Elephant Talk #328 (as text)

14 January 1997

Date: Sat, 11 Jan 1997 16:35:41 -0500 (EST)
From: agower at netcom dot ca
Subject: Double Trio in review

When I discovered KC, I had listened to other "progressive rock"
groups. Yes, Genesis, Pink Floyd, ELP. I always hated The Moody Blues
though. After listening to the CD in the store, I acquired Sleepless
(compilation covering FrByFr). 21st CeSchMan is still one of my favorite
tracks. Soon after I heard about the new double trio. I couldn't believe
the timing. VROOOM was quite a revelation. I enjoyed every track
immensely. The compactness of Cage (and its subsequent non-inclusion on
THRAK) appealed to me. THe following releases strike me as incomplete
follow ups to that release. I found the material on THRAK to be in a
similar spirit to VROOOM but with fancier overdubs. I felt that with such
an amazing group of musicians and an interesting instrumental lineup, they
could have made much more of a "mind-blowing" record. Then again I am
unable to choose a favorite KC album because all of them are great (kind of
like choosing a favorite colour. I like colour period). My view of this
album as a failure to meet expectations may be tainted due to reading the
Bruford-Mastelotto interview in Modern Drummer (great interview!).

B'BOOM proves as always that good live KC will always be better than studio
KC (If Fripp knows this why does KC even bother with studio
albums?). Unfortunately, I feel the release of this album may be due to
commercial reasons more than artistic ones. Fripp stated that these shows
were bootlegged and released, the release may be an attempt to combat that
bootleg. Sure I'm happy that these shows were released. I liked "Two
Sticks/Elephant Talk", "The Talking Drum" and both "B'Boom/Thrak"s. I just
feel that a live album would have be better recorded later on in the tour
as the band gelled into a tighter unit. You must note that the concerts
were actually recorded before the recording of B'BOOM. THRAK ATTAK is
frankly very difficult. I can't imagine anyone saying that they whole
heartedly love the entire album (but in this forum somebody probably
will!). A theoretical experiment that I can't comment on obejectively not
being able to display the listening intensity and concentration required to
fully comprehend the players' performance intensity and concetration.

Honestly, I fear that Fripp may be becoming too comfortable with the
current players. I love BB but he's been in the band for ages, AB & TL are
also great. I think that KC should not be about the players, but an
attitude towards the performance of music. Using the same performers
provides an environment that may not be entirely suitable to the KC
ethos. Too much organized and not enough anarchy. If KC is just an
attitude, how come Fripp is always in the band, maybe he's too comfortable
with himself. The world is Fripp's oyster and we just listen to it!
November is too long to wait for new KC.

Andy Gower
agower at netcom dot ca
Beautiful British Columbia

PS. Hey y'all Fripp doesn't perform on Eno's Taking Tiger Mountain (By Strategy). Why does
PossProd sell it. Because those four albums kick ass!!! Buy them!!!

Date: Sun, 12 Jan 1997 09:42:16 -0500 (EST)
From: terry kroetsch f <tkroetsc at mach1 dot wlu dot ca>
Subject: Re: Muir/Bailey//S.A.
Finally found the Jamie Muir/Derek Bailey CD *Dart Drug* in Los Angeles.
Highly atmospheric and recommended (Incus CD19). Speaking of ex-Crimso
members, how many CDs has Gordon Haskell released. Can anyone tell me
titles and label? tkroetsc at mach1 dot wlu dot ca

Mostly Off-topic: I believe there are a number of South Americans on the
list. I have a chance to go anywhere in S.A. for no money (one week). Any
suggestions? I have kinda entertained the idea of Buenos Aires (3rd week of
Feb) - any thoughts on weather, CD shops and concerts, please contact me
privately: tkroetsc at mach1 dot wlu dot ca THANKS. Terry K

Date: Sun, 12 Jan 1997 11:34:21 -0500
From: Philip Curme <100535 dot 433 at compuserve dot com>
Subject: Elephant Talk Digest #327
The various American interpretations of the Easy Money lyrics are very
amusing....but I am afraid the truth is very staid in an English sort of
way....  The much debated line reads as follows....  "They caught me naked
once" ....  not an item of confectionery in sight !  

Phil Curme

Date: Sun, 12 Jan 1997 09:48:08 -0600
From: whittakd at lib dot enmuros dot cc dot nm dot us (dmw)
Subject: Boots and Imports
>The Japan video, so far as I know (which does not mean anything), was shown
>on MTV and is not available "legitimately".  I taped my copy from the
>original broadcast and am disappointed in that it was not even a whole show
>(Is there more available?).

It was released legitimately, I rented a copy from a really cool video
store a few years ago. The same store had the Belew and Bruford
instructional tapes.

>The salesperson at "one of those IMPORTS stores" was not happy when I
>mentioned the word "boot", (He replied, "Would you like a bong with that?";
>actually, most "head shops" don't have a problem with you using the word
>"bong", as long as you don't mention what you'll probably smoke in it.)

I am not sure about the rest of the world, but in Texas if you say "bong"
instead of "water pipe", you will be asked to leave. One of my friends was
making a student film and went to a "head shop" and asked for a bong, he
was asked to leave. More recently, an old roommate got a job at a store
that sells "water pipes" and she was told the same thing.


                                David Whittaker
                          whittakd at lib dot enmuros dot cc dot nm dot us
                        668 - The Neighbor of the Beast

Date: 13 Jan 97 05:16:45 EST
Subject: From Robert Fripp
Monday, 13th. January 1997.

Dear Team,

1. Harvey Keitel and Kevin Spacey should play Fripp in "King Crimson: The
Movie", in alternating scenes. Who cares if anyone's confused?

2. Stop arguing about Fripp's attitude towards you, etc., and acknowledge
he's the greatest guitarist in the world.

3. Would ET readers be kind enough to consider, and respond, to these

i) What is the nature of the relationship between the audience / enthusiast
/ fan and the musician?

ii) What are the rights of the audience / enthusiast / fan?

iii) What are the responsibilities and obligations of the audience /
enthusiast / fan?

iv) What do you personally, as an audient / enthusiast / fan expect of your

v) What do you personally, as a KC-RF audient / enthusiast / fan expect of
Robert Fripp?

Since 1969 I have received reviews, articles, interviews, commentaries, and
letters from fans and enthusiasts numbering in the thousands. Since it
began, I have scanned and read Discipline / Elephant Talk. For several
years I have undertaken this as part of my personal discipline. As part of
a discipline, the question is always: how can I use this to help me serve
my aim?

No other musicians of my acquaintance or knowing read as widely as myself
the commentaries and chit-chat concerning them. My hunch is because, in
various ways and for various reasons, the musicians often get hurt,
sometimes injured, and even damaged. To put it another way, most public
commentary has negative "side" (in the country use of the word) to it. To
put it differently, the net benefit is negligible. And to get to net
benefit, you have to read it all. I don't see how anyone would want to read
it all for fun.

My personal approach is to either read everything or nothing. In between
can be harmful. If you read nothing, it doesn't reach you. If you do read
it all (pretty well) probably the net balance (in a love / hate, nice guy /
creep way) simply balances.

Whenever someone gets really nasty or personal, it doesn't touch me.
Firstly, because it has nothing to do with me: the commentator is
commenting on themselves. Secondly, it's like walking through a farmyard:
if you step into a cow pat, it's not particularly informative, or
instructive (other than telling you to wake up and look where you're
walking) but, because you wear Wellington boots, it doesn't touch you
either. Although it may make a nasty smell. And then you wash your boots.

Occasionally I receive a letter, or see one in ET, that gladdens my heart:
someone has actually seen how it works! Clean feedback is a joy, a reward,
a friend. It is impersonal.

Where the elephantosities touch upon the relationship between musicians and
enthusiasts, fans and followers, my responses have moved between
bemusement, amazement, laughter, anger and sheer disbelief that mature and
reasonable people might come to their expressed opinions and judgements,
often with some heat, on the basis of a clearly developed sense of what
they expect of the artists they patronise; umbrage when these expectations
are not met; with clearly implied assumptions on the part of what the
artist's position is / should / might / can only be, and certainly is
despite anything, in any case, anyway, because I've bought my ticket with
hard-earned pay and that gives me rights.

So, what rights? What obligations? What expectations? What assumptions?

4. Very little in my life is arbitrary.

In all the comments on "Fripp's 'tude" I don't recall anyone commenting
that my onstage and offstage behaviour might simply be practical, and in
some way serving my aim. Also, that this is itself part of an ongoing
exploration and learning curve for me of how I do what I do.

This is an alternative approach to "Fripp's a jerk, so who cares?" or
"Fripp's a genius, so how can we know?" lines of enquiry.

If any commentator did burble and banter about that one, the first question
is probably "What is Fripp's aim?" before moving to how this eccentric /
standoffish / egotistical / rude / kind / brilliant Englishman's behaviour
might serve that aim.

5. Actually, I am very grateful for the level of public support which has
enabled me to remain a musician, or at least a guitarist, for 38 years. My
own feelings towards this public are intimate, yet utterly impersonal.  And
sometimes personal.


	Robert Fripp.

Date: Sun, 12 Jan 1997 12:00:43 -0500
From: Datboy <datboy at i84 dot net>
Subject: Re: Lyrics on Easy Money
I can't believe this has gone on for so long ....

I always heard it as:

Well I argued with the judge
But the bastard wouldn't budge
'Cause they caught me licking fudge
And they never told me once you were a minor.

Of course, the words can change slightly, but I've never heard "eating
fudge" and it sounds funny to my ears if "once" becomes "that" -- I've
never heard JW sing it that way.  It loses its punch and doesn't
communicate the shock of discovering the girl was underage if it's "that."

One would think the interpretation would be narrow, considering that the
song seems to be totally debunking the rock 'n' roll myth -- you know no
work, much booze, much sex, and a wild, fun life, more money than God, the
money comes easy (it's the name of the song), etc.  After all it is
something that Fripp seems to enjoy doing.

From: "Brown, Ken" <BROWNKJ at imsint dot com>
Subject: Clouds Above Mercury follow-up?
Date: Sun, 12 Jan 97 11:57:00 EST
Well nothing Torn as done as come close to touching the immortal 'Clouds
Above Mercury'. He has done others that are close. Besides 'Polytown', with
Karn and Bozzio. There are his two most current solo cd 'What Means Solid
Traveler' and 'Tripping Over God'.

More obscure Torn cds that are is the same mode as CAM are Mark Isham 'The
Beast' soundtrack with Torn, and The Lonely Universe self title cd with
Karn, Mike Lambert and Mike White. All recommend to anyone who wants to
hear torn's monster playing.

Keep the Faith (in the music)


Date: Sun, 12 Jan 1997 13:18:43 -0500 (EST)
From: Emuguy5830 at aol dot com
Subject: Bill's humor
first, thanks to everyone who replied to my CAM post.  Everything was very
helpful (and I'm hoping I'll one day have the money to buy some of the

Anyway.  I read this in the Yes Stories: Yes in their Own Words book by Tim
Morse and thought some of my fellow et'ers might get a kick out of it.
This is quoted from Bill Bruford in 1994.

"I love seeing the whites of an audience's eyes instead being stuck in the
back and seeing John Wetton's ass.  Life for me is a series of asses that I
played behind.  Adrian Belew has got a very nice ass, slim.  John Wetton's
is a little bigger.  Jon Anderson's is very small.  Nice legs, lousy ass.
It's a series of asses."

Maybe that's why he took to walking around, drum in hand, during "Sheltering

Matt C

Date: Sun, 12 Jan 1997 14:54:59 -0500 (EST)
From: Steven Sullivan <sullivan at gwis2 dot circ dot gwu dot edu>
Subject: Tacuma/USA/'bootleg' video
Three unrelated issues that demand my input, from the latest ET:

1) The Jamaaladeen Tacuma album that Bruford plays on is called
"Renaissance Man'.  I think it's still in print on CD; at least, I was able
to buy one a year or so ago, to repleace my LP.  Bruford plays on only
*one* track ("Sparkle") where he's joined by Vernon Reid on guitar.  The
rest of the album is certainlyh interesting enough too, fusion with
distinct free jazz tendencies (undertandable, since Tacuma played with
Ornettee Coleman). There's also a chamber piece for bass guitar and string

2) The version of 'Schizoid Man' that appeared on USA (the LP) was, I
thought, derived from the PRovidence, RI show, not WIlmington DE.  It's the
same one found closing the Providence show on the Great Deceiver boxed set.

3) SOmeone said that the 'Live In Japan' video that was shown on MTV in the
80's can only be a bootleg if you find it in stores.  This is incorrect.
THis video was released officially on laser disc (and possibly on VHS, I
don't remember) in fuill-length form (the MTV stuff was an excerpt).  I
used to see it in stores but it's likely long out of print now, except as
an import.  I distinctly recall it being used by a stereo magazine that was
reviewing home theater sound in the 80's.  This and the Frejus show were
the only official video KC available for many years.

Date: Sun, 12 Jan 1997 15:32:08 -0500 (EST)
From: Roberto Galvez <contacto at amauta dot rcp dot net dot pe>
Subject: Re: Elephant Talk Digest #327
>From: Matt Walsh <MATTW at smginc dot com>
>Subject: Peter Hammill
>Date: Fri, 10 Jan 97 15:11:00 PST
>Does anyone have Peter Hammill's "X My Heart" album? I am debating on
>buying it and thought I'd see if I can get some opinions. I'm not too
>thrilled with the song on the "Sometimes God Hides" sampler. but I like his
>work with VDDG, and have his "Room Temperature" live CD, which is OK.  If
>anyone can give me a description of the album and their opinions of it, it
>would be greatly appreciated. Of course, respond to me directly, no use in
>wasting bandwidth.
>Matt Walsh
>mattw at smginc dot com

I have it,and my opinion is that it's a beautiful,mature work.Hammill has
changed a lot,and in recent years his style has become quiet,calmed,instead
of the violence.But that peace was a little boring too.  In X my Heart he's
returned to some aggresive songs (but you'll miss his unique madness of
early records).However it has really excellent songs.  If you're into the
'Room Temperature..' mood ,you'll appreciate it.  I think Hammill has
reached the status of other mature and excellent songwriters like John
Cale,Van Morrison,Leonard Cohen,Richard Thompson or Lou Reed.He has almost
left progressive rock styles,but he's producing honest and intimate
music.(Also,I would like to hear another collaboration with Fripp .Does
someone here know the song 'The Birds' from Hammill's 'Fool's mate'? it's a
delicate song with a subtle Fripp ).


Date: Sun, 12 Jan 1997 15:32:06 -0500 (EST)
From: Roberto Galvez <contacto at amauta dot rcp dot net dot pe>
Subject: I really miss the saxes and flutes
Hi !I think few people here talk about 'Lizard' or 'Islands'.Over the years
I had different favorite KC LP's (Red,ITCOTCK,Lark ...)  but ,right know I
think 'Lizard' is the most obscure,advanced, mad,and interesting Fripp work
to date ,as a composer.(excuse me ,IMHO).  The mix is excellent : a Jimi
Hendrix-alike voice (Gordon Haskell), Jon Anderson appearence,the insane
Keith Tippet,a strange Bolero,the savage Cirkus,and one of the most satanic
solos of our dear friend RF,the finale of The Battle of Glass Tears.  But
what I really miss from the old KC is the use of winds (saxes,flutes,etc).
I'm happy to hear again the mellotron in the new KC ,but it would be
interesting to enjoy a guitar-sax duel also, as 'The Sailor's Tale' and
'21st century ..'.  Peter Hammill's solo career still plays with his old
partner and sax player,David Jackson ,who keeps the spirit of the old VDGG
in many songs.  In that case,'Red' is an excellent compilation of all KC
styles (pre-Belew).  (I love Mc Donald and Collins playing in 'Starless').




Date: Fri, 12 Jan 1996 22:32:13 +0100
From: GW <removed at users dot request>
Subject: Easy Money - lyrics
For that EASY-MONEY - threat:  these are the lyrics
(according to the 'Chasing The Dragon'-booklet) :



Your admirers in the street
Got to hoot and stamp their feet
In the heat from your physique
As you twinkle by in moccassin sneakers

Well I argued with the judge
But the bastard wouldn't budge
Cos they caught me licking fudge
And they never told me once
You were a minor ...

Easy money

With your figure and your face
Strutting out at every race
Throw a glass around the place
Show the colour of your crimson suspenders

We could take the money home
Sit around the family throne
My old dog could chew his bone
For two weeks we could appease the almighty

Just making easy money ...



Date: Sun, 12 Jan 1997 19:28:49 -0500
From: James Poulakos <jcp at gsu dot edu>
Subject: Fripp on Bowie: _Low_?
I can't remember if Fripp plays on any track of _Low_, an Eno/Bowie album,
but it has cool Eno tricks and guitar tidbits from other players that might
appeal to fans of _Scary Monsters_ or Eno/Fripp collaborations, IMO. If you
do wish to check it out and are scouring the cut-out bins, look for album
cover with a photo of Bowie, in profile, sporting the slit-pupil eyes he
wore in the film _The Man Who Fell To Earth_. He stands against an eerie
orange sky. Because I recognized this photo as linked to the movie, I
ignored this album for years, but when I finally heard it, I dug the
jangly, angular guitar and Eno's tape manipulations. IMO, the coolest Bowie
album next to _Scary Monsters_.

From: "Weissenburger - Jeremy S." <jeremysw at umd5 dot umd dot edu>
Date: Sun, 12 Jan 1997 23:11:16 -0500
Subject: Earthbound, boots, and Hendrix
That sums it up nicely:

>From: Andrew Dietr Miller <ytsejam at UDel dot Edu>

>I recently bought The 21st Century single, and am very impressed with the
>live version taken from USA I live from Wilmington Delaware.  I thought
>that was really interesting too, considering I live in Wilmington and have
>all my life.  Does anyone know where that was recorded at?  And were is the
> rest of USA I from, and finally can anyone get me a copy of that?

I'm sure there's a lot of responses to this, but the album you're looking
for is "Earthbound," NOT USA.  USA is the S&BB line-up, "Earthbound" is the
Islands tour.  In an older ET were the dates and times for the album.  Here
they are again:

1.21th Century Schizoid Man (11.45)
2.Peoria (7.30)
3.The Sailors Tale (4.45)
4.Earthbound (7.08)
5.Groon (15.30)

1 and 5 recorded in Willmington, Delaware, 11.Feb.1972
2 recorded in Peoria, 10.March 1972
3.recorded in Jacksonville, Florida, 26.Feb.1972
4 recorded in Orlando, Florida, 27. Feb. 1972

The players:
Robert Fripp: electric guitar
Mel Collins: alto, tenor and barritone sax, mellotron
Boz: bass, vocals
Ian Wallace: drums

Re: FISHBOY <AACUNZO at ccmail dot sunysb dot edu> and the meeting of Hendrix & Fripp:

It is known that Hendrix did meet with the late 60s Crimso group.  There is
a boot (more on the b word later) with Hendrix, Lake & McDonald, I think.
But the sound is so bad from the person I knew who had it I never pursued

As for Hendrix/Fripp, I see no reason for him to lie about it.  I remember
him on an MTV Documentary about Hendrix (opened with Fripp, ended with
Belew).  He may have gotten the dates mixed up, but what would he gain by

To Christopher Jepson :

"Larks' Tongues In Aspic" was coined by Jamie Muir, not Fripp.  The sound
of the words together sounded good, that's all.

From: Daniel Wright <danwright at bigfoot dot com>

>Let's stop this BS and call bootlegs bootlegs!
>There are legitimately released imports, and then there are bootlegs.

This is true.  It's just that any time the word bootleg comes up, there are
some people who get upset due to its legality.  This is why people try to
skirt the issue by calling them "imports."

>The Japan video, so far as I know (which does not mean anything), was shown
>on MTV and is not available "legitimately".  I taped my copy from the
>original broadcast and am disappointed in that it was not even a whole show
>(Is there more available?).

Which Japan show?  95 or 84?

>There is a need to distinguish the two.  Fripp has been shallow enough to
>be anti-boot, but little does he realize that most people who buy boots or
>trade them already have everything they've released.

I think he does.  I think most bands realize that many boot collectors are
fans.  Perhaps overeager fans, but fans nonetheless.

>If Fripp (or anyone else) is really worried about boots, let them do
>what Frank Zappa did, and release everything that was ever bootlegged on
>CD, from the best copy available, which is bound to be better than
>anything any greedy bootlegger who will charge you $25 a disc can ever
>expect to reproduce.

Fripp decided to do one better by coming out with TGD set.  Most CD boots
don't really have a lot of their improv material on it.

>Fripp, BTW, is not immune to greed, and taking advantage of those of us
>who will buy anything we don't already have.  The "abbreviated",
>"compact", "concise", "Young person's guide" and most especially Frame
>by Frame are all examples of this.

Well, each artist's group tries to come out with a greatest hits package.
I, for one, have not bought the concise or abbreviated versions.  Most of
the time greatest hits packages are for casual listeners who might want a
starting point but not buy every album.  BTW, the only two that are now
regularly printed are "Concise" and "FbF," right?

>Great Deceiver was an excellent effort and is the best release I own of any
>Crimson, save possibly for "Un Reve Sans Consequence Especie", which is of
>the same era - even though the date is incorrectly labeled and the cover
>art is unimpressive.

Depends on which version you get, I guess.  Isn't this show the most


From: "Mathews, Thomas J." <tjm4 at NCH08A dot EM dot CDC dot GOV>
Subject: Trey's hair / Luscious Jackson
Date: Mon, 13 Jan 97 07:52:00 EST
Trey was recently seen with a new haircut. It was described to me as short,
very short. I would imagine this is, for some people, a big deal cutting
off a decades worth (?) of hair. I wouldn't know. You heard it here 1st.

In the most recent _Option_ in an article about "Luscious Jackson" band
member Vivian Trimble says: "...got into a multitude of weird things like
Can and King Crimson."  The next sentence reads: "Hearing this confession,
the other members of Luscious Jackson elbow each other and snicker."

I know nothing about L.J. (except the cool name) but found the band members
reaction interesting. What's so funny? Liking KC is weird and humorous to
others?  I think Vivian should drag her fellow band members kicking and
screaming to a show - they won't be giggling after that.

(short sigs are better)  tj

Date: Mon, 13 Jan 1997 14:02:05 +0100
From: Ferenc Riesz <riesz at falcon dot mufi dot hu>
Subject: Thrak in the Middle Ages; Tritones
Hi, if you want to hear Thrak-like music from the Middle Ages, check out
"Music from the court of King Janus at Nicosia" by Huelgas Ensemble (SONY
Vivarte label). It's mindblowing music from XIV and XV century with
extremely complex rhythms, mainly for voices but with some instrumental

A somehow related question: is the strong affection of Mr. Fripp to
tritones connected with the prohibition of tritones in mediaeval church
music (tritones were considered as the Devil in music). (It would be an
interesting thread to track the role of tritones in Fripp's music and its
evolution. Even worth a Thesis !!)


Date: Mon, 13 Jan 1997 14:19:00 -0500
From: jmc at sdr dot utias dot utoronto dot ca (James MacKenzie Crawford)
Subject: Re: Status of Soundscapes...
Dave Lane asked:
> As for Fripp content, does anyone know anything about the releases of
> "That Which Passes" and "Soundbytes", both of which were supposed to be
> out in December according to PossProd?

I just happened to ask the same question to Mark Perry and this was his

> The box will be coming(scheduling is up to England and they're not sure) anf
> That Which Passes is scheduled for early February.
> Mark

See ya,
James C.

Date: Mon, 13 Jan 1997 15:16:03 -0500 (EST)
From: Jeremiade at aol dot com
Subject: The mind is a hopper...
A few mentions of various, pointless values:

Was on vacation in the Augusta, ME area a year or two ago, watching TV
during a lull in the fishing, and caught a PSA (public-service
announcement) dealing with delinquient children (as in "always know what
your child is up to or Junior's bound to wind up dead, in jail, or both").
Background music was "Dig Me."  Insane.

Yes, there's a lull here, too.  I wish Wetton would just set us all
straight (and knock all of us on our arses).  I'll now never be able to eat
fudge again.

Finally, would the gent who was attempting to cook a Turducken please weigh
in with the results?  I'm curious as hell to find out!  Thanks.


Date: Mon, 13 Jan 1997 18:08:14 -0500
From: rhino at indy dot net (rhino)
Subject: DVD's--Worth the Wait?
>A number of people have inquired about laserdisc versions for King Crimson'=
>Live in Japan video and Yes' Keys to Ascension video.  Presently these are
>only available as expensive Japanese imports which we can get.  The King
>Crimson laserdisc is $74.99 and the Yes laserdisc (last years perfomance at
>SLO) is $134.99.  The latter is about 150 minutes.  As far as U.S. release,
>Discipline has only released the VHS version of the Crimson video and has n=
>plans at this time to release a laserdisc in the U.S.

Having first purchased the entire KC collection on LP, and then on
Definitive Edition LP, and then on Definitive Edition CD, am I crazy to
think that all the KC related video will be placed on Digital Video Disc?

Recently there were technological standards agreed upon for the production
of DVD's. (remember the beta vs. VHS wars?)  With this in mind I have to
believe this new medium will be utilized.  I for one don't want to
repurchase KC material every time it's reissued.  I've been that route and
it's expensive!

The downside is I'll do without longer than I'd like because I think that
tape in any format is going the way of the dinosaur. So if anyone has any
keen insight to the DVD issue with particular reference to KC's output, I'm
sure we'd all like to know.  If DVD releases are an inevitability, then
I'll wait.  Then there will only be one format change left to worry
about--flash chips!

Cheers,  rhino

Date: Tue, 14 Jan 1997 11:06:56 +1000
From: j dot keens at rmit dot EDU dot AU (Jeremy Keens)
Subject: giles muir  and cunningham
As an old poster who got waylaid for a while and is now back, I don't know
if this has been mentioned, so here goes

David Cunningham's piano label has released some interesting back
catalogue, the relevant one of which is

piano502: giles/muir/cunningham: ghost dance

Have only had a chance to listen through once, but it seems like a very
varied, percussion based soundtrack. There are some nice relatively solo
tracks (jamie on thumb piano) plus more complex ones. not very crimsoid,
but worth looking up.


Date: Mon, 13 Jan 1997 18:49:45 -0600 (CST)
From: Andrew Harmon <aharmon at siue dot edu>
Subject: "Prog" livelihood
	In respose to E.B.'s post about how there is no resurgence in
progressive music, I would like to point him in the direction of indie
labels.  Sure the recordings aren't for audiophiles and there are very
important reasons why these bands are not signed to majors yet.  But the
music is made not to get on MTV or to make tons of money, but for the
music's sake (sound familiar).
	Prog (I hate that word) will never make a comeback like punk, disco
(shudder), or ska unless some group of execs high up in the capitalist food
chain decide that it would be profitable.  The very "definition" of
progressive art goes against this mentality, in my opinion.
	Progressive music is made up of small victories and large
sacrifices (wow, I really DO sound pretentious).  The fact that Fripp could
stand at the conference board at Virgin Records or whatever and tear the
proposed contract up in front of them baffles me.
	Anyhoo, indie music is the way to go for Crimson-influenced (NOT
Crimson-like) music, if you can stand the decibel level and the lack of
pure, unabashed virtuosity.  Soundgarden got really lucky, and most of the
Kansas City bands are ever so slowly working their way up, but for the most
part, the only place to find music that I think Crimheads (or at least
their kids) could relate to are still found in smokey basement bars with
bad PA's and a crowd with too much piercing and tattoos.


	** please deposit two bits for the next post **

Date: Mon, 13 Jan 1997 21:39:01 -0800
From: joebeats at ix dot netcom dot com (Lou Levinson )
Subject: Crimson sheet music
Does anyone out here know of a good source for King Crimson sheet music???
It seems a bit hard to come by.

                Many thanx,

                            JoeBeats at ix dot netcom dot com

Mike Stok