From et at blackcat dot demon dot co dot ukMon Jul 1 07:06:15 1996 Date: Fri, 28 Jun 1996 11:57:54 GMT From: Elephant Talk Reply to: et at cs dot man dot ac dot uk To: bulkmail at blackcat dot demon dot co dot uk Subject: Elephant Talk Digest #287 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 287 Thursday, 27 June 1996 Today's Topics: will KC be in Atlanta? Primus THRaKaTTaK (it's not live, it's evil) Australian THRAKATTACK??? Schizo the obvious/ misc taking photos at KC gigs strange sounds on earthbound Re: Announcing Elephant Talk Digest #284 Schizoid Man on single Re: KC's lack of fan-talk Re: Elephant Talk Digest #286 re: 21CSM single release why play live? THRaKaTTaK Review Earthbound, USA, Islands GIFs Tongue Drums Re: Schizo's modern day importance "Snake Guitar", another perspective Back to the roots pre show drinks GIG REVIEWS Bill Bruford new drum-kit Rome gig review ------------------ 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: Tue, 25 Jun 1996 12:42:49 -0400 From: djackson at Magnet dot FSU dot EDU (Damon Jackson) Subject: will KC be in Atlanta? I have seen a couple of different adds for the HORDE Festival in Atlanta. One says King Crimson will be there, and the other says they will not. Does anyone know for sure if they are scheduled to play? I don't want to fork out the bucks for the concert if I can't see Tony Levin and Co. (oops, sorry, I mean Robert Fripp and Co.) Damon Jackson ------------------------------ Date: Tue, 25 Jun 1996 16:40:12 -0400 (EDT) From: ADERKAZARIAN at MBLN1 dot MBLN dot LIB dot MA dot US Subject: Primus This is in response to the writer who talked about the similarities between Primus and Crimson. When I head about a new KC reunion a few years back, it was my hope that RF would be as experimental as he had been in previous lineups - I always imagined that Les Claypool, bassist of Primus, would have made a great foil and inspirer for Robert. Primus' drummer would have worked quite well in Crimson as well. When I head who was going to be in the reformation (reunion would be more like it) I was a little disappointed. Even though the double trio has been great up to this point, I think it could have been a little "less safe." THRAK and VROOOM would have sounded great with Les funking them up and driving them (and Fripp) toward new territory. Les is an avowed Crimson fan and probably would have done. Too bad (though not tragic). ------------------------------ Date: Tue, 25 Jun 1996 20:03:22 -0400 (EDT) From: Darren Hess Subject: THRaKaTTaK (it's not live, it's evil) I send thanks to the individuals of King Crimson for taking a chance. We've been well rewarded for their courage. _This_ is a blessing of tears. Thanks also to Mark Perry (wherever he is) for his part in making it Possible. -Darren __________________________ _____ ____ ___ __ _ -------------------------- ----- ---- --- -- - ...I am nothing without having to be what I am, and yet in so far as I have to be what I am, I am without having to be. -Sartre ------------------------------ Date: Wed, 26 Jun 1996 11:15:54 +1000 (EST) From: Evan Thomson <930377 at bud dot cc dot swin dot edu dot au> Subject: Australian THRAKATTACK??? Howdy all, I'm from Melbourne Australia and I was just wondering if the new KC disc is on its way here.... I looked on the 25th (which I thought was the release date - at least everywhere else) but to no avail. :( Is there anybody out there?...that has this CD from Australia, and if so could you please direct me to one. I would rather not pay excessive import prices and order through the net if I can avoid it. Thanks very much. Evan Thomson 930377 at bud dot cc dot swin dot edu dot au ------------------------------ Date: Wed, 26 Jun 1996 07:58:51 +0000 From: khoffman at giantfood dot com (Kurt Hoffman) Subject: Schizo the obvious/ misc In #286 MaTT C pondered the possibility of Schizoid Man signaling an impending Fripp retirement. I think (hope) that maybe the return of our schizophrenic hero may speak to something more obvious, and that is that we are a scant 3 years from the 21st century. Given Fripp's often commented on values of three, I have trouble seeing this as a coincidence (granted, we will not be a perfect three years away from milleniums' end for another 6 months, but, hey, when it comes to numbers close can count). On a larger version of the topic, I have always noticed certian genres within KC, regardless of the line up. I don't think that this should be a revelation to anyone. For example, a strong case can be made that there is a lineage that goes from I talk to the wind on through to Heartbeat and beyond, or what about a string that leads from Mars (let's call it what it is) to LTIA pt 2. The point being that much as the Beatles had their John caustic rock and Paul so sweet pop, KC has certain styles that they have returned to time and again. In that light I don't see Fripp rediscovering his roots nearly so much as continuing to furter explore paths long ago chosen. As a comment to my own posting re: rating the vocalists, an aspect that I did not express (but is very important) is that in a live setting Wetton was amazing at playing complicated bass lines while singing, with a dexterity that far outshown Boz or Greg, and that was often times more complicated than what Adrian plays on his guitar while singing (no slight to Adrian's ax work intended- it just holds that he often- not always- plays less complicated guitar parts while he is singing). In terms of pure voice preference, I still hold how I listed, but in all fairness these are factors to be considered. PS- my last posting may have been lost in the ether or deleted because of obsessive rambling; in any event I digressed further on that, and even further asking that we get on with our lives and stop trying to equate Trent to any kind of household product- he is his own brand of household product. Get over it. Later, Kurt ------------------------------ From: GW Subject: taking photos at KC gigs In ET 285 Alex.Brugger wrote: > A roady hassled a girl standing next to me for taking a couple of photos - hmmm .... not knowing that this could be a problem I took my little Minox camera to the concerts in Cologne and Dortmund. In Cologne I stood in the second row and took some Photos. One time I noticed Robert Fripp looking at me disapproving, but I thought this would be only my imagination (it seems to be impossible to read his mind). I am not able to swear whether R.F. came to the front at the end of the gigs or not, but I think he did, at least in Dortmund. If I had known that taking photos would annoy Robert, I would have left my camera at home. I really did not want to disturb anyone in any way. I am not a professional photograph, I just take photos for my very personal memo-book. Could this really annoy Robert ? What is the reason for this photo-phobia ?? Or ist this just a rumour ? BTW: Tony Levin took photos of the audience without asking us for permission. And there was no roady taking his camera away ... ;-) Ciao GW ------------------------------ Date: Fri, 21 Jun 1996 23:57:28 +0100 From: GW Subject: strange sounds on earthbound In ET 285 Les Labbauf wrote: >> 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. That device was a _ringmodulator_ (so it is called in german, I hope it is the same word in english, too). It is a analog electronic circuit that combines and cross-modulates two input signals. It had strange effects when it was used with natural sound as one input, like drums or voice (21st CSM on Earthbound !). I think it is typical for the 70ies, when many musicians experimented with non-musical electronic devices. Remember: That was the time _before_ the digital synthesizers appeared. In these days the search for new sounds was rather adventurous ... Ciao GW ------------------------------ Date: Tue, 25 Jun 1996 06:56:08 +0800 (CST) From: 940701074 Subject: Re: Announcing Elephant Talk Digest #284 I'd like to make a post to Fripp and Co. Hey guys, my name is Tim Chen. I'm flying in from Taipei, Taiwan on July 26 to Los Angeles to see your concert on July 27 and then flying back to Taiwan on July 28. If that's not a dedicated fan, I don't know what is. Do a good show----don't come down with the flu or anything. Business has been very bad for me this year. I've spent over $1,000 U.S. on this show, and really want to see y'all at the best. I just hope that my luck this year (my fortune teller said I'd have a bad year) won't bring upon me a typhoon/hurricane the night of the 26, or else I'll be stranded at the airport. Request: lots of improv. 3ofperfect pair, starless, and discipline. your most dedicated fan, tim chen ------------------------------ From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: Schizoid Man on single Hi everybody! In ET#286 Richard Beck quoted the British Teletext as follows: "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) a) does anybody know whether this single is only released in the UK or also in the rest of Europe / the world??? (since I happen to live here, I'm especially interested about Germany of course...) b) is it the actual or the original lineup who plays the song on this release and what other tracks are included (live or studio recordings)? Thanks for your help. Alex alex dot brugger at physik dot uni-erangen dot de http://www.physik.uni-erlangen.de/hi/ab/ab1.html ------------------------------ Date: Wed, 26 Jun 1996 18:40:08 +0100 From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: Re: KC's lack of fan-talk In ET'286 Damon C Capeheart replied to my remark about the band rushing straight away after the show in Hamburg: > 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. :) The thought that they might face their fans directly in the states occured to me for two reasons. Firstly, I think someone mentioned in some US gig review or other last year that after the show, Adrian even waited patiently for a couple of minutes for someone to get a camera working. And secondly, either the blokes from the Calif. Guit. Trio or a roady I talked to after the show told me that "you never know, sometimes they do come out after the show, sometimes they don't. but not usually in Europe (!)" well, well, sweet mysteries of life. :-))) keep smiling Alex alex dot brugger at physik dot uni-erlangen dot de http://www.physik.uni-erlangen.de/hi/ab/ab1.html ------------------------------ Subject: Re: Elephant Talk Digest #286 Date: Wed, 26 Jun 96 10:49:51 -0000 From: WOTAN >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. I'm suprised at this rating of Fripp. Generally even guitarists that don't understand him hold him in higher esteem. BTW, Fripp has been quoted as not caring for Hendrix's style so the feelings were not mutual. Personally its hard for me to choose between the two. I picked up the guitar after seeing a newsclip of Hendrix playing at Montery. That pretty much locked up my future for me. However, I have been a fanatical Fripp fan ever since a friend of mine played 21st Century Schitzoid Man off the newly released ITCOTKC. Both Fripp and Hendrix have been MAJOR influences on my playing and as I've kept an eye on guitarists ever since, no one, no way comes even close to thier inventivness, creativity, and skill. Hendrix and Fripp, in my mind, are in an entirely different league from the rest. Period. What I'm curious about is how Crimson will be treated by the Rock and Roll Hall of Fame. Anyone have any info on this? Isn't it about time for them to be inducted? Sure be a nice opportunity for a huge Crimso reunion. Making sure there's time for the new band to play a bit. B-{)} - Sez **************** Visit General Music 101 +===+ o +===+ at | | /|\ | | http://www.concentric.net/~selzler/ |~~~| Co-"=|~~~| |___| / \ |___| - The Road Goes on Forever - **************** ------------------------------ Date: Wed, 26 Jun 1996 13:34:55 -0500 (CDT) From: Damon C Capehart Subject: re: 21CSM single release On Tue, 25 Jun 1996, Richard Beck wrote: > "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. ... > As I can't get into town today, can anyone post a track-list for this > release? Thanks in advance. Um, lessee: 1. 21st Century Schizoid Man 2. 21st Century Schizoid Man 3. 21st Century Schizoid Man 4. 21st Century Schizoid Man 5. 21st Century Schizoid Man Seriously! 5 versions from 5 incarnations of KC, and one of them is the Earthbound version. 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: 26 Jun 96 14:36:33 EDT From: Trey Gunn <74744 dot 443 at CompuServe dot COM> Subject: why play live? The subject has come up in ET, as well as among the band members ourselelves, about why we choose to do the things we choose to do. In particular a recent ET post (which I've lost so I can't tell you which one) questions why we would play at all in America this summer when it seems that our current set-lists in Europe aren't that different from last year's. Originally we weren't going to come to America at all this summer unless we could do something different. Since the beginning of this configuration of the band we have only done 13 shows in all of Europe. Our first intention, for this summer, was to REALLY play Europe. In particular we wanted to get to some of the far Eastern European countries that had never seen the band before. Poland, Eastern Germany, the Czech Republic, Solvakia, and Hungary were some of the places we've made it to. As far as North America goes, we felt we have made a good effort to get to some of the areas that are a bit difficult to reach for an operation of our scale (like Texas and Florida for example), in order to play to many of the hard-core fans (of which ET, no doubt, comprises a good portion.) We want everyone, of course, to see the band but this isn't possible for many various reasons. It seems that most people near the larger areas who wanted to see the new band have had the opportunity. (All right you 2 in North Dakota, quiet down!!! we working on it.) When the offer came up for us to play the HORDE shows we thought that we had found our "something different" to warrant a return to the US. Myself, I made a strong push to do the HORDE, or some other type of festival tour in America. Personally, I felt like there were a lot of people who were real lovers of new music who would NEVER EVER EVER under any conditions WHATSOEVER go to a King Crimson show (for many multitudes of reasons -- they're old farts; I like new music but aren't they a rock band?; aren't they that prog-rock retread out-fit???; never heard of them; isn't Bon Jovi their singer?; too expensive to take a chance, etc......) Many of these listeners would really love what we do. Because we get virtually no radio play, the only way they would ever come into contact with this music is if they accidentally bumped into it. Playing a festival tour answered this for us. So, in a sense, this tour of America gives us the opportunity to play to innocent ears. In addition, it makes it possible for us to go to Old Mexico and play to other audiences who have never seen the band. There are a few dates in the US where we are not playing with the HORDE. The California Guitar Trio will not be with us on these, and in order to round out a full evening we have asked Vernon Reid to open most of these shows with his new band. I can't wait to hear him. There is one other aspect to this current tour that ET'ers may find interesting. In Robert's words this is tour of "Consolidation." To put this is my own words, we are "refining the coherency of the band." Something that we can only do on stage, and playing some of the older KC material is largely giving us the means to this end...... so we must play live and must do it now. This internal consolidation is essential for us to take the next step in the band's life -- the new generation of material. We will begin some preliminary work this fall, with heavier writing and recording in 1997. We anticipate the next KC studio album in the beginning of 1998, but ONLY if we feel we have made the leap successfully that we are hoping for. KC is in a position of independence and we need not be presured into delivery if the muse has not spoken. We will not do any touring in 1997 unless it is useful for preparation of the next album. These performances, if they should occur, would probably take place in South America in similar way to the work we did which was documented on B'Boom. So, I suppose for some of the hard-core fans, coming to the HORDE shows may not be something they would want to do, I don't know. (Our management and some of the band members would probably kill me if they heard that I posted THAT on EleTalk.) On all of the HORDE dates we will be the first band on the large stage, and we will be playing a 45 to 60 minute show depending on the date (not one second more and no encores.) This means that we will be playing early in the day (usually around 5:00 p.m., but sometimes as early as 3:30.) This is due to the fact that Rusted Root, Lenny Kravits, and Blues Traveller sell a bizzillion more records than we do. Because we have such a short amount of time to "do our thing" we will probably be playing very different sets at the different shows. So, for those of you who are mainly in interested in new material and feel let down by the current set-lists maybe this isn't for you. But don't worry, it's coming. Though, I will add the band is playing better than ever and the new THRAK's leave THRACKaTTacK in the dust! Myself, I'm very much looking forward to seeing Morphine and Son Volt at the HORDE and maybe even sneaking into Lenny Kravit's wardrobe case on ocassion to spruce up our image. cheers, trey gunn ------------------------------ Date: Wed, 26 Jun 1996 13:02:51 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: THRaKaTTaK Review For those of you who haven't succumbed to the temptation and bought it yet, 'THRaKaTTaK' is out and available, offering fifty seven minutes of improvised music from the recent Crimson tour of the USA and Japan. Attractively packaged in a triple panelled cardboard sleeve, liner notes (which mentions this list as being one of three inspirations for a CD of live improvs) and poster, Bill Bruford has described it as being 'for the extremely adventurous listener'. We'll see... Let's set the record straight here and now; I was never much of a fan of the 1980's Crimson and viewed them as a lesser talented relative of the magnificent Crimson of the 1970's. When they broke up after making one reasonable and two terrible records I was almost quite pleased, as if it was somehow obvious that this latest version of the band couldn't live up to the expectations of the legend. When the word was that they were reforming a couple of years ago my hopes again dipped to hear that it was to be a reprise of the 1980's band, albeit with two newcomers to form something called a 'double trio'. Suffice to say that I didn't hold out any preconceived notions of success. 'Thrak' was a welcome surprise but I slightly cooled to it after a while, partly due to it being mostly 'songs' (as far as King Crimson can play songs, that is) but partly because of the perennial problem that has haunted almost every incarnation of the band I can think of, that being the relative weakness of the vocals pitched against the monstrous power of the music. 'B'boom' was something of a disappointment down to much of it being a carbon copy of the studio efforts, 'Red' and the improvisation notwithstanding. (It also wasn't particularly well recorded, some peaks throughout the louder passages blocking all the rest of the music out) In fact, it was the powerful 'Two Sticks' that gave the inkling that this band might be capable of True Live Greatness on the scale we had only seen or heard twenty years previously, or perhaps on the better moments from 'The Great Deceiver' live set. Thanks to the band's unwillingness to come anywhere within about three hundred miles of me, I never caught the live act last time around but there were enough ecstatic reviews both here and in the press to suggest that something better than what made it onto the 'official bootleg' was to be heard. Which brings us to 'THRaKaTTaK'... As soon as you play it, from the word go, you know that something special is happening. The music simply bursts forth in an unending torrent from the speakers, far more than you can rightly take in at one sitting and with that floor-bouncing bass that tells you that those poor unfortunates who were seated in the front row all went home with their ears bleeding from the volume of the show. (Anyone near the front during 'This Night Wounds Time' will almost certainly be dead, I imagine, from the sheer brutality of the percussive flurry halfway through it!) There is no proper way to try and describe this music, it is so unlike much else and yet it is familiar. Anyone who has heard the improvs from 1973 in which Jamie Muir took part will know more or less what to expect. Those who haven't heard anything from that era are not only missing out on some of the finest improvised music ever, but are also going to be at something of a disadvantage when it comes to a description of what's on 'THRaKaTTaK'. It goes something like this; soundscapes comes and go like gentle breezes, percussion rattles and slaps, great other worldly chords descend from nowhere and saturate the sound before they spin off to the shadows whence they came, the ghosts of Mellotrons weave between the spaces in the music, along with disembodied voices, wind, rain, thunder, scratching, screaming and clattering guitars scramble about in the foreground, bouncing drums, stuttering bass lines and just when you start getting used to all the activity, ten vast and enormously loud dinosaurs come charging all over the place, stamping the landscape to a flattened mess, allowing the whole process to start again. The sheer group 'togetherness' that they show is absolutely unbelievable. If (as it is maintained) that they simply start out the improvs with an idea of tempo and a few lines of guitar then what they show here is quite possibly light years ahead of what Fripp managed with Wetton, Cross and Bruford. It's quite often almost impossible to believe that they are simply making it all up as they go along. Improvisation is a great source of entertainment for those playing it, but it often doesn't come across well to the listener who 'wasn't there'. Not so with this set; in purely musical terms it can stand up to anything you could name from the King Crimson back catalogue, any era. And no, I'm not joking. There is no getting away from it; this record is 100% dynamite - easily the best thing they've done in twenty years - and is the logical extension from where the peerless (and still astonishing) 'Starless And Bible Black' left us in 1974. I've played it nearly ten times now and I still haven't got used to most of it. Sorry if I haven't dwelt more on which tracks are better than others (the whole CD is seamless so it's a bit of moot point) but I really hope my enthusiasm for this CD has come across. I can't imagine them bettering it. Put it this way; since I bought it a week ago almost everything else I've played has seemed tame. I wait for the promised 'archive recordings' with a profound and extreme form of anticipation that I can't remember feeling for years and years. *------------------------------------------------------------------------------- Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-653-6124 crimson at blackcat dot demon dot co dot uk : Columnated Ruins Domino : Cheetah Soon! *------------------------------------------------------------------------------- ------------------------------ From: hha1 at cornell dot edu Date: Wed, 26 Jun 1996 17:02:49 -0400 (EDT) Subject: Earthbound, USA, Islands GIFs Hi there! I recently acquired(sp?) Earthbound, USA, and the original US pressing of Islands (with the white/blotches cover art by Peter Sinfield instead of the stars cover), and went over to the scanner at the lab and scanned the covers of all three in at approximately the same size as the cover scans of the other albums that you currently have. I think they're a few pixels bigger, but you can trim/reduce as you like, of course. they are available in: http://falcon.arts.cornell.edu/~handrews/images/ named: earthbound.gif islands.gif usa.gif islandswhole.gif islands.gif is the front cover, islandswhole.gif is the front, back and spine. Be warned that islandswhole.gif might be slightly inaccurate, because when I assembled the four scanned pieces (the scanner was set up for maximum 8+1/2"x14" size scans), they didn't quite match up. It does, however, look pretty much alright. The three front cover .gifs matched up fine. I did do a bit of reconstruction on earthbound.gif, because some of the letters didn't scan well. I was looking at the album when I did it, and I just touched up where a few letters ran together or lines dissapeared, so it's pretty accurate, and better than the original scan. You might also want iband.gif which is the band photo collage from the inside of Islands. It's the same as the CD release, but I figured I might as well scan it too. I'll send you a review of Earthbound later, since I noticed you don't have anything, and there always seems to be someone on ET asking about it. I just want to listen to it a few more times before committing an opinion to the net. (BTW, the "Are Earthbound and USA available on CD?" question might be a good one to add to the FAQ, with explanations of the pirate CDs and possible rerelease plans included- I could probably write something up if you'd like, although I don't know more about the pirate cds than that they exist and have extra tracks). Anyway, go ahead and grab those if you want them- I always wondered what they looked like myself, and I imagine others do as well. Thanks for provinding such a great web site and discussion forum! Henry Andrews hha1 at cornell dot edu http://falcon.arts.cornell.edu/~handrews/ ------------------------------ Date: Wed, 26 Jun 1996 20:50:15 -0400 From: tomhowie at nylink dot org Subject: Tongue Drums First off, thanks to [sorry, I deleted the file before I recovered your name!] for the excellent Bruford interview; very intelligent questions! I enjoyed reading it, and I get the feeling that Bill enjoyed talking to you. On to Tongue Drums: > 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. The first time I saw one of these, it was in a photo of Bill in Modern Drummer magazine. He played it on stage in Montreal during the 1989 ABWH show. Many, many people are making tongue drums. They seem to be a hot item in some circles, and even import stores are getting into the act. My advise to would-be tonguers is: 1. select the instrument carefully - each one sounds wildly different, and some really stink. Make sure all the tongues produce a clear tone: if it just goes "thunk", forget it. 2. The more tongues, the better, but the main rule is to find one that produces a definite progression of tones: many tongue drums don't follow any particular scale, they just have ascending notes: good ones are actually tuned to a particular mode. 3. The quality of the wood is important: the harder the better. Also, avoid drums that have nailed seams without any advesive: there is a chance the drum might rattle a bit. 4. Don't buytongue drums mail order, or over the phone. Like cymbals, tongue drums are best bought "live", so you can play it and check out it's features. Also, they come in many sizes, so if you really get into this instrument you can collect a whole stable of cool sounds. Enjoy. Tomas "My doctor has this notion that he wants to keep me alive." ------------------------------ Date: Wed, 26 Jun 1996 20:53:27 -0400 From: whatthat at nando dot net Subject: Re: Schizo's modern day importance It's hard for me to assume any other reason for them bringing Schizoid back other than they simply felt like it. ------------------------------ Date: Wed, 26 Jun 1996 23:33:48 -0700 From: "Stephen P. Goodman" Organization: EarthLight Productions Subject: "Snake Guitar", another perspective I have to admit that, the first time I saw "Snake Guitar" used to name an instrument, it was on an Eno album. I have imagined for years that, perhaps, this is a FRETLESS electric guitar. How about that one? Stephen Goodman EarthLight Productions-Studios sgoodman at primenet dot com -- ******************************************************************** * "I'd rather be a failure at something I loved, than be a * success at something I hated." - George Burns ******************************************************************** * The Loop Of The Week! http://www.primenet.com/~sgoodman/Studios ******************************************************************** ------------------------------ Date: Thu, 27 Jun 1996 10:40:29 +0200 From: "Riesz, Ferenc" Subject: Back to the roots ET #286: >From: Emuguy5830 at aol dot com >Subject: Schizo's modern-day importance > >[...] The same person [a previous poster] (I think) concluded that >perhaps Fripp is returning to his roots. > >[...] So maybe Fripp's returning to his roots. Good for him. [...] I think that such old songs like Red, LTiA2 or Fracture represent such musical ideas (roots) which were not really exploited in the Cross-Wetton-Bruford era: dark, repeated tones, powerful, complex, sometimes asymmetric rhythms, rich structure. In my view, bringing back Red and LTiA2 is a conscious choice: they carry on this past legacy. There are so many potentials yet to develop in these songs: Thrak and VROOOOM are the examples for this development. Evidently, KC broke with they Discipline era (repetitive-gamelan music): the three 80's albums has exhausted the resources, and already ToaPP is pointing towards this direction (I think of the second side, mainly Industry and LTiA 3, despite the week points). >Is this the end, then? I am optimistic: it's not the end, but rather a beginning of a new Crimson era. What I am worrying about is the integration of Adrian Belew into this new scheme. Clearly, Crimson needs a singer: they always had one. And Adrian is a good singer and a good guitarist, and apparently he feels comfortable in the present line-up. But his Beatles-inspired musical ideas are so different (SSEDD, Walking in air... or see e.g. the contrast between the vocal and instrumental parts of Dinosaur). Now, having seen two live shows, I am convinced that Mr. Fripp et al will be able to do this. What do you need, Robert--if you read this :)--is to sit down and think. It was enough from experiments ! No, I don't want one more or hundreds more of different versions of Thrak or live recordings or reinterpretation of known songs or a compilation like "The essential King Crimson in the 90's". What I am waiting for now is a classic like Islands or ItCotCK or Lizard. RF ------------------------------ Date: Thu, 27 Jun 1996 10:42:31 +0100 From: Gareth Subject: pre show drinks Two things. Firstly I know of at least three crimheads will be drinking in The Orange Brewery, Pimlico Road, Pimlico London before the show on the 30th. (that's me, my brother and a good friend who was forced to convert to Crimso back in 78, in the days when I had the best hifi in my hall of residence) If the weather's good, but not too good, I might wear my Larks' tongues long sleeve T. See you there? Second (this is more of an Eno question) whatever happened to Quiet Sun/ Mainstream? (My ancient Who's who in rock... can't make up it's mind which is the band and which is the album) I've got it on vinyl and it's a must for anyone into the Fripp/Eno thang. But did they do more than one album? in quiet expectation.... Gareth Page (the poster formerly known as alasdair heads) ------------------------------ GIG REVIEWS ------------------------------ Date: 25 Jun 96 15:48 GMT From: TOLIN dot A at AppleLink dot Apple dot COM (Italy - CPU Prod. Marketing Mngr.) Subject: Bill Bruford new drum-kit I've attended the Milan show, last Friday. As always, outstanding, much better than last year ! Lots of old songs and different arrangements. And Bill Bruford, as always, shocked me. He has, again, changed his drum-kit completely ! Now everything is plain, all the electronic-pads are horizontal and the hi-hat is in front of him ! It seems he plays vibes all the show (well, at one point he "played" them, electronically...), you can see all his moves & gestures, amazing ! This guy is still changing a lot the "drum-world", more than anybody else. If someone has the possibility to meet him, please ask him about this new change. Mastelotto is also changed, much more into the music & powerful, they make a perfect couple ! People who consider him just a time-keeper will soon change their mind........ Bye Andrea ------------------------------ Date: Wed, 26 Jun 1996 14:47:24 GMT From: WINKLER at ing750 dot ingrm dot it Subject: Rome gig review This is the review of the KC concert in Rome, June 25th, 1996. A great night in Rome; I saw KC last time in Florence, in may 1995. It is evident the great effort to transform the double trio in really a whole band. Trey Gunn work is more effective, and the Pastellotto-Bruford drum section is really powerful. Always a pleasure to see Tony Levin, incredible his work in Red, and fantastic stuff with the grand stick. Poorly, Three of a perfect pair, Neurotica and Waiting Man were not performed. Robert (The Mind) Fripp is now more visible. This is the complet list of the gig: Drums duo THG Red Frame by Frame Dinosaur The sheltering sky VROOOM VROOOM B'Boom Thrak One time 21th century schizoid man elephant talk sex sleep eat drink dream Indiscipline Prism VROOOM Lark's tongues in aspic II I join to the suggestion of other readers...........ANOTHER LIVE ALBUM, please!!! End of Elephant-Talk Digest #287 ********************************