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 #286 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 286 Tuesday, 25 June 1996 Today's Topics: Wimhurst & Snake Guitars Schizo's modern-day importance Crimson in Cinci Looking for Mr Cigarette Lighter meet in London on 30th? / Prague encounter What are Frippertronics? Thrang Thrang Gozinbulx & Peace -- A Theme A Tale of Two Hats Introduction re: re:crimson voices Re: Elephant Talk Digest #285 Soundscapes collections Crimson is Life Adrian's guitar Adrian Update Re: Wimhurst and Snake guitar Re: snake guitar and wimhurst guitar Seattle Show and Forgotten Northwest Togo's Catfood re: More strange KC bills Various KC Material KC Mids Bruford interview Time Machine Update Bruford's "wooden box" Manfred Spiker Primus & Crimson Mick Karn Starless theme in Blue various guitars KC's supposed lack of fan-talk Discipline Records and The Artist Shop Asbury Tkts On Sale!! re: Seattle Show? Seattle Show and Forgotten Northwest Let the power fall! KC on Teletext Get crafty: 2nd call New League of Gentlemen Live CD GIG REVIEWS Milan concert KC Live in Italy Wet 'n' Wild in Lignano ------------------ 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: Thu, 20 Jun 1996 13:16:49 -0700 From: Jerry Thomas Organization: WestWorld Media, LLC Subject: Wimhurst & Snake Guitars Response to Andrew Suber's inquiry in ET#285: As on most Eno albums, the instruments are referred to with colorful descriptions, usually pertaining to how they sound. In the case of "St. Elmo's Fire," Eno asked Fripp to mentally picture a Wimhurst machine while he soloed. (As best I can recall, a Wimhurst machine shoots high-voltage electric currents between two stationary points.) I forget which track contained a "snake" guitar, but it must have referred to the sinewy, electric lines that Eno played. SO, these are not specialized instruments or anything like that...it's just the way Eno likes to list what's played. For some real insight into Eno's music, check out the book by Eric Tamm. I forget the title, but I've read it many times..."Eno's Music and the Vertical Color of Sound"...that may be it. Anyway, trivial and not so trivial points are covered in detail, from his ambient stuff to the "rock" albums to Frippertronics. Definitely a good book. (Tamm also wrote an interesting book on Fripp. It covers most of the essential history and answers nearly all of the trivial questions that often come up on ET. However, Tamm compares KC to the Beatles far too many times for my non-beatle taste.) Since we're on the topic of Eno, I'd like to say for the record that Fripp's solos on "Baby's on Fire" and the long version of "I Fall Up" rank among his very best guitar moments...As solos, I'd say they *are* his best. Chris Mitchell Univ. of Tennessee ------------------------------ Date: Thu, 20 Jun 1996 15:15:42 -0400 From: Emuguy5830 at aol dot com Subject: Schizo's modern-day importance well, I can't remember who said or from what issue it was said, but a while back someone said that every time he listens to SSEDD it sounds more and more like 21CSM. I don't particularly agree there. It seems, to my ears, that every time I listen to SSEDD it sounds progressively more like Sylvian/Fripp material. (Please note that I haven't heard the 96 Schizo, but I've got my tickets and am eagerly awaiting August 10th.) Dinosaur is the same way. The same person (I think) concluded that perhaps Fripp is returning to his roots. That's where I agree. That's this post's purport. Many of you have wondered why Fripp has decided to bring Schizo back. Aside from it being a great song, maybe Fripp is returning to his roots. Maybe he's winding down. I'm going to be pessimistic--perhaps realistic--and say that this is going to be the last KC ever. Could that be why Schizo has found its way back to the KC stage? Schizo could be Fripp's way of signaling his (God forbid!) retirement. I don't mean to suggest that Fripp is old or that he should quit playng wallpaper -shredding music because of his age. I think he should continue for as long as he damn well pleases. But let's face it, this KC isn't going to be around for much longer. It is, after all, going into it's fourth year of existence. How much longer will it be together? And what happens after it is retired? There'll will be seven years or so of absence before Fripp gets back into music, another couple of years for KC to reform. So maybe there will be another KC by 2010. That's a long time. Fripp and his KC cohorts will be in their 60's (not Trey or Pat, I suppose). So how long could they stay on tour? I'm sure they keep good health, but if you were 60, would you want to be on tour in a rock and roll band? So maybe Fripp's returning to his roots. Good for him. Let's take a look at another song from Thrak. Walking on Air. A great song to be sure, but doesn't it sound, just a little bit, like Moonchild? OK, maybe it's a hybrid of Kudesai and Moonchild, but still another suggestion that Fripp is getting close to the end, that he's coming full-circle. Is this the end, then? Is that what Schizo means? Is that why he's brought it back? Has he brought it back for the fans? Because it's just a great song? Maybe he's brought it back just to keep ET'ers wondering why he brought it back. So much depends upon the red wheelbarrow, MaTT C ------------------------------ Date: Thu, 20 Jun 1996 18:29:09 -0400 From: Vikki28 at aol dot com Subject: Crimson in Cinci Anyone wishing to sell a pair of pavillion tickets to the Crimson show in Cincinnati, Ohio, please e-mail me ASAP. Don't live close enough to go down and purchase tickets, and now they just have lawn left. Very fired up about the possibility of seeing this lineup do 21st Century Schizoid Man!!! Now if they would just do Starless and Bible Black... ------------------------------ Date: Fri, 21 Jun 1996 09:50:46 -0400 From: "Gordon Emory Anderson" Subject: Looking for Mr Cigarette Lighter I am curious if a certain character is among us here on ET. On KCs first Discipline tour in 1981 I caught them at the Savoy in NYC (still my favorite KC concert--I remember Fripp practically writhing on his stool, sometimes looking down at his guitar while soloing as if it were a live animal he held in his lap). Right before the concert, this dude with a beard stood up by the stage, and turned to face the audience. In a strange, almost priestley gesture, he lifted two cigarette lighters horizontally out to his sides as if to signify the beginning of some religious ceremony: a true blue KC/Fripp nut. I was wondering if anyone out there at ET was at this concert (I think it was the first set on a Friday night), and remembers seeing this. Perhaps this character himself is amongst us. Anyone know this guy? -Emory. ------------------------------ Date: Fri, 21 Jun 1996 11:40:15 -0400 (EDT) From: "SERGEI KANTERE, MOSCOW COMMS (212)621-7917" Subject: meet in London on 30th? / Prague encounter Hi everyone, It looks like after missing the show in Prague I _may_ be able to come over to London for a KC gig on 30th. Are there any ET gatherings before/after the show scheduled? Don't miss this rare opportunity to meet a real Russian Crimhead :) ! Please e-mail me privately. I may not respond promptly as I'm going to be in and out of town. This will be my first KC show ever! It would've been easiest (and cheapest) for me to go to Prague instead, but I couldn't because of Presidential elections held here in Russia the day before the gig. Since I work for the news agency, it's impossible for me to take time off during such events. However, three friends of mine went. Ironically, it was me who got them all hooked on King Crimson. They enjoyed the show immensely, and then wandered through the town. Quite some time after the gig was over, by pure accident, they ended up at one big table in an outdoors cafe with King Crimson! They asked Adrian an autograph, but didn't dare to bother Robert who was watching the stars. Oh well... So now I pray that communists, democrats and whoever the fuck else there are don't start yet another ballyhoo, brouhaha here, that would prevent me of going. If they absolutely must - okay, let them do so AFTER the June 30th! Looking forward to see (some of) you then, Sergei Kantere Moscow, Russia ------------------------------ Date: Fri, 21 Jun 1996 13:47:47 -0400 (EDT) From: jeremiah? HA! Subject: What are Frippertronics? I know what Soundscapes are. You can't miss them. But I listen to 80s KC and I am not sure, exactly ... what parts are frippertronics? Nothing I can pick out offhand seems to have the role I'm used to, and I'm not entirely sure what's electronic and what's live playing. Anyone want to help me out? jeremy <*> afn39111 at afn dot org <*> At the end of a rope too short for a noose. ------------------------------ Date: Fri, 21 Jun 1996 14:37:27 +0000 From: David Kirkdorffer Organization: little a Subject: Thrang Thrang Gozinbulx & Peace -- A Theme Two things -- 1. I just wanted to HIGHLY RECOMMEND the new The League Of Gentlemen Thrang Thrang Gozinbulx (Official Bootleg Live in 1980) CD. This is a very energetic set of recordings with a unique mix of Mr. Fripp's 70's star-trek explorations and later Discipline/Summers-Fripp guitar vocabulary. If you checked out the LOG studio recordings and were left a little unsatisfied (my personal feeling), you may want to check out this "new' LOG disk. Basically, LOG live rocked. 2. "Peace -- A Theme." My pick for a "Play it Again, Robert" list. With the sonic density of recent and reprised KC materiel, this two-minute solo acoustic guitar piece would be a nice clearing, or opportunity. On a personal note, I think "Peace -- A Theme" would also acknowledge an idyllic & delicate side of a 60's spawned Crimson that became less (p)relevent as the darker side of KC grew with LTIA and onward incarations. Does anyone know what I mean? And anyway, it's a short piece without vocals! Possible problem, it was written in normal tuning. In Boston David Kirkdorffer ------------------------------ Date: Fri, 21 Jun 1996 14:40:29 -0400 (EDT) From: "ROBERT HICKSON (908) 218-6296" Subject: A Tale of Two Hats ATTENTION: if you are put off by nonsensical rambling, please skip this message - it has nothing to do with songs I would LOVE to hear (Starless), bands belittled by some ETers that really were great improvisational musicians (Grateful Dead) or the pros and cons of KC at a certain summer festival (which I am eager to attend). For the past two weeks my girlfriend (Linda) and I have taken a great American musical vacation. It all started with a bluegrass festival in Lexington, Kentucky. I proudly displayed my true colors by wearing my Thrak baseball hat and Lithuanian Basketball Team tie-dye t-shirt. The music was hot, perhaps hottest in the parking lot where we sat for about an hour listening to a tremendously talented pick-up band of young musicians. But the day was rainy and it was then that I realized I would need to buy a new Thrak hat (I figure any self- respecting Crimso should have both a dress and casual Thrak hat). As I was explaining this fashion requirement to Linda, a young Kentuckian, reading "King Crimson" embroidered on the back of the hat proclaimed "Whoa, Robert Fripp, he's killer dude!" (I would give a phonetic version of this statement if I could do justice to the accent) For the rest of the day he continued to call me Robert Fripp (I remained pleasant without encouraging the lad). Linda, Thrak Hat and I then continued our journey to Memphis, Tennessee, Beale Street in particular, for some good ol' Memphis Blues. That is when disaster struck. After an evening of sucking on crawfish heads and swilling the local brew, I left Thrak Hat in the restaurant. Returning the next day, I was devastated to find out it was gone. The only consolation is the belief that it found a good home. In need of a head covering, I wandered into a store that specialized in Negro League sportswear (for those not familiar, the now defunct Negro League was a baseball league for Americans of African descent, for there was a time in the United States, not so long ago, when people of color were not permitted to play in the white man's league). I selected the hat of the Kansas City Monarchs and went on my way. A few hours later, Linda remarked "It's so nice that you were able to replace Thrak Hat with another King Crimson hat." "Huh?" I muttered (a response I use all too often). Then it dawned on me - white hat with 6 crimson pin stripes leading down from the crown, a crimson bill, and a big crimson K C on the front. It was PERFECT! Linda has dubbed the hat "Son of Thrak." So Linda, Son of Thrak and I continued our merry musical excursion - Graceland (home of Elvis Presley - the king of rock & roll - or just "The King" to some), New Orleans (Bourbon Street - jazz), ending with a 3 day music festival in Birmingham, Alabama (214 bands, 14 stages - Johnny Cash, Sonny Burgess, Bela Fleck and the Flecktones, The Klezmatics, even The Village People - something for everyone!). Note to the band: in a transparent attempt to mingle with the stars and proclaim "whoa dude, you're killer!" I would be happy to present you with your very own "Son of Thrak (Kansas City Monarchs)" hat at the Randall's Island Horde show (Linda thinks Tony would look particularly dashing in that cap). You would have to e-mail your hat size, I guess (not a "one size fits all" type chapeau). ------------------------------ Date: Fri, 21 Jun 1996 18:47:31 -0400 (EDT) From: Christie Subject: Introduction Hi Everyone, I'm new here and this is my very first posting. I've only been listening to Crimson for about a year now--my first album was the Compact KC--but I love them. My favorite album is Discipline and (as you might have guessed), my favorite lineup is the '80's group. I'm very glad that KC are back and making more albums, tho' I think their current sound is kind of busy. Here's to many more awesome recordings in the future! A friend sent me a videotape of a 1984 show in Japan and it's terrific. It's one thing to hear them live, but it's an entirely different thing seeing them perform--finally seeing who does what and exactly how. It makes me even more look forward to seeing them perform in Berkeley next month. And finally, I have a ticket for sale for the LA Greek Theater show on July 27. It's in section A, row V, seat 105 (almost the middle), for $44.75 ($40 ticket price + $4.75 outrageous Ticketmaster service charge). If anyone's interested, please email me. Christie ------------------------------ Date: Fri, 21 Jun 1996 17:21:25 -0700 From: Karen Baumgart Subject: re: re:crimson voices Hi there, To Kurt Hoffman who gave us his opinion on the voices, here is my 3 cents worth (inflation you know): Thanks for all the information on all of the voices, I am a relatively new crimer and had no idea there were so many voices. But I must say that I love the UK UK recording and can not imagine any other voice in that spot but John Wetton's. And nobody else could possibly do Neurotica or Cage like Adrian (but you are right, Adrian's voice and guitar can bring tears to you in a ballad). I do have a suggestion for you though; I have no singing ability, but I have found that if I turn the volume up high enough, I too can sing with the best of them. -karen When you find the beat, hit it. ------------------------------ Date: Fri, 21 Jun 1996 20:53:14 -0400 (EDT) From: Ashley Edward Collins Subject: Re: Elephant Talk Digest #285 > 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 Probably not of concern to anyone, but in Robert Christgau's review of No Pussyfooting, he commented that the highlight of the album was Fripp's "snake guitar solo" on "Swastika Girls. I always assumed it was just a description of the feel of Fripp's playing. Probably just a coincidence, the ramblings of a mind looking to find connections in everything. Ashley Collins aec200z at barbados dot cc dot odu dot edu ------------------------------ Date: Fri, 21 Jun 1996 21:01:24 -0400 (EDT) From: Ashley Edward Collins Subject: Soundscapes collections First, I apologize for not putting a "real" subject header in the post I just sent. Second, I have a question even more inane than my last statement. Any ideas why Soundscapes Pt. 1 (Radiophonics) is being released after Pt. 2 (Tears)? Probably something to do with trouble getting the mix right, or maybe a joke on Fripp's part on people as anal as myself who HAVE to keep their CDs by each artist in chronological order ("Damn it, now do I put part one before part two, or do, I put the one released in 1995 before the one released in 1996?!?" :) ) I'm sure, but I was just curious about this inconsequential detail. Ashley Collins aec200z at barbados dot cc dot odu dot edu ------------------------------ Date: Sat, 22 Jun 96 02:56:10 UT From: "Dan Wasser" Subject: Crimson is Life I really enjoy reading ET every few days. I don't know many people who like (love?) Crimson as I do, so it's nice to know there are others out there. Just a few comments: Like Tim Salmon, I too own just ONE ticket to see Crimson in Columbia Maryland (USA) in late August. Though my wife (and/or friends) would go if I wanted them to, I'd rather go alone. That way, I can totally get into the concert without worrying if the others are enjoy THRAK, for instance. (By the way, I have fourth row center for te show). I haven't seen any comments about "Kneeling at the Shrine" by Sunday All Over The World (Wilcox, Fripp, Trey, and Paul Beavis). This is an excellent CD and has all the energy of a Crimson disc. And lot's of great guitar and melodies. Definately a requirement for any Crimson fan. Via his web page, I invited Tony Levin to breakfast/lunch/dinner. No response yet. Re: improvisation. Frankly, I'd rather hear songs than improvs. Cram as many songs as possible into the set. (Gimme Three of a Perfect Pair and Neal and Jack and Me, too!). I live for Crimson. Dan Wasser Gaithersburg, Md. (USA) ------------------------------ Date: Sat, 22 Jun 96 03:08:21 UT From: "Dan Wasser" Subject: Adrian's guitar One more thing....... I was in Nashville, Tennessee the other day and stopped in to The Hard Rock Cafe. Adrian's Twang Bar King Guitar is hanging there with his picture. Cool! Dan Wasser Gaithersburg, Maryland (USA) ------------------------------ From: "Rob Murphree" Subject: Adrian Update Date: Sat, 22 Jun 1996 04:36:22 -0500 YO! Everyone! The Adrian Belew biography has been updated at Rob Murphree's Adrian Belew WWW site. I spoke with his manager today (Friday, June 21st) for about 30 minutes and he has updated me on the Adrian Belew biography that I sent him several months back. I have edited out some misinformation and added several connections to Adrian's joining of King Crimson. (Like Adrian's first meeting with Fripp and induction to KC). Please check it out. It's at.... http://web.dbtech.net/~rhino/thebio.htm This link will take you directly to the Adrian Belew biography. By the way, Adrian's next solo effort is expected to be the "BEST" he's ever done. Look for it 10 September 96. Take care everyone.... -Rob rhino at dbtech dot net ------------------------------ Date: Sat, 22 Jun 1996 11:13:06 GMT Subject: Re: Wimhurst and Snake guitar From: lordabay at nyc dot pipeline dot com (michaeldamianjeter) On Jun 21, 1996 08:25:25, 'Elephant Talk ' wrote: >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. Many of the names that Fripp/Eno use for their "guitars are descriptive names for the sounds that the instruments are making...these are "probably" guitars wit some sort of processing that put the players in mind of the above names. >I listened to "No Pussyfootin'" while ingesting seven grams of psilocybin >mushrooms. It really sounds nice!! I really recommend this experience to >any one. It is also wonderful with no drugs. I reccommend THIS experience to anyone. -- michael damian jeter ------------------------------ Date: Sat, 22 Jun 1996 10:01:23 -0400 From: Biffyshrew at aol dot com Subject: Re: snake guitar and wimhurst guitar Andrew Suber wrote: >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? These are just two of Eno's descriptive names for instruments whose sound has been warped by various "treatments." Eric Tamm's book Brian Eno: His Music And The Vertical Color Of Sound quotes Eno on these two: "'Snake guitar' was so named 'because the kind of lines I was playing reminded me of the way a snake moves through the brush, a sort of speedy, forceful, liquid quality.' ... Before recording the 'Wimshurst guitar' [sic] solo on 'St. Elmo's Fire,' Eno asked Fripp to visualize a Wimshurst machine, which is "a device for generating very high votages which then leap between the two poles, very fast and unpredictable."' I've always assumed that the word "Wimhurst" was suggested by the little town of Wimborne, Dorset, where one R. Fripp was born. Fripp is, of course, credited with "Wimborne guitar" on "Golden Hours" on the same album. Your pal, Biffy the Elephant Shrew @}-`--}---- Hear soundbites from THE BRANDNEWBUG CONCERTOS and see lots of other cool stuff at http://users.aol.com/biffyshrew/biffy.html ------------------------------ Date: Fri, 21 Jun 1996 22:03:39 -0700 From: bc197 at scn dot org (Paul J. Menard) Subject: Seattle Show and Forgotten Northwest Trent Ernst wondered whatever happened to the KC show at the pier in Seattle. I don't know. But I did have 2 tickets in my hands for a couple of days before I had to redeem them for a refund. A sad day indeed. My guess is the pier promoters were shocked to find out what type of music KC played. I did find it odd in the first place when I saw them scheduled to play in the pier series, which is mostly washed up folk groups and skankin' reggae. So I second Micheal Kepler's plea: King Crimson, please come up to the Pacific Northwest!!! It is frustrating to see more dates added to the Southern California tour swing while we are left to chew on last tour's memories. I'd like to mention that I saw Polytown last summer. They played in a 200 seat club in Seattle. It was the highlight of the summer. Yes, even more memorable than the KC show that summer. While I enjoyed the KC show, I was left a little unsatisfied. Polytown satisfied. They were intense! Their CD does not do them justice. -- Paul J. Menard bc197 at scn dot org Seattle, WA, USA ------------------------------ Date: Sat, 22 Jun 1996 17:49:22 -0400 From: Mark2u at aol dot com Subject: Togo's Catfood In ET 285, Thomas B. writes: >> ...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? Surely you mean *Catfood* cans, no? :) Mark Stevens ------------------------------ Date: Sat, 22 Jun 1996 17:15:26 -0700 From: Kenley Neufeld Subject: re: More strange KC bills Speaking of strange or unusual billings with KC, a person by the name of Vernon Reid is opening for them in Berkeley in July. This is the guy from the band Living Colour (they opened for the Stones in '89). Anyway, he has a new CD out and here are some quotes from an ad for his new CD "Mistaken Identity": "Hardcore hip-hop ain't the only sound with fury." (Vibe) "...Vernon Reid is happy to let his ambition and imagination run riot..." (Rolling Stone). Anybody heard this? Sounds like it may be interesting. Anybody else notice who else is opening for KC on this tour? Vernon Reid all the way through? _________________________________________________________ Kenley Neufeld | University High School (San Francisco) | Associate Librarian neufeldk at usfca dot edu | Electronic Media Coordinator URL: http://www.usfca.edu/usf/neufeld/kenley.html ------------------------------ Date: Sun, 23 Jun 96 13:27 +0100 From: chris_horn at t-online dot de (Chris Horn) Subject: Various KC Material Hello, I am following this list for some time now and a want to know if anyone can "introduce" me in the KC-scene reagrding live-videos, live-concerts and all that other collectible material. I come from the TANGERINE DREAM scene and I think that I can offer anything available from that band which is around the globe. So if someone is interesting in that kind of music it could be a great information exchange! It would be very useful for me to know which videos and live-tapes are existing and which ones are acceptable for good looking and which ones are only scrap! Soy perhaps someone can help me out! Dream On Chris horn (chris_horn at t-online dot de) ------------------------------ Date: Sun, 23 Jun 1996 08:51:33 -0500 From: Jim Humphrey Subject: KC Mids Another site http://sunrise.sote.hu/~kepenu/ Jim ------------------------------ Date: Sun, 23 Jun 1996 10:40:09 +0200 (MET DST) From: "Andras, Barnabas, Eva and Laszlo TOTH" Subject: Bruford interview Dear ET-ers, As promised, here follows the telephone interview I had done with Bill Brudord and which was published in the Hungarian newspaper Magyar Narancs (http://hix.mit.edu/narancs/) two weeks ago. This is the original, uncut English version. The Hungarian title of the interview was "A Relentless On-going Machine". My thanks go to Dave Depper jdepfam at bendnet dot com and Les (leslabb at prolog dot net), who contributed with questions (although I did not use many of them). On the same day, I had the chance to make another interview with Trey Gunn, which is to be published in another Hungarian paper called Wanted. Understandably, I will not put it in ET before it is in print in Hungary (probably next week). Good reading: Andras TOTH Interview with Bill Bruford 29.05.1996. AT: Compared to your other musical experiences, what is special about playing in King Crimson (if there is anything?) BB: It is special to me. It comes from a lot of history, I've been playing in it for such a long time. It has so many connections for me. It has been the place where I have been able to do some of my best work and have access to a large audience. It is possible to do interesting things in jazz and so forth, where there is a small audience. For King Crimson, there is an international reputation, and it is possible to stage percussion as well. There are facilities to use two drummers for example, to have several drum-kits or to have electronic kits etc. So it's a very useful group for me, but more than this, it has a lot of emotional content. AT: This reputation and technical facilities, you must have had them with Yes as well. BB: True, but Yes -I think sadly- is not the group it was. People have always made the mistake of joining Yes and King Crimson and sometimes Genesis together as the same sort of British group. But I assure you that King Crimson is entirely different, in its ethics, in its music, and the way it puts music together, the way it conducts its business, everything is completely different. AT: You mentioned the double drummer, double trio concept you are now using in King Crimson. Do you find this experiment successful and rewarding, or is it just something that popped out from Mr.Fripp's mind? BB: (laughs) Yes, it popped out from Fripp's mind, it's not something that I would have chosen. But that's always the way with King Crimson. There are often unusual things going on, and it is up to me to make something of it, to respond to the challenge. Sometimes it may be: let us use electronic drums, or maybe: let's not play the cymbals very much, or maybe: here is another drummer. Something to keep me on my toes, to keep me interested. And I think it is fun: Pat is really the Ringo Starr and I am ???, in a way. So on the whole, it's rewarding. King Crimson is always quite hard work, but yes, it is a labour of love. AT: You used the word "ethics" a moment ago. To what extent do you have to be acquainted with Mr.Fripp's theories in order to be able to play in King Crimson? BB: (laughs) Not at all. But of course, I have grown up with Robert, and watched him develop. I suppose my intuitive feelings about music happen to coincide with his more intellectual reasoning about music. What he thinks I feel, to be simple about it. So many of his directions are just very suitable for me. There are other aspects to the band which I would not do if I were the leader, but that's up to him. It's essentially Robert's band, so that's fine. AT: And as to listener, how much do you think he or she should know about those theories? Does it help to understand the music, or is it unnecessary? BB: It should be completely unnecessary, the music should work entirely on its own. And indeed, I think it does. We now have an educated audience who is prepared to leave its preconceptions behind in the lobby of the gig, and to come with an empty mind and judge us as a fresh group. If we were twenty-year olds from England, and it was a new a group, it would be considered as a very good group. AT: How do you organise your work inside the band, how much is it Robert Fripp's band, is he the one who gives the directions, how much is there democracy? BB: Really, it is extremely democratic. In the business sense absolutely democratic, in the "when-do-we-work" sense democratic, we have all agreed to work for four to five months a year. Robert would propose something and we would agree to do it, if somebody does not want to do it, that's fine, everybody has the power of veto, essentially. But he would use it very carefully. With the music, most people think that Robert writes everything, and tells everybody what to do. That is actually not the position at all. If you had to tell me, Tony or Adrian Belew what to do, then it wouldn't really be worth working with us, and you would want to have hired musicians. So Robert will suggest usually by an initial guitar composition or two the general direction, and he would say things like "a relentless on-going machine", or he might say "an almighty clattering sound". And this would be indicated by a piece from the guitar called "Vrooom" or "Thrak", or in 1974 it might be "Red", or perhaps earlier "Larks' Tongues in Aspic". This would give a general direction. Now after that, from the very beginning it is up to us to continue the musically initiated movement, it is up to us to continue down that particular direction. He would outline the perimeter of the football pitch, and then we would all get on and play football. AT: Are the initial guitar compositions you've just mentioned something like Fripp came up with on the album "I Advance Masked" with Andy Summers in 1982 ? BB: I don't know anything about that particular record, I haven't heard it. AT: I noticed that there were some guitar compositions on that album that appeared later on "Beat" by King Crimson. What motivates the choice of the old songs that you play today live? BB: Very much if it appears to be fresh. I think some of the music is now probably a bit dated, but for example if you play "Red", it feels extremely fresh like it was written tomorrow, and it seems to resonate with the time. It was written in 1974, but it was taken on-board by some of the grunge people, Kurt Cobain mentioned it in public, it seems to be a very influential piece to him. It just has its life on its own, and it's great fun to play. If nobody wants to play it, we will not play it. If it starts to smell a bit ancient, or creek a little bit, then we would not play it either. AT: Many people would say the same things about that legendary song "21st Century Schizoid Man" as about "Red", although you do not play it any longer. BB: Well actually, we played it last night, for the first time in 22 years. I daresay we will be playing it in Budapest too. That sounds very fresh, too, with a whole bunch of new musicians who have never played it. Trey, Pat, Adrian and Tony have never played it, only Robert and I have. And it sounds quite different, not completely different, but very fresh. AT: Is there any difference between the material you are playing this year compared to the tour last year? Are there new tunes? BB: Yes, we are currently playing Schizoid Man, The Sheltering Sky... AT: I mean, new in the sense that never heard before. BB: We are playing some excerpts from a live album out now called THRaKaTTaK, which is one hour of improvised music from King Crimson's last tours last year edited together. That's for the extremely adventurous listener. Aside from that, we don't have any new material. AT: Are you planning to record any? BB: Indeed we are, but I don't think it will be before several months yet. AT: We know that the previous "incarnations" of King Crimson did not last longer than three or four years. What about this one? BB: I never like to make predictions. You only know if King Crimson is there if it is there at breakfast next morning. You know, I've been in and out King Crimson 3 times, I think. It is not a job you would call secure. On the other hand, I have never seen Robert enjoy the band as much as now, and the band has never been as popular actually as now. We play at bigger concerts than we ever have done. There is a lot of talk about the next album, so I think we are here for a bit yet. AT: I thought this depended also on Mr.Fripp's personal plans. I had the impression that in the eighties he had set up these "programmes" in his personal life and King Crimson was part of them. BB: It does seem to be that, you are quite right. But I think he's more settled now, quite a changed man. There have been two big events in his life, number one: his marriage, number two: he doesn't have a manager any more, and he's very happy with that. So finally he became a very relaxed man, and he's just turned fifty years old! I think he is probably settled in what King Crimson should do and he will be with it for a while. AT: Don't you think that the band's rather draconian PR policy is a major drawback in achieving an even greater success? There are restrictions that no journalists should be allowed to make interviews when you arrive to a town, no photos should be taken during your concerts... What is the reason of this? BB: That's true, and there are a lot of problems with that I think. Your guess is as good as mine, but as soon as King Crimson starts to get popular, it always seems to stop. And I don't quite know why that is, you'd have to ask Robert. He has done actually a lot of interviews for "Thrak", and he has just stopped doing interviews for a year or two. I don't think he has anything against interviews particularly, except that if you are not careful, your whole day gets taken up with interviews, and it becomes really tedious. You know, nobody in King Crimson is gonna have a hit record, and the band doesn't seek world domination. It is a band that many people love, and by word of mouth, other people come to like it too. And I think that's probably the best way. Somebody occasionally takes an advertisement, or does a bit of promotion. But I suppose it's becoming a little like the Duke Ellington Orchestra or the Modern Jazz Quartett, it exists in and among other bands and has a position and an influence all of its own. It's financially profitable, so it does not need Virgin Records to make a great promotion and we don't have to come and tell you how great we are. It's something to do with not being on rock's promotional ladder. I don't think any journalist turned away, I hope not. I'm always willing to explain King Crimson as far as I can to anybody. But I agree that the band has a public perception of wanting to be left alone. I don't actually agree with that, and I think it's a pity that it should be like that, and I'm still interested in bringing the music to new customers. AT: I suppose you've heard about or you've even read the Internet mailing list, Elephant Talk. Do you consider it as a good way of keeping contact with eventual fans? This is something that did not exist in the seventies and eighties and even now it's quite new. BB: I think in a way it encourages too much gossip, people love to talk. I think it's better if we just get on making the music and up on the Internet, they can talk whatever they like about it, who's good, who's bad, who's a good guy, who's a bad guy. I personally don't have a computer, but I know that Trey Gunn sees it periodically, and for a while it was very amusing. Then it became less amusing and now nobody talks about it. AT: So apart from the last album, what are you going to play in Budapest? BB: We will be playing Red, Larks' maybe, Waiting Man I guess, Frame by Frame. AT: How do you organise the improvisation? Are there any concepts that you agree on before, or do you just start playing along with the other members and see what comes out of it? BB: There is the trained reaction that every musician has when presented with an instant musical choice. So it is not quite a case of playing along and seeing what comes out. You react instinctively to an environment and try to select the appropriate notes for it. On the whole, there is no discussion on what it should be, although sometimes simple descriptive phrases can be used, or somebody might suggest a dynamics, from very quiet to very loud or from very loud to very quiet, a very simple shape. But in general, it's very open. AT: Do you have any projects or plans going on outside King Crimson? BB: Yes, I have plans all the time. I have been running the British jazz group Earthworks for many years, we have four CD's. But I have no particular plans to go on with that. I plan to record an album in October with Ralph Towner(?), the guitar player from ECM, but that is not confirmed yet. I have just done some tracks with Steve Hackett. I'm also busy doing the CD-ROM of my own drumming so that you can access that on your computer if you were a music programmer. I have a number of things going on, as everybody does. AT: Is this going to be your first time in Budapest? BB: Yes, and it's a great thrill for all of us to come to Hungary for the first time. It's remarkable that King Crimson has been so slow in getting to Eastern Europe. I've been to Poland a bit, but it's really the first time for us in Hungary. We are looking forward to it a lot, I know that there is a lot of young people out there who are very interested in the band. I think it will be a terrific evening. [ends] ------------------------------ Date: Sun, 23 Jun 1996 10:52:45 -0700 From: James Baumgart Subject: Time Machine Update I'd like to thank David Ewing for re-setting the control clock on my time machine for that Genesis at the Roxy show. December 1973 is a bit of a musical blur since I was still in Junior High school. In 1979 I also saw Camel play the Snow Goose at the Roxy with Mel Collins filling in on horns, and in 1980 I took a girl on a date to see the Gradually Going Tornado Bruford band play there, can you believe that she made me leave early so she could get enough sleep to get up for work the next day? Who could even be thinking about sleep when you were within 15 feet of that band????? I would for sure want to catch the Yes Tales of Topographic Oceans, since that is one of my favorite albums of all time, now, although in college, when I discovered Yes, King Crimson and Genesis, I didn't like it much, too mellow I thought. Also, Lamb Lies down on Broadway at the San Diego Civic Theatre - that would have really been something. I remember seeing UK play at the Santa Monica Civic, it must have been about 1980, I could only afford cheap seats, I had to sit way in back, but they didn't even come close to selling out, I was able to upgrade my seat to about the 5th row. Too bad the show was with Terry Bozio and without Alan Holdsworth, but it was still great, and Eddie Jobson put on a great act. I'll have to add King Crimson May 1974 Shrine Auditorium to my list. -Jim - Jim Baumgart "In the end, there can be only one..." baumgart at starrstuff dot com URL http://www.starrstuff.com/jim.htm ------------------------------ Date: Sun, 23 Jun 1996 18:31:20 -0400 From: MDeprey at aol dot com Subject: Bruford's "wooden box" Noticed someone mentioned the "wooden box" Bruford played on "Sheltering Sky". It's actually known as a slit drum or tongue drum. They've been around a long time. In fact, they pre-date skinned drums by 8,000 years! They were developed in Africa and S. America. The Aztecs called them "Teponaxtles" (Tay-pawn-yachts-lee) and their sold in the US and abroad under the name "Tapo Drum". If you're interested in slit drums (they're a blast) call Tapo Rythm & Music 800-877-9825. Thought you might want to know- ------------------------------ Date: Sun, 23 Jun 1996 15:47:51 -0700 (PDT) From: rpeck at pure dot com (Ray Peck) Subject: Manfred Spiker >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. If you really think Eicher is great, please go see the comments about him, in connection with Cloud About Mercury, in the David Torn interview with Anil Prasad at: http://www.carleton.ca/~aprasad Not that I don't like a bunch of ECM records. ------------------------------ From: leslabb at prolog dot net Date: Sat, 22 Jun 96 19:34:44 -0500 Subject: Primus & Crimson In Elephant Talk #285 Dr. Pearce commented on how Primus reminded him of Crimson: >> 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. I first became a Primus fan when watching MTV late one night. This strange video called "Tommy The Cat" came on. I was startled at the music blaring out of my speakers. I said to my self, "This band sounds a lot like Crimson". I ended up becoming a fan of Primus/Sausage. An interesting thing about this comparison is that the same people who dislike Crimson usually will dislike Primus as well. 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: Sun, 23 Jun 1996 23:58:52 -0600 (CST) From: Alicia Sepulveda Subject: Mick Karn In fact, I'd also like to recommend Mick Karn's latest, "Tooth Mother", to any ETer who likes the double trio or Red. Never having heard a Japan or Karn solo album, I was totally unfamiliar with him, but after hearing 30 seconds of it at the store I bought it. He's a very good composer, and by the time I got through the first song, he had already joined my Top 5 bassists list (which is now a top 6). Pablo ------------------------------ Date: Mon, 24 Jun 1996 09:06:17 +0200 From: "Riesz, Ferenc" Subject: Starless theme in Blue Hello ETers ! Probably you have noticed this: in 'Blue' (RFSQ: The Bridge Between), the opening guitar theme of Starless appears at about 4 min from the beginning. RF PS Thanks to all gig reviewers. ------------------------------ Date: Mon, 24 Jun 1996 09:54:44 -0400 From: John Saylor Subject: various guitars Hi >From: Andrew Suber > 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? They make music. They are "treated" guitars. The extra adjective is there to help you distinguish which line in the mix is which instrument. I don't know what the reference to Wimhurst is about since I don't know what Wimhurst is. I always guessed it was some town in the UK- but I have never tried to verify it. I identified the running figures somewhat back in the mix as Wimhurst guitar, maybe because I connected Wimhurst and windy- I cannot explain my personal musical association maitrix here [nor would I want to]. > I listened to "No Pussyfootin'" while ingesting seven grams of psilocybin >mushrooms. It really sounds nice!! I really recommend this experience to >any one. It even sounds nice without it. I remember being an undergrad in Kalamazoo Michigan and turning my speakers out into the dormitory courtyard and putting on that disk quite loud and sitting in the courtyard with some of my friends and staring up into the starry midwestern sky listening to that music. It was quite nice. I even enjoyed the shouts of "obnoxious intellectuals" that came from time to time. \jsaylor ------------------------------ Date: Mon, 24 Jun 1996 12:42:49 -0500 (CDT) From: Damon C Capehart Subject: KC's supposed lack of fan-talk On Fri, 21 Jun 1996, brugger at physik dot uni-erlangen dot de (Alex) wrote: > 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??? Actually, they don't much in the states, either. At least they didn't in Fort Worth... then again, that one guy threw that CD at Robert's head at that gig, too. :) Damon Capehart | "I think we should eliminate semicolons from the aka Le Monsieur | English language; nobody uses them anymore dcapehar at utdallas dot edu | anyway." - one of Dilbert's anonymous coworkers ------------------------------ Date: Mon, 24 Jun 1996 14:28:33 -0400 From: Otherroad at aol dot com Subject: Discipline Records and The Artist Shop Hello to all Crimson and Fripp fans! This post is to let you know about a new online music store called The Artist Shop. The Artist Shop is dedicated to independent artists who are putting out their own product. And I think nothing exemplifies that better than Robert Fripp's Discipline label. And with much thanks to Mark Perry at Possible Productions, Discipline was the first label to become part of The Artist Shop. Thanks also goes to Adrian Belew's manager, Stan Hertzman, for helping us to include Adrian Belew Presents in the store, too. Please check us out at : http://www.artist-shop.com The site includes cover graphics and soundbites for every album in the store (which includes the entire Discipline catalog). If nothing else, this will be a fun site to browse! After all, what's more fun than listening to new music? Other labels thus far included are Mike Pinder's One Step, Larry "Synergy" Fast's Third Contact (alas, the return of an old friend), and Ventus Records from flutist Rhonda Larson of the Paul Winter Consort. There's also some new, up and coming artists in the store I hope you'll check out. And if you're wondering, yes, 'THRaK aTTaK' is on sale now! Get it! We expect to add new artists to the store almost weekly in all styles of music, so make it a bookmark and browse us often. Yours sincerely, Gary Davis ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com OtherRoad at aol dot com SUPPORT THE INDEPENDENT ARTIST!!! ************************************************************** ------------------------------ Date: Mon, 24 Jun 96 14:46:28 EST From: bobg at nynexst dot com Subject: Asbury Tkts On Sale!! Tickets are on-sale for King Crimson at Paramount Theater in Asbury Park, NJ. They are $35.00 and are available through Ticketmaster in the NYC area. (Ticketmaster charge is 212-307-7171). *------------------------------------- E-mail: bobg at nynexst dot com Date: 06/24/96 Time: 14:46:28 This message was sent by Chameleon *------------------------------------- ------------------------------ From: Doug Mitchell Date: Mon, 24 Jun 96 11:59:35 -0700 Subject: re: Seattle Show? Trent Ernst wrote: > 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. ...snip... > Does anyone know if this vicious, nasty, evil rumour is true, > and if so, why? Sad but true. The cancellation was announced right after tickets went on sale. I haven't heard a reason. --dpm ------------------------------ Date: Mon, 24 Jun 1996 07:11:59 -0800 From: Paul Menard Subject: Seattle Show and Forgotten Northwest Trent Ernst (in et#285) wondered whatever happened to the KC show at the pier in Seattle. I don't know. But I did have 2 tickets in my hands for a couple of days before I had to redeem them for a refund. A sad day indeed. My guess is the pier promoters were shocked to find out what type of music KC played. I did find it odd in the first place when I saw them scheduled to play in the pier series, which is mostly folk and reggae. So I second Micheal Kepler's plea: King Crimson, please come up to the Pacific Northwest!!! It is frustrating to see more dates added to the Southern California tour swing while we are left to chew on last tour's memories. I'd like to mention that I saw Polytown last summer. They played in a 200 seat club in a quiet Seattle neighborhood. It was the highlight of the summer. Yes, even more memorable than the KC show that summer. While I enjoyed the KC show, I was left a little unsatisfied. Polytown satisfied. They were intense! Their CD does not do them justice. ------------------------------ Date: Mon, 24 Jun 1996 22:55:44 +0200 From: =?iso-8859-1?Q?Jes=FAs?= Navarrete Subject: Let the power fall! Hello, I'm a new reader of ET, and I send this to ask for somebody that tell me how to find the text (poem?) "Let the power fall", by RF. Y had it a lot of years ago, and I can't find it again. Also, I tried to connect several times with Fripp's stacks, but it must be disconected. Thanks Suso Navarrete. Valencia (Spain). (suson at arrakis dot es) ------------------------------ Date: Tue, 25 Jun 1996 10:12:36 +0100 (BST) From: Richard Beck Subject: KC on Teletext Following my idol speculations in ET 280, I found this last night on the (UK) Channel 4 Teletext service (Grooves, p622) under the 'Round-up' heading: "Prog-rock legends King Crimson finally release their seminal song '21st Century Schizoid Man' as a single a staggering 27 years after it was first recorded. "And the reason? It's used in the latest Dunlop TV ad. The single hits the shops today." (Monday 24 June) As I can't get into town today, can anyone post a track-list for this release? Thanks in advance. richard beck London ------------------------------ Date: Tue, 25 Jun 1996 12:41:43 +0200 From: Philipp Quaet-Faslem Subject: Get crafty: 2nd call Hi there! For those who might not have read it the first time: I'm still looking for people from Europe and North America who want to take part in a Guitar Craft Level I course but can't or don't want to got Argentina for whatever reason. I will try to collect as many addresses as possible, so we can see that there is really a need for a Level I. Please send your address (email and/or postal) including country/state to: peqf at hrz dot uni-bielefeld dot de If you know of others who are not on the net, tell them also. See you soon, Philipp -- Philipp Quaet-Faslem -- -- -- Gustav-Freytag-Str. 6 -- Phone: +49 521 895907 -- -- D-33613 Bielefeld -- Email: peqf at hrz dot uni-bielefeld dot de -- ------------------------------ Date: Tue, 25 Jun 96 08:55:39 CDT From: Paul Gelpi Subject: New League of Gentlemen Live CD This past weekend I picked up a copy of the DGM CD of The League of Gentlemen "thrang thrang gozinblux: Official Bootleg Live In 1980" along with sundry other items, including "Radiophonics" (more about that and what MOJO had to say about RF later), at Tower Records in New Orleans. Since I had not seen any discussion about this CD or the MOJO article on ET yet, let me throw my "two cents" in. "thrang thrang gozinblux": Let me begin by saying that this is an incredible document of an often underrated band, too often overlooked by Fripp fans as LoG occurred just before Discipline began and their studio recordings sound a little flat (at least my vinyl copy does). Well, this CD should reverse any similar impressions -- it burns for all 57 plus minutes and Fripp sounds incredible (Robert, if you read this thanks very much for releasing these recordings). While this is a "must have" for Fripp completists it will also appeal to those who while attracted to King Crimson do not have an appreciation of RF's work outside of KC. So as not to spoil anyone's listening experience I'll refrain from commenting on individual compositions and just offer the following general observations. Fluid, hypnotic, dare I say bouncy, guitar runs dominate and some 1980s Crimson themes make an early appearance. Sara Lee's playing demonstrates a level of musicianship unfortunately not seen in her post-LoG stints in Gang of Four & the B-52s -- then again Lake, Boz, & Wetton sounded best when playing with Fripp. While Barry Andrews' keyboards refreshingly complement Fripp's guitar and vice versa, showing him to be a better instrumentalist than his work with XTC had shown. Johnny Toobad -- what can be said, he lays down a danceable backbeat, although its often Sara Lee's bass that propels the band & music along. If you cannot get this one at your local record shop (few stores here in Alabama -- Tuscaloosa/Birmingham area -- stock DGM releases) order it direct from DGM. Now the MOJO article on the 100 greatest guitarists. At #51 Robert Fripp is badly underrated but at least they listed him here -- in 1994 when a US guitar magazine ran a similar feature they omitted him. IMO Fripp is the BEST but even if Jimi Hendrix has to be #1 why #51, remember it was Jimi who after a 1969 KC gig at Hyde Park was so impressed that he said to RF shake my left hand man its closer to my heart (obviously my paraprhase). And I think THAT says it all. "Radiophonics": succinctly put -- amazing IMO its alternatively the soundtrack to a nightmare at its most eerie and a comforting embrace. Lastly, my wife and I will be at the HORDE show in Nashville on 10 August and if there are any other ETers who are going, e-mail me if you want. Happy listening (both CDs are well worth the bucks) and see you at Nashville if you are there. Paul Gelpi pgelpi3 at ua1vm dot ua dot edu ------------------------------ Date: Mon, 24 Jun 96 08:47:43 +0200 From: renne at bpb dot it (Franco.Renne) Subject: Milan concert Milan 21/06/1996 Diffused Soundscapes welcome us for this electrifying night. Very good atmosphere. First part of the show is for California Guitar Trio. Unfortunately only thirty minutes of superlative co-operation among three guitars. I have recognized (at least I hope so) three new pieces, so I hope that a new album will come in this year. After CGT, the event, best band in the world: King Crimson! Very impressive, a much better concert than the one of the last year (2/5/95), even if the acoustic of the placi is not so good. More harmony in the band, energy and pleasure with many smiles (especially form Bill, Tony and Adrian). It's a great spectacle to see the co-operation between Bill and Pat, the rythm goes from one drum to the other one. But, I repeat, all the band is in harmony. If I have to emphasize three moments, I'd choice the following: 1) "The sheltering sky" a magic re-interpratation with Bill walking on the stage 2) "21st century schizoid man" because this song represents, still after 27 years, the Crimson sound, a way of life 3) the end of the concert with all people standing up and acclaiming King Crimson. All members of the band have expressed their happiness to the public, except Robert but we love him also for his way of being (and his Discipline) This is the list of songs: Drum Duo Thela Hun Ginjeet Red Frame by Frame Dinosaur One Time Three of a Perfect Pair B'Boom THRAK (with improvisation) Waiting Man The Sheltering Sky 21st Century Schizoid Man Sex Sleep Eat Drink Dream Elephant Talk Indiscipline ---------------------- Prism Lark's Tongues in Aspic part II ---------------------- VROOOM I think that the band is now mature for new moments of creativity, but first (PLEASE) give us another official live with the photography of this superlative moment! THRaKaTTaCK is good because we can understand what the band is able to do during an improvisation (and this record ia s fearless proof), but I think that all of us would also hear the live interpretation of songs like "21st Centursy Schizoid Man", "The Sheltering Sky", "Three of a Perfect Pair", "Waiting Man" and so on. A last consideration: don't miss this tour !!!! Bye Franco Renne renne at bpb dot it ------------------------------ From: max dot bracco at iol dot it Date: Mon, 24 Jun 96 20:54:24 Subject: KC Live in Italy On Friday 21st of June KC were in Milan for the first concert of their Italian tour. I was in the third row, and could see very clearly all the members of the group. The venue was in outdoor space, in an exhibition space under a huge geometrical tent. The place was quite confortable, but suffered of some echo and strong reverb : quite a heavy handicap for a dense sounding band like KC. The six Crimsons gave full energy to the show, musically speaking : particularly Bruford, the genial kinetic force, and Belew enthusiastic as ever. Levin was in magic shape and had great fun thru the whole show. Fripp was more distant than ever, not moving any muscle apart his rapid fingers. He only grinned once (but was sure to be off the spotlight) to Belew, who was playing weird rhythm guitar tricks and laughing to RF. Belew even used an electric drill on his guitar, during the THRAKATTAK very impressive improvisation. They played almost every song from the European tracklist, including THEL= A, TOAPP but unfortunately not Neurotica nor Talking Drum. Specially impressive among the old songs were Waiting Man (even more poly= rhytmic than ever), and Sheltering Sky with wonderful solos. You can argue as much as you want about the opportunitiy to play this old, damned, devilish hit : but hearing live 21st Century Schiz once again is a BIG THRILL ! RF and Belew even played a twin duelling guitar solo in the middle section. Once again KC confirmed as a hell of a live band (much better than last year concert) and the Italian audience gave their heart to them. Bye to all ETers MAX from Italy ------------------------------ Date: Tue, 25 Jun 1996 09:34:43 -0700 From: Alessandro Bagno Subject: Wet 'n' Wild in Lignano Organization: Dipartimento di Chimica Organica Dear Crimheads, I wish to review last week's KC concert at Lignano because of many peculiarities it had. The setting was particularly wrong from the start, as the region had been heavily flooded the days before, and the concert was being held in the open. While the CGT was playing it began to rain, which of course spoilt much of their performance. Then, the rain stopped graciously falling to welcome the appearance of KC. It was a really awesome view, the stage having an ominous cloudy sky for background, with strong gusts of wind (I don't know how hot it was for them, though). The concert was of course at the very high standard KC has accustomed us to. However, Fripp seemed rather absent-minded and motionless, even for his own standards. I assume that the setting was not particularly inspiring or concentrating. We were presented with THRAK with an improvised section in the middle (thanks); 21st CSM was also welcomed on my part. On the whole, it was a difficult concert for both performers and audience, because sitting in the cold and wind is not the ideal environment to appreciate KC music, I think. The encore was a drum trio by Belew-Bruford-Mastellotto, and eventually they played Red, but then it began to rain heavily and at a point Fripp just quit playing, trying to dry his hands, and the concert came to an end rather abruptly. I noticed with dismay that Fripp did not even go front stage like the others, he just stood motionless for a few seconds and disappeared at the backstage. This was quite different from the concert in Mestre last year, when he even waved a hand to the audience (which I think in his body language means sheer joy). However, Crimehads' affection (love?) for KC can easily forego with these mundane things. My last appeal to Fripp is that if the Lignano improv ever finds its way into an official bootleg, it go by "Helpless and Highly Drenched". Other possible titles: The Showering Sky -- Dripping Man -- Red Rain -- Larks' Tongues in Soup. Bye, Alessandro -- Alessandro Bagno Dept. of Organic Chemistry, University of Padova (Italy) ALEX at PDCHOR dot CHOR dot UNIPD dot IT ------------------------------ End of Elephant-Talk Digest #286 ********************************