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 #310 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 310 Monday, 30 September 1996 Today's Topics: Re: Ten Seconds Double Trio or Triple Duo? re: Jars of Clay/KC King Crimson The Law Of Maximum Distress Re: 4/4, Levin clones Greg Lake Brains and Heart KC (Fripp) and Crowd noise Alas, the Mellotron Alas, the Mellotron Some odds and ends Boot swapping offer Bumpers Double trio/wetton's voice/sitting or standing?/bitches brew/end-quotes Re: Brains and Heart Yeah, but how well could you draw their ideograms? A Very Crimson Wedding The Great Deceiver Thank yous Re: An emotional discourse Bill Bruford - interview KC in Japan Video? ------------------ 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 --------------------- From: "KEITH MYERS-MARTSON" Organization: Rowan College of NJ Date: Mon, 23 Sep 1996 15:09:08 EST Subject: Re: Ten Seconds Give feedback on the band Ten seconds, I feel that they are suitable for the KC crowd. ------------------------------ Date: Mon, 23 Sep 1996 15:55:34 +0000 From: David Kirkdorffer Subject: Double Trio or Triple Duo? There's been a bit of chit-chat on the double trio formation. Watching Crimson this summer it seemed to me the _live_band_ is also a triple duo: Bruford & Mastelotto Belew & Levin Gunn & Fripp And also -- if not moreso -- a pair of duos and two individuals: Bruford & Mastelotto Belew & Levin Gunn Fripp eye-contact. Granted, eye-contact isn't much of an indicator of anything, but it certainly is one way of "connecting." For what it's worth. David Kirkdorffer ------------------------------ Date: Mon, 23 Sep 1996 19:53:35 -0500 (CDT) From: Le Monsieur Subject: re: Jars of Clay/KC On Thu, 19 Sep 1996 07:11:23, jwc146 at psu dot edu (Sir James) wrote: > I had to do a quadruple take on this one!!! Is Belew a Christian, did he > want to help out a new struggleing band, or was he tring out his produceing > prowess on a band he didn't think would be popular or what? Does anybody > know his motives in doing this? One subscriber of E.T., a brother of a member of Jars of Clay, explained it some time ago [around when they released the album]: Adrian was basically doing a favor for his niece by helping her boyfriend's band out. Damon Capehart | "As their numbers dwindled from 70 to 8, the aka Le Monsieur | dwarves began to suspect Hungry..." dcapehar at utdallas dot edu | ------------------------------ Date: Mon, 23 Sep 1996 23:36:01 -0400 From: Christopher Carl Heckman Subject: King Crimson Hi! I've been reading Elephant Talk (from the Web site) for some time, and I have something to contribute. One of my friends in Lincoln, NE, worked out the chords for "I Talk To The Wind"; the "fake sheet" is included in the last part of this letter. (He also figured out "Cadence And Cascade", but someone else got them to ET first!) When we play it, he plays piano and sings, I play bass, and another guy does guitar, so we take liberty with the arrangement. (King Crimson is a "standard" band that we play songs from. Incidentally, "Red" sounds great with a Condor Guitar-Synth ... it sure sound like it was part of the equipment used!) -- Christopher Heckman, checkman at math dot gatech dot edu Internet: http://www.math.gatech.edu/~checkman/homepage.html "[I don't] think Richard should be turning the erosion pattern of the Himalayas into a flute quintet at this time." - Douglas Adams ------- "I Talk To The Wind" by King Crimson, from _In The Court Of The Crimson King_ (McDonald / Sinfield) E C G F#m B Said the straight man to the late man, "Where have you been?" E C G F#m B "I've been here and I've been there, and I've been in between." E Bm E Bm E Bm I talk to the wind, my words are all carried away, I talk to the wind, A Bm A Bm The wind does not hear, the wind cannot hear. E C G F#m B I'm on the outside, looking inside, what do I see? E C G F#m B Much confusion, disillusion, all around me. I talk to the wind ... E C G F#m B You don't posess me, don't impress me, just upset my mind, E C G F#m B Can't instruct me or conduct me, just use up my time. I talk to the wind ... Said the straight man to the late man, "Where have you been?" "I've been here and I've been there and I've been in between." transcribed by: Mike Johnson ------------------------------ Date: Tue, 24 Sep 1996 09:28:58 -0400 From: Dantalion6 at aol dot com Subject: The Law Of Maximum Distress Hello fellow Crimso fans - I made a discovery last night that will interest fans of the Great Deceiver box set. Disk 3 tracks 8 & 9 are the "Improv - Law Of Maximum Distress" Parts I & II from Zurich 11/15/73. The recording of the improv, according to Fripp's notes, was interrupted to change the recording tape. I have the audience recording of the complete show (about 80 minutes vs. the 40 minutes on the CD), and decided to see how much of the improv was missing on the Great Deceiver. Pairing up the audience tape and the CD, I found the CD to be missing slightly more than 4 minutes of the improv. Strangely enough, the extra 4 minutes on the audience tape sounded familiar to me. Finally I placed it - the missing piece was released on Starless And Bible Black as The Mincer! The original track was the instrumental jam, and Wetton's vocals were later recorded over it. So if you want to hear the complete improv, program your CD player to play: 1) Improv - Law Of Maximum Distress (Part I) 2) The Mincer 3) Improv - Law Of Maximum Distress (Part II) Enjoy! Carl ------------------------------ Date: Tue, 24 Sep 1996 12:51:09 -0700 From: gondola at deltanet dot com (E.B.) Subject: Re: 4/4, Levin clones >From: Matthew Nolan >I love "odd" time signatures, as 4/4 just gets so stale and boring. You can >add so much edge to a piece simply by utilising one. >If more bands and radio stations would put out this kind of stuff, then the >world may become more discerning with its ear, thus encouraging more bands >and radio stations to put out this kind of stuff, then ... Well, here we certainly have the prog-rock mentality in a nutshell...complexity for its own sake. Music with unconventional time signatures isn't a "kind of stuff." Saying you like this "kind of stuff" is sorta like saying, "Hey, I like songs written in the key of B minor!" Sorry, I accidentally left my Egghead Detector on. ;) >From: zelwel at earthlink dot net >Subject: Mujician/Keith Tippett > >Mujician consists of Tippett, Paul Rogers on >Bass, Paul Dunmall on reeds, and Tony Levin (not THAT Tony Levin, but >another cool Tony Levin nonetheless) on drums. Wow, whatta coincidence! There's not only another pro musician named Tony Levin, but another Tony Levin with connections to King Crimson??? Love, GB ------------------------------ From: John Ott Subject: Greg Lake Date: Tue, 24 Sep 1996 15:57:30 -0400 >Lets stop the Belew bashing, every version of Crimson is different and I doubt any of the major singers (Lake, Wetton or Belew) could have sung the other songs well. Can you really see 80 Crimso singing lyrics like Wetton or Lake sang. hell no, Belew brought humor to the band something they needed to survive in the 80s. He has a fine voice, sure he's no Greg Lake, but who is?< Not even Lake, I saw the Black Moon tour and he had a tough time singing the old ELP stuff (he's lost the high end of his range). He sings in a much lower register on the last two ELP studio albums. see ya John ------------------------------ Date: Tue, 24 Sep 1996 18:18:03 -0600 (CST) From: Alicia Sepulveda Subject: Brains and Heart G.B's statement that KC can't touch one's heart is extremely bizarre. Lyrics are the only thing that can make you feel emotions? Now THAT's twisted. All I know is that when the melody to Starless floats out of my speaker, my heart twitches as much as if I was reading the most beautiful poem. And when the laser beam hits LTiA pt II I am flooded with adrenalin and start jumping about, whatever the setting (almost). To hell with interesting harmonic textures. Pablo ------------------------------ From: "Steve Gibson" Subject: KC (Fripp) and Crowd noise Date: Tue, 24 Sep 1996 21:45:25 -0600 > Somewhere in the booklet accompanying the "Young Person's Guide" album, > Fripp comments on the 70's American tour. He says something to the effect > that he found the responsiveness (noise? dancing?) of the American crowds > to be quite different from the politeness of the British audiences. At the > time, at least, he seemed to like our exuberant behavior. A couple of odd remembrances of Fripp and KC from the '70s (and one from the 80s)... In, I believe, 1974 (or '75), I was in California stationed onboard the USS Enterprise in Alameda. We went to see King Crimson at the Cow Palace south of San Francisco. The crowd was very unruly, the air was smoky and sweet, and I think KC was very late in getting onstage (I don't remember a backup band)... Any way, after playing for less than an hour (40 minutes?) and admonishing the crowd by sitting in stony silence waiting for the hoots and hollers to die down, the band left the stage. The rowdy noise didn't lessen until the announcer came out and said, "King Crimson has the stomach flu and will not be able to finish the show." End of story #1. Second story, a year or two later in my home town of Chicago, KC was playing at the Auditorium Theatre (I think). It's a great venue with legendary acoustics. At one point in the show, some lout screamed, "Boooogggiiieee!" And Fripp turned to the noisemaker and said, "You, Sir, are at the wrong show." The crowd went crazy! Last story. Fripp and the League of Gentlemen were playing at the Park West theatre in Chicago. This time the crowd was stunned and stuck in their seats by the sonic tableau Fripp spread before them. After playing for some 15 minutes he admonished the crowd, "Quit clapping dammit! We're a dance band, start dancing!" Fripp, you're the greatest! In every incarnation! Steve segibson at sprynet dot com ------------------------------ From: stu dot nwarren at hellyer dot tased dot edu dot au (Student - N Warren) Subject: (none) Date: Wed, 25 Sep 1996 14:30:29 +1000 I have only just heard King Crimson recently (where have I been!) I have heard "The Court of the Crimson King" and "Lizard" Any info and recommendations would be great Nick ------------------------------ From: "Stephen P. Goodman" Subject: Alas, the Mellotron Date: Tue, 24 Sep 1996 23:05:18 -0700 lordabay at nyc dot pipeline dot com (michaeldamianjeter) wrote in #309: >Robert, during a question and answer session at J&R Music here in NYC, >stated that the most of the "mellotron" in the new KC is Adrian Belew's >guitar. I would assume that the credits on the latest albums are part of >Fripp's Humor. Well, yes and no, according to what I'd read in a number of articles at the time Vrooom came out. I'd come to understand that a Mellotron had been not only restored, but MIDI-fied, and thus controllable from Adrian Belew's guitar, or anyone else's. I went to all three of the Wiltern shows in LA last year, and came away with the strong impression that not only Adrian but Trey Gunn and RF played Mellotron -like (at least) at different parts of the show. At the LA Greek show, I didn't notice this at all, and the only Mellotron I remember being used was during Dinosaur, and it didn't sound the same timbre-wise. Maybe it was Adrian's fingering that night. So perhaps it was a new toy last year, and now reduced to a rack mount unit with samples? What does the rest of yez think? Oh, I also thought I heard Adrian say 'arrive in Los Angeles'. :) Stephen Goodman * Come and get it! It's The Loop Of The Week! * at http://www.primenet.com/~sgoodman/Studios ****************************************************************** ------------------------------ From: "Stephen P. Goodman" Subject: Alas, the Mellotron Date: Tue, 24 Sep 1996 23:05:18 -0700 lordabay at nyc dot pipeline dot com (michaeldamianjeter) wrote in #309: >Robert, during a question and answer session at J&R Music here in NYC, >stated that the most of the "mellotron" in the new KC is Adrian Belew's >guitar. I would assume that the credits on the latest albums are part of >Fripp's Humor. Well, yes and no, according to what I'd read in a number of articles at the time Vrooom came out. I'd come to understand that a Mellotron had been not only restored, but MIDI-fied, and thus controllable from Adrian Belew's guitar, or anyone else's. I went to all three of the Wiltern shows in LA last year, and came away with the strong impression that not only Adrian but Trey Gunn and RF played Mellotron -like (at least) at different parts of the show. At the LA Greek show, I didn't notice this at all, and the only Mellotron I remember being used was during Dinosaur, and it didn't sound the same timbre-wise. Maybe it was Adrian's fingering that night. So perhaps it was a new toy last year, and now reduced to a rack mount unit with samples? What does the rest of yez think? Oh, I also thought I heard Adrian say 'arrive in Los Angeles'. :) Stephen Goodman * Come and get it! It's The Loop Of The Week! * at http://www.primenet.com/~sgoodman/Studios ****************************************************************** ------------------------------ Date: Wed, 25 Sep 1996 09:20:37 -0400 From: ASchulberg at aol dot com Subject: Some odds and ends I've had the pleasure of listening to a tape of the KC concert at the Greek Theatre in Berkeley on the recent tour. Two observations: 1. On 21CSM, Adrian's voice is "treated" with some sort of distortion device. The effect is very similar to Boz's voice on the live '72 band's version on the 21CSM single. 2. On LTIA2, towards the first crescendo, someone (Trey?) plays those little mouse squeak noises that appear on the album version which I always thought of as a Jamie Muir contribution. Has anyone ordered The Greatest Concert That Never Was, the Great Deceiver based concert mentioned in ET 303? If so, what was the delivery time and how is the quality? Arnie Schulberg ASchulberg at aol dot com ------------------------------ Date: Wed, 25 Sep 96 13:19:06 CDT From: Paul Gelpi Organization: The University of Alabama, Tuscaloosa, AL Subject: Boot swapping offer Greetings all, I've got a friend (it really isn't me:-)) who is interested in expanding his collection of KC bootlegs/unofficial recordings, especially 1970s recordings. He has a rather impressive collection of boots to swap (the catalog runs to 30+ single spaced pages) although he has only a few KC ones to offer, including one with Jamie Muir--its a CD but the audio quality is awful. He's more than happy to dub tapes and his equipment is of high quality. His collection features a great deal of Grateful Dead (1960s-90s) along with Zappa, Elvis Costello, XTC, and countless others. If you are interested in swapping boots please e-mail me directly--he's happy to send you a copy of his list if you want. Thanks for your cooperation. Happy listening. Paul pgelpi3 at ua1vm dot ua dot edu ------------------------------ Date: Wed, 25 Sep 1996 22:26:26 +0300 From: Jorgen dot Wollsten at pinulk dot pp dot fi Subject: Bumpers A long time ago, when I was a young unbearded boy I ordered LPs from England to Finland. My first orders were for two compilation doubles, one called Fill Your Head With Rock on CBS and on called Bumpers on Island Records. The latter had a birght yellow cover of a pair of training shoes. It introduced me to Fairport Convention, Mott The Hoople, Traffic, Jethro Tull and other artists any boy of 14 should know. It also started my love of Nick Drake, but more importantly of KC and RF. Well, at that time I stupidly thought that King Crimson was a guy like the sax player King Curtis. This misconception has been corrected though. To the point I hear you groaning! Well, has anyone got the track listing for Bumpers (and Fill Your Head With Rock while I'm at it). ___________________ J. Wollsten aka. Erik Pinulk Firma PINULK Vanha Kuninkaantie 41 06100 PORVOO FINLAND Home phone and fax : +358 (0)19 5248950 Cellular phone : +358 (0)49 840316 http://personal.eunet.fi/pp/pinulk ------------------------------ Date: Wed, 25 Sep 1996 22:04:32 -0400 From: Nel3 at aol dot com Subject: Double trio/wetton's voice/sitting or standing?/bitches brew/end-quotes Time to de-lurk and flame everyone in sight in a variety of colorful ways.... 1) To a considerable number of recent posters: Complaining about the double trio not reaching some listeners' internal idea of perfection strikes me as a bit odd given the group's tremendous accomplishments so far - who the hell cares if they haven't achieved their potential if they are playing good music! And I, for one, have no doubt that they are, they are.... "Isn't it ironic" Comparing them to TGD group of 73-74 or the Discipline band when members of those groups have themselves claimed that each never achieved their potential (for instance, the problems "mike-ing" Cross or the well-know beat-box battles between Fripp and Bruford). As the oft-quoted line from "Andrea del Sarto" goes: "A band's reach should exceed its grasp else what's a heaven for..." And based upon the number of devoted fanatics here each of the aforementioned KC eras has brought a sufficient number of fans a glimpse of nirvana never seen by the late Kurt! It is immaterial whether they are playing too much improv, not enough improv, too densely, overplaying each other, filling up too much space or getting members lost in the mix....they are what they are So, my point...(ah perhaps some were still waiting for the point) is shut up, quit grousing, and allow the double trio to BE... 2) Rob at ced dot berkeley dot edu complains about criticisms of Wetton's voice (something I criticized quite awhile ago) - MY point was and is, Wetton's voice seemed shot on his Chasing the Dragon album (especially as it had to compete with the drum-heavy mix, and a faceless and untalented supporting cast of players) - BUT, back in 73-74.....WOW, that voice and that bass together! That, for me, was perfection! In all honesty, Wetton and Belew are the only vocalists I really have enjoyed as a part of the music...the others are just there... 3) To Gondola at deltanet dot com, latin-blooded cad at mail dot utexas dot edu and various others: Sitting or standing - it's easy - is the point of attending a concert not to see the musicians live while hearing them? If everyone in front of one is standing can one SEE the musicians? If one cannot see the musicians, but only hear them, could one not merely stand outside the show listening to the muffled thumping within, while the frenzied patrons inside danced? Would the experience not be unlike standing in line at studio 54 waiting for the opportunity to dance like metronomes in synthetic shirts? Must i go on in this way asking rhetorical questions or have I driven home my point? 4) To palm0108 at maroon dot tc dot umn dot edu regarding "Bitches Brew" being the supreme testament to collective group improv, I have one word: NOT! What "Bitches Brew" is(was) is one or two members of the band soloing over ostinato-like patterns layed down by the rhythm section. Far from collective improv, this type of jazz was taken to its logical (and exceptional well played extreme) by Weather Report during the 70's. Starting at the same spot and moving in another more ethereal direction was Herbie Hancock's sextet/septet of the early 70's which usually used the same ostinato w/solos style. However, the group moved Davis' style much further in songs like "Water Torture" and "Wandering Spirit Song" where they achieved true sound paintings. For those who like "Bitches Brew," which I admit I find a little tedious at times, I would recommend the Hancock music. (This btw, before he dived headfirst into funk only to emerge years later, unscathed, in his previous incarnation as a post-bop master.) One other spectacular example of true collective improv is the title song from Jack DeJohnette's 1989 album "Audio-Visualscapes." I'd highly recommend that track which features two very mutated saxophones and an electric guitar adding colorful counterpoints to each other and DeJohnette's constantly shifting drumming. Which brings me back to KC - the BEST example of collective improv I've heard is to be found on The Great Deceiver - and why not, after all.... 5) BTW, I'm sick of lengthy and sefl-indulgent end quotes added to practically every posters post! Thanks for doubling the size of every issue of ET with your favorite quotes.... may this flame reach you and singe the hair of your typing fingers.... fire extinguishers can usually be found at the end of the hall on each floor... have a nice day! --------------------- "the laboring strikes over endless streams of milk and heretorfore unseen things while captain queeg at the head of his ship tells the wicked sea of his wicked hope..." mike nesmith ------------------------------ Date: Wed, 25 Sep 1996 22:44:40 -0400 From: Biffyshrew at aol dot com Subject: Re: Brains and Heart gondola at deltanet dot com (E.B.) wrote: >I mean, even you folks >grumble about how cold Fripp is. I don't listen to King Crimson to have my >emotions touched. If I want that, I'll listen to a group with good lyrics. >I listen to Crimson for interesting sonic textures, melodies and rhythms. >It's very much a Brain thing. If you think Crimson is a profoundly >emotional band, I think your perspective may be a bit warped. ;) When "we folks" grumble about how cold Fripp is, I think the reference is usually to his personality, or at least his persona. Fripp the man, at least the man the public sees, is pompous and aloof, diffident and unapproachable. (In his heart, I suspect the man has the same sort of passion, fear, anger, joy and dreams we all have.) But to say that his, or Crimson's, music lacks emotion misses the mark. In fact, to say that emotion, or "heart," is missing from any music is pointless. Music does not contain emotion. Music is just organized sounds, with or without words. What music can do is COMMUNICATE or PROVOKE emotions in the listener. And speaking from what Mr. Gondola regards as my "warped perspective," I personally do indeed experience profound emotions from hearing, say, "Cirkus," "Formentera Lady/Sailor's Tale," "Islands," "Easy Money," "Lament," "Fracture," "Starless" (Jesus, you must have a heart of stone if you aren't moved by "Starless"!), "One Time," to name just a few. If E.B. doesn't feel anything from these songs, perhaps it's his own lack of receptivity, not anything inherent in the music, that is to blame. Maybe King Crimson isn't really his thing. We all find emotional fulfillment where we find it, and there's no persuading folks to find it where it doesn't exist for them. ("Say a person buys a KISS album and listens to it and has a moving experience from it. I mean, are they wrong?"--Frank Zappa) As for the suggestion that Crimsongs (has anyone ever coined this word before?) don't have "good lyrics," well, all I can do is beg to differ. Pete Sinfield may occasionally have been guilty of overdoing it with the purple pipers and dancing waters and such (hey, if Peter's pecker poked a pack of purple pipers, how many purple pipers...oh never mind), but I think he doesn't deserve a fraction of the abuse he gets around these parts. Anyone who can come up with a spare, effective image like "Beneath the wind-turned wave/Infinite peace/Islands join hands 'neath Heaven's sea" is all right by me. And as for Palmer-James: I think you have to go a long way to beat "I'll say my daddy's had a stroke/He'd have one now if he only was alive." >If you want heart, buy a Replacements disc, why don't ya? Because their music bores me. (See what I mean?) Biffy the Elephant Shrew http://users.aol.com/biffyshrew/biffy.html "These insufferable Fripps, men who ought never to be trusted..."--P.G. Wodehouse, "The Fiery Wooing Of Mordred" ------------------------------ Date: Thu, 26 Sep 1996 09:29:12 -0400 From: Biffyshrew at aol dot com Subject: Yeah, but how well could you draw their ideograms? Stewart Murrell <100042 dot 1476 at CompuServe dot COM> wrote: >By the way, I noticed that the spine of the album says "The League of >Gentlemen/Robert Frips". (Oops.) This is on a Japanese copy of the album I own a Japanese LP copy of Larks' Tongues In Aspic that has RF's picture captioned "Robert Flipp" on the insert. Everything old is new again, Biffy the Elephant Shrew again. @}-`--}---- Visit me at http://users.aol.com/biffyshrew/biffy.html "She spat playfully, 'I'm ahead of you, Johnny'...I studied the swell of her enormous boobs and said, 'Baby, you're so far ahead it's BEAUTIFUL!'"--Vivian Stanshall, "Big Shot" ------------------------------ Date: Thu, 26 Sep 1996 09:32:30 -0500 From: lisaw at weightman dot com Subject: A Very Crimson Wedding This may be a continuation of an inane thread, but I couldn't resist: Charity Dredge wrote: >I hail from just south of the Rosebud Sioux Indian Reservation, South >>Dakota. The exit march to my June 22nd '96 outdoor wedding was Matte >>Kudesai. LR replied: I also had Matte Kudasi in my wedding. It was for our first dance at the reception . That was in June 1989, in New Jersey. Charity, everything's been just peachy since. And I chime in: Well, we didn't have Matte Kudasi, BUT -- we used the sun/moon from LTiA for our program cover, we danced to Walking on Air, and put the lyrics in the program, and during our, for which we made a tape (knowing that no DJ would have a chance of meeting our eclectic musical requirements) we played Heartbeat (KC & Sylvan), One Time, Two Hands, and Belew's Big Blue Sun. Eno's I'll Come Running to Tie Your Shoes also was on the tape. The best part was that all during the cocktail hour, my husband's best friend/man (Hi Phil) kept coming up to him and saying "Hey man, they're playing..." And my husband would reply -- "Yeah, Phil, we MADE THE TAPE!" October 7 will be our first anniversary, which is appropriately observed with gifts of paper -- so feel free to send me your "King Crimson wedding story." Lisa dot dot dot dot dot dot dot lisaw at weightman dot com. "There is no passion like that of a functionary for his function." Clemenceau. --------------------------------------------------- | Lisa Wetherby * The Weightman Group | | lisaw at weightman dot com * Philadelphia, PA | | (215) 977-1820 (direct) | | (215) 977-1850 (fax) | | The Weightman Group/Public Relations Team | --------------------------------------------------- ------------------------------ Date: Thu, 26 Sep 1996 15:15:57 -0400 From: mcarton at bancroft dot com Subject: The Great Deceiver Been awhile since I have posted here. Hope all is well with the World of Crimheads. I don't know how or why I decided I HAD to have "The Great Deceiver" set, but I finally picked it up last Sunday at Tower Records on Bay & Columbus in San Francisco. For anyone else who lives here in the City, only one copy is left there. In the name of all that's holy, pick it up. This set is unbelievable. Since I can listen to music here at work, I have gone through several playings of each disc, and, while I may be treading over once trod-upon ET ground, I think I should mention that the various versions of "Starless," "Fracture," and "The Talking Drum" are all wonderfully brilliant. While RF refers to the 72-74 band in the liner notes as (merely) "world class," it is my belief that this particular incarnation must be considered one of the greatest bands ever to perform. Certainly they have to be better than new Rock-n-Roll Hall of Famers the Bee Gees and the Jackson 5. Again, I am sure I am repeating repeating repeating sentiments already expressed in the past. And, needless to say, I more than look forward to the '69 band's live set that RF is releasing (soon, I hope). Other note: while reading RF's TGD liner notes on MUNI, I found myself laughing out loud with his caustic reference to the music industry ("It sucks.") A 20-something kid walked over to me from across the streetcar and asked what I was reading: he and his girlfriend saw me laughing and wanted to know what the joke was. When I told him, he gave me a quizzical, apologetic look, as if to say, "Uh, who?" Final note: saw a copy of Sylvian/Fripp "Darshan Mixes" at Camelot Records at Embarcadero Two (downtown SF). If any Bay Area folk haven't heard it, it's well worth the $20 they're selling it for. Lay-tah, Matt Carton ------------------------------ Date: Fri, 27 Sep 96 15:22:19 EDT From: Clay Gaunce Subject: Thank yous My undying gratitude to Dan Kirkdorffer, Jose Douglass, Markus Schneemann, Tim Siefkes, Sean Haider, Charity, and the other ETers who so generously took time to respond to my inquiry re RF's early years. I received answers not only to my specific questions, but also information and leads which will enhance the script I'm working on beyond my original intentions. A thousand thanks! Clay Gaunce ------------------------------ Date: Fri, 27 Sep 1996 21:28:54 -0400 (EDT) From: Darren Hess Subject: Re: An emotional discourse While it is useful to speak in terms of dualisms it is not always advisable. The opposition that is set up in many recent posts is that of emotion vs. non-emotion with regard to the experience of listening. There have been arguments siding with one or the other and arguments for a more diplomatic relation ("they're both good"). Can we be so sure of the rift between thinking and feeling? I suspect our plasma is not so digital; our emotions run along an uninterrupted continuum. I feel and cogitate with every experience. The intellect IS an emotion, a "cold" emotion. Cold emotions are distasteful to some. A non-linear logic is at work--is working with--my hot heart. Yes, the rift remains. But its status is appealing in its uncertainty. King Crimson exercises and strengthens the head and the heart. Their ability to evoke and provoke that interplay should not be overlooked. -Darren (just say yes to chaos) ->!<- How little is required for pleasure! The sound of a bagpipe. Without music, life would be an error. The German imagines even God singing songs. -Nietzsche ------------------------------ Date: Sat, 28 Sep 1996 14:20:06 +0100 From: GW Subject: Bill Bruford - interview I don't know whether this was mentioned before, so please excuse redundancy: German radio "WDR5" did a short, but interesting interview with Bill Bruford and broadcasted it on September, 24. (incl. the 1974-track from the 21stCSM - EP). The interview ist available on the web at this URL: http://www.wdr.de/radio/hfkst/frb_fr.html (german text / english soundfiles. Nice to hear the voice of Bill Bruford; sounds very british ... ;-) Ciao Gerd W. ------------------------------ From: Matthew Nolan Date: Mon, 30 Sep 96 14:31:16 BST Subject: KC in Japan Video? Someone mentioned previously the imminent (October '96) Poss Prod release of the '95 Thrak tour Video from a concert in Japan. Does anyone out there know if DGM are going to do the same here in the UK? If not, will PAL/VHS videos be available from Possible Productions? Email me privately or to ET, as I'm sure others will want to know. Thranks in advance! Matt Nolan. ------------------------------ End of Elephant-Talk Digest #310 ********************************