how Fripp took familiar rock lead solo cliches, adding extra distortion and infinite sustain, and mangled them with angular dissonant tritonic motions, focusing in on the "wrong notes" until a completely different aesthetic emerged. We're talking circa 1974-76 here.... .As a (mediocre :-) guitar player myself I would use all the "wrong notes" as much as I could -- in fact sometimes me and my comrades would deliberately randomly detune our instruments, each player deliberately playing ordinary "box method" pentatonic blues scales, but each doing them very fast and in a different "wrong key" at once, etc. (shades of Ornette Coleman's "harmolodics", only years later I heard "Body Meta" which had actually come out during that same time when I was playing that way :-) OK, so a few years passed, I left high skool and went away to college.... When "Exposure" came out, my first panicked reaction was "No guitar lead solos? What happened?" .... (yes, over the years it's come to be one of my favorite albums, that's how things are, taste changes and appreciation grows with time) On his solo Frippertronics tour of small record stores, just after the release of "Exposure" (was that 1978?), a friend who worked at Plastic Fantastic Records in Bryn Mawr Pa. (outside Philadelphia) got me in, even though all the tickets had long been gone..... So after his performance he took questions. I got to ask Fripp "How come there are no lead guitar solos on your new album?" and everyone in the audience gasped at such arrogance :-) but he thought for a moment and replied, something like "um, yes, I suppose you're right, on my own albums I tend to prefer letting others have the spotlight." Consider Fripp's brief lead solo in the Roches' eponymous album recorded in Fripp "audio verite", I think it's on the "Hammond Song"? .... I believe this marks the transition, the first emergence of his new completely "disembodied" wind-like solo voice, his first post-Frippertronics solo (but still some years before he came out with the Guitar Craft method). OK, that should be enough to start some discussion... Chris Koenigsberg ckk at uchicago dot edu, ckk at pobox dot com http://www2.uchicago.edu/ns-acs/ckk/index.html (also http://www.pobox.com/~ckk) ------------------------------ From: Terrance L Kalka II Date: Tue, 19 Mar 1996 12:14:42 -0500 Subject: Tony Levin news I located a magazine in the US called "20th Century Guitar." I had never seen it or heard of it before last week, but the current issue has an interview with Tony Levin, and is promising to start featuring columns by Steve Howe. The big TL news is that Tony's studio burned down late last year, around the end of the King Crimson tour. Apparently he lost all of his musical gear, except what was on tour with him (grand stick, upright bass, 4 and 5- string Musicman basses). There was no mention of any people being injured, so hopefully everyone is OK. In lighter news, there were plans for a band with TL and ex-Mothers-of- Invention Billy Mundi, Ray Collins and Don Preston, but they disbanded after one gig. peace TErry ------------------------------ Date: Mon, 18 Mar 1996 22:18:09 -0500 From: "Mark A. Luedi" Organization: Otter Creek Music / Loose Canon, Inc. Subject: wow on ET Toby, I could spend the rest of the night engrossed in your site and in past postings of ET, but I really should get home and feed the cat (computer's at the shop, there's not one at home). I am *very* (veriest) impressed with the Elephant Talk site. If I had known such an entity as this existed, I would have bought a more powerful computer sooner and gotten into the online mentality mucho sooner. A few comments and queries. I've been listening to Crimson (quite often intently and to the exclusion of all other music) since about 1973/74. I have never, unfortunately seen them in concert, and reading the raves in recent ETs makes me wish I'd somehow knuckled my way into one of the shows in Ann Arbor, Kalamazoo, or Chicago. Maybe next time? While I haven't read back enough to grasp the seed of the argument or where it's headed, I haven't listened to USA in at least 14 years (monstrous album purge in 1982). I don't recall being terribly impressed with the album then, but it's something I had been hoping would reappear, though comments by the Befuddling One in The Great Deceiver package convinced me it would probably never see a CD re-issuance. It is something I would dearly love to listen to, if only to subject it to some careful scrutiny. So far as I've been able to discern, Damage (live Sylvian and Fripp) is no longer available, at least in the US. I've got mine, but if you see one in the stores, better latch onto it quick with both hands or you could be kicking yourself for years to come. (And to think it was only on account of a sharp-eyed and Crimheaded clerk at the store who saw me toting around Vrooom and turned me onto it! He's probably a reader; I don't know his last name - barely his first, only where he works.) Has anyone released/compiled a various artists album of KC covers? I'd be very interested in knowing if such a thing exists or if anyone has intentions of doing one. How about one with just covers of 21st Century Schizoid Man? And speaking of the Befuddling One, I notice in the index of contributors that it's been quite some time since he's graced ET with his peculiar brand of perspective and wit. What's the secret? Cheers, Mark ------------------------------ From: David Kirkdorffer Date: 19 Mar 96 14:09:38 EDT Subject: South Bank, March 1996-- Fripp Soundscapes Mini-Review Cross posted from the Ambient list with permission from Steve Bachini... From: sbachini at uk dot mdis dot com (Steve Bachini) Date: Mon, 11 Mar 96 13:29:41 GMT Subject: Fripp Soundscapes Mini-Review I was lucky enough to catch Robert Fripp doing one of his free Soundscapes in London last Friday. Thanks to whoever posted the info. It was two hours of some of the best ambient I've heard. Mr Fripp, immaculately dressed as ever sat between two racks of equipment and twanged and fiddled-about, introducing layers of sound into the constant loop. A couple of shorter tracks and a 45-minute one of music that just ebbed and flowed at a rate of around about 8 seconds. A few times he got up and chatted with his engineer while the music continued its work :) We got to applaud at one point but he disappeared at the end leaving a very gradual fade-out. Like all good ambient music I've heard (eg Tetsu Inoue) you just didn't want it to stop. Looks like there's another few albums I need to buy. Steve Bachini - sbachini at uk dot mdis dot com ------------------------------ Date: Tue, 19 Mar 1996 15:40:25 -0800 From: Scott Baker To: kbibb Subject: Fripp and Cavaleri Hi. I have to type this fast before my computer locks up for the third time! Would it be possible for you to ask Robert Fripp if he's heard of Nathan Cavaleri and if he might find his way over to meet with him at some point? I have a strong feeling the two should meet. Thanks! Scott W. Baker ------------------------------ Date: Wed, 20 Mar 1996 15:48:19 -0600 (CST) From: SingiJingiBingiBongu To: Elephant Talk Subject: Heartbeat Frippertronics Several years ago I heard a recording of some Frippertronics that involved a hearbeat. It was a piece that flowed in and out of a recorded hearbeat. It was as intense as it was eerily beautiful, but I haven't heard it since. The person who had the copy had obtained it from a 45 rpm record that used to be included in magazines (the floppy kind). So, here is my question. Has anyone out there heard this recording, and if you have, could you please let me know where I could get a copy of it? Roman ------------------------------ Date: Wed, 20 Mar 1996 17:55:19 -0500 (EST) From: Gideon B Banner Subject: FSOL w/Fripp Just went to the Future Sound of London webpage at Hyperreal (http://www.hyperreal.com/music/artists/fsol/www/), where the discography gives the following entry under "Radio Shows": 15 May 1994 BBC Radio 1 -- The Essential Mix (UK) FSOL w/Robert Fripp live 2 hours I'm curious as to what this is, maybe someone has it and can explain it. Thanks, Gideon ------------------------------ Date: Thu, 21 Mar 1996 00:56:18 -0300 (EST) From: agorni at dialdata dot com dot br (Antonio Augusto Gorni) Subject: Re: Avenida Corrientes CD Bill: I saw the bootleg CD called Avenida Corrientes. It's a 2 CDs set, edited by Velvet Speed (?) with the following contents: CD 1: Vroom Frame by Frame Cage Red One Time When I Said Stop Continue Elephant Talk Indiscipline Sex Sleep Eat Drunk Dream CD 2: Matte Kudasai The Talking Drum Larks Tongues in Aspic (part 2) Heartbeat Sleepless Waiting Man (*) Matte Kudasai (*) The Sheltering Sky (*) Neil and Jack and Me (*) Indiscipline (*) Heartbeat (*) All the songs were played in a show in Argentina (Buenos Aires, October 8, 1994), except those marked with (*), which were performed in Munich (1982). Hope this helps! If you want more information please send a note. All the best, Antonio ------------------------------ End of Elephant-Talk Digest #267 ********************************