Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: discipline #31 discipline, Number 31 Thursday, 26 March 1992 Today's Topics: Thela Hun Ginjeet Thela Hun Ginjeet NO BELEW IS BAD BELEW Islands Lineups new and old Boxed set writeup [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 20 Mar 92 14:36:17 PST From: malcolm at yuba dot wrs dot com (Malcolm Humes) Subject: Thela Hun Ginjeet I've got a tape of a Paris concert as Discipline, presumably from before they recording the lp, from May 12, 1981, which has a unique version of Thela Hun Ginjeet. There's pretty different words done by Adrian at this show. He does say something about walking through the streets, but there's no tape recording of narration - instread he says he was walking by a house and heard an argument, with voices shouting "Your House!" "My House!" " Well get out, there's the door". Basically he started repeating the words to a song from Exposure but led into it by saying he heard it from the street while walking by. Re: the story on tape The story of Fripp taping Belew telling the story sounds plausible. IMHO it's all too well put together and fits with the theme of Belew stumbling into something on the street that was explored before the words to the song were added/changed. I suspect it's somewhat fictionalized and was probably intentionally recorded and edited to sound just like it does. Another anagram title is Eno's King's Lead Hat which is TALKING HEADS jumbled. Another one is Matching Mole's NansTrueHole and O Len's Nature - the title given to a Hatfield and The North version of the same music. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ||||||||Malcolm Humes|||||||||||||||||||||||||malcolm at wrs dot com||||||||||||||| ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ "An artist is never ahead of his time but most people are far behind theirs." -- Edgard Varese [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: rawdon at cs dot wisc dot edu (Michael Rawdon) Subject: Thela Hun Ginjeet Date: Fri, 20 Mar 92 21:22:24 CST >From: Toby Howard >Subject: Thela Hun Ginjeet >On Mon, 16 Mar 92 11:55 -0400, MERLIN at AC dot DAL dot CA said: >MERLIN> The voice on "Thela Hun Ginjeet" is Adrian Belew's, and the story is true. >MERLIN> While writing the "Discipline" album, Adrian wired himself for sound with an >MERLIN> expensive tape recorder and took to the streets of New York. >I heard a different explanation, which seems more believable to me. This is >that Belew was walking the streets of Brixton, with a little Sony recording >walkman, making some spoken notes, when he was hassled by some guys. Later, >in the studio, he told Fripp et al the story, and Fripp surreptitiously >recorded Belew, which is what we hear on the track. This story is related in the Robert Fripp biography, so it's probably the correct one. If you listen closely, you can at one point hear Belew exclaim "Hey! What have you got on that tape?" (Or words to that effect.) I can't tell whether he was still telling his story (and his assailants - who thought he was an undercover cop - thought he was recording the event and he was imitating them) or whether he had noticed Fripp taping the story. I would be inclined to believe the former, except that there's a slight jump after Belew's exclamation, and then he says "Ohhh noooo..." which makes me wonder if Fripp hadn't just popped the idea of using the tape in the song, and Belew was groaning in embarrassment. Well, it's an interesting thought. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: wcsanil at ccs dot carleton dot ca (Anil Prasad) Subject: NO BELEW IS BAD BELEW Date: Sat, 21 Mar 92 22:57:27 EST If anyone's wondering where my Adrian Belew interview is, it hasn't been posted because it hasn't happened yet! Apparently Adrian is suffering from the flu/bronchitis, his manager said they aren't sure which. So my interview has been moved to late next week, thursday or friday I'm told. Look for it a few days after. Get well soon AB! Anil Prasad wcsanil at ccs dot carleton dot ca [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Mar 92 14:42:00 -0200 From: ittai at BENGUS dot EARN Subject: Islands First post to this list... hmm... I got the Islands disc about a week ago. Out of *most* Crimson albums I own, this one may well have some of the most beautiful music I've ever heard. The Sailor's Tale track and that song about the suicidal wife (can't remember the name) are stupendous. Actually, sshocking is more appropriate... At first I thought the Islands track was rather uninteresting, but by now I'm not so sure. The music is much more refined than in the previous 3 albums. Much less pointles s mellotron, and I think the arrangements are also done more... well, I don't knno w exactly... sensitively/tastefully(??) What I mean is that in works like Lizard it seems to me like Fripp was adding "background" to the music, and some of the "massive" arrangements, such as in Cirkus, are a bit pointless. I don't know my exact point is in all this rambling, but I 'sppose that's what a list is there for... Still on the lookout for Discipline (can't find it in stores), think I'll pass u p on Beat, after all the deratings... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 22 Mar 92 16:38:00 EST From: timothy culver Subject: Lineups new and old I agree that one of the incredible things about King Crimson is its unification / variety across lineups. But to me, the cooperation between Fripp and Belew is one of the greatest stylistic combinations of the entire rock _genre_. Listening to their solo albums, you'd never guess that they have so much in common. So I agree that lineup changes are important to KC, but I'm not willing to part with the Fripp/Belew lead unless I have to. BTW - what are the other (sung) lyrics on Thela Hun Ginjeet? BTW #2 - It's obvious that Fripp prefers Discipline. Look at _The Compact King Crimson_, compiled by Fripp. It consists of four songs from the first album, a whopping FIVE (of seven) songs from Discipline, two from _Perfect Pair_ and only "Heartbeat" from the blue album. I think that the creative interactions decreased after Discipline: the subsequent albums have songs that are more distinctively Adrian (Two Hands, Waiting Man, Man With an Open Heart, Model Man, blah Man, Man blah :-) ) ... which is why, on the whole, I prefer D. myself. BTW #3 - Does anybody else think it's funny that Paul McCartney wasn't credited with all the songs he wrote on _Inner Revolution_? ;-) BTW #4 - Can we have a definitive posting of all rumors about the new KC effort? --------------------------------------------------------- Tim Culver tculver at darwin dot cc dot nd dot edu --------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Prof. Walter K. Daniel (AeroEng FACULTY) " Subject: Boxed set writeup Date: Mon, 23 Mar 1992 16:35:53 -0500 In the March 1992 issue of Tower Records Pulse, there is a short writeup about the King Crimson boxed set. [For non-U.S. readers, Tower Records is a nationwide chain of large record/tape/CD/video shops in which one can actually find progressive rock from time to time.] To wit (page 107): "With another incarnation of King Crimson reportedly in the works for this year, the four-CD 'The Essential King Crimson: Frame by Frame' (EG/Caroline), serves as a reminder of the vision and virtuosity of the group's founder and constant Robert Fripp. As this box bears witness, in various lineups from 1969 to 1984, Fripp and company boiled classical tonality and dynamics, rock's electric ferocity, the exploratory joy of improvisation and, occasionally, the amicability of pop songwriting into an extremely potent mix. At its peak, the band seemed to have a limitless sonic palette and a sense of invention bound only by the limits of the members' imaginations. Hearing these Fripp-conducted remixes and remasterings is a considerable pleasure even for fans well-versed in the material. The hiss that plagues the earliest CD reissues of old Crimson is nearly wholly absent, and every wrinkle of spontaneous full-group playing in selections like 'The Sailor's Tale' is set in deep detail. That number and several others ('Lark's Tongue in Aspic: Part One,' 'Fractured') are abridged, but only seem to cut to the chase more effectively. A promising fourth CD of live material disappoints with spotty sound quality. But overall, Fripp has presented the virtues of his life's most exciting work as a musician (accompanied by a thoroughly annotated booklet filled with photos, tour dates and historical minutae) in a manner as efficient, practical and dazzling as his precision guitar technique" Ted Drozdowski, Boston Phoenix [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] To join this group or have your thoughts in the next issue, please send electronic mail to Toby Howard at the following address: toby at cs dot man dot ac dot uk The views expressed in discipline are those of the individual authors only.