Errors-To: et-admin at blackcat dot demon dot co dot uk Reply-To: et at cs dot man dot ac dot uk Sender: et at cs dot man dot ac dot uk Precedence: bulk From: et at cs dot man dot ac dot uk To: et at cs dot man dot ac dot uk Subject: Elephant Talk Digest #285 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 285 Thursday, 20 June 1996 Today's Topics: two tickets for sale (London 1-July) What the *huh* is snake guitar and wimhurst guitar? Seattle Show? Improvisation album art "sampling" Radiophonics and Replies to #284 Asbury Park! RE: jazz nerve struck; nerve strikes back... Articulate anon... KC & Black Oak Arkansas KC in NW US and a "bootleg" idea Tickets for London on 30/6 and 1/7 KC Midi files on the Web KC evolution Re: Crimson voices Re: David Torn Tornosity Possible Productions seeks HORDE helpers HORDE, Kaukenen and Primus (separate items!) Various Things Continuing discussion: Wetton's voice Why Russia is outside again? Who is David Bottrill ET'er from Downunder time travelling THRaKaTTaK Revolution A couple assorted comments, re: Mars and wood boxes KC/Asbury Park re: John Wetton's Voice Polytown Re: NIN tickets wanted (please!) KC in Berlin 6/5/96 Re: Please, Mr. Fripp - more official live recordings More strange KC bills An American in London for KC---Ticket for Sale? Gig review Hamburg, June 16 1996 Concert in Prague RE: the Paramount Theatre, and a Query to ETers King Crimson in Prague Review of the Budapest gig ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to et at cs dot man dot ac dot uk UNSUB/ADDRESS CHANGES: Send a message with a body of HELP to et-admin at blackcat dot demon dot co dot uk, or use the DIY list machine at http://www.cs.man.ac.uk/aig/staff/toby/et/list/ ETWEB: http://www.cs.man.ac.uk/aig/staff/toby/et/ (partial mirror at http://members.aol.com/etmirror/) THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- Date: Mon, 17 Jun 1996 17:28:41 +0100 From: Manuel De Pinedo Garcia Organization: COGS, University of Sussex Subject: two tickets for sale (London 1-July) qI have two spare tickets for the second King Crimson Show in London (first of July). They are standing tickets, and the price for both is 39 pounds, which is what I paid. Contact me **very** soon by email, and we will work out the details. Manuel. ------------------------------ Date: Mon, 17 Jun 1996 11:23:16 -0500 (CDT) From: Andrew Suber Subject: What the *huh* is snake guitar and wimhurst guitar? Dear ETers, On "Another Green World" RF plays a "Wimhurst Guitar" and Brian Eno plays a "Snake Guitar". Can any of you explain what these instruments do? I can not find any explanation in a musical encyclopedia or reference work. I listened to "No Pussyfootin'" while ingesting seven grams of psilocybin mushrooms. It really sounds nice!! I really recommend this experience to any one. Andrew ------------------------------ Date: Mon, 17 Jun 1996 09:46:21 -0700 From: Print_Future01 at Douglas dot BC dot CA (Trent Ernst) Subject: Seattle Show? It was to be the concert event of the summer. KC live at the pier in Seattle, July 20. Now people are saying that the concert is cancelled. As I don't live in Seattle (nor do I live in Washington, nor the US), information is a little scarce. Does anyone know if this vicious, nasty, evil rumour is true, and if so, why? Trent Ernst (trente at vcn dot bc dot ca) writer designer editor Editorial Resource, Other Press Director, Men in Black Productions ------------------------------ Date: Mon, 17 Jun 1996 10:07:37 -0700 (PDT) From: dixon at unixg dot ubc dot ca (David G. Dixon) Subject: Improvisation About a month ago I started a rather contentious thread regarding the relative lack of improvisation to be heard at King Crimson shows. I suggested that, if any band could provide a couple of hours of interesting improvised music, then surely it was this one. The general response was that that would be boring, etc. Well, if you want to hear just how fruitful improvisation can be in a guitar-bass-drums setting, then I suggest picking up a copy of "Polytown" by Torn-Karn-Bozzio at your friendly neighborhood record store as soon as is humanly possible! In fact, my ultimate KC would be to replace the "left side" of the double trio with Polytown! Comments? Dave Dixon Vancouver, B.C. ------------------------------ Date: Mon, 17 Jun 1996 10:11:34 -0700 From: ca dot qc at bdi dot hcc dot com (CA QC) Subject: album art "sampling" I was recently in a Togo's sandwich shop in Santa Cruz California and noticed the employees wearing Togo's company T-shirts that had clipped the album face from 21st Century Schizoid Man's cover art and was incorporated into the Togo's artwork. Could Togo's possibly paid for the use of this art from Fripp/Virgin/e.g.? Doubt it. Of course, the artist Togo's commisioned for the shirts may very well be the culprit who "sampled" the Crimson art. Wonder what Togo's would think if their logo or other artwork suddenly appeared on say--dogfood cans? --Thomas B. ------------------------------ Date: Mon, 17 Jun 1996 15:09:00 -0500 From: Music Library user Subject: Radiophonics and Replies to #284 Greetings to all. My two cents on a couple posts from ET#284: - Andy Acunzo wondered who else dug Wetton's voice and I'll have to raise my hand for that one. I haven't heard anything recent from JW; however I am very familiar with '73-4 Crimso. JW's singing was "competent at best" (as tGD booklet said), but I can't imagine anyone else singing "Easy Money" or "Book of Saturday." He gave those songs a certain power, or, to quote an old review, a "smoky prettiness." I'm sure Adrian can sing "Starless" as well as John did (hint hint, fellows), but John's vocals had a certain magic in them. Even if I barely understand anything in "Doctor Diamond." [grin] - Dave Depper (I think) put in a request to RF for another official KC bootleg comprised of tunes that B'BOOM missed. Such as Thela, or Waiting Man, or 21csm. Robert, sir, if you're reading, consider me another listener who would gladly snap up another live disc. Despite all the bitching about KC releasing the same album over and over, which of course isn't true at all to anyone who listens. I would love to hear the double-trio's versions of other tunes, esp. Thela, which knocked me out in Atlanta last year. And it is a valid point that some of us have a hard time getting to see Crimson live. If one lives in Knoxville, for example, it means keeping close tabs on tour dates, getting in touch with out-of-town ticket offices, and planning travel expenses. (A certain festival show in Nashville might sound convenient but doesn't count as a Crimson show.) I'm quite willing to go to all the trouble if Crimson comes to the southeast again....but until then, the thought of another live disc brightens the day. - Finally, *Radiophonics* is definitely worthwhile for those who keep up with Fripp's soundscapes. Frippertronics sure has come a long way, baby. The sound and variety of this CD are wonderful. "Sky" echoes the lush sounds of *Blessing of Tears*, while "Radiophonics II" forges its own sonic territory, sounding both terrifying and strangely lulling at once. .....wonder what Soundbites will sound like.... until next time, everyone enjoy the summer. Chris Mitchell ------------------------------ Date: Mon, 17 Jun 96 15:56:12 EDT From: James Robinson Subject: Asbury Park! Is there anyone who has the telephone number for the Paramount Theatre in Asbury Park? I can not get anything from information. I am getting DESPERATE! Peace- Jim R. p.s. you can e-mail me privately if necessary. ------------------------------ From: David Ewing Date: Mon, 17 Jun 1996 12:01:39 -0600 (MDT) Subject: RE: jazz nerve struck; nerve strikes back... Nel3 at aol dot com writes: > I feel compelled to respond to the comments of David Ewing who seems to > equate me with some legion of uneducated, jazz-less listeners. Whoa, easy. I in no way meant to flame or offend you. > A few points of clarity, then concerning my previous post: > > 1) Just because I used the words "chord-less improv" doesn't mean I thought > all jazz must have chords. Sorry if I interpreted what you said incorrectly. It was just that I was following a thread about KC's free improvs that seemed to imply exactly that - that they were not jazzlike because they weren't soloing over chord progressions. I was just trying to clarify how not all jazz is playing over the changes and that KC had a definite jazz influence (the extent to which we apparently disagree). > 2) There still seems to be, on the part of free jazz devotees (of whom I > must assume Mr. Ewing is one), a smug elitism that free jazz represents the > logical end to which jazz must aspire. Please call me "Dave". May I call you "Nel" or "3"? (SHORT .signature files really can be useful). No, I may be a smug elitist, but I'm definitely not a smug Free Jazz elitist. I certainly don't consider free jazz the logical end in the evolutionary chain of jazz, just an interesting mutation that yielded SOME great stuff -- Sun Ra, John Coltrane, Ornette Coleman .... I LOVE lots of jazz - from Louis Armstrong to Sun Ra, with Charlie Parker, Thelonious Monk, Charles Mingus, Miles Davis, and John Coltrane, to name the obvious few, along the way. > I believe that, like other forms of > jazz and for that matter rock, most music put out under a particular genre > is dreck - only about 5-10% achieves some lasting impression, the rest is > usually an attempt to capitalize on a "fad." Agreed. Who was it that said "90% of anything is shit"? > 3) Anyone who listens to Wayne Shorter deconstruct melodies in his solos > down to the nearly molecular level can see that his is simply a different > approach to the canvas. IMHO, Ornette, Coltrane and others of his ilk see > the canvas as a blank white space to be filled completely with their paint, > whereas the Miles Quintet of '64-69 saw the canvas as not existing outside > the space of their notes or outside the space which they have placed > between their notes - and no one in jazz used space like this group to the > point where the space and silence between notes BECOMES the notes as well. All great points that I agree with. > 4) Which brings me to KC, while none can deny that space IS present in > their 73-74 music, I do not see a DIRECT connection between jazz improv and > this band - the group was certainly more about classical atonalities and > Cage-like nuances. They certainly understood jazz (BB's obvious roots no > doubt a contributing factor). I think that the biggest connection between King Crimson and free jazz went straight through Jamie Muir. He was very involved in the European free jazz community. But I also agree that there was a large 20th Century classical element in this mix. > But, if one MUST attribute their style to > some kind of free jazz so that it can be elevated in one's mind, Ouch. Like I said, there is nothing sacred about free jazz to which I feel the need to associate KC. I just believe that it was a large influence on KC's free improvs of the 70's. > 5) So that no one is confused by this diatribe, one last point regarding the > '73-74 KC - as I said in my previous post, IT IS GREAT MUSIC! Now there's something we all agree on. > 6) Gee, I seem to have taken a verbal pool cue to Mr. Ewing - evidently he > struck a bit of a nerve... And again, I apologize for that. Happy listening, Nel3. *************************************************************************** David A. Ewing Interleaf - Boulder Lab. dewing at boulder dot ileaf dot com Boulder, Colorado *************************************************************************** ------------------------------ Date: 17 Jun 1996 13:26:26 -0700 From: "Tim Salmon" Subject: Articulate anon... That's right! I've got CrimTickets -- ELEVENTH ROW @ the Greek Theater in Berkeley, CA -- on the day before my birthday! OK, I am not being completely honest--my friend Irwin picked one up for me at the box office on the UC Berserkley campus, thereby circumventing the onerous BASS(tards!) ticket service charge! Why just ONE ticket? Well, it's time to come clean. I am, as I'm sure many of you are, married to a woman who--hqow should I put it?--has not cultivated an appreciation for KC. (except for the odd AdrianTune of course!) I felt it was time to unburden myself to you all. I am NOT, however, planning to attend the local CrimHeads Anonymous chapter. ("Hi, my name is Tim, & I am powerless over my CYCLOTHYMIC MOODS...") -- T.S. PS -- Has anyone seen the new Tony Levin-featured Dewey Cheatham & Howe release entitled "CLiK CLaK aTTaK"?! ------------------------------ Date: Mon, 17 Jun 96 17:10:08 EDT From: loman at zeppo dot crd dot ge dot com (James M Loman) Subject: KC & Black Oak Arkansas IN ET #283, Lawrence Raniere wrote about finding an unripped ticket to a KC/Black Oak Arkansas show in Asbury Park, 1974: "I always thought that was a strange double bill - King Crimson and Black Oak Arkansas. I'm not sure who was the headliner (you would like to think that it was KC), but I do seem to remember that "Black Oak Arkansas" appeared first on the ticket, but had letters the same size as "King Crimson"." I saw King Crimson when Lark's Tounges in Aspic was brand new, I recall it as being in May or June 1973. They were playing in Waterbury, Connecticut, on a bill with NRBQ and Black Oak Arkansas. NRBQ opened; they were a good time party band, the kind that might play at your high school. Black Oak Arkansas were next. They were loud and crude, with a very poor sound system; the best way to get the BOA experience is to put your head between your speakers, put on any 3rd rate heavy metal band, and turn the volume up until it hurts. King Crimson was the headliner, the type of show they did in those days is hinted at on "The Great Deceiver," but no recording can quite capture the magic of that time. I never could figure out why KC would be on the same bill as Black Oak Arkansas. Maybe it was a subtle Fripp joke on the audience. ------------------------------ Date: Tue, 18 Jun 1996 01:48:24 -0700 (PDT) From: Michael Kepler Subject: KC in NW US and a "bootleg" idea I beg the indulgence of Fripp and all as I add my voice to those who plea for a KC date in the NorthWest United States. Portland or Seattle, no matter, it's only a 4 hour drive. Regardless of the tour schedule, let me also join the call for another "official bootleg", especially one which includes a live "dinosaur". Beyond that, I would like to suggest a new method of "official bootleg" distribution. As an audience member of limited listening craft, I find that repeated listening to recordings of live performances, even those which I myself attended, reveal fascinating nuances of technique, expression and accident that were simply lost on me in the heat and confusion of the live event. As for my aforementioned suggestion: make available "official bootlegs" of _every_ performance through orders made and paid at the time and place of the concert. Certainly this would spawn much copying and trading due to the inevitable curiosity and greed of fans, but I wonder if this would really result in any net loss or damage to the artists. Some artists have endeavored to appease the hungry fans by openly allowing amateur recording at concerts. But the idea here is to enhance audience appriciation of the event after the event, not to encourage them to enjoy it even less because they are distracted by and frustrated with their equipment or noisy audience neighbors. Even a very simply produced "official bootleg" recorded off the board or with just a couple of elevated open air mikes in the audience area, with virtually no post-production, would sound much better than anything an audience member could capture with even the best of portable equipment, while retaining the raw unvarnished power of the live event. Each concert need not be put through the somewhat expensive CD mastering and production set-up process, unless pre-ordered volumes justify it. Blanks for one-off CD "burners" are getting cheaper and should be reasonable in volume. The main cost center would probably be labor, but it should still come together cheaply enough if the retail pricing (pre-paid, remember) is kept up _near_ the level of illegal bootlegs. Hopefully, this idea may find favor with Mr. Fripp, or at least give some inspiration for a better idea. Thank you for your patience. Michael Kepler (kepler at metro1 dot com) ------------------------------ From: leslabb at prolog dot net Date: Sat, 15 Jun 96 01:06:37 -0500 To: toby at cs dot man dot ac dot uk Subject: Earthbound vs. The Live Series whatthat at nando dot net was concerned about a stray device in ET 282; >Tale", Boz's sense of humour in "Peoria", and that wonderful wonderful >moment in "Groon" where the device (synthesizer?) kicks in during the drum >solo. But, it is that particular edition of KC with no trousers on, so I I might be mistaken but I believe that the device you are speaking of was part of the percussion solo. It was used to add flavor to the crashing/smashing drum slam sounds. Maybe something similar to what the Art Of Noise used as a perussion solo. At least that is what it sounds like to me. Les Les Labbauf Email: leslabb at postoffice dot ptd dot net There is a fun and easy to use fixpack for WIN95, it's called OS/2 Warp http://home.ptd.net/leslabb/~index.html ------------------------------ Date: Mon, 17 Jun 1996 17:25:54 -0700 To: toby at cs dot man dot ac dot uk From: Karen Baumgart Subject: handling children Hi there, I had this dream the other day.... We were stranded on an island (my hsband, my two girls, and i) and all there was to eat was lark's tounge in aspic, well anyway, one day the whole court of the crimson king came over the hill all on a lizard and they asked me if I could do something about the children's singing, I told them that I discipline them almost every night and sometimes if that doesn't work, I beat them until they hear red, and if that doesn't work, when their dad comes home he thraks them. Well, they agreed that I was doing all that I could, just then, the kids started in on the chorus...."I'm a dinosaur"...and vrooom, the lizard and the court were gone, so under a starless and bible black night I put the girls to bed with a story called World Diary. -spike Life's a blast, let's explode! ------------------------------ Date: Mon, 17 Jun 1996 20:31:16 -0400 From: MiqSk8 at aol dot com To: et at cs dot man dot ac dot uk Subject: Annual Auction Items still open for bid-includes "Four From Exposure", 1999, too many to list here. Almost all "prog", whatever that means. Email me privately for list. ------------------------------ Date: Tue, 18 Jun 1996 10:25:03 GMT+0100 From: Jason dot Grossman at ucs dot cam dot ac dot uk (Jason Grossman) Subject: Tickets for London on 30/6 and 1/7 I have a couple of extra balcony tickets (I'm not sure exactly how many) for the London gigs on the 30th of June and the 1st of July. They're 20 pounds each. Jason Grossman ------------------------------ Date: Tue, 18 Jun 96 10:25:43 BST From: Toby Howard Subject: KC Midi files on the Web Check out http://www.xs4all.nl/~highland/midi1.html for midi files of In the Court of the Crimson King Disc (?) Exiles Frame by Frame Red Starless and Bible Black Just FYI Toby ------------------------------ Date: Tue, 18 Jun 1996 10:11:58 +0000 From: Orn Orrason Organization: Systems Engineering Laboratory Subject: KC evolution Dear readers I am little worried that KC is stagnating mucically. If reviews are true in the current tour the bands is almost playing the same material as in the 1995 tour except 21stCM but improving on the older material (which is good). I have the strong feeling that this tour is mostly about earning money. From the information in ET they did not practice very long for the tour. Ok they might be professionals but in my opinion if a band is to evovle and compose together they will have to stay and live together as well. In concerts there does not seem to be high enough risk level from what I hear. I for my sake love to hear mistakes during concerts. ************************************************************* * ORN ORRASON - Communication Engineer - Univ. Iceland * * Systems Eng. Lab - Broadband Network Research group * * Tel +354 525 4699 Fax +354 525 4937 ossi at kerfi dot hi dot is * * Homepage in english:http://smyrill.kerfi.hi.is/~ossi * ************************************************************* ------------------------------ Date: Tue, 18 Jun 1996 06:34:36 +0000 From: khoffman at giantfood dot com (Kurt Hoffman) Subject: Re: Crimson voices I'm sure that this won't be the most popular posting ever sent, but it is just an opinion, so... In #284 Fishboy asked about a general consensus on Wetoon's voice, so I decided to rate the total Crim vocalists (1st being best) 1) Boz- best dynamic range- able to do the ballads and still get meaty on the heavier stuff- and from the KC boot I heard he showed the ability to handle the GH parts; 2) Greg Lake- sure, he always sounded pretty much the same, but he sure could bring out the cynasism in Cat Food; 3) Judy Dyble- shame there isn't more KC with her available- I'd've loved to hear her do Moonchild; 4) John Wetton- once again, everything he sings seemed to sound the same vocally, and even though I think he has an adequate voice it is still the instrumentals from the days of his tenure with the band that are what I crave; 5) Gordon Haskell- All in all a weak voice suited to only some of the material. I have one solo album that seemed to show that he did his best work w/KC (what alumni didn't? Tippet maybe...), and even that wasn't the kind of thing that would bring me back based on his vocal merits alone (whereas the instruments individualy often would); 6) Adrian Belew- I'm really sorry, but I have a rough time getting past him on anything but the ballads (on which I think he sings very well and quite enjoyably) and last 7) Jon Anderson- Once again sorry, but he ruined Yes for me, and his guest shot on Lizard destroys the continuity of the album for me as well. Did I miss anyone? Oh, and fyi- I can't sing particularly well at all, could not even touch any of the vocalists that I just dissed, but still, with a frightening consistancy, it has been the instruments that have tied me to KC, not the voices. Feel free to direct hate mail straight to me if you'd like, so as to not clot ET, or thrash me publicaly. Like I said, just an opinion. Kurt ------------------------------ From: "Mathews, Thomas J." Subject: Re: David Torn Date: Tue, 18 Jun 96 07:57:00 EST >From: James Baumgart >... NOT listening to David Torn, you are MISSING OUT big time. YES! Torn gets a vote of 10 from me also. He has been voted the Best Experimental Guitarist by the readers of Guitar Player magazine. The US part of his record company, CMP, seems to be having some problems (like shutting down) so you might have to look hard to find his 1996 solo album: What means _solid_, traveler? I bought it from CDworld. To get a taste of Torn go to: http://ott22.engin.umich.edu/torn/ where if you look carefully you'll find audio samplers. There are rumors that another Polytown is in the works. Without any qualms I place Torn in league with Fripp and sometimes (shocking) in front of ......kc (could we schedule the stake burning after my next vacation?). O-) tj ps. he and Tony live in the same part of New York which should give them some chance to do some more playing together, right Tony? ------------------------------ Date: 18 Jun 96 08:07:26 EDT From: Jon Durant <74074 dot 1316 at CompuServe dot COM> Subject: Tornosity Hi Elephant Talkers! In ET 284, Jim Baumgart wrote glowingly of my good friend Mr. David Torn, who's work should be familiar to most KC fans (certain via the Bruford/ Levin connection). If not, (and even if you are) may I suggest a few things: 1: Surf by The Torn Web (http://ott22.engin.umich.edu/torn/). There's tonnage of information, and some lovely bits of torn writings as well. 2: Check out his brand new (just released) record, "What Means Solid, Traveller?" which is full of outrageous guitar, slashing rhythms, staggering looposity, adjective adjective adjective. Yeah, it's amazing. 3: Check out a couple of other recent outings: He just produced the debut CD from Robby Aceto (guitarist/singer w/David Sylvian (Shamen Tour), Jansen/Barbieri/Karn, and Alice). A great art-rock record, Sylvian-esq, though with quite an edge to it. Torn also played on Brian Gingrich's new CD "The White Rim of Heaven". Gingrich is a Chicago-based composer/bassist with a really unique sense of sound sculpting. Crimson influences combine with Isham-esq cinematics, and Torn's whippin cool guitar and loopage. Both of these CDs can be hunted down at Alchemy Records (http://www.musicpro.com/alchemy/). Finding them in the stores is tough, on account of the fact that the stores won't talk to independents, regardless of what's in their catalog... Methinks many of you will find all of this music to be exceptional. Later, Jon Durant ------------------------------ Date: Tue, 18 Jun 1996 09:37:12 -0400 From: PossProd at aol dot com Subject: Possible Productions seeks HORDE helpers Dear ET'ers, I'm looking for a few people who would like to help at the HORDE shows. We're basically passing out a promotional postcard. Obviously, we'll be stopping at the KC portion of the show. ( First things first, of course ) Your ticket will be provided. If this is something you can do, please email me at PossProd at aol dot com. Thanks a lot Mark Perry PS We now have John Wettons "Akustica - Live in America" Cat# 0802 $14.99 and NoMans' "Housewives Hooked on Heroin" ( 1 track with RF) mini CD Cat# 1325 $7.99 The David Cross" Low Fying Aircraft CD is out of print.(We will be getting a few vinyl copies but it will then be deleted) The Toyah CD/Cassette Ophelia's Shadow is also out of print. Gordon Haskel's " It is and it Isn't" is also deleted. ------------------------------ Date: Tue, 18 Jun 1996 10:36:02 -0400 From: "Dr. Mitchell Pearce" Subject: HORDE, Kaukenen and Primus (separate items!) I noticed on the web page that lists info about K Crimson's tour dates the list of other artists at HORDE. I noticed with some amusement (like seeing an old friend), the name Jorma Kaukenen (I'm sure that's misspelled - no matter I'm one of the few that can atleast pronounce it correctly!). I've always wondered why today's "alternative" fans haven't latched onto Hot Tuna, perhaps that will change. Do any of you know whether Jack Cassidy (the EXCELLENT bass player from Tuna/J. Airplane) is touring with him? A second matter regarding new rock music. Are there any other Crimson fans our there that find SOME similarity between circa-Larks-Tongue-Crimson and today's Primus? Granted, I'm 37 years old, not some young guy late to find Crimson (45+ yr olds need not flame me.. I salute you for finding a gem in the rough if any of you exist!), and I enjoy some of Les Claypool's compositions as much as some of "progressive" rock's best. ------------------------------ Date: Tue, 18 Jun 1996 10:24:52 -0400 From: "Gordon Emory Anderson" Subject: Various Things In response to my recent postings, James Dignans said (and I quote): >"Gordon Emory Anderson" dreamed: >>How about an ET-only Crimson concert, in the NYC region (with perhaps west >>coast and European analogs) >I'm sure David MacLennan (of Wellington, NZ), Jeremy Keens (of Melbourne, >OZ) and I (of Dunedin, NZ), to name just three, could think of a great >addition to this suggested tour... as, probably, could our South American >and Japanese readers... >he also said: >>no one argued with the equation, Trent Reznor=SPAM >sorry - I didn't notice your original comment. I was probably too busy >listening to "The Downward Spiral". Sure, it's not Crimson, but it still >pretty damn good! First of all, I didn't mean to exclude other parts of the world. My core idea would be there probably isn't enough of us to fill halls all over the world--it would be cool if would converge upon one location, or a few select locations. I suggested NYC because it is a major tourist destination, and also centrally located (ie, nearest Europe in the US, and easily reachable from the Americas as well). And rather than it being merely a concert, I thought it would be nice to put faces with the electronic signatures. For the audience to bring a sense of community and context into a concert can make for some extrordinary goings-on. I think it would be way cool for you and the other Kiwis to come on up (or do you consider it down) to this side of the planet. If you do, I will personally show you around (if you don't get too pissed off at what I say next). As for your comments on MY comments on trent spamzer, don't think I don't like him because he doesn't sound like crimson. But listen to the original versions of some of the people he covers (like Joy Division, or Bowie), and I'll bet that you too will begin to hear a sort of chopped up, shrink-wrapped, pasturized-and-processed 'Angst For Sale!' SPAM. If you want angst, and "new", I was turned on to Pearl Jams' "Vitology" by my Jazz musician brother. This is truly excellent: Eddie Vedder deals with some issues I think have been ignored by the "life sucks" rock crowd. The end of youth, the search for immortality in ones' work.....all are dealt with in a fresh and powerful way. O yeah--for the guy who mentioned "Cloud About Mercury"--thanks. It's great. It also happens to be produced by Manfred Eicher, who has a great ear (he produced the FANTASTIC 'Te Deum' by Arvo Part, as well as 'Officium' by Jan Garbarek and the Hilliard Ensemble. -Emory. ------------------------------ Date: Tue, 18 Jun 1996 10:52:33 -0400 (EDT) From: Nick Bratton Subject: Continuing discussion: Wetton's voice While I personally have not heard much criticism of John Wetton's voice, the essay written in the Great Deceiver booklet is not exactly flattering. My view on Wetton is that his vocals were key to the enduring sound of early/mid seventies Crimson. His singing may have lacked the grandiosity of Greg Lake and the dynamics of Adrian Belew, but I think his voice was ideal for the sound of the band at the time. His sombre and melancholy tones were perfect for songs like "The Night Watch," "Exiles," "Starless," "Fallen Angel," "Book of Saturday," and really every song at that time, I suppose. For those of you who have listened to The Great Deceiver set, I think Wetton's performance live was incredible. Wetton shines brilliantly throughout those discs, and I think his greatest moment is "Doctor Diamond," where he goes from explosive vocal intensity to serene tranquility and back. I don't believe that any other vocalist could have fulfilled Wetton's role better in the band at that time. One thing I would like to hear, however, is Belew sing "The Great Deceiver." Cheers- Nicholas ------------------------------ Date: Tue, 18 Jun 1996 19:04:40 +0400 (MSK) From: CSIC of Russian Space Forces Subject: Why Russia is outside again? Hi, dear ETers, Following is my sad review of absent gig of King Crimson in Rus- sia. When I saw the schedule of the current Crimso' tour I was extre- mely disappointed and distressed. Why, oh, why Russia is outside aga- in? This is so big country and we have so many real amateurs (sorry, I don't like the word "fan") of King Crimson. I believe a trip in Russia might be unique spiritual experience for the musicians. I believe also that specific aura of this place and mentality of our people might be a source of inspiration and an creative impulse for future brand-new and staggering stuff. You are welcome for an attempt. I have high ho- pes to see King Crimson in Moscow some time in the future. Until that happy moment the only alternative for me is to listen to CD player. Many thanks to the ET team for their great work making this place so wonderful and happy Nicolay Shienok. sfcsic at mx dot iki dot rssi dot ru ------------------------------ Date: Tue, 18 Jun 1996 11:39:56 -0500 From: eoin vincent ink Subject: Who is David Bottrill Hello ET'ers, Over the last couple of years I have run across the name of David Bottrill. If any one knows what projects he has worked on, this information would be great... This is what I do know... Engineered Peter Gabriels Passion and US CD's Co-Produced, Co-mixed, and Engineered on The Sylvian/Fripp First Day Co-Produced Damage And listed as "treatments" on the Sylvian/Fripp Birdman Single Work with Trey Gunn on "The Gift" from One Thousand Years Mixed "Twosome" by Deep Forest from Boheme Thanks, Eoin ------------------------------ Date: Tue, 18 Jun 1996 23:36:35 +0900 From: caveport at singnet dot com dot sg (Peter Cave) Subject: ET'er from Downunder Hi all, I am making a pilgrimage to london to see both Sheperds Bush gigs. I'm an Aussie travelling from Singapore so I can see what all the ballyhoo is about! Anyone who would like to catch up for a pre-gig ale and chat, please E-mail me as I will be alone on this exciting (& somewhat expensive) journey. I can hardly wait for the gig! cheers, Peter C. caveport at singnet dot com dot sg ------------------------------ From: David Ewing Date: Tue, 18 Jun 1996 09:56:42 -0600 (MDT) Subject: time travelling James Baumgart wrote: > Now, I've always thought that if I could make a Time Machine, I'd use it to > go back to 1975 and get tickets to see Genesis play the Roxy, or maybe some > real special KC shows from the early days. I'd be interested in hearing > what other ETer's would have on their historical wish list. Well, if you went back to 1975 to see Genesis play the Roxy, you would miss them. Set your controls for December? 1973, the last time they played the Roxy. Genesis came back to Southern California and played a couple of shows at the Santa Monica Civic in March 1974, the "Selling England By The Pound" tour. This was the same week that Yes was in town on their "Tales From Topographic Oceans" tour. In early 1975, Genesis were back in town for their great shows playing "The Lamb Lies Down On Broadway" - they played at the Shrine Auditorium in L.A. and the San Diego Civic Theatre (two VERY memorable moments in my life). If I had that time machine, I would definitely go back to May 1974 and see King Crimson at the Shrine Auditorium. I'm still kicking myself for missing that show. My high-school friends and I talked about going to the concert, but didn't get around to getting tickets. Aaarghh. *************************************************************************** David A. Ewing Interleaf - Boulder Lab. dewing at boulder dot ileaf dot com Boulder, Colorado *************************************************************************** ------------------------------ From: max dot bracco at iol dot it Date: Tue, 18 Jun 96 21:03:42 Subject: THRaKaTTaK Revolution Let's face it : music will never be the same after this act of braveness. With THRAKattak KC has ventured in a field that never has been taken to such radical extent = by a world-known rock group : that is total improvvisation. They took a risk much bigger than what we listeners dared in buying this CD ; they challenged dumb criticism and reactionary conservatives. And all for the sake of son= ic truth. THattak is certainly a difficult album, not for everybody's ears ; but is a hell of a revelation for who manage to listen killing any prejudices. Some of this music is really astonishing for rage and power (track 3), some is truly scary as pokes its nails deep under our skin (track 6). It's kind of puzzling because doesn't lay on grooves or modes like usual improvisations ; it cuts sharp into atonal fury and sonic explorations. Sometimes maybe it's too dense, but that's because the six improvisors format is harder to manage both for players and listeners. It certainly gives us a shining glance on the future of the music, and definitely gigantic playing by Mr. Fripp and Mr. Bruford. A strong remark to anybody complaining for the lack of Frippian solos in the last KC edition. He showed us once again that his axe inventions can be really DANGEROUS ! I'm also glad that on the cover notes RF reveals that part of the decision for this album was due to heavy request on ETalk. This really sounds as one of the most vivid and u= seful music Newsgroups ever existed. I'm dying to see next KC show here in Milan on friday, and hope they will have some space for wild improvisation ! Bye MAX from Italy P.S. - If you prefer more rock-oriented improvisation or killing grooves with a vengeance, check out KC box "The Great Deceiver". It's 4 CD of furious playing from the 73/74 lineup both on Crimson classics and long improvs (my favourite is "Voyage to the centre of the Cosmos", 14 minutes of metal-science-fiction) ! ------------------------------ Date: Tue, 18 Jun 1996 12:20:30 -0700 From: Print_Future01 at Douglas dot BC dot CA (Trent Ernst) Subject: A couple assorted comments, re: Mars and wood boxes Jim Bailey writes: >For my money, I would prefer to see them do Mars. Now THAT would be a >>scorcher!!! I think my heart skipped a beat when I read that. KC's take on Mars is the best modern interpretation of a classical song I've ever heard, and is one of the best bits of music that they have played. LTiA the first on steroids. James Baumgart writes: >Bill Bruford's incredible show playing that little wooden box. This is the second time I've seen that wooden box thing refered to. It is, in the words of BB himself, "an Americanized version of an African log drum" (From Bruford and the Beat). And yes, they are extremely cool. I have one that died, but not the money to replace it. It is one of the nicest bit of percussion I have ever played. Trent Ernst (trente at vcn dot bc dot ca) writer designer editor Editorial Resource, Other Press Director, Men in Black Productions ------------------------------ Date: Tue, 18 Jun 96 16:30:35 EST From: bobg at nynexst dot com Subject: KC/Asbury Park A phone number for the Paramount Theater box office is: 908-502-4581 However, it's only a recording. Concert dates mentioned are until the end of July. Perhaps when the summer starts, the box offce may be manned. *------------------------------------- E-mail: bobg at nynexst dot com Date: 06/18/96 Time: 16:30:35 This message was sent by Chameleon *------------------------------------- ------------------------------ Date: Tue, 18 Jun 1996 23:09:21 +0100 From: GW Subject: re: John Wetton's Voice In ET 284 Andy Acunzo wrote: > Recently there have been some posts criticizing John Wetton's voice on the > live _Chasing the Dragon_ album. Am I the only one who thinks his voice > sounds great on that CD? I did't intend to find faults with John Wetton's voice on Chasing The Dragon, I just compared it with his live appearance that I attended. And that had much more power. Chasing The Dragon is more quiet, a little bit melancholy. But I do like this record (in spite of the really odd mixing). I recommend it to everyone who likes JW and the last KC-Incarnation of the 70ies. > To my surprise, he sounded as good or better than he did in the 70s. He sounds _too_ good ... not as smoky and dark as on the KC-albums. > What is the general opinion of KC fans about (any era) JW's voice? For me, he is still the _the_ voice of King Crimson. Okay, this is also nostalgia. LTIA, SABB and Red were part of my very personal soundtrack of the 70ies ... Ciao GW ------------------------------ From: Justin Weinberg Subject: Polytown Date: Wed, 19 Jun 1996 00:27:14 -0400 (EDT) I am writing to second James Baumgart's endorsement of the David Torn / Mick Karn / Terry Bozzio album _Polytown_. IMO this is much better album than Torn's _Cloud About Mercury_, which, because of the Isham's trumpet and some other factors, tends to sound at times like the theme from a 70's cop show. Bozzio does indeed drum powerfully and precisely, Torn does everything on his guitar from hard crashing chords to soundscapes, and super bassist Mick Karn, well, not enough good things can be said about his playing. (BTW, Karn's latest solo effort, _The Tooth Mother_, is also very good and features Torn, too.) Another great thing about _Polytown_ is that Torn isn't singing on it--there are no vocals. Crimson fans, especially fans of the harder stuff, will really enjoy this album. --- Justin Weinberg -+-+-+--> by the time you read this my e-mail will have changed to: -+-+-+--> sbienkow at acs dot bu dot edu. PS: Is Adrian Belew a Christian Rocker? "Futurevision" from _Here_ and his production of the Jars of Clay album make me wonder. Just curious. * Don't do drugs because if you do drugs you'll go to prison, and drugs are really expensive in prison. * - John Hardwick ------------------------------ Subject: Re: NIN Date: Wed, 19 Jun 96 00:36:17 -0500 From: Della & Steve Schiavo >I've decided that in Emory Anderson's ET#281 post, he has given us an >incorrect Nine Inch Nails equation. The correct equation should be: > >Spam > Nine Inch Nails I guess you guys prefer Oasis? - Steve ------------------------------ Date: Tue, 18 Jun 1996 22:50:27 -0700 (PDT) From: rpeck at pure dot com (Ray Peck) Subject: tickets wanted (please!) I won't be able to make the Berkeley show (sob!), so I'm in desperate need to catch another. I can fly into LVegas (ugh) for the show on the 24th. Can someone/anyone from there please let me know how I can get a ticket? I will pay whatever cost is necessary. Also, I might be able to make some of the dreaded HORDE shows on the East Coast. Anyone have a clue about how long the lads are playing? ------------------------------ Date: Wed, 19 Jun 1996 11:47:21 -0700 From: Thomas Westphal Organization: BESSY GmbH - Berliner Elektronenspeicherring Subject: KC in Berlin 6/5/96 Hi, I'm new to this list and I've seen KC on June,5th here in Berlin at the Tempodrom. I'm not so familiar with the song titles, so I would like to ask if anyone has got the setlist from this date. Thanks Thomas ------------------------------ Date: Wed, 19 Jun 1996 16:09:52 +0100 From: brugger at physik dot uni-erlangen dot de (Alex) Subject: Re: Please, Mr. Fripp - more official live recordings I absolutely agree with what Joel M. Depper wrote in ET #284 about the release of another official bootleg with this tour's songs on it that were not on B'Boom. I just have to mention the Sheltering Sky, Discipline, Waiting Man, Thela Hun Ginjeet, Neurotica and the Schizoid Man. (What I personally mostly missed on B'Boom though (and many friends of mine too) was of corse Dinosaur...) Besides many of the other songs have changed and improved so much since KC hit the road in 1995 that I'm sure another official bootleg _double_(?!) CD would be highly appreciated. So, if you read this Mr. Fripp, or indeed any other member of KC, could you _please_ think about this carefully....? I guess there should be enough tapes of recorded shows to make this possible. Thanks in advance. Yours sincerely, Alex Brugger ------------------------------ Date: Wed, 19 Jun 1996 20:33:02 -0400 From: "Steven W. Sthole" Subject: More strange KC bills Hello. This is my first post to ET (or any other group for that matter). I've been enjoying ET for several months now, quite content to be a 'lurker', until the recent posts about odd pairings with Crimson and other bands of, shall we say, dubious merit, have spurred me to speak up. I first saw Crimson in Denver Colorado on June 16, 1974. The concert was actually a triple-bill. Golden Earring opened the show, followed by RF and Co., and the shows' headliner was none other than.... ZZ Top! The insulting thing was not the presence of the boogie-trio from Texas, but, in fact, what occurred during the Crimsom set. The boys opened with 'The Great Deceiver', and at the song's conclusion, the entire place was dead quiet... save for the applause of myself and two friends. The rest of the crowd was totally bewildered! As the concert continued, it was evident that Crimson was not being allowed to play at 'full volume', in fact they were not nearly as loud as Golden Earring. The effect this had on the boogie-prone audience was listlessness. Finally, at what appeared to have been the finale of the set, the band began to play 'The Talking Drum'. I was quite excited at this point, knowing that the logical conclusion to this would be 'Larks' Tounges Part II', one of my personal favorites. Then, as the music (and the tension) began to build towards 'Drums'' climax, the PA went dead! We learned later that our infamous local promoter, Mr. Barry Fey, had 'pulled the plug' because the guys had played longer than they were allotted! I'll never forget the reactions of the guys: John uttered a well-known obscenity of the time, David looked totally confused, Bill threw down his drum sticks and stalked off; only Mr. Fripp seemed to not be surprised, calmly setting down his black Les Paul and walking off the stage. As the years have gone by, Crimson has remained a constant for me, one of the few bands I loved from decades ago that still produces intriguing and beautiful sound. (To paraphrase one old favorite review of the band that I beleive can be found in 'The Essential King Crimson': "Empires may fall, mountains may crumble, etc., but there will always be another King Crimson album"). Last fall, I beleive I witnessed evidence that things really do go full circle, but how much the world has changed. King Crimson, playing here in Denver at the Paramount theater, ended their set with, you guessed it... 'The Talking Drum' and 'Lark's Tounges Part II'. This time, there was no one there to pull the plug, no one shouting 'boogie', just several thousand people screaming and cheering. Life is good. Peace. Steve S. - sws at indra dot com ------------------------------ From: Thom Smith Subject: An American in London for KC---Ticket for Sale? Date: Thu, 20 Jun 96 10:12:00 PDT Greetings, I'll be in London for the July 1st show (no tix yet---will have to scalp unless someone has one extra). Would any Elephant Talkers like to get together before the show and hit a pub? If there are already arrangements, let me know if you wouldn't mind a hanger-on. Please respond by phone since I'll leave my e-mail and work (yea!) Friday. My phone is 1-610-431-3065. I leave for London this Sunday the 23rd. Leave a message even after this day because I can check my machine remotely. Thanks! Thom Smith West Chester, Pennsylvania, USA ------------------------------ Date: Tue, 18 Jun 1996 12:44:54 -0500 From: Jay Kirby Organization: Intergraph Corp. Subject: RE: the Paramount Theatre, and a Query to ETers In a previous post "Stephen P. Goodman" recounted: > Secondly, is not the Paramount Theatre in Brooklyn NY? I saw Soupy There's a Paramount Theatre attached to the Convention Center in AP, right off the boardwalk. I actually saw U.K. (w/ Bruford and Holdsworth) there, sandwiched between some hair band I can't recall and Tom Petty. > In 1980-81, The League of Gentlemen played at a small club in A.P. > called The Fast Lane. It was on a Sunday during the summer. I've got a > nice story about this if noone's read it yet; but if anyone reading this > was at that show, it would be interesting to hear what you thought of > the show. I for one remember being blown away completely, and saying to Yup, I was there also and was similarly impressed by Fripp's pensive demeanor propped on his stool, coupled with his flying fingers. This contrasted nicely with Barry Andrews gyrating behind his keys. One thing I can vividly recall is Fripp berating the crowd for not dancing, since that was what they were playing - "dance music". My brother and I had to laugh, particularly since the Fast Lane was so tiny it was standing room only anyway, filled almost entirely with guys... Jay Kirby (jekirby at ingr dot com) ------------------------------ GIG REVIEWS ------------------------------ Date: Tue, 18 Jun 1996 00:46:46 +0100 From: brugger at physik dot uni-erlangen dot de (Alex) Subject: Gig review Hamburg, June 16 1996 Hi everyone! I was lucky enough to see two shows of this year's spring tour and the long journey to the second one was more than worth it. It seems you really can't see them often enough... Since the basic things concerning most gigs are quite alike, we needn't repeat ourselves again and again and I'll only say a few words about what I think it really should be mentioned. First the setlist. Drum Duo leading directly into Thela Hun Ginjeet Dinosaur Red Matte Kudasai VROOOM VROOOM B'Boom THRAK leading directly into 21st Century Schizoid Man Waiting Man Neurotica Sex Sleep Eat Drink Dream Elephant Talk Larks' Tongues Pt. II ----------------------------- Prism VROOOM ----------------------------- Indiscipline (totalling to about 98 min.) The drum duett at the very beginning (played on the single toms used for Prism) was directly followed by THG. Does anybody know whether it's some sort of intro for THG or whether this is supposed to be a piece of its own (like Prism) ??? This was the first open air gig I saw of KC and since it was still bright daylight at the end of the show I could for the first time see an awful lot of Robert ......:-) Of cause I was more than delighted about this... Unlike last Tuesday in Nuremberg THRAK was not played completely but the long (and once again superb) improvisation directly segued into the Schizoid Man. I actually missed the end of THRAK - it's so bloody powerful, especially when you're in the first row..... The beginning soundscapes of B'Boom were distinctly shorter than at the other gigs I saw so far. Did Robert feel uncomfortable alone on stage in daylight, i.e. without the usual lights _off_ him??? A roady hassled a girl standing next to me for taking a couple of photos - finally they threw her out of the auditorium (she refused to give him the film). After the show I met her again and she told me that after the Berlin gig she'd been to two weeks ago, Robert _did_ come to the front of the stage with the other guys after the show, like he used to do last year as well. There, she took a photo of the band, Robert saw this and she thinks that it is since then that Robert doesn't even step to the front after the gigs. Can anybody confirm this, especially those of you who were at Warsaw, Dortmund, Frankfurt or Cologne? Bill's wooden drum was lying next to his drum kit but they didn't play the Sheltering Sky. It seems the set list is put together just before the show. After the show we waited for about an hour for the band to come out but when they did they just rushed into their car and drove away without a word. Does anybody know why they don't talk to the people in Europe but apparently do so in the states??? Last time I heard Sex Sleep... was last year in spring and it has evolved quite a bit since then. The drum section during the second "weird" part was completely changed and I could only gaze in astonishment about what Pat and Bill have turned it into. It adds a lot!!! With all those little things that were added to the songs during the last months, I can only hope that they'll release another live album - B'Boom is good but soooo much has happened since then. Tony, Robert, Pat, Trey, Bill or Adrian, if anyone of you happens to read this: PLEEEAAAAAASE do release more live recordings of the recent tour! This can't be too complicated a thing to do, aren't all shows recorded anyway??? Let's hope, KC won't leave Europe for good! Enjoy the shows, Alex Alex dot Brugger at physik dot uni-erlangen dot de http://physik.uni-erlangen.de/hi/ab/ab1.html ------------------------------ Date: Tue, 18 Jun 1996 18:49:05 +0200 From: "Miroslav Langer" Subject: Concert in Prague You maybe interested in news about the concert in Prague. The concert was in the Palace of culture. There is a congress hall, designed by the last goverment to contain hundreds of communists. But yesterday, for example, there was a KC on a stage and they haven't played the 'International_hymn_of_all_communist_around_- the_world' :)) Although only a few people knew about that concert (as for me, without the Internet and Toby making that colossal work in ET, I would miss this concert for sure), the hall was sold out. In front of the building there were people trying too buy some tickets - no chance. I had a good place, in 1/3 of the hall. The hall has pretty good sound (so every little communist can hear :)))). Only some of the visitors around me were like little idiots. There was "California guitar trio" on the stage before KC. I was surprised - by music, by sound, even by a fact they are on tour with KC. I heard about them, so now I know a litle about a music they are playing. Auditorium wasn't so good. People coming, talking, probably doesn't know a bit about those three musicians. About eight o'clock KC came to the stage. A man next to me seemed to be drunked or rather to be some sort of an animal. I didn't expect visitors like him, but, after all, he couldn't beat the sounds from loudspeakers :)) During the first minute I thought 'Someone has to be totally deaf, probably the man next to amplifiers'. Horrible sound of singing (sorry, AB) and a RF's guitar. Maybe someone told him, maybe someone turned the knobs, the rest of the concert was very good. I didn't remember songs, nor the order of them. They played most of the last CDs - Waiting man, Elephant Talk, Matte Kudasai, Frame by Frame, Thrak, One Time etc., and some older, like Lark's Tongues in Aspic part II, 21st Century Schizoid Man, Red...I didn't think they are able to play some songs on concert too, but sometimes they played them better than on CD... RF, as I red in last issues, is the same everythere. At the back of the stage, inconspicuous. Professor on a university. As they played Red, he sit there like a belzebud itself. There were also some nice ideas in a stage design. During One Time the patterns beyond the stage slid to auditorium and moved on people - very pretty. There were really BIG ovations. People stud up, screaming, applauding to KC. They returned, played Lark's Tongues in Aspic, ovations again, they returned, played Thrak... I haven't seen so nice concert, so excited people... nothing could compare to it. It's really worth seeing! AB was very smiling at the end and I'm sure they will return to Prague. I'm sorry about my English, I haven't so much time - I have to work too :)) Special thanks to Toby, Mirek Langer / / / / / / / / / / / / / / / / / ____________ Miroslav Langer / `. .' . . . . . / | a few dots | APP Systems / * . : ' :: . ' . / `------------' 28. rijna 121 / ' . ` . . . . / 702 00 Ostrava 1 / :-) ;` : . * . . / Czech Republic / .. .. . ' / tel: +42 (69) 552 41 /263 / / / / / / / / / / / / / / / / / EMail: mlanger at app dot cz ------------------------------ From: dominik at rekonix dot cz Date: Tue, 18 Jun 96 8:17:38 VEC Subject: King Crimson in Prague Hello ETers, Yesterday the King Crimson played in Prague, Congress Hall in Palace of Culture. The California Guitar Trio has half an hour before. (BTW, they personally sold their two CDs after the main show). The atmosphere was great and none of the listeners should not be disappointed. All the members looked very relaxed (Sunday was free) during the show. All the tracks were played carefully except one improv. The audience (2,500 heads) wasn't very quiet on contrary. The set list were played in quite different order than usually. The show started by effective drumming on two huge snares positioned aside of the stage (one on the far left, the other on far right). When Pat and Bill ceased in absolute silence the rest of the group has come. They started with Thela Hun Ginjeet, then came Red and then Dinosaur. I apologize that I can't remeber precise order but on the bottom of this message you can find all the tracks played on 17th June evening. The improvisation started in the middle of THRAK. That part of the gig wasn't most coherent as far as I'm quite familiar with many live different recordings from the past. The main show lasted 90 minutes with the only two resting moments: One Time in the first half and Matte Kudasai in the second. Two encores came afterwards: 1. The Talking Drum and Larks' Tongues in Aspic II (both excellent) 2. VROOOM & Coda: Marine 475 and VROOOM VROOOM: coda *-------------------------------------------------------------------- Here is the set list in chronological order: (the tracks were played in different order see above) 1969 (ItCoCK) 21st Century Schizoid Man 1973 (LTiA) The Talking Drum / Larks's Tongues in Aspic II 1974 (Red) Red 1981 (Discipline) Elephant Talk, Frame by Frame, Matte Kudasai, Indiscipline 1982 (Beat) Waiting Man 1994 (VROOOM) One Time, Sex Sleep Eat Drink Dream, VROOOM 1995 (THRAK) Dinosaur, B'Boom, THRAK, People, VROOOM VROOOM: coda *--------------------------------------------------------------------- Total playing time was 108 mins. THRaKaTTaCK was sold in front of the entrance at really nice price. The tickets fro the show was sold long before during two days. Today King Krimson will play in Presov in neighbouring Slovak republic. I wish to welcome all the attendants. Cheers, DOMINIC VIVALDO %UEND ------------------------------ Date: Thu, 20 Jun 1996 12:57:42 +0200 From: "Riesz, Ferenc" Subject: Review of the Budapest gig Hello again...! Yesterday Crimson gave a FANTASTIC gig in Budapest !!!!! The venue was a (not too large) open-air stage, well suited for such music. It was full but not overcrowded. There were only standing places. Unfortunately, it started raining before the show and the show was shifted by one and a half hour...and, CGT did not play for the same reason...I am really sorry for them and for the auidience who missed this excellent music. Just before KC appeared on the stage, a beautiful rainbow appeared in the sky...They started with the Talking drum. It was short, but featured an excellent Fripp solo !!! Then came LTiA 2. It sounded like in USA ! Especially, Levin's bass line was remarkable. Levin's contribution was fantastic through the whole show. They played the same repertoir as in Warsaw except: + ToaPP - Sheltering Sky, Sex Sleep etc., Walking in the air, Neurotica. The finest moments were Thrak, a short Frippertronic piece, Red, ToaPP. (In ToaPP, Adrian omitted the line "they make a study in despair"; did he forget the text ???) I got here (at least in part) what I missed from the Warsaw shaw. There were more Fripp solos (Talking drum, ToaPP, Thrak) and more variations in the songs (the percussion part of Waiting man, the bass part in Red). Schizoid man was a great success, the audience was singing with them and a girl ran on the stage and kissed Adrian :)). He looked happy with that. The show lasted for about 110 min (with encores). It seemed to me that they play the songs longer than in Warsaw. The sound was perfect. The auidience was quite enthusiastic, however, there were some &*^%$#@ guys who screamed e.g. during the Dinosaur break or during the quiter parts of Thrak :((. Auidience age was about 20-45, peaked around 30. There were CDs (all Crimson CDs and a lots of Fripp and After Crying) and T-shirts for sale. So, it was a remarkable evening....again, sorry for the CGT. RF ------------------------------ End of Elephant-Talk Digest #285 ********************************