Errors-To: et-admin at blackcat dot demon dot co dot uk Reply-To: et at cs dot man dot ac dot uk Sender: et at cs dot man dot ac dot uk Precedence: bulk From: et at cs dot man dot ac dot uk To: et at cs dot man dot ac dot uk Subject: Elephant Talk Digest #304 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 304 Friday, 6 September 1996 Today's Topics: Red USA -- Cassette Offer Fripps Eyes George Clinton 1 or 2 standing during shows Thanks, Yanks! Great Deceiver lyrics Belew gripes cont. The Third Star NIN-->KC re: ET301/303 - Adrian Belew "good crimso"? See ---> RED!!! distributed being Fripp/Hendrix Moonlighting Re: Elephant Talk Digest #303 re: attack on Adrian Belew Trey Gunn: "The Third Star", got I'm Starting to Like Trey Gunn's Third Star..... The Failure of the Double Trio Concept Book of Saturday the first day vinyl More Adrian non-sequiturs Anagrams ------------------ 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, 3 Sep 1996 17:04:59 -0400 (EDT) From: Art Cohen Subject: Red Bruce said: : -I am really bored with Red. They ought to open it up like Thrak or : retire it. This is, of course, sacrilige, but I'm starting to agree with it. The first time I saw KC (in 84) I was so blown away -- by the fact that they played "Red" and by the performance itself -- that I never would have thought I'd get sick of it (especially if I knew it would be 11 years until my next Crimson concert). But, y'know, I saw the band three times last year, and while "Red" was always heavy, and always well played, it just doesn't go anywhere. If they could find a way to inject a little bit of surprise into this tune -- either by tinkering with the arrangement or adding a full-scale "blow" a la "Thrak" -- it could once again be the total heart-pounding experience that it should be. --Art Boston Ska home page: http://www.cybercom.net/~upsetter/ska/ ------------------------------ Date: Tue, 03 Sep 1996 19:06:03 +0000 From: David Kirkdorffer Organization: little a Subject: USA -- Cassette Offer Last year I trekked from Boston to Shepardstown WV to see one of my favorite all-time performers -- Roy Harper. After the show I picked up a rare album I thought I'd never see again. Next day at a Borders record outlet in Towsen, MD -- I saw the same CD in a CUT-OUT bin for one-fifth the price. Why bother to mention this, you're asking...? (aside to slip in mentioning my desire for a Roy Harper song / Robert Fripp soundscapes collaboration...). Read on. A few weeks ago I saw King Crimson in Columbia, MD. This certainly was the best Crimson show I've seen. The band was really stunning. Anyway, the next day I went to the same Borders in Towsen and THIS TIME __KING CRIMSON: USA__ WAS IN THE CUT-OUT CASSETTE BIN. I bought 7 cassettes at $2.99 each thinking others on this list would be interested in a legitimate copy of this album -- which is basically out of print or available for a million dollars from Japan. So, does anyone want an honest/legitimate cassette of USA (still in its shrink wrap)? If you're interested, send me e-mail w/your tel.# & snail-mail address. The first 7 requests get lucky...etc. I'll call or e-mail you with other details. The price: $5.00 only -- which should cover the $2.99 purchase price, bubble-envelop and postage. OK. That's it for me. BuyBye! David Kirkdorffer ------------------------------ Date: Wed, 4 Sep 1996 10:50:20 -0400 From: MikeTEACHR at aol dot com Subject: Fripps Eyes With regards to the ongoing posts concerning the lack of light on Fripp, I have this section of an interview I sat in on in March of 1994, at the Virgin Records NY City Office (Before World THRAK tour): Q: Have you thought about how you're going to visually present the show? RF: Yes, I'm going to be in the dark! (laughs from room) Q: Haven't you done that already? RF: Yes, and I'll keep doing it until I feel that a large amount, or even a little amount of light shining on me will contribute to the improvement of my playing. Until then, I shall give myself permission to do whatever I feel is necesary for me to contribute musically to the maximum. Q: Is that just yourself in the dark? RF: Just me. Me and my Spandex! (more laughs from room) I can also relate a personal experience on a Guitar Craft course in 1988. Ovation wanted a picture of Fripp and all of us Crafties with our Ovations for a newsletter. We all went outside, and even with an overcast, Fripp was obviously in pain. The photographer asked Fripp if he could open his eyes wider a couple of times, and he did so with a LOT of difficulty. So my take on it is simple; he's just very sensitive to light. Mike Black miketeachr at aol dot com P.S.: I just HAVE to relate one line from the interview that brought gales of laughter to the room: Q: What would you do if you weren't a musician? RF: I'd probably be a drummer! ------------------------------ Date: Wed, 4 Sep 1996 17:00:46 +0200 From: kriskras at knoware dot nl Subject: George Clinton 1 or 2 In ET #301 Les mentioned soundtrack work of George Clinton for the Red Shoe Diaries, this soundtrack is written by George *S.* Clinton. George S. Clinton another person than the George "Dr. Funkenstein" Clinton who we all love so much!(?) Thank you, Martijn Martijn Busink kriskras at knoware dot nl ------------------------------ Date: Wed, 4 Sep 1996 11:23:33 -0400 (EDT) From: Patrick Subject: standing during shows >>-Great, a crowd pleaser. People were dancing to it >>***(which is about time, KC's music is at times >>prone to cause gyrations, WHY DON'T MORE PEOPLE >>DANCE OR AT LEAST STAND FOR SOME SONGS!!!!??????) Well, for the same reason that I detest excessive loud talking, and smoking (of both legal and illegal substances) at shows. It is impolite to the people around me and distracts me from my purpose of being at the show...to experience a performance. If I want to dance, I will go to a club or find a rave. When I go to see a band at a seated venue, whether it be _King Crimson_, _Live_, or _Perch_ I want to sit. If it is at a club or a standing venue, that is a different story. The way I see it, if Mr. Fripp can sit through the entire show, well I should be able to. Once people start standing, then everyone behind them has to stand unless they enjoy butt-view. Hrmph. -prl ------------------------------ From: Neil_Jones at tvo dot org Subject: Thanks, Yanks! Date: 04 Sep 1996 16:44:19 GMT Organization: TVOntario's Online System To all those who offered to order a DGM sampler disc for me, a big thank-you! I have now made arrangements to get my grubby Canadian hands on a copy. Between this and the tape exchange, this group has got to be one of the friendliest around. Cheers, Neil_Jones at tvo dot org P.S. are there any ETer's lurking in Toronto or vicinity? Love to hear from you! ------------------------------ Date: Wed, 4 Sep 1996 17:17:42 +0100 From: grc at mail dot cybersurf dot co dot uk Subject: Great Deceiver lyrics alstew at juno dot com (Al Stewart) wrote - >I'd like to throw this out to all e.t.'ers. What are your thoughts on the >lyrics of the track, great deciever? Who or what are they talking about, >anyone got the scoop? I recall a magazine article wherein Fripp quoted the line - "Cigarettes, Ice Cream, figurines of the Virgin Mary" citing this as his only lyric contribution to the King Crimson canon. It was, apparently, his comment on the commercialisation of the Vatican, but unclear whether Fripp wrote all of the lyrics for the song, or only contributed this line........ Hope this helps. Regards, Graham ------------------------------ Date: Wed, 4 Sep 1996 11:09:22 -0700 (PDT) From: David Mechem Subject: Belew gripes cont. Rick Bunker says: >Adrian's guitar work is different than Robert Fripp's, but it compliments >it perfectly, and is in many ways at least as good if not better than >Robert's. Adrian's lead work is innovative and dynamic, set against >Robert's controlled tension-building patterning. Even Robert knows that >his brilliant style of play needs a melodious layer on top -- thus the >synth added to USA. You don't think the guitar parts in "The Night Watch," "Exiles," "Starless," and "Firepower" are melodic????? Belew's approach to soloing seems to be just making sounds and grabbing the whammy, and then perhaps picking above the nut. Maybe gimmick is too strong of a word, but that's what springs to my mind. It also seems like he wants Crimson to be the second coming of the Beatles. No thanks. daveM ------------------------------ Date: Wed, 4 Sep 1996 14:57:27 -0400 (EDT) From: terry kroetsch f Subject: The Third Star I'm gushing but: I think Third Star is an amazing record. All of you should buy it - right away. From cdnow, from Possible Prod, whatever. This is a musical event - thrilling, exciting, dense and complex, exotic and propelling. A Crimson fan's delight. Go now - obtain and share. Loudly. ------------------------------ Date: Wed, 4 Sep 1996 11:59:17 -0700 (PDT) From: duckness at earthlink dot net Subject: NIN-->KC >Well, aside from the fact that the mention of Nine Inch Nails possibly >could result in my expulsion from the list, I'd like to bring something to >the attention of the mailing list, *if* it wasn't already known. I >purchased NIN's "The Downward Spiral" in a fit of many other albums today. >(Also picked up TG's "1000 Years", very cool.) When I was looking through >the liner notes, I noticed on two tracks, Adrian Belew is credited with >guitar work. Yes, really. I mean Adrian Belew. If this was known, I >apologize for bringing in old news. However, I was quite suprised to see >ny sort of mention of anything remotely KC near NIN. > >Anyway, just an interesting "sighting". As I understand it, Trent Reznor is a big fan of Adrian's work and asked him to sit in on the DS sessions but Adrian couldn't make it until the end of the recording session. I seem to remember reading an article about the making of the Downward Spiral that stated that the CD was already finished but when Trent heard Adrian's playing for the track "Mr. Selfdestruct" he was blown away and decided to include it afterall.(please correct me if I am wrong) Writing off NIN because a few of their songs are either too main stream or too angry is just plain close minded, in the same way it would be to write off KC because they don't have Wetton or Lake fronting them anymore. I even had the extreme pleasure of seeing them both on consecutive nights last year, KC at Berkeley(10/20) and NIN/Bowie at Shoreline(10/21). I am still hard pressed to think of two better consecutive shows that I have seen in recent years. -Don Stop by the site of high quality tapes of Northern California shows! http://home.earthlink.net/~duckness/ ------------------------------ Date: Wed, 4 Sep 1996 20:18:12 +0100 (BST) From: Markus Schneemann Subject: re: ET301/303 - Adrian Belew "good crimso"? Comment to Jeff, rick and max about Adrian Belew and KC. I think you can't argue about Adrian's value to Crimson, but for me he adds something "American" to the band - his voice, lyrics and guitar- playing are more straightforward, less ambigous than the more "British" qualities of Fripp's guitar, Sinfield's, Palmer-James lyrics, and especially the singers of the 1970-72 years. They were more ambigous, more enigmatic. As a product of the seventies,I'm more a fan of these old rockband-"values" of the early seventies, as well as the more diverse ingredients in the music - mellotron, woodwind, "real" jazzplayers (K. Tippett, H. Miller, N. Evans, M. Charig). But we live now in the Nineties and maybe the more straightforward, electrical sound of KC is more appropriate. ------------------------------ Date: Wed, 4 Sep 1996 12:41:24 -0700 (PDT) From: ajbas at dnai dot com (Andrew Benzie) Subject: See ---> RED!!! Hey there -- jeffw%wk dot com at cs dot man dot ac dot uk once said: >> BUT >> my big beef now is that i don't think adrian b. adds anything to the >> band. See ---> RED!!! What -r-ya-def? ab ------------------------------ Date: Wed, 04 Sep 1996 16:07:55 -0400 (EDT) From: jhe at psulias dot psu dot edu (Jeff Edmunds) Subject: distributed being I second Max's opinion about Fripp's guitar work on "Distributed Being," a cut from Eno's 1992 Nerve Net CD. Genius. Not only is the playing brilliant, from blisteringly swift sonic highs to slow growley lyrical lows, but Eno's production is astounding. For those of you who haven't heard the cut, it's calm and soothing, with a funky, jazzy pulse on drums and bass under John Paul Jones' wistful piano. Calm and soothing, that is, until three or four minutes into the piece when Fripp's guitar screams in, as fast as a flurry of spiders exploding out of a just-stepped-on nest. Eno punches the volume of the solo up so loud that listening to it is like hanging ten on a tsunami. There's a scene from one of those Living Dead films in which one of the zombies, pursuing prey who are attempting to flee in a helicopter, hobbles slowly closer and closer to the chopper until ... WHOMP .... the top half of his head just above the eyes is lopped off by the rotor blade. He stumbles on a bit farther before collapsing. That's me listening to "Distributed Being." As to Fripp's statement that his playing on Nerve Net was his best in ten years: a lot of energy during that period was devoted to Guitar Craft, and this commitment almost certainly took time away from other projects. Reminds me of my second-favorite Fripp quote. During a communal meal at a Guitar Craft seminar in Switzerland in 1991, one of the students asked Robert, "What's it like to play with the Crafty Guitarists?" Fripp finished chewing, carefully laid down his knife and fork, swallowed, and replied emphatically, but in an even tone, "It's humiliating." Jeff Edmunds ------------------------------ Date: Wed, 4 Sep 1996 16:52:29 -0400 (EDT) From: Gideon B Banner Subject: Fripp/Hendrix Sorry to resurrect this, but: I have an odd tape of a bootleg that has a variety of stuff from the 80s version, 70s version w/Cross, and one song from 1969, "Travel Weary Capricorn". And towards the end of the song, Fripp plays a decidedly Hendrix-like riff. Couldn't help but noticing. (And does anyone know if this boot has a name?) Gideon ------------------------------ Date: Wed, 4 Sep 1996 14:42:35 -0700 From: gondola at deltanet dot com (E.B.) Subject: Moonlighting All this talk about Fripp guitar cameos, and I don't think anyone's mentioned one of the all-time classics: Eno's "Baby's On Fire." Also, Fripp deserves a nice chunk of the credit for the success of Bowie's "Heroes".... Eb ------------------------------ Date: Wed, 4 Sep 1996 20:20:05 -0500 (CDT) From: Andrew Harmon Subject: Re: Elephant Talk Digest #303 Perhaps it is because I have little experience in the inner workings of live sound and the intricacies of KC, but I would have to say that Trey Gunn almost never cut through the mix in the three shows I have seen him play in the double trio, with exception of Eleph Talk and Vroom. My "theory" on this is that the house soundmen (assuming they don't bring their own) see the poor, misunderstood guy hammering away on his Warr and say, "Oh sweet mother of God!! He's going to peak out the entire system and blow up the place!" So they turn him way down and he is covered by Tony and the guitars (and the drums). Thus he only comes through in the quieter parts. Maybe I can hear him and just think it's someone else. Maybe my seats just suck (though they are always close to Tony-side :) ). MAybe I'm going deaf at 20 (hz and years) and just cand discern anymore. Maybe it's all the effets he puts on his instrument at times (ex: layering in 1000 Years). I admire him for sticking with KC even though he must hear from everyone that he was virtually inaudible, as well as for his playing ability and creativity. Any other thoughts on this? -ammahamma ------------------------------ Date: Thu, 05 Sep 1996 11:43:56 +0300 From: Tefkros Symeonides Subject: re: attack on Adrian Belew In ET #303, Richard G. Bunker, Jr. wrote: (here comes that old debate again) >Adrian's guitar work is different than Robert Fripp's, but it compliments >it perfectly, and is in many ways at least as good if not better than >Robert's. Adrian's lead work is innovative and dynamic, set against >Robert's controlled tension-building patterning. Even Robert knows that >his brilliant style of play needs a melodious layer on top -- thus the >synth added to USA. I agree. Adrian is a very talented guitarist. Almost as good as Fripp. Not better. But really good. >Adrian's lyrics and song writing have brought the group to new heights. I >like the 70's stuff, too, but "canonize the ground he walks upon" just does >not hold a candle to Adrian's poetry. I think that if any sanctification >is to take place, it should take place for the current lineup. Well, Adrian has written some good lyrics (Sex Sleep Eat Drink Dream, Dinosaur, Waiting Man etc.) but sometimes he's a bit too... simple. Heartbeat, for example. Can it compare to In the Court of the Crimson King, or The Night Watch? But he's not bad. The lyrics of Sleepless are excellent. >And I think he sings better than the others, too. Ah... this is where we disagree. Adrian's voice is..well..OK... most of the time, that is. Better on Thrak and Discipline than on Beat and ToaPP, but nothing as special as Lake. Better than Haskell, as good as Boz, but, well, on the whole not as good as Wetton. Lake, IMHO is untouchable. Listen to Adrian on Heartbeat. Compare again with (yes!) In the Court of the Crimson King and The Night Watch. Anyway, I vote we cut this out. (But then again I had to talk, didn't I?) Cheers, Tefkros Symeonides ------------------------------ Date: 05 Sep 96 10:10 GMT From: TOLIN dot A at applelink dot apple dot com (Italy - CPU Prod. Marketing Mngr.) Subject: Trey Gunn: "The Third Star", got With my great surprise, just 2 days before leaving for my summer holidays three weeks ago, I found Trey Gunn's "The Third Star" in my cd-store, here in Italy. I have to admit I was really anxious when put it in my cd-player, 'cos I was waiting for it since I listened to "1000 Years", which is in my top ten "all-the-time" since then. First of all, packaging is one of the best I've ever seen, very effective. The music.....what to say ? It's astonishing, powerful, creative, simply the music I want to listen to. I don't know when I'll stop, but for the last month I was not able to listen to any other kind of music apart this. "Dziban", "Arrabis", "Kuma" and "The Third Star" are my preferred; the last is sung in italian by Alice (an italian singer, obviously). Trey is featured on her last work. I really hope Trey will tour (as he said in the last interview) in Europe too, next year; I want to hear "live" this music; I'm sure will reach higher level of intensity (if it is possible).... Ciao from Italy Andrea ------------------------------ Date: Thu, 5 Sep 1996 10:25:01 -0400 From: "Gordon Emory Anderson" Subject: I'm Starting to Like Trey Gunn's Third Star..... I'm Starting to Like Trey Gunn's Third Star..... When I first played it, I thought it somewhat interesting, but Lame. My mind is quickly changing on this, however. Like any worthwhile music, it not only has a certain sound but affects the way you listen. This CD is certainly not for everyone, but in its own quiet way I beginning to think it rather important. It takes some of the 80s KC/LOCG Gamelan-like ideas a few steps further. It is an interesting,enigmatic rythmic weave of baseline and percussion, reminding me vaguely of some of Bruford's work (the decent drummer has certainly been studying Bruford). It actually sounds more like good fuzak Jazz than what we'd normally qualify as "rock". And now I know why I often can't pick out Trey on a lot of KC stuff/gigs: even when he's wailing, there is still an inherent quietness to his playing, almost as if he's unaware of the possibility of using an instrument to "scream" at the listeners. He's got a lot to say, but he's not going to talk over your internal din to get the point across. Also, I'm not sure how much he communicated with the graphics people, but the implied theme linking arabic culture, astronomy, and navigation is much appreciated. I for one, hope that that whole gamelan-type thing continues to develop and penetrate other forms of music. I suspect it is a well the potential of which has only begun to be tapped. -Emory. ------------------------------ Date: Thu, 05 Sep 1996 08:30 -0500 (EST) From: MARK dot KEEN at roche dot com Subject: The Failure of the Double Trio Concept I have witnessed Robert Fripp in concert 5 times. Four times as a "member" (with special standing) of King Crimson and once as the "mentor" of the League of Crafty Guitarists. I first saw Fripp in April of 1974 on the SABB tour. That was truly white magic in action (see my first et post for more details). I waited in line (unawares that it was sold out) in 1981 for the Discipline tour to eventually be turned away (in profound disappointment!). I experienced a very powerful LOCG performance at Tulaggi's in Boulder, Colorado in 1991(?) I had two "hot dates" with Prince Scarlet last year (Red Bank and Longacre Theatre Monday night NY, NY). Crimso was clearly "superior" in the intimate, Broadway venue (and I personally believe that Track 4 from THRaKaTTaCK was taken from the Longacre Monday night performance I saw). Most recently, I was at the Philadelphia show Monday, August 26, to see the final KC performance of 1996. I have decided to propose put the following idea to be discussed (among yourselves) and debated (and I'm sure this will direct flaming in my direction): The KC double trio concept failed in terms of positively effecting the actual recordings and performances of KC. All six musicians were dedicated, hardworking, talented performers who failed, by double trio design, to bring together a cohesive, distinct sound to this "phase" of KC. Clearly, all six could not be "heard" simultaneously in concert or in recording. This fact is evidenced by the amount bandwidth that has been devoted in this electronic blotter to, "Did Trey play this or that?" or " I couldn't hear Fripp's part", etc. Another example: Trey Gunn played an excellent solo during "The Sheltering Sky" in Philly Monday before last (despite the incessant hooting from the crowd). Yet this was the only "distinct" solo I heard from him that evening. I propose that with the 90's "Thrak" KC the sum of the parts was greater than any "whole" obtained by the group. The double trio concept did not allow for Trey Gunn, Robert Fripp and Adrian Belew to make room for each other in composition, arrangement, and harmonic frequency (They seem to cancel each other out frequency-wise in concert performances). Execution of the improvisational sequence in Thrak was random, patchy and disorganized with no true center or uniting themes emerging from any of their well-intentioned attempts. Compare the "THRaKaTTaCK" offerings to the '74 Crimso improvs on "The Great Deceiver". Don't get me wrong. All six of these guys are great extemporaneous musicians and have proven themselves to be excellent performers and "group players". They have worked very hard over the last two years to play together and complement each other in concert . It's just that I haven't witnessed the power, synergy, improvisational direction and symmetry from this 2 x 3 alignment could have been obtained or exceeded just as easily by 4 or 5 rather than all 6 of these musicians (again, as in the 70's and I suspect 80's Crimso incarnations). I think that the compositions VROOM VROOM and the beginning of THRAK rank right up there with RED and LARKS TONGUES PART 2 as worthy of transcription and performance by the Kronos Quartet (and when I win the lottery I will subsidize the production of the "Kronos does Crimso" CD). I do not think that 2 X 3 = a great KC. The double trio in execution did not fulfill its "high concept". And why? The KC sound needs silence and space/sparsity to communicate its powerful dynamic sound. If Fripp had gotten David Sylvain to sing and used Trey, or simply used Belew and not enlisted Gunn, he(Fripp) might have recreated a more distinctive, dynamic and cohesive KC sound for the 90's. I predict that KC will never take the form of a "double trio" again. The problem with the 90's THRAK Crimso? Too many guitar strings(cooks in the kitchen) and Not Enough Fripp. ------------------------------ Date: Thu, 05 Sep 1996 11:13:43 -0700 From: Rob MacCoun Subject: Book of Saturday Fripp's guitar accompaniment to Book of Saturday on LTiA sounds fairly simple, but I've never been able to figure it out. I'd be grateful for tablature (or even hints). ------------------------------ Date: 05 Sep 96 19:16:56 EDT From: Trey Gunn <74744 dot 443 at CompuServe dot COM> Subject: the first day vinyl does anyone out there have, or know where i might find a vinyl copy of Sylvian/Fripp's "The First Day"? there were about a thousand of these double albums made in the UK. please e-mail me privately 74744 dot 443 at compuserve dot com ------------------------------ From: Matthew Nolan Date: Thu, 5 Sep 96 10:50:21 BST Subject: More Adrian non-sequiturs I don't think these were mentioned before. At the first night in London (Sheperds Bush Empire, THRaKaTTaCK Tour, June 30th, 1996), right at the beginning of the set Adrian announced "There's one ticket left for tomorrow night so tell your friends" - deadpan, subtle, ludicrous, ideal mood setter. Also that night he was quite wild for Indiscipline; "I repeat myself when under stress" getting a good 6 or 7 repeats like a stuck record, Adrian looking concerned towards the last couple and hitting the side of his head to stop. At the end of the first verse he left a bigger than normal pause before "I did" during which he played with the angle of his whammy bar/trem arm, looking to the audience for votes for the best angle. The rest of the band followed this slight format change seamlessly (although admittedly they just had to catch the "I did" cue). His facial expressions throughout Indiscipline (and Elephant Talk) were a sight to behold - most entertaining. I wish you were there to see it! Matt Nolan. ------------------------------ Date: Fri, 6 Sep 1996 15:43:00 +0200 From: kriskras at knoware dot nl Subject: Anagrams Hi there, Sons of the Crim, I found some cool anagrams in the names of our beloved Crimsoners, I made a selection of funnier ones: King Crimson: Morning Sick Micron Kings Robert Fripp: Prop Rib Fret (I admit, not impressive) but I found these words in his name: Rioter, Terror, Orbiter, Borer, Fortier Adrian Belew: Wail A Bender Anal Webride (I like this one!) I Blend Aware Bill Bruford: Florid Blurb (don't know what it means, but it sounds cool though) Tony Levin: Tiny Novel Vinyl Tone (like this one too) On Lent Ivy Trey Gunn: Get Runny Gnu Entry (this is a cool one) Pat Mastelotto: Late At Topmost Smelt At Tomato Also To Attempt Bye now! Martijn ------------------------------ End of Elephant-Talk Digest #304 ********************************