E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 289 Friday, 5 July 1996 Today's Topics: Schizoid Man and the End of the Millennium Crimso's treatment at the R&R Hall of Fame aRTiCuLaTe aNaTHeMa Re: strange sounds on earthbound SAOTW/Bruford/Live Tunes That's it! That's why!! THRaKaTTaK Backward talk on Exposure? 21csm To Play or Not To Play? Quiet Sun Query Schizoid Man - the single Fripp and Hendrix Re: Hendrix fripp-flap with hendrix Deterents to bootlegging KC at the Savoy That Night at the Savoy re: KC '81 at The Savoy, NYC SAOY TALK ventura theater july 29 New "Live in Japan" video? Re: music speaks through the musicians... Re: Prism the 21st Century Re: mellotrons, Earthbound, USA Help in finding tickest for HORDE in Portland, ME Sir James, A KC vassal...NO Happy Birthday to Me (with Bacon Bits) strippers like King Crimson Identifying ETers at shows Re: Mujician ThrakAttak / Fripp & Hendrix, etc. Fight for the right to create Spam equations Annoying? Complex? Meters? questions & comments, et#288 Asbury Park Concealment KC Collectors Edition No. 2 new KC fanzine / Tony Levin / Thrakattak Plus: *** Gig Reviews *** Review: London (Shepherd's Bush) June 30 Sheperds Bush Empire concert gig review - empire 30 june live! 30.06.96 SPOILER KC in London GIG REIEW - LONDON KC at Shepherds Bush KG gig review ------------------ A D M I N I S T R I 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 I R T S I N I M D A --------------------- From: Dan Kirkdorffer Hello All. This is the first ET Newsletter produced without Toby - ever! As you may know Toby is somewhere in Australia and for the next month I will be filling in for him as moderator of ET. I don't antipate any problems as I'm producing the newsletter using the same process that Toby uses. However, I do anticipate a lot of posts to ET during the next couple of months. So I'd like to reiterate a few things Toby has said before: 1) Try to moderate yourselves - by that I simply mean try not to over post to ET. 2) ET Web serves as a supplemental resource to ET readers, and many of the answers to your questions can be found there. 3) Please provide meaningful subjects to each post. 4) Send all subscribe/unsubscribe type mail to: et-admin at blackcat dot demon dot co dot uk Not to me! 5) The address for all ET posts continues to be: et at cs dot man dot ac dot uk That's it for now. Cheers! Dan ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: "Gilman, Bill (ext. 216)" Subject: Schizoid Man and the End of the Millennium Date: Mon, 01 Jul 96 09:38:00 EDT In ET 287 Kurt wrote: >..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.. The end of the millennium has significance only in the Christian calendar. Since there was no year "zero" in this calendar, the start of the 21st century will not happen until January 1, 2001. The year 2000 is the last year of the 20th century, not the first year of the 21st. This, of course, means everyone will be partying a year too soon (and this post won't stop them ..... or me). I do not think that Robert is using this as a reason to bring back 'Schizoid Man.' Trey Gunn's comments in ET 287 sound more realistic to me: >..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.. I know I always look forward to a new version of KC performing an older song. Now if we can get Robert to resurrect 'Rodney Toady....' Regards, Bill Gilman (wrg at ogpnet dot com) S A T O R A R E P O T E N E T O P E R A R O T A S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: MascariniRick Subject: Crimso's treatment at the R&R Hall of Fame Date: Mon, 01 Jul 96 11:57:00 PDT In ET # 287, WOTAN wrote: >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? .....SNIP! Well, last January while stranded in Cleveland Ohio during a weekend snow storm and having to wait out 48 hours of airline cancellations/rescheduling I took a chance and made a visit to the R&R Hall of Fame. First off, the site is very enjoyable, a full days worth of activities. KC's mention is very little though. Throughout the Hall of Fame, a number of interactive screens are made available to the tourist, at one of these screens toward the end of my day, I did a "look-up" on King Crimson. This was only after I when through about 80% of the exhibits and saw no mention of our RED Friends. Low and behold, the computer screen came up with a picture of the SaBB Crimso and a fairly long overview on the band. ery detailed and quite up to date - It ends with the Double Trio information and talks about the then current 1995 world tour. I doubt very much if KC will ever be inducted into such an place as the R&R HoF. Keep in mind, KC is very much outside the industry as a whole - loved by some, loathed by most. Regards, RMM ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: 1 Jul 1996 09:51:03 -0700 From: "Tim Salmon" Subject: aRTiCuLaTe aNaTHeMa IN response to GW Subject: taking photos at KC gigs (ET #287), I have a FrippCam story to relate... As I mentioned in an earlier post, I was among the fortunate handful to have seen Robert Fripp in a small Greenwich illage chapel about 16 years ago. During his chat with the assembled CrimHeads (&, of course, one local housewife), RF told several stories. One of these concerned the etiology of his stage posture (i.e. seated), & in another he spoke of a would-be paparazzo. I don't recall the exact circumstances or setting, but the story concerned a person whom Mr. Fripp politely but firmly asked to NOT take his photo. The photographer chose to ignore the warning & snapped away. My recollection of RF's account of what transpired next is surprisingly clear: "I ran after him," Robert said, " -- and you're probably not going to believe this -- but he fled from me!" Whether the outcome of the chase was the product of Frippian embellishment, or an accurate account of reality is unknown to me, but taking Robert at his word, it seems he tackled the transgressor or by some other means knocked him down, & found himself seated on his chest, telling him he had two directions he could take with his life. The photographer surrendered his film. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Mon, 1 Jul 1996 11:13:37 -0700 From: Michael Tanigawa Subject: Re: strange sounds on earthbound That device was a _ringmodulator_ (so it is called in german, I hope it is the same word in english, too). The only other example of ring modulation that I can recall is an instrumental called "The Ringmaster" on the Groundhogs' "Hogwash" (1972). This is a blues-type album that just happens to use a lot of mellotron. Mike Tanigawa ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Mon, 01 Jul 1996 14:53:55 -0700 From: Chris Mitchell Subject: SAOTW/Bruford/Live Tunes Don't think my last post made it, so I'll repeat one point and add a couple more... -- Dan Wasser, I think, mentioned Sunday All Over the World a couple issues ago, and I wanted to acknowledge how worthwhile that album is. Both Fripp and Gunn are fantastic. I used to play that disc constantly. Toyah's album *Ophelia's Shadow* had practically the same lineup and was almost as good, but I hear it's discontinued. -- Don't be surprised by Bruford's take on the cyber-forums like ET. At least he was polite in that recent interview. For a more caustic Bill, check out the interview he gave Notes From the Edge, the Yes internet magazine. It's issue #140, from Sept.7, 1995. --Finally, I'll echo again the calls for another live KC disc. Esp. considering Gunn's message about the wait for new material, and how good the band sounds now!! Some tunes that didn't appear on B'BOOM that could make up the bulk of a CD: Dinosaur, Thela, 3oaPP, Neurotica, Waiting Man, 21CSM, Sheltering Sky, Walking on Air. Also some Stick improvs and the drum features like Prism. And SSEDD, which allows for some variation, as does Talking Drum. Not to mention THRAK. Chris Mitchell Univ of Tenn ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: 01 Jul 96 15:12:22 EDT From: Wolfgang Armbruster <100413 dot 2730 at CompuServe dot COM> Subject: That's it! That's why!! THRaKaTTaK That's why I'm so curious about every new KC release for almost 25 years now... This group dares to do their own thing. No matter what label people put on it: It's music that searches. You can't tell what for in advance. And therefore it's great to have the improvs of THRaKaTTaK. "We need not to be pressured into delivery if the muse has not spoken" - says Trey Gunn. He's absolutely right!! *--------------------------------------------------------------------- Hear what there is to hear! Not what you expect to hear! (John Cage). *--------------------------------------------------------------------- Wolfgang Armbruster 100413 dot 2730 at compuserve dot com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Mon, 1 Jul 1996 23:01:11 PST Subject: Backward talk on Exposure? From: alstew at juno dot com (Al Stewart) Hello all, My question is this: On the song haaden two (anyone know what that means?) there is a short bit (1 quick interval) of backward talk, since I don't have vinyl does anyone know what it says as I thought I heard something bizarre? & does anyone know who j.b. benett was ? Thanks, Al [Please don't all respond to ET on these two questions. I'll only include one or two responses. This should be in the ET FAQ (Terry, J.P.?) - Dan] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: "Alan Maguire" Date: Tue, 2 Jul 1996 09:33:46 +0000 Subject: 21csm Hi I just bought Schizoid Man, the single.40 minutes of absolute madness. RF plays as if posessed on the '72 & '74 live versions.INTENSE. But what happens if it gets on Top of the Pops? Hordes of teenage girls with schizoid man T-shirts drooling over KC posters in Smash Hits.....Oh! Trey!...he's my favourite,so cute, and I love his hair.What a nightmare. Alan Maguire. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 2 Jul 1996 07:13:50 -0400 From: campopia at ride dot ri dot net (Anthony Campopiano Jr.) Subject: To Play or Not To Play? I'm experiencing somewhat of an existential crisis with regards to the tour dates slated for the post-H.O.R.D.E. tour in the US. ET's tour dates show Crimson scheduled to perform at the Mann Music Center in Philadelphia on the 27th of August. A friend of mine who resides in Philly contacted the Mann and they flatly denied any scheduled appearance on that date. This is perplexing; does anyone in ET land have any information that can shed some light on this dilema? Watching and waiting... Anthony, somewhere in the Northeast [Looks like a snafu on my part perhaps - The ET Web tour dates page has that show on Aug 27th, but Tony Levin's page has it as the 26th. Surely the Mann Music Center can tell you which date THEY have? - Dan] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 02 Jul 96 08:36:02 CDT From: Paul Gelpi Subject: Quiet Sun Query Hello Everyone, In ET #287 Gareth Page asked whatever happened to Quiet Sun? Well here goes... (I am drawing on a conversation with another prog rock enthusiast for some of this) before Phil Manzanera become a roadie for Roxy Music and subsequently their guitarist he was in Quiet Sun. During the Roxy Music hiatus of 1974-75 (in between "For Your Pleasure" & "Siren" if memory serves) Manzanera reformed QS--in Peter Frame's Roxy Music & King Crimson "family tree" they seem to have disbanded after PM's departure--except this time with Brian Eno in the band. As to the continuity between line-ups I don't know. Thus it is this reformed QS which recorded "Mainstream" released in 1975, the same year that PM recorded/ released his solo album "Diamondhead" and Roxy Music "Siren". It appears that QS fell by the wayside after this, although "801 Live" from 1976 with Manzanera and Eno has a version of QS's "Rongwrong" on it. All of the albums mentioned are well worth checking out, as to their availabilty on CD I haven't a clue except for the Roxy Music stuff and the "801 Live". I hope this helps. Happy listening. Paul Gelpi pgelpi3 at ua1vm dot ua dot edu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** Reminder: Send all posts to et at cs dot man dot ac dot uk *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: "Mike Lockyer" Organization: University of Teesside Date: Tue, 2 Jul 1996 18:08:13 +0000 Subject: Schizoid Man - the single Just some basic info. regarding the single 5 tracks total time 39 minutes - Yes 39 minutes 1. the edited original 2. the original 3. 1969 live - from a forthcoming album (1996) 4. 1972 live form Earthbound 5. 1974 live from a forthcoming album (1997) Price stlg1.99 Thankyou (whoever ?) many times over for this release - its great music and great value Mike ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: David Ewing Date: Tue, 2 Jul 1996 11:33:45 -0600 (MDT) Subject: Fripp and Hendrix John P. Mohan writes: > That's odd; I swear I once read a quote from Fripp saying that Hendrix's > death was one of the greatest losses the music world has ever experienced. Additionally, I heard a radio interview that Fripp gave around the time that "Discipline" was released in which he said something like - "Hearing the opening chords to 'Purple Haze' moved me more than the entire canon of the classical guitar". It sounded to me like he was very inspired by Jimi Hendrix. Dave *************************************************************************** David A. Ewing Interleaf - Boulder Lab. dewing at boulder dot ileaf dot com Boulder, Colorado *************************************************************************** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Subject: Re: Hendrix Date: Tue, 2 Jul 96 11:27:04 -0000 From: WOTAN >>BTW, Fripp has been quoted as not caring for Hendrix's style so the feelings >>were not mutual. > That's odd; I swear I once read a quote from Fripp saying that Hendrix's >death was one of the greatest losses the music world has ever experienced. The quote was from an issue of Guitar Player or one of those mags that was dedicated to Hendrix. Different guitaritsts were asked of thier opinion of Hendrix, and the usually verbose Fripp was only quoted a couple of sentances. He was, however, refferring to technique and not musicality. I would think Fripp recognizes Hendrixs' sense of musicality and incredibly influence. - Sez **************** isit General Music 101 +===+ o +===+ at | | /|\ | | http://www.concentric.net/~selzler/ |~~~| Co-"=|~~~| |___| / \ |___| - The Road Goes on Forever - **************** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 02 Jul 1996 14:24:37 -0400 From: Lawrence Raniere Subject: fripp-flap with hendrix Hello. In a previous ET: >BTW, Fripp has been quoted as not caring for Hendrix's style so the feelings >were not mutual. I believe I recall hearing in an interview with Fripp & Crimson on NPR (but not on Fresh Air - maybe New Sounds?) where Fripp himself likened his guitar stylings to "a combination of Hendrix and Bartok". Also, I was present at a Frippertronics concert at Princeton University in the mid 1980s, where Fripp did as much talking and philosophising as he did playing. The playing was being done on his old analog tape loop system. At that show, he mentioned a falling out he had had with Eno. The mood of the crowd seemed anxious, suffering the post-Crimson break-up blues. You could tell they were hoping Fripp would break out in his Frippertronics with some wild riffs, but alas, he kept it sort of tame. But, all of a sudden, he broke into Hendrix's "Foxy Lady", playing the first 10-15 seconds or so in perfect Fripp-fashion. The crowd went wild, hoping he would continue and finish the song. But, alas again, it was just a "teaser". But appreciated, none the less. All in all, it does sound like a certain amount of simpatico existed. I actually recorded the NPR interview, but lent it to a friend of mine, and have not seen it since. I should make a concerted effort to recover this tape. If I do, I will let you all know, if there is any interest. - LR ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 2 Jul 1996 11:44:42 -0700 (PDT) From: "CHRISTOPHER K. MAHMOOD" Subject: Deterents to bootlegging Hello all, Someone raised an excellent point last issue: The best way to discourage bootlegging is to make as much live material as possible available. I would be willing to go as far as to support a sort of KC cd of the month club; each month members are given the option of buying the current selection with the agreement to purchase a certain number per year at, say, $13 (the typical new cd price in the US). Of course, once a month might be too demanding on Fripp et al. (I have no idea how much time it takes to produce a live recording), but the idea is the same. I think many would even advance a years fees on RF's good name in order to get the "club" going. Looking forward to responses, -ckm ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: Charles Jowett Subject: KC at the Savoy Date: Tue, 2 Jul 1996 15:56:49 -0400 >Date: Thu, 27 Jun 1996 10:00:54 -0400 >From: Lawrence Raniere >Subject: KC '81 at The Savoy, NYC >They played about all of the Discipline album, Red, LTIA pt. 2, and a few >songs from the as-yet-unreleased Beat album, all in sterling fashion. >As I posted once before, my recollection is that Fripp, during Indiscipline >(which closed the initial portion of the show as they usually have done ever >since then), was so into the scene, that he actually got off of his stool >during his solo in Indiscipline, maybe a few steps, and gyrated in placed >while wailing on the best solo I've heard him do to date. >I know that Fripp leaving his stool is rare, so I recall feeling privileged. >Can Mr. Anderson or any other attendees confirm my hysterical recollection? >Later. > - LR *--------------------------------------------------------------------------- I too saw KC at the Savoy in November(?) 1981. I saw the second perfromance on a saturday night (I can probably track down my old ticket stub somewhere). And yes, Robert Fripp definetly got off his stool during his Indiscipline solo. It was the first time I had ever seen Mr. Fripp, or King Crimson, in concert. At the time I didn't even own any KC records, although I did have a copy of Exposure. I was completely blown away by the concert. I still consider it to be the most amazing concert that I have seen. Partly because I knew absolutely none of the material, and yet was totaly over powered by it. Adrian Belew was a maniac, bending the neck of his finger-painted stratocaster and blasting out those wild wammy-bar riffs that he favored in the early 80's. (I agree with the poster who found his pre-midi work much more interesting.) And Fripp was equally impresive, writhing around on his stool and even standing once or twice?. His solos especially amazing during The Sheltering Sky. I seem to remember that Robert Fripp had a small keyboard as part of his set up, can anyone shed any light on this? I saw KC later in the tour in a club in Rensselaer New York. The concert was much less intense. Robert Fripp seemed uncomfortable. The club was absolutely packed, and fans, myself included, were jammed up against the front of the stage. As the stage was very small, Robert Fripp's guitar pedals were only a few inches in from the edge. I was standing only a couple of feet away from Robert Fripp. It was the only concert that I have ever been to that started early. The place was so packed by 8:30 that they actually started ahead of the advertised time. I seem to remeber Adrian Belew introducing an instrumental song called Manhattan, which I think appeared on the Beat record with vocals under a different name. In 1982, I saw them for a third time at the Dr. Pepper Music Festival on a pier in New York City. I remember that they used taped spoken vocals on Thela Hun Gingeet. I think that they also used the tape at the Savoy concert. However, at subsequent shows I have seen, Boston 1984 or 1985?, Boston 1995 and I think also the Rensselaer NY show they did not use the tape. They also did not use it on the Friday's T show, although this might have been due to time limitations. Was tape something that they only used at the NYC concerts? Sorry to ramble on for so long but this is my first ET post, although I have been lurking for several months. If anyone is interested, I could ramble on some more about the RF lecture tour (~1982?) or RF with the Roaches in Carnegie Hall (~1983?). Charles ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 2 Jul 1996 16:20:32 -0400 From: "Gordon Emory Anderson" Subject: That Night at the Savoy LR Said: >Fripp, during Indiscipline >(which closed the initial portion of the show as they usually have done ever >since then), was so into the scene, that he actually got off of his stool >during his solo in Indiscipline, maybe a few steps, and gyrated in placed >while wailing on the best solo I've heard him do to date. >I know that Fripp leaving his stool is rare, so I recall feeling privileged. >Can Mr. Anderson or any other attendees confirm my hysterical recollection? As I remember, Mr Fripp was so into playing that night that he sort of came off his chair, more or less by accident. I also remember that as my favorite KC concert: Adrian seemed truly charged when he said "This is Red." As there was no ET in those days, we had no advanced knowledge that the band would be playing any pre-80s music, so having Red roar into being before us was incredible. I also remember that night that, as KC left the stage, a young woman gave Fripp a red rose, which he graciously received. -Emory. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 2 Jul 1996 15:42:44 -0700 (MST) From: Bill Lantz Subject: re: KC '81 at The Savoy, NYC In ET # 287 Lawrence Raniere wrote: _____________ >Hello. In ET #286, Gordon Emory Anderson wrote: >>... On KCs first >>Discipline tour in 1981 I caught them at the Savoy in NYC (still my favorite >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. ... >While I also was there, I unfortunately do not remember Mr. Cigarette Lighter. I do remember that concert being particularly alive, with the band members almost bursting out of their skins with enthusiam, especially Adrian. I also believe that was the best KC show I've ever seen, having seen every tour since. I had a great seat, as it was general admission, and The Savoy had these tables set up like a club. I was maybe 15 feet from the boys, and dead center.> >They played about all of the Discipline album, Red, LTIA pt. 2, and a few songs from the as-yet-unreleased Beat album, all in sterling fashion.> >As I posted once before, my recollection is that Fripp, during Indiscipline (which closed the initial portion of the show as they usually have done ever since then), was so into the scene, that he actually got off of his stool during his solo in Indiscipline, maybe a few steps, and gyrated in placed while wailing on the best solo I've heard him do to date.> >I know that Fripp leaving his stool is rare, so I recall feeling privileged. Can Mr. Anderson or any other attendees confirm my hysterical recollection?> _____________ I was there having road tripped from Penn State to attend. As I recall there were 2 shows that night, I can remember lining up outside the club for a while waiting for the club to let us in and the others out. I could be wrong about 2 shows though - hell it was 15 years ago. And I don't recall seeing the lighter guy either - maybe he was a first show attendee. But I do remember the show. As Mr. Raniere recalled correctly, they played all of Discipline, Red, LTiA pt.2 and the last encore was Neurotica - the best version I've ever heard. Maybe it was because it was new - and this is what I can't wait to hear the current band do again. The Thrak tour was fun becasue of all the new material but like Disicpline - I was prepared for it (sort of!). But hearing Neurotica that night left a lifelong impression. And I also recall Robert actually standing up and squirming about - I'll take your word for it that it was Indiscipline. I've had a disccusion with Tony Levin about this concert and he rates it as one of the most memorable shows ever - as does Robert in the Frame by Frame box. I'm glad I was there. Looking forward to The Greek in LA on 7/27. Bill Lantz Tempe, AZ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** Reminder: Send all posts to et at cs dot man dot ac dot uk *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: 2 Jul 1996 15:56:43 -0700 From: "Tim Salmon" Subject: SAOY TALK >From: Lawrence Raniere >Subject: KC '81 at The Savoy, NYC >I know that Fripp leaving his stool is rare, so I recall feeling privileged. >Can Mr. Anderson or any other attendees confirm my hysterical recollection? I too was at the Savoy in 1981, but I cannot confirm or deny any overt Fripp-mobility. It was my first KC concert, & the first time I'd seen most of the participants, having been too young to catch BB with YES, too careless to see Tony with Gabriel in Central Park, & way too naive about Talking Heads (at the time!) to have seen Adrian. As I have already said in an earlier post, I DID see Fripp once before the Savoy show--in a church in downtown Manhattan. Something that stands out in my mind about the Savoy gig actually harks back to the Frippernoon in Greenwich illage. RF announced the NYC venue on that day & said "King Crimson only consented to play at the Savoy when they agreed to remove the two drink minimum." Anyway, the Savoy either thought he was joking or didn't respect his authority, because the drink minimum remained, and as I remember, it was STRICTLY enforced. Nothing quite like a $3, 8 ounce Budweiser... Mr. Raniere wrote of an incredible level of energy; this was especially true of Adrian. This was also very much in evidence during his first few solo tours. (Unfortunately, I don't remember LighterMan either, but I would ask Gordon Emory Anderson if he himself wasn't the one holding the lighters & perhaps something else.) Like a friend of mine, whom I dragged to the Greek Theater in Berkeley to see the Beat tour said, it's practically impossible to decide which of the players to watch at any given moment -- there's just too much going on. That's what I remember most from the Savoy -- that & Thela Hun Jingeet, because Adrian made a reference to London instead of NY...& Bill's drumbox thing during The Sheltering Sky...oh, & the $3 Bud. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Tue, 2 Jul 1996 17:22:33 -0700 From: "David A. Craig" Subject: ventura theater july 29 According to the ventura theater (ventura, ca 805 area code; they do take credit card orders by phone), king crimson has been booked for an 8:00 pm show on monday, july 29. Tickets are on sale now, according to the box office. This is all some kind of cruel, horrible joke. The *one* day i am committed elsewhere.... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 10:44:19 +1000 (EST) From: Evan Thomson <930377 at bud dot cc dot swin dot edu dot au> Subject: New "Live in Japan" video? Howdy all, Does anybody out there have any details of the new KC Live in Japan video that is due out. Ie. Set list, Running time, Release Date, Australian Release date? Any help would be much appreciated... Thanks Evan [Release date inquiries are usually better sent to Mark Perry at Possible Productions (PossProd at aol dot com) - Dan] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 12:21:11 +0100 From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: Re: music speaks through the musicians... Hi! in ET#288 Olivier Malhomme wrote: > Men (i.e musicians) are not > playing music, rather, one should think taht music is playing the human > instrument. You have certainly heard that 100 times. In that concern, > musician are as surely creating the music as a boat would create the sea > that bring it. K.C. is there when music wiches to be heard,That only K.C. > can play, and then the question here debated of wether a group, due to > membership could or should not play such or such piece is senseless. It is > the same entity (i.e. K.C.) expressing its desire to be heard by people. > Then any K.C. song can be played, because whoever is in the band, it is in > fact K.C. operating thru the musicians commited to let this music flow. KC is a band that plays, records and sells music. It consists of a number of brilliant musicians with various attitudes/ethics towards making music. However what we find on albums/hear at concerts is simply music played by the actual band. one shoud be _very_ careful to mix up music with religion. No matter how Fripp _personally_ experiences his own creative act; this is of no importance whatsoever for the listener. the listener is supposed to listen to the music and either like it or not, with whatever personal ethics or attitudes towards this he/she might have. KC is _not_ a god! Alex ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 12:44:07 +0100 From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: Re: Prism In ET#288 John P Mohan asked: > What's this "Prism" that keeps appearing on the set lists? Is > it another drum feature? Improv? It's a shortish (maybe 3 or 4 minutes) piece for three percussionists, featuring Bill, Pat and Adrian. It's played on three cowbells, a set of "plastic blocks" (these things in wood are called "temple blocks" in German - _no_ idea whether the English name is anywhere close to that...) and two toms and consists of a chorus (played by the three of them) and a couple of short improv. parts by Bill and Pat inbetween. It's definitely called Prism, I had the chance to take a quick look at the setlist at one of the shows I attended. It usually opens the encores. Bye, Alex ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 12:48:55 +0100 From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: the 21st Century Hi everyone. hmmm, I _really_ don't want to be a smart-arse, but: the 21st century will start on January 1 2001, _not_ January 1 2000 !!!!! :-)))))))))))))))) Alex [Let me nip this one in the bud - please limit debate on this issue :^) - Dan] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 13:09:05 +0100 From: brugger at physik dot uni-erlangen dot de (Alex Brugger) Subject: Re: mellotrons, Earthbound, USA In ET#288 Al Steward asked: > 3) What other group's out there employ the mellotron like K.C. (I > really like the sound) 4) Can Usa live or Earthbound be purchased on c.d.? other groups with mellotrons: old: Yes and Genesis used to use them; Rick Wakeman used two at a time at his concerts. new: .....hmmm, I'm not from Sweden, but come to think of it I only know Swedish bands that use mellotrons these days. First of all: Anekdoten. They used to be a KC copy band but make their own music for a couple of years now. highly influenced by KC and absolutely brilliant. you can visit their homepage on http:/www.cogs.susx.ac.uk/users/ronc/anekdoten/anekdoten.html (if you wonder why I write that much about them - saw them on stage twice and on one occasion they, amongst other goodies, did, yes, STARLESS as an encore.......(drool!)) Then we have Anglagard (rumour has it that they split...) - released two excellent albums. And I think Roine Stolt and his band (I think they changed their name to The Flower Kings) use mellotrons too. Anekdoten and Anglagard are superb - Roine Stolt/Flower Kings is not my cup of tea.....yes, it's sort of prog, but just a bit too hmmmm, well, 'soft' for me. USA/Earthbound on CD: so far there are only pirate CDs of the original albums. DGM plan to at least rerelease USA on CD in 96 or 97. bye, Alex ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 96 08:22:09 PDT From: Memento Mori 03-Jul-1996 1115 Subject: Help in finding tickest for HORDE in Portland, ME How are you all? I read in the tour dates listing that KC will be with the HORDE tour in Portland, Maine on August 22nd, playing at the Sea PAC. I ahve not been able to either find a phone number for the place, or to get tickets through Ticketron (they don't have that date listed). Does anyone know if in fact KC will be playing in Portland. ME? If so, does anyone know how to get tickets? Thanks for your help. Jose ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: 3 Jul 1996 08:53:14 -0700 From: "Tim Salmon" Subject: Sir James, A KC vassal...NO Sir James wrote: >Fripp could play Hendrix stuff, but could Jimi play Fripp stuff--I don't think so! Well, be fair...he *is* dead. >Also, where was Andy an Halen Who's Andy, Eddie's kid brother?! >Trevor Rabin I am a Howe Purist, so I will not comment. > Peter Banks Not in the same league. >and especially Steve Howe ranked on the list? Personaly I think Howe's >probably the best guitarist around, he can play and utilize instruments and >stlyes that not many other people can do--but of course this is a YES fanatic >speaking--THANK GOD HE'S BACK!!! To quote Mr. Belew: "Well, what more can be said?!" I am so much the Howe-o-phyte, that I boycotted the "yes"-80's. I read a great Howe-on-Crimson quote from the early 1980's. Steve was asked what he thought about Crimson whom he had recently seen perform, & said something to the effect that it was all very well & good, if one doesn't mind guitarists who sound like machines... ;-) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 11:57:58 -0400 From: vanvalnc at is2 dot nyu dot edu (Chris an Valen) Subject: Happy Birthday to Me (with Bacon Bits) On my birthday yesterday (7/2---39 and still thrakkin'!) I received THRaKaTTaK among other discs. I just love the warning sticker and plan on leaving it on the cover. I gave it a full listening in one sitting, and IMO, I think that is the best way to approach it--as one piece, i.e., a concerto or symphony with several movements and a recapitulation. I find it a quite invigorating listen with the right balance of tension and release. However, to my ears, I think the guitars are pushed a little too far to the front of the mix, and Tony only stands out clearly in the quieter spots. And I agree with others that there was some studio tweaking on the THRAK parts of the disc. But that's just my opinion. YMM...8^> One of the other discs I got was Midge Ure's "Breathe", which features RF, but only on two tracks, "Guns and Arrows" and "The Maker", credited as playing Soundscape guitar, although on "Guns", he does do a lovely solo. Also, when my wife put on the THRaKaTTaK disc, she instinctively turned the volume WAY up during the introductory soundscape, not realizing that it led into THRAK, which ripped through the room and rattled the walls. It's lucky that the old lady next door died on Memorial Day, or this would have surely killed her. Robert Fripp, Bacon-ized: Robert Fripp-->Pat Mastellotto-->XTC-->"She's Having A Baby"(sdtk)-->Kevin Bacon Cheers, C If you have an unpleasant nature and dislike people this is no obstacle to work. --J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Monday at 8PM and midnight, EDT. --Lucien LaCroix ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 11:44:31 -0500 (CDT) From: Brooks A Rogers Subject: strippers like King Crimson Hey, all you subjects of the royal red one, I was watching the Howard Stern show the other night on "E" and he was interviewing one of his many stripper-babes. There was some footage of her doing her thing and as she exited the stage before the next stripper came on, you could here the rising octotonic scale of "Red" in the background. I'm not kidding!!!!! Some stripper in New York is stripping to "Red"!!! (get your girlfriends to do the same!). In the last ET digest, someone asked about KC's influence on Neil Peart. As a confirmed Rush-head I can tell you that Peart's greatest influence is Bill Bruford and Peart has also gone on about how much he liked Michael Giles' drumming on the first album as well, so there you go.... By the way, when is THRaKaTTaCK coming out in the states?!?!? The release got pushed back!! p.s. check out Gentle Giant if you aren't already inclined -Brooks Rogers ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** Reminder: Send all posts to et at cs dot man dot ac dot uk *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: "Mathews, Thomas J." Subject: Identifying ETers at shows Date: Wed, 03 Jul 96 15:12:00 EST In #288 Martin Elsen elsenm at mwhse dot com wrote: >... I caught his eye briefly and proceeded to stick my tongue out at >him in a very cheeky manner! I've been wondering how us ETers could more readily identify ourselves to each other at shows. We could paint our faces RED, shave our heads, wear badges that say "Friend of Toby," but perhaps Martin has struck on a better idea . . . sort of a cult thing. "Would all the ETers pLeeeease stop sticking out their respective lapping devices?" the Twang Bar King pleaded. I prefer humor to criticism. Seriously though, any (good) ideas?? tj (happy that Toby gets a break) [How about if you all walked around reading a copy of ET? - Dan] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 17:24:45 -0400 (EDT) From: Psychic Zero Subject: Re: Mujician In Et #288, one Thomas B. quoth thusly: Saw a Mujician CD in the store and was wondering if the Tony Levin listed is Mr. Funk Fingers himself? This is an entirely different Tony Levin, and is a drummer. I haven't heard this group yet, but I'd like to. Why don't you pick it up and tell us about it? :-) Jason ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 17:29:32 -0400 (EDT) From: claire shindler Subject: ThrakAttak / Fripp & Hendrix, etc. I picked up ThrakAttak today. First, it was displayed prominently in the front of the store with the other new releases, just like ROOOM and Thrak and B'Boom were not. I'm halfway through my first listen and I strongly urge everyone to get their hands on it as soon as possible! Heavy, passionate, original, and very, very weird. Packaged with a funny little poster of the boys in action and a cool mention of ET in the liner notes. This is serious business and not to be entered into lightly. If it's any indication of what's ahead, we've got a lot to look forward to in 1998. Fripp has said repeatedly in interviews that he really admired Hendrix's music and the energy he put into his playing, but he also refers to his playing style as sloppy and inefficient. This isn't aimed at WHAT the man played but HOW he played it (right hand technique, the cradling of the fretting-hand's thumb over the top of the neck, etc.) Still plenty of lawn seating left for the 8/17 HORDE show in Hartford, CT. Peter ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: Nel3 at aol dot com Date: Wed, 3 Jul 1996 20:53:28 -0400 Subject: Fight for the right to create Spam equations Follows is a rather incandescent reply to Della & Steve Schiavo's NIN-love comments (ET #285, titled "NIN") regarding Emory and my work in the field to Spamathematics and our probable taste in music. I trust I can speak for him as well (at least in spirit) when I say: Me? Oasis? Give me a break, guy -- just because I draw the line at over-hyped industrial white noise? I was probably listening to Joy Division before you hit puberty. No, give me the burnished chromium steel sound of Bob Mould and Sugar. Oh, sure I can mellow out to Lush and Cocteau Twins or Toad the Wet Sprocket (who BTW sport some pretty grim lyrics, you know), but if I want angst there's a lot of nicely cathartic songsters I can turn to without debasing myself by drowning in his puerile attempts at exorcising his demons. Angst...you want angst? How about: I with your breath on my pillow I with the memory I get to wait it out never put it away When you left me with your death I feel empty when I look back on my pillow what you used to say what you used to say... (The Slim by Sugar) Hell, even Bruce Cockburn can do angst: When I was a torn jacket hanging on the barbed wire you cut me down and cut me free and sewed me up here I am Isn't it hard to be the one whose phone rings every day? Isn't it hard to be the strong one? (from The Strong One by BC) Hey, you want growling trance-guitars and piercing, I got that: As the party closes I ain't got a clue Red and yellow roses, nipple rings and tattoos but I never met no girl no one nowhere I never met no girl Narcotic prayer ( from Narcotic Prayer by Chris Whitley) So be still and put away childhood things if you really want to look through a glass darkly... Thanks for letting me get that off my chest and...have a nice day. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: Stuff4Nick at aol dot com Date: Wed, 3 Jul 1996 21:18:43 -0400 Subject: Annoying? Complex? Meters? > this woman who was clapping to "Sheltering Sky", to the >point that many people were "ssshh"ing or started yelling by >the end of the song. Clapping in simple 4/4 to a piece with a >complex rhythm (as all KC music is) not only violates a basic >element of KC but also spoils the fun for the rest of the >audience. Well someone clapping out for long periods can be annoying. Especially in a quiter mellow song. But when you got the pulse you got it. " The Sheltering Sky" is in 4/4. On the recording you can hear the 2 and 4 on the electronic beeping hi-hat type sound. All KC songs are not complex. Just listen to "Heartbeat" on Beat. As BB said "Sometimes one would want to be simple and complex at the same". From Bruford and the Beat video. nICK m ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: StevenS103 at aol dot com Date: Wed, 3 Jul 1996 21:45:02 -0400 Subject: questions & comments, et#288 I'd like to respond to several questions posed in #288, so pardon me for not providing snippets or direct quotes, but that allows me to create a shorter post. First, to Ake Nordebrand from Stockholm who asks about Crimson videos, I'd like to recommend the 'Three of a Perfect Pair' Laser disc. My copy is a Japanese copy I purchased while living there back in '86, so I'm not sure if it is available in anything other than Japanese import, but it is worth finding. The music performed is excellent and the sound and video quality is outstanding. Also, be advised that Possible Productions is mentioning a new laser disc of the band will be released this summer. I have not been able to garner any more details recently because I, like Greg (GBastug at essexusa dot com) have noticed that the Rockslide website has been down for some time. To Nel3 at aol dot com, I believe the album you're referring to featuring Jamie Muir in a pre-Crimson role is a 1970 release on the ECM label called 'The Music Improvisation Company'. I've got the album on good ol' vinyl; it also features quitarist Derek Bailey, Evan Parker on sax and a vocalist named Chrsitine Jeffrey on a couple of tracks. It is certainly an album that qualifies as 'free-form', although I don't want to get invloved in the 'free-jazz' dispute. Sir James poses a question of proficiency with regard to Cross and McDonald. I've never touched my lips to any wind instrument so I'll withhold comment on Ian, but I did struggle for many years with the violin before finally converting to the guitar at age 17. Although I can name several violinists with far greater 'chops' than David Cross, I could never quite understand the severe criticism he received from many in the music press. Many of the quiet, subtle parts found on both 'Larks Tongues' and 'Starless and Bible Black' are quite beautiful to me. I would be interested in any other input on this subject from old (and still practicing) violinists out there. Al Stewart asks if there is a similarity (other than personnel, I assume) between U.K. and King Crimson. Looking to fill the void left by the Crimson dissolution of '74, I jumped on the U.K. album immediately. I guess I was hoping for a little of that Crimson 'magic', and I didn't find it. Which leads me to the final question (which was actually a comment) from Dominique Stehelin (or was it Olivier Malhomme?!). I agree 100% with these comments. What makes Crimson a single musical entity from 1969 until present day, other than the unifying force of Fripp, is that certain almost magical quality that exists there in the music. The music certainly is 'playing the human instrument', and any endless debate about certain personnel being 'unworthy' of playing a certain piece from the band's past history is ludicrous. This mysterious quality seems to emerge from time to time in a group which Fripp is a party to, and being the catalyst to this magical quality, Fripp has taken it upon himself each time to name it 'King Crimson'. I'm truly glad he has. Forgive the meandering nature of this post, but there was just so much in et#288 to comment on. Thanks for listening. Peace. Steve S. (StevenS103 @aol.com or sws at indra dot com) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: MikeTEACHR at aol dot com Date: Thu, 4 Jul 1996 01:58:16 -0400 Subject: Asbury Park Some thoughts on Asbury Park: I was delighted to hear that KC was playing the Paramount Theater in Asbury Park. Tix went on sale on a Sat. morning at 10am. I got there at 8:30 expecting a bit of a crowd and there was ONE guy there!! I was a bit surprised. By the time the window opened there was only about dozen of us, and we all scored tremendous seats. BTW; the guy there before me drove that night from OHIO to NJ to get tix. He got front row center and dammit, he DESERES it!!! Crimson's past in Asbury is well documented. The town, I'm afraid, has gone to the dogs in the last decade. The Convention Hall and Paramount were both recently renovated and re-opened. They both havent had rock shows for something like ten years. If you're in town for the show, check out the Empress Hotel a few blocks south of the venue, Fripp speaks about his experiences here in liner notes to the Great Deciever. Also check out the Stone Pony (Springsteen heads know of this one) 3 blocks south of he Paramount. I DJed there for a couple of years, closest thing to prog was a Wakeman solo show a few years back. Note to KC family tree fans: Peter Gabriel played the Convention Hall in July of 1980, supporting the third(?) solo album. Larry Fast was his keyboardist then. I saw the show, all heads were bald, save Larry's. Band entered through the crowd from the back of the hall to the "Intruder" percusion loop. Quite a show. Also, the first incanation of UK played the convention hall soon after the debut album was released (not positive of the year). I saw this show at age ~15, and this was my baptism into things progressive. I lived in the next town (Ocean Grove) and would walk down to see a show when I was bored. UK was sandwiched between Frank Carillo (?) and Tom Petty! I remember a very shy guitar player (Holdsworth), a drummer whose set was all roto-toms (Bruford), an excellent bass player (Wetton), and a guy who was surrounded by a B-3, minimoog, Yamaha CP-70 and CS-80, and who played a plexiglass electric violin (Jobson). Imagine my delight at seeing this having never heard of the band before. I sat in the third row, electrified at this new music I had never heard. I ran out of there in the middle of Petty's first song, not wanting to disrupt the memories of the sounds that night. I RAN to the local mall the next day, found the debut album, and 8 gazillion prog CDs and six Guitar Craft courses later, here I am, ready to re-visit the Paramount to see KC in August. See Ya There. Michael Black miketeachr at aol dot com travelers to the show: feel free to email me, maybe I can select a nice place to meet before/after show, yes? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Thu, 4 Jul 1996 01:41:33 -0600 From: eric at webpro-1 dot com (Eric D. Dixon) Subject: Concealment Hi everyone: This is a statement I found in another list (libernet-d) and it seems pretty familiar. > A great teacher once taught from behind a screen so as to insure that >his students would pay closer attention to his lessons, consider what >he said, instead of worshiping him, as I assume he knew himself to be >charismatic. (ladies and gents, Pythagoras has already left the bldg!) Perhaps Fripp has a similar reason for playing in the shadows... Eric D. Dixon eric at webpro-1 dot com Hey you! Yeah, you! Check out my homepage... http://www.webpro-1.com/staff/edd/eric/brickpage.html "Singing is a trick to get people to listen to music for longer than they would ordinarily." -- David Byrne ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Thu, 4 Jul 1996 11:05:31 -0400 From: gut at lglobal dot com (Michael W.) Subject: KC Collectors Edition No. 2 This is my 1st post to ET(or anywhere), so I hope it works. I just purchased a CD single by KC called "Schizoid Man" , which has 5 versions of that piece: 3 are live('69 , '72 & '74) and 2 are album versions. The CD is labeled "KC Collectors Edition No. 2" on the front. Does anyone have, or know what No. 1 is? Inside the package it also mentions two interesting items in development: "Epitaph - Live in 1969" which is the Fillmore West show and due late 1996, and "USA II" which is live Asbury Park June 28, 1974 due spring 1997. All we need is some more live 80's material and we'll be all set. Mike Michael Wiegand gut at lglobal dot com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** Reminder: Send all posts to et at cs dot man dot ac dot uk *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Fri, 5 Jul 1996 01:59:33 -0400 From: sid smith <106050 dot 2211 at compuserve dot com> Subject: new KC fanzine / Tony Levin / Thrakattak Whilst waiting to get into the first show at Shepherd's Bush Empire, I bought a new KC/Fripp fanzine. Entitled We'll Let You Know", it contains up to the minute news of KC/Fripp and Fripp related CD's, live reviews, unofficial releases, etc. Edited by fan Darren Woolsey, it aims to come out once every 3 months and a year long subscription will costs z8.00. Cheques should be made payable to Darren Woolsey, 3 Kings Drive, Wrose, Bradford, BD2 1PX, West Yorkshire, England. I should stress that this fanzine does not seek to compete with any other existing KC fan based service such as BOS or ET. Rather the intention is to compliment what is being produce. For what it's worth I think WLYK is a worthwhile venture and well worth the money and before you ask, no I'm not connected in any way with the mag. In ET288, Thomas B inquired if the Tony Levin featured on Mujician is our Tony Levin. I saw this CD at the week-end in the KC section of a shop in Birmingham and the shop clearly thought it was the KC brand of TLevin as well. The bad news is that the Tony Levin featured on this CD is a different one altogether. Keith Tippett, of course, is a well known contributor and for those ETer's who are keen on Jazz, this one could well be worth hearing. A CD release of his mid 70's composition Frames is apparently due for release. This is vastly superior to Septober Energy and well worth checking out when its available. I've read with interest some of the comments concerning Thrakattak. For me and many others, one of the essential aspects of Crimson has been its improvisation. I would count the improvised output on TGD box set and others of that period amongst my most favourite. Similarly, Requiem stands head and shoulders above some of the more mainstream Crimson material of the day. That said though I have two criticism's of Thrakattak. Firstly, there are portions of the playing which seem to rely on habit and licks judging by the amount of times certain repetative phrases are used. Secondly, I feel some of the midi-inspired and processed sounds are over-used e.g. the barrel house 'piano' effect heard throughout Thrakattak. After a while the effect gets in the way of what's being played. Don't get me wrong - I really rate Thrakattak and would agree with all of the positive noises made about it in ET and elsewhere. However, it seems to me that these sounds can be a little overdone and prone to gimickry. I had a listen to 3OAPP the other day and I would level this charge at some of the content on that album Finally let me finish by saying that the revamped Earthbound version of 21CSM on the single of the same name was a joy to hear. Is Mel Collins underated or what ? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** GIG REIEWS *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Wed, 3 Jul 1996 14:19:21 +0100 From: Russell Whitworth Subject: Review: London (Shepherd's Bush) June 30 Just a few personal observations to add, since others have already beaten me to it for a full review! Superb gig overall - I'm still continuously replaying it to myself mentally three days later. CGT - the first time I've seen them, although I know their CDs off-by- heart. Excellent to hear them live, and there seems to be enough new material there (from Beethoven to Dick Dale!) that another album can't be too far away. My only minor criticism is that I saw even less of Bert than I did of Fripp - the hat is great, but how about removing it for just one number for the benefit of us folk up in the balcony? It was quite funny seeing the "Apache" dance routine - but coincidentally BBC2 showed the Shadows' original on the Saturday night; and they do it better! One of the attractions of the CGT for me is that a lot of their material featured in the guitar lessons I took when I was aged about 9 - of course I didn't play it like they do - and Apache was amongst these. It always brings back memories... King Crimson were in splendid form. This is the first time I've seen the current incarnation, so I can't compare with last year's tour... but I can't imagine it getting much better than this! As already noted, something went strangely wrong at the end of Frame by Frame (and also, I thought, at the beginning). Perhaps Belew and Fripp were having trouble hearing each other? I couldn't work out whose mistake it was, and whether Fripp's gesture was admonishing Belew or himself (it looked more like he was shaking cramp out of his hand). It also looked to me as though he was trying to catch Belew's eye - who was equally determined to look the other way. Quite entertaining - and at least it proves that they are still human! Gunn is now very prominent musically - taking several leads that used to be Fripp's - but not in stage presence. He was only spotlighted during "The Sheltering Sky" solo (now his, not Fripp's!) when Bruford walked around behind him. I think part of the problem is that he doesn't get much eye contact from the others in the band. Mastellotto and Bruford watch each other like hawks, Belew and Levin exchange glances, Fripp is (of course) in a world of his own; but Gunn seems to be getting a bit lonely! Adrian naturally turns to his left when playing - he needs to force himself to look to the right every once in a while. To be honest, I wasn't really looking forward to 21stCSM - but I was very pleasantly surprised! Instrumentally really excellent - again Gunn takes over the ex-Fripp solo. Belew's approach surprised me - he sang this in a slightly "boppy" style with a smile on his face and in his voice. Perhaps that is the best way to approach it just four years away from the 21st century - more of a fun song than the doom-laden approach of Lake/Boz/Wetton. Thrak was wonderful. I haven't heard THRaKaTTaCK yet - I just find it amazing that they can produce this level of intensity night after night. Fripp seemed to be enjoying himself, particularly by introducing bizarre variations in some familiar themes. The Sheltering Sky went wonderfully off the rails (does he do that every night?), as did some of the more recent material. It certainly wasn't a case of duplicating the album. It kept my interest up - and assumedly keeps the band on their toes! Unfortunately a couple of Fripp's solos - though present - were drowned in the dense sound. Particularly the solos in Dinosaur, which got squashed by excessive percussion. Just a touch of restraint is called for here, chaps. Apart from that, the percussion was extraordinary and great fun - of course. The second "chaos" section of ROOOM was particularly wild. I'm used to keeping my foot tapping with Levin's bass just to have something to anchor onto - but this time even the bass went wild. I don't know what the rest of them were holding on to, but somehow they all came out of it together. Amazing. And if any of the band get to read this - my criticisms are really just nit-picking, in which I'm trying to be constructive. You don't have to change a thing on my account! Ah well, it was well worth the 800-mile round trip. I just hope it isn't another 12 year gap before I get to see them again... -- Russell Whitworth ============================================================================ "Yes, but what *kind* of Dinosaur. That's the problem." - Stewart Whitworth (then aged 4) ============================================================================ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: Matthew Nolan Date: Wed, 3 Jul 96 10:45:09 BST Subject: Sheperds Bush Empire concert Hi there, I went to the Sheperds Bush Empire concert on Sunday 30th - excellent! The guys were extremely tight and the mixing was quite well done too. It's nice to see Tony Levin playing such a variety of Basses/Sticks. I can't remember the running order but the set list included: Elephant Talk Frame by Frame Indiscipline Thela Hun Ginjeet Red LTIA II Schiziod Man (Nicely executed) Waiting Man The Sheltering Sky (Much better live than on the album) rooom rooom Vrooom B'boom Thrak (plus improv'd middle section) Dinosaur Sex Sleap Eat Drink Dream One Time The set started with Bill and Pat doing a duet on two large (bass drum sized) toms and the first encore started with them and Adrian playing the large drums again and a set of cowbells and woodblocks. Good set, but would have been nice to have had something from SABB though. Cheers, J. Matthew Nolan P.S. This Schizoid Man Single/EP, I can't find it in any local record shops, does anyone know the Reference Code/Number so I can order it? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Thu, 04 Jul 1996 11:01:40 +0100 (BST) From: "Gerard Coughlan (MBS in MIS)" Subject: gig review - empire 30 june Organization: University College Dublin Hello ET people, just a little note regarding the gig in Shep bush Empire last sunday. Inearly got Tony's set list but some other punter was faster off the mark than I was. I won't give the set list as I can't remember it. It was the most unusual concert I have been to. It was my first time seeing the band and the venue was unbelievable. I was so near the stage I could read the set list at Tony Levin's feet. I was very impressed with the Trio who were on first, I had heard a lot about them from reading other reviews. They were exactly as desrcribed in past reviews. Overall I thought the gig was superb and the band seemed to be enjoying themselves. Tony Levin winked at me at the start of room room so I didn't look at him again for the rest of the show (ha ha). The sound was good although I don't think I was in the best position in the audience. I was at the front opposite Levin and his amp was literally in my face so sometimes the bass seemed to be louder than everything else. There was also some humourous points 1. Adrian screwing up at the end of frame by frame by not stopping at the correct moment and subsequently being mockingly chastised my Mr. Fripp. 2. I found the thrak improv a bit funny. I started laughing when Adrian strummed his guitar and it sounded like.......a piano. I was so near him I could actually hear the strings being plucked a split second before the synthesised sound came out of the amp. It was also difficult to ascertain what Gunn was actually playing. Although I wwould say this would have something to do with my position in the crowd. It was very unusual watching Fripp. He only makes the most necessary movements and when he is not playing (latter part of B'boom) he just sits there totally motionless. He did smile once or twice though (Adrian's mistake). At the end everyone except him came to the front of the stage. Anyway, overall I was very pleased having come over from Ireland especially to see them and I can't wait to hear the new live stuff to be released soon. I heard that there is a new live video coming out later this year from the tour of Japan last Autumn (Fall). Also, the two videos released in the early 80's (the noise and ToAPP) are to be re-issued once certain contractual thingys are sorted out. Cash in or what?? Who cares?? Regards, Gerard Coughlan * Gerard Coughlan BComm * * Michael Smurfit Graduate School of Business, * Carysfort, * Blackrock, * Co. Dublin. * * e-mail: mbsft-0v at carraig dot ucd dot ie * home page: http://midir.ucd.ie/~mbsft-0v ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Thu, 04 Jul 1996 10:39:37 +0100 From: Gareth Subject: live! 30.06.96 SPOILER Adventures of a Crimhead in Shepherd's Bush (30.6.96)... Shepherd's Bush Empire is a cosy, intimate venue. Standing downstairs, seating in the three circles (no leg room and requiring a constant turn of the head if you could only find a bench at the side.) Easily filled. The sale of Crimso merchandise was chaotic - no change if you tried to pay by cash, plastic only guaranteed for up to z25 and with a hefty surcharge (?legal), the program bore a remarkable resemblance to last year's model. This was not the greatest of experiences so far. I bought THRaKaTTaCK (which I'd been scouring the myriad of record stores in Croydon for) plus a THRAK T shirt. An interesting postcard was free - this seems to have become a feature of concerts involving RF. CGT came on at 19.45 and played for about 45 minutes, including Apache with the nifty footwork, and a pretty good version of Beethoven's 5th. They did an admirable Fripp sounding thing, which I don't know the title of because they didn't utter a single word throughout the entire set. KC appeared on stage at around 20.45 Stage set up: (back) PM RF BB (raised) (front) TG AB TL subtly different to last year at the RAH, but the same as the free improvised poster included in the THRaKaTTaCK CD. Unlike last year there was no sartorial symmetry. RF had plexiglass sheets between himself and the drums on either side. The introduction was a drum duet/duel? between BB & PM, a sort of tattoo which BB got wrong at one point (I think). Then the rest of the band appeared and played THG. It seemed to me that AB mistimed some of his vocal lines, but the mix wasn't quite right and it may have just been something came across too loud compared to other bits. Then they played Red, and pretty powerful it was, too. The mix was now OK from my side of the hall and my ears started to ring... Next came Frame by Frame, which went well up to the end, when one of the guitarists (?RF!) finished too early. A hasty salvage job was performed, and RF was seen to be miming smacking his own wrist. Dinosaur was next, which went well. There was some applause during the short break before the ominous bit near the end. It would appear that some people never learn! One Time was also well performed, with the lights playing/rippling over the audience. ROOOM VROOOM was brilliant and powerful. The band were now in their stride. A Fripp soundscape (not so much early Floyd this time) was prelude to B'boom. AB, TG and TL were off stage during these two, reappearing for Thrak. The Thrakattack featured midi effects, especially piano sounds, and an excellent section where AB played his guitar (the luminous orange one) with a Black and Decker (or equivalent) drill/automatic screwdriver. BB seemed to be conducting the changes. It was refreshing to hear some true experimentation, possibly induced by requests through ET? At times a Providence/Fracture/SaBB like composition. PM used some neat percussive effects. Ded raz. This became Thrak Reprise. BB then walked front stage playing his tongue drum, and so began The Sheltering Sky. The RF guitar bits were pretty loud and scary. I'm no great musician, but weren't there a few bum notes at the beginning? Waiting Man. 21stCSM. Brilliant. The AB vocals were distorted and nasty. I had pre-show doubts about his vocal style suitability to do this. I shouldn't have. V powerful, V V tight. Great to hear after all these years, but why isn't there a 1996 live version on the single? Elephant Talk. SSEDD. Wild middle section. Indiscipline 1st encore: 3 drummers. The two huge tom toms a la opening of the show, plus a tuned percussion thing. ery entertaining! LTIA2. Again, this was powerful, and brilliant. 2nd encore: ROOOM Coda (without the vocals) Powerful, brilliant, too predictable? Overall, they started off only luke warm, but rapidly improved into a red hot date. Did RF stay at the back of the stage, sloping off before the applause ended, rather than coming to the front of the stage, because he was disappointed with the performance? The audience reaction to the whole thing was really great. It became a really great show. The SBE is without a doubt a good venue, but for smaller bands. How about the Fairfield Halls in Croydon in 1998? (Walking distance from my home.) Great acoustics, large(ish), comfort, excellent communications (road, rail, air.) I went home a happy man, and I'll wear my Thrak T shirt with pride. GP ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Thu, 4 Jul 1996 07:18:54 -0400 From: colin smith <106050 dot 2211 at compuserve dot com> Subject: KC in London A few observations of King Crimson's two show's in London on 30th June and the 1st July. The venue: Shepherds Bush Empire was just about perfect, offering the right amount of intimacy. Last year, the Royal Albert Hall was just too formal and stuffy. Though the shows were excellent, one felt slightly removed from the proceedings. The Empire however, allowed people to get right up to the front, standing only a few feet between the band and the fans. As you can imagine, this added a great deal of physicality and presence to the performance. The down side to standing so near the front, was that we didn't get much of the overall front of house sound and had to rely on the on-stage monitors and amps as the primary source. This of course varied depending on where you happened to be standing. I was facing the left hand side of the stage between Belew, Mastelotto and Gunn with Fripp off to the upper right (see the cover of Thrakattak to get what I mean) and Fripp's sound where I stood was a bit too muddy and indistinct for my liking. By contrast a fellow Crimhead stood on the side nearest Levin and he got a much better balance. This question of balance for me was rectified on the second night, by sitting in the centre on the first floor where the sound was near perfect. The Performance: On the first night one couldn't help but be swept along by the evident enjoyment and enthusiasm of Belew, Levin, Mastelotto and Brufford. Gunn appeared ill at ease, though by the middle of the night began to show signs of relaxing. Fripp was as implacable as ever, though the facade of icy perfection was memorably lifted when Fripp finished ahead of everyone else on the closing moments of Frame By Frame. Holding up his fingers and blowing on them as if they were on fire, he then began to smack his own wrist in mock admonishment. The second night saw some impressive improvisation during Thrak and a stand alone piece which involved all four guitarists holding a variety of aching sustained notes while the percussion fired off tight, knotted clusters. Perhaps the most interesting point for me, was the extent to which Mastelotto seems to have eased himself into the band. I first saw him in 1993 on the Sylvian / Fripp tour and though clearly competent, I found his playing a touch clumsy and lacking subtelty. At last years' London shows at the RAH, I thought his playing had demonstrably improved but seemed limited. Where Brufford soared and glided, Mastelotto appeared sluggish and struggled to get aloft. I realise that this sounds very harsh but when standards are so high in the band, it is difficult not to compare and contrast the relative merits of each performer. This time round Mastelotto's playing was both confident, complimentary and wholly appropriate. I found myself listening to his contributions with enthusiasm and delight. The People: Perhaps one of the highlights of the two days, was meeting other fans and getting first hand exposure to a sense of community that exists amongst Crimheads. Whilst we are all different individuals, the common thread that links us all up was our unremmiting enthusiasm for King Crimson. As a recent subscriber to ET, I have been able to get a sense of this, though somewhat diluted by the hardware and technology. In London however, it was made real. There was a moving sense of kinship as we exchanged addresses, promised to keep in touch and meet up at later date. As I left to catch my train, I was struck by the realisation that not only had I witnessed some rare and beautiful music, I had made new relationships and friendships. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *** Reminder: Send all posts to et at cs dot man dot ac dot uk *** ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: tjlever at ibm dot net Date: Thu, 04 Jul 96 14:49:08 Subject: GIG REIEW - LONDON For this tour KC had chosed the Shepherds Bush Empire in London. This is quite a small theatre with downstairs standing only, and three sharply tierd seating sections above. I would imagine the total capacity to be less than 1500. With the downstairs section standing room available as "first-come, first served" it was essential to get to the venue early. KC played on Sunday 30th June and Monday 1st July. Doors opened at 7pm but many were their queing hours before hand. I was their by 4.30 pm each day and was fortunate enought to be first in the queue each time. This resulted in being RIGHT AT THE FRONT both nights - bliss. I was about 4 feet away from the band, any closer and they would have been a seven peice! SUNDAY 30th Fortunately, England hand not won the semi-final of Euro '96 against Germany. So I could watch without concern for the score-line at Wembley. The Californian Guitar Trio played a short but enjoyable set. Two new numbers - no names mentioned, all warmly received by those present. Around 9.00pm KC took the stage and their was a definite squashing of the rib cage as all pushed forward, which in turn pushed me against the metal rail running across the front of the stage. Now, I hace seen KC around 20/25 times. The last time I was this close to the band was at the Marquee in London in 73/74. Being this close, and seeing the nods, winks, signs and appreciation the players showed too each other contributed immensely to a very enjoyable show. The only downside was the mix where I was standing. I could here mostly Adrian and Tony, some Bill and Pat and hardly any Robert or Trey. However, the climax of the set for me was the ThrakAttack improvisation. Much more powerful and focused than anything on the ThrakAttach album. The rhythym section were really pushing things along at a pace, until a moment of beauty appeared as Tony any Adrian's improvisations worked closely around the same note as a focal point. Joined, eventually by Robert and Trey, the four then started playing very long, almost piercing notes, that slid past one another, but had a single tone at the centre. ery hard to explain, but an amazing sound. For me this was the high-light of a very enjoyable evening. MONDAY 1st Whilst waiting for the doors to open (about 5.00pm) saw the band arrived. Had a few words with Adrian and Trey. Remarked to Adrian that I thought the Improv from last night to be a high point. He agreed and said that they had enjoyed playing, but always play better if they get a day without travelling. He hoped for a better show tonight. He also mentioned that the Californian Guitar trio would not be playing and that they would be playing two sets with a break to make up for this. I asked if Robert had any plans to play a Soundscape or two as "support act". He grinned, and said he would mention it. 8.00pm Robert took the stage and played a 20 minute soundscape. I was bowled over to think that my suggestion had been received and acknowledged by Robert. Robert if you read this, thanks for the Soundscape. This was the first time I had seen Robert play a Soundscape. He spends little time playing notes on the guitar. Each selection, or cluster of notes appears to be played in repsonse to the sounds coming back to him as a result of treating his guitar and midi-patches thorugh a wide variety of signal processing gear. To be THIS CLOSE and see the concentration and reactions of Robert was amazing. Occastionaly playing a cluster of notes, then leaning over his effects rack and pressing buttons and dials faster than Tony Hancock in the Radio Ham. His feet dancing across the many pedals and buttons as he swivells on his stool. Then a point where everything is looping in and oout of focus - bells, piano, guitar, choirs. Robert lets the sound wash over him and feels the peice is complete. He leaves his stool and heads for the wings with the sounds circulating around the theatre. 8.30 KC take the stage. Bill and Pat standing at each side of the smashing out a drum fanfare to the crowd. Adrian leaps up, smiles, and starts thrashing out the chords to Thela Hun Ginjeet. When the whole band join him in the song I realise that the sound is perfect. Excellent mix, volume, atmoshpere. I am enjoying myself to much to write down the set (though I saw several others do this) over the next two hours we had most of last nights set plus several other tunes including a new peice that reminded me of the No Wonder track from the 3 of a Perfect Pair boot-outakes. As I drove home, I formed the opinion that this was the best KC gig I had attended, and I have seen many shows. The sound, closeness, set, atmoshpere and "support act" were all close to perfection. For those about to see the show (and for those who can get this close) ENJOY. Oh - Robert has shaved off his beard. Toodles to you all Trevor Lever ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: nhi695 at abdn dot ac dot uk Subject: KC at Shepherds Bush - an anecdotal brief overview of 2 evenings of THRaKaTTak. Date: Thu, 4 Jul 1996 16:07:39 +0100 (BST) I was lucky (or crazy) enough to hit both UK gigs (30th June and 1st July 1996 Shepherd's Bush Empire, London). The band were great - they make an awesome sound and I seriously hope we get a release of some of this live stuff as there is just so much going on you can't appreciate it all instantaneously (but boy does it sound good). Both nights were well worth the attendance fee and were well attended (although neither looked a sell-out). The acoustics were on the whole pretty good (giving them a track or two to sort out the mix each night). The first night the Californian Guitar Trio supported and played some well known numbers alongside the less familiar pieces which helped the audience appreciate a very technically proficient performance. They were missing on the second night and so we were 'treated?' to a solo soundscape by Robert Fripp himself who set it up and then left the stage to let it play itself for the next 10 mins! Crimson played for approximately 1hr 40mins. I could hardly contain my excitement on the 2nd night when it was announced before the gig that Crimson were going to play two sets with a break - as I assumed this meant they were therefore playing a longer set and so extra tracks. They changed the running order and set list - the beautiful Matte Kudasai, 3 of a Perfect Pair and Neurotica came into the set (along with a 'string instrumental' featuring AB, RF, TL and TG). Unfortunately these were at the cost of the equally beautiful One Time and an astounding rendition of The Sheltering Sky from the previous evening. The sound mix (at least from the stage front) was very quiet and dull on the first 3 tracks on the second night before livening up (I spent the first night seated on the first level on which occassion the sound was a bit weak on Thela Hun Ginjeet but bucked up immediately), unfortunately this meant Neurotica was not done justice. When the band fires it really thraks - powerful highlights from both nights were immense versions of Red, Dinosaur,rooom Vrooom and Vrooom. Matte Kudasai was just so pleasant to hear - Adrian's guitar and voice were perfectly peaceful and The Sheltering Sky (with Bill taking front stage with his logdrum) made me feel like Shepherds Bush Empire was floating skywards - it was flawless. The Waiting Man was a very impressive track to hear live, if for no other reason than it sounds damned tricky to do (some nice electronic 'marimba' interplay between Bill and Pat on this and Adrian uses his voice like an instrument). Some tracks were played slightly differently over the 2 nights (eg Bill switching to brushes on the opening section of Indiscipline on night 2 and an extended jam/improv in 21st CSM on the same). I seem to remember a past post to ET speculating on how wonderful it would be to hear silence during the break in Dinosaur, rather than the premature applause, to be expected from people not totally familiar with the track. Well on 1st July we came bloody close to it - there were just a few whoops and claps during the Dinosaur break before Crimson launched back in. Adrian's guitar playing is quite frankly amazing - he gets such incredibly diverse sounds out. The interplay between himself and Tony on the Stick making 'animal noises' especially during the second nights Thrak improv was a delight. Adrian even took the solo's on 21st CSM and Red which surprised me - however Robert was seen to give it some welly on Dinosaur and Lark's Tongues. He did seem to be playing well within his limits but then most of the time they all made it look so easy ,which is incredible when you sit back and listen to what they are creating never mind actually watch - nobody ever looks at their instrument and Tony had his eyes shut for most of the gig! I am a big Bruford fan and am now very impressed by Pat - he is not just the 'Ringo Starr' rhythm machine he is oft credited as being- he adds an energy, fire and percussive edge to proceedings (not to mention appearing to be having a lot of fun) and is 'off the beat' as much as Bruford himself (that's a complement by the way). I feel a bit sorry for Bill as he kinda lost it during the second night's encore. He dropped a stick during the opening section of 'Prism' (the drum/percussion trio) and then felt compelled to stop playing during his percussion solo in that piece thanks to the arse who was continually shouting "play some proper drums" ( the same igit who atttempted to soil the Thrak improv by screaming "play a proper song"). Bill deftly stopped playing twirled his drumsticks up in the air and caught them 'back to front' (instantaneously in one impressive motion) thereby offering them to the aforementioned plonker. Thankfully this seemed to shut him up and Bill resumed his duties as though he hadn't skipped a beat. However it obviously knocked his concentration as he then appeared oblivious to the fact that he was attempting to move, by kicking and shoving, the large tom Pat was (trying to) solo on (much to Pat's surprise - indeed he was almost knocked over by the manoevre, evading an accident with a deft sidestep whilst continuing to solo - what a talented chap he is!). The atmosphere at the second gig seemed much more enthusiastic and the band (with the exception of Bruford) looked like they were having an even better time than the previous evening - I even saw RF smiling at one point and Adrian was jumping up and down and waltzing around looking very happy. Adrian managed to cause Robert to fluff a guitar opening at one point by asking the audience if they were having a good time. Robert then very deliberately cast his eye over each band member one by one to check that they were 'ready'. I was surprised by the lack of another encore following Prism-Elephant Talk as the audience were bellowing for it, even after the house lights came up. In fact they did not play a longer set than night 1 (if anything slightly shorter) and they did have OneTime and The Sheltering Sky left in the tank. But then it was the end of the tour and they no doubt had a party to look forward to. I hope they enjoyed it! What did I think of my first experience of live Crimson? I was seriously impressed. The band sounded great. They are an orchestra with rocks in. They handle the ballads with fragile constraint and hit the rockers running. I imagine most people at these gigs will want to have recordings of this tour to appreciate the intricacies of the live performance again and again - how about another official boot guys? Personally I can't get enough of this band. Thrak you very much King Crimson. Jase. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Date: Sat, 6 Jul 1996 00:10:25 +1200 From: jonathan dot newton at vuw dot ac dot nz (Jonathan Newton) Subject: KG gig review A KG gig review from New Zealand!? Well, not quite. I received this from my brother in London. I'd requested he go as proxy for me, he, at the tender age of 20 something, having never heard so much as a note fo KG in his life. So, if this review has any justification for being here it is in that it is a review by a completely uninitiated listener - can't be many of them contributing to these posts! So here goes... "Yeah, it was pretty amazing, but I imagine for someone familiar with (or should that be 'adulating of') the band it would have be a total mind blow. I really appreciated it and enjoyed the concert, but compared with some of the dedicated fans it was somewhat wasted on me. Familiarity is essential for a full appreciation of music (and art and lit...). I bought THRAKATTACK before the concert and it worried me a bit. It's pretty extreme improvisation. But the concert was a lot less obtuse. Before KC was the California Guitar Trio. Good fun stuff, very lighthearted compared to KC, playing versions of "Apache", "The Good, the Bad and the Ugly", and even Beethoven's 5th which sounded like it was being played on a couple of harpsichords. Unfortunately we missed the first half of the set because the mate I went with wanted to watch the Euro 96 football final. KC started with just the drummers on stage on a couple of Tom-toms. Superb drumming, for me more of a highlight than the guitar work (you'll probably be aghast at me for saying that), probably because it was easier to focus on. It was hard for an unaccustomed ear as mine to distinguish what was happening where with the guitarists. The drum solo's were excellent, and not as wanky (pardon the expression) as drummers often get. Robert Fripp certainly was a bit of an enigma. The only real expression he showed was when Adrian Belew made a massive cock up in a chord / tempo change right at the end of a song and Mr Fripp did a hand-smacking action at him. Even at the end when the rest of the band would stand and acknowledge the crowd, he just stepped off the back and stood behind the drum kits. Genius or no, it seemed a bit arrogant. Adrian Belew had enough stage personality to make up for him tho'. A permi-smile that made you feel right at ease, and compliments for the audience, expressions like "going to be a very special evening" etc. Terry Gunn was playing a "Chapman Stick" which had 8 strings. Tony Levin played a 12 string Stick. Much of the time they both played them simultaneously which makes things really busy. Intriguing instrument. Tony Levin seemed did seem like a nice guy. Bill Bruford had some large electronic? pads, around his drum kit, each about a foot long which gave a marimba type sound, but are played in a drum style. Excellent effect, especially with both drummers going to town on them. Basically you'd've loved the concert. Got you one of the very groovy programs. The T-shirts were a bit naff tho." And for the trivia nuts out there, pick the grammatical error (Sub/vb agreement)on the back of each of TGD cds. Jonathan Newton ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ End of Elephant-Talk Digest #289 ********************************