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 #329 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 329 Tuesday, 21 January 1997 Today's Topics: Responses to Robert & the "Ask Adrian" project "Beat" & Live sets from the 80's Double Trio bootleg CD Bowie & Fripp Fripp - Hendrix/KC on radio, TV Low, tritones, Ono Ten Seconds KC/Floyd drumming Live in Japan 1995 on Laserdisc Re: Luscious Jackson Got my Live in Japan laserdisc from PossProd Re: Prog [2nd try] ...Kansas City Bands? Six degrees of King Crimson DVD - Sorry, only tech. stuff really Crimson neo-Cloud Re: Announcing Elephant Talk Digest #326 FRIPP, ENO, BOWIE Luscious Jackson/Crimson response "Islands" sleeve BB's "Masterstrokes" Easy Money AGAIN Hands, Minced Words, Wellsprings, Fudge, etc. Larks Tongues, Tritones, and Dire Straits (yes!) CDs for trade Easy Money lyrics Fripp and Bowie Fripp's use of the tritone Re: I really miss the saxes and flutes Re: Peter Hammill Lizard Tony Levin interview? Yngwie Malmsteen ------------------ 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 TO UNSUBCRIBE, OR TO CHANGE ADDRESS: 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: Toby Howard (ET Moderator) Subject: Responses to Robert & the "Ask Adrian" project Hi everyone. My apologies for the delay in getting this issue out -- I've been off with flu. There's a lot of it about in the grim industrial north of the UK right now :-) As you might have imagined, there has been a huge response to Robert Fripp's post in ET#328. And I mean huge! So, what we'll be doing is running a number of special issues containing ETers' responses. Regular ETs may appear in between these specials, depending on traffic. Watch out for the first issue tomorrow, or the day after. I'm very happy to announce that we are running an "Ask Adrian" project. ET readers are invited to send one or more questions for Adrian Belew to answer, connected with his career in KC. Adrian asked me to include this note from him: Now the dust has cleared from "the great debate" I would like to participate in a more positive way with the ET readers which is why I am offering to answer questions for a limited time. Though I am a fan of the earlier records obviously my expertise lies in the 80's and 90's music. Please keep in mind I cannot answer on behalf of anyone but myself so questions such as "What does so and so think of this and that" should be avoided. I look forward to our forum. adrian The procedure: 1. Questions from ET readers should only concern Adrian's work with King Crimson. If you have other questions about Adrian's solo career, please see below. 2. Mail your question(s) to toby at cs dot man dot ac dot uk. 3. Make your subject line "Questions4Adrian" *WARNING*: Mail to any other address or with a different subject line will definitely be ignored! We'll collate the questions, and send them to Adrian who will answer them. The answers will appear in special issues of ET. This project is running in conjunction with Rob Murphree who runs the Adrian Belew list "Big Electric Chat" (rhino at dbtech dot net, http://web.dbtech.net/~rhino/beca.htm). Rob is collecting questions via Big Electric Chat, where the questions will be specifically relating to Adrian's solo (i.e., non-Crimson career). Hence, KC-related questions only from ETers, please. Many thanks to Rob to inviting ET's participation. And many thanks, of course, to Adrian. Looking forward to the questions -- but please remember the correct email address and subject heading. Now, on with the burble... Toby ------------------------------ Subject: "Beat" & Live sets from the 80's Date: Tue, 14 Jan 97 17:46:46 +0100 From: Andrea Today I was listening to "Beat" and suddenly I realized I have this feeling which I've never confessed too much: I really, really, really like this record !!! I think that after "Discipline" this is the best work they've done, definitely much more than TOAPP or even THRAK or VROOM or whatever. I think that the guitar sounds are very different that any other album, drums are extremely "intelligent", especially on "Waiting Man", "Neurotica" is beautiful. In the past I tended to keep this feeling quite, because I've read an interview in the 80's were Fripp told he didn't like it, so I've always thought "if HE doesn't like it, why should I"....but deep inside me I've kept this emotion. And after this, I've also thought that I WILL NEVER FORGIVE FRIPP/KC of not having released ANY live CD of the 80's era. That's outrageous ! While we had two live compilation of the current one ("Official Bootleg" and "Thrakattak), which to me are unsatisfactory (one is not mixed well and the other is too much improv,it deosn't give you the real perception of a live set), we completely miss any live compilation of the most organized, brilliant, fresh line-up KC has ever had. Are we going to get a compilation so late like "The Great Deceiver" ? Best, Andrea ------------------------------ From: "blom0019" Subject: Double Trio bootleg CD Date: Tue, 14 Jan 1997 12:38:37 Hello listeeez, I have been a list lurker for some time, gettting the digest version which I often lose because it is too much for my computer's memory. That's my disclaimer for what I am about to ask: Could anyone tell me(reply privately) if the Double trio bootleg CD recorded in Tokyo, Japan from Oxygen records is the same concert as the video? I will add that this is the 2nd best bootleg CD I have ever purchased(my personal favorite is Radiohead's "Pop is Dead" bootleg from the same Oxygen label). It is a virtually flawless SB recording(I have ripped holes in my car speakers to prove it). I would highly recommend the CD to anyone who has the chance to buy it. Also, agower at netcom dot ca wrote: >"...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." The double trio bootleg CD was recorded well into their tour and is what you are looking for! In the liner notes for B'Boom RF goes into great length at how B'Boom was released to combat the bootlegger sent to tape the argentina shows and how they were poor quality recordings. Well sorry Robert but there are very good bootleg recordings out there as well as very poor ones. =>Double Trio rocks! I will go on to say that I am an avid supporter of bootlegs and will be as long as bands and record labels continue to not allow fans to tape concerts. Grateful Dead and Phish are both examples at how well this can work and benefit fans. If bands would allow taping of the shows, then I could trade tapes for free and not have to spend $30 a CD for the bootlegs. $30 of which not a dime goes to the artists or their record label *and* results in me spending less on their legitamate releases. Although I do spend a ton! That's all. Peace, Trent. ------------------------------ Date: Tue, 14 Jan 1997 13:49:42 -0500 From: sid smith <106050 dot 2211 at compuserve dot com> Subject: Bowie & Fripp Following the numerous contributions about Fripp's work with David Bowie, I thought I'd alert ETer's to a Bowie track which contains several Frippisms. The track is called The Voyeur Of Utter Destruction (As Beauty) from the 1995 album Outside.1. Although Fripp doesn't actually appear, the track opens with a very fast, crosspicking, circular style ala Frame By Frame. This motif appears throughout the song and is probably played by Reeves Gabrells and or Carlos Alomar. Although not really played in a Crimson style, most Crimheads would recognise the influence. I think the album got a pasting when it was released but I would urge people to give it a whirl. It's co-produced by Brian Eno and for anyone interested in how sections of the album were recorded, they can read more in Eno's recently published diary A Year With Swollen Appendices. Sorry this is not directly Crimson related but I thought you'd like to know. ------------------------------ From: SASARMAV%MGMTSTD1 dot Lan dot McGill dot CA at cs dot man dot ac dot uk Organization: McGill University Management Date: Tue, 14 Jan 1997 13:55:35 EST5EDT Subject: Fripp - Hendrix/KC on radio, TV Hello, 1. In ET #327, Andy Acunzo is expressing doubts that the Fripp - Hendrix encounter after one of the first King Crimson gigs in 1969 actually took place, and he can be right. As far as I know, the first time when Fripp mentioned the story was in the booklet accompanying "The Young Person's Guide to KC". The answer to Andy's question could be in the "fine print" of the booklet. (Remember? Always read the fine print.) So, the very last line says something like: some of the mistakes contained here are intentional. I don't remember the exact wording (I don't have the booklet with me), but this was the idea. This warning and the fact that in telling this story Fripp shows an unusual (for him) lack of modesty always made me wonder whether the hand shake was real. Maybe the context was different, or Hendrix' words were different. On the other hand, according to Fripp, that was exactly the first time he sat on a chair during a KC concert. 2. Some people are not happy that they cannot hear KC music played on radio. Still, this can happen when or where you least expect it. I, for one, heard KC for the first time in my life on radio. It was May(?) 1984 in then communist Romania. The official communist radio station had a one hour weekly program dedicated to rock new releases. Of course, 99.9% of the music was made by Romanian or western commercial bands. But, to my surprise, one feature in May '84 was about King Crimson. I had heard about them from a colleague and was eager to listen to their music. Of course, the year being 1984, the subject was Three of a Perfect Pair. Three songs were aired: ToaPP, Sleepless and Man with an Open Heart. They also mentioned a couple of historical facts (1969, 1974, 1981), names and the albums ItCotCK, Disipline and Beat. I was a bit disappointed 'cause I found the music quite commercial. Well, what did I expect to hear, Industry and Dig Me? The simple fact that they dedicated 20 minutes to KC was much more than one could normally expect. In the next ouple of years, I got to know most of their albums, and by 1987 Crimso became my favourite band. In 1988, I guess (times were tough), tiny parts of LTiA p.3 and Industry were used by the Romanian TV for a science program and a TV movie. Coming back to radio, in 1986, the Romanian radio aired Summers/Fripp - Bewitched in four parts during a science fiction program. Yours, Vlad Sasarman sasarmav at mgmtstd1 dot lan dot mcgill dot ca ------------------------------ From: ricjoly at odyssee dot net (Richard Joly) Subject: Low, tritones, Ono Date: Tue, 14 Jan 1997 14:38:02 -0500 >I can't remember if Fripp plays on any track of _Low_, an Eno/Bowie album, Fripp is not on LOW. Guitar players on LOW are Carlos Alomar, Ricky Gardener, and Bowie. >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 !!) Can someone explain, in layman terms, what *tritones* are ? Aside : in her liner notes for _new York rock_ / disc 2 of ONOBOX, Yoko Ono writes : " Sometimes I missed doing some left field stuff. So I slipped in a few things. In YANGYANG, I used a chord progression which in the Middle Ages had been prohibited by the Church as the Devil's chords. John liked that." Could these chords be the same things as the abovementioned tritones ? I maintain a suite of pages on Yoko and I'd be interested in learning more about this Church prohibition. Anyone here with proper pointers to books on that subject and such ? Richard JOLY -- ------------------------------ Date: Tue, 14 Jan 1997 15:08:00 -0500 From: "Jeremy P Lakatos" Subject: Ten Seconds Buy this record. The album itself is very much superior than the track included on the sampler (this part is a segue much more than an actual work). Fairly Crimsonish in parts, some parts similar to Bowie's _1. Outside_, and yes, some parts ambientish like the "Last Three Minutes, 2" (which is five minutes longer and more interesting than the cut on the sampler). A pity it's not more easily available, but Ten Seconds can be found. Sinister Minister <*> Church of Perelandra: http://www.afn.org/~afn39111 DREAMS OF TAKING THE VEIL--a rollercoaster reality ride ------------------------------ Date: Tue, 14 Jan 1997 15:15:45 -0500 From: gamann at barint dot on dot ca (Greg Amann) Subject: KC/Floyd drumming Hello all: I just got my "KC Live in Japan" video. In the same week I rented Pink Floyd's "Pulse Live" video. What a contrast of styles when it comes to staging live shows. Of particular interest to me was how these bands stage drums and percussion. The following observations are based on: a.- watching the video, not an exhaustive interview with the band b.- my experience as an amateur drummer 1.- Both bands use two drummers/percussionists. 1a.- Bruford/Mastelotto are a part of KC and involved in the song writing. 1b.- Mason is a member of Pink Floyd but Wallis is, to the best of my knowledge, a hired gun to flesh out the live show. 2.- Both bands use acoustic/electronic drum rigs (to die for!). 3.- It never occurred to me until I saw the "Pulse" video just how many Pink Floyd songs are at the same slow tempo. KC has a wider range of tempi in addition to the famous "odd" time signatures. 4.- Bruford/Mastelotto never played the same part. Mason/Wallis often doubled the same part. 5.- Bruford/Mastelotto did things I had never seen done before (like Mastelotto doing a single stroke roll full bore on a splash cymbal - he must have an endorsement deal, eh?) whereas Mason was the keeper of the backbeat and Wallis was generally a percussionist in the traditional sense (electronic instruments notwithstanding). 6.- CAUTION - CONTROVERSIAL REMARK AHEAD: I don't think Mason has the chops to play in KC (this is NOT a slag) but I don't think Bruford could sit through playing 2 hours of backbeats with Floyd (this is also NOT a slag). 7.- I'm pretty sure that large sections of the Floyd show were done with a click track. A click track would give Bruford diaper rash. 8.- KC had sheets of plexi arranged in front of the drum kits to control stage sound. The Floyd stage was so big ( I mean different time zones) that half of the musicians probably couldn't hear the drums. 9a.- Bruford and Mastelotto are "handsy" drummers, good technique. (Although Mastelotto does have a weird bend in his left wrist at times). Mastelotto hits the drums HARD. I had read the Modern Drummer interview but it never sunk in until I saw his hardware shaking. There are also times when he seems to be picking up Brufordisms in his technique. 9b.- Mason is a "whole arm" drummer, probably from playing backbeats in the 80 bpm range his whole career. Just a few observations on the different ways to get the job done. HIGHLIGHTS Bruford: The brief glimpse of the smile on his face after the intro to "Indiscipline". Mastelotto: Trying to stuff the butt end of his stick through his Korg Wavedrum while the rest of the band is in melt-down mode. Mason: managing to play drums while looking like he's in a pub with his best mates. Wallis: smacking the living snot of of that great big bell for over five minutes on "High Hopes". QUESTIONS 1.- Bruford occasionally has a thingie in has mouth attached to a string around his neck. Does anyone know what this is? Is it a way to change his Simmons patch while all four limbs are busy? 2.- I know Levin has a hearing problem from years of playing loud rock'n'roll music. Does Bruford? Mastelotto? Or, God forbid, is it possible that Fripp isn's occasionally rude but rather vaguely hard of hearing? Big Fat Smelly Greg gamann at barint dot on dot ca ------------------------------ Date: 14 Jan 1997 15:50:53 -0500 From: "Andrew Krein" Subject: Live in Japan 1995 on Laserdisc After a long wait, the Live in Japan 1995 laserdisc is finally available from Possible Productions. And at a much more reasonable price than other distributors, "only" $57.99 plus shipping. But then, this is about $20.00 less than anywhere else I've seen it advertised, plus you get their prompt delivery service. I ordered it on Thursday Jan. 9 and received it on Monday Jan. 13. Like many others, I feel that the cinematography leaves a bit to be desired but the audio quality and the performance are excellent. Much better than the B'boom cd. The cover art is different from the VHS tape release, very interesting. Watching it with the audio going through my Dolby Prologic Surround system was almost as good as being there. I hope my neighbors forgive me. Tony Levin's powerful and melodic performance was worth the price in itself and it was interesting to actually see the parts that Trey Gunn plays. Adrian Belew's voice was also in great form, particulary on the more melodic songs. 1997 is going to be a great time for fans of the Crimson Family with new live UK albums to be released in the spring, new Wetton live and studio albums, Crimson archival material, more Fripp and Belew solo material, etc. I hope the budget (and my wife's eardrums) can stand it. ------------------------------ Date: Tue, 14 Jan 1997 17:56:07 -0500 From: jmc at sdr dot utias dot utoronto dot ca (James MacKenzie Crawford) Subject: Re: Luscious Jackson > In the most recent _Option_ in an article about "Luscious Jackson" band > member Vivian Trimble says: "...got into a multitude of weird things lik > Can and King Crimson." The next sentence reads: "Hearing this confession, > the other members of Luscious Jackson elbow each other and snicker." I don't know LJ either, but one can only conclude that their reaction means "Yah, like any of us have the ability to play any King Crimson song, now that I'd like to see..." James C. ------------------------------ From: vince Subject: Got my Live in Japan laserdisc from PossProd Date: Tue, 14 Jan 1997 16:56:14 -0600 (CST) I finally received my Live in Japan import laserdisc from Possibl Productions. Great timing since I didn't have to work due to an ice storm(thanks US Mail). I only watched the first side but I was quite entertained. The improv during Thrak is worth the price(~$66 US) alone(IMO). Well, not really but it was pretty damn good. The shake-cam and the zoom-cam are present but not used alot. It's really a treat to watch the double-trio in action. When I saw KC live a month after this concert, I was in the back of the hall. Watching these guys play is half the fun. No complaints about the sound. If I had to complain, it would be because I would have enjoyed more new material. A number of these songs are also on the Frejus and the other Japan video(ToaPP). I could also complain that watching this video makes me want to buy an official Frippertronic- Soundscape kit. Perhaps a virtual-Fripp for my computer or home A/V system. Thanks to Possible Productions for making the laserdisc available in the US. They had the lowest price I had seen. vince ------------------------------ Date: Tue, 14 Jan 1997 16:22:28 -0700 From: gondola at deltanet dot com (Eb) Subject: Re: Prog [2nd try] >From: Andrew Harmon > >Prog (I hate that word) will never make a comeback like punk, disco >or ska unless some group of execs high up in the capitalist food >chain decides that it would be profitable. I've received a few disgruntled emails about my last post (predictably), and all of them seem to attribute prog's lack of chart presence to these evil, omnipotent, conspiratorial record executives. Do you really grant them that much power? And such whimsical manners of conducting business? Do you really think the executives just don't like prog music, so they don't sign prog bands even though it would be profitable? Do they really have an anti-prog agenda? OR...do they just surmise there isn't much loot to be made there? And sure, labels prioritize promotion of their acts, once they're signed -- who gets the grease and the large promotional budgets. Virgin doesn't spend as much promoting King Crimson as Janet Jackson and Smashing Pumpkins, etc. But just "push" doesn't sell records -- the music has to be there. Witness the recent REM, Hootie and Pearl Jam albums, which sold so disappointingly despite huge promotion. (I hasten to mention that New Adventures In Hi-Fi was my favorite disc this year.) And other bands become huge WITHOUT juggernaut promotion, such as the Offspring and TVT-era Nine Inch Nails. Also, realize that the punk/ska revival was a growing grassroots movement for years -- it's only during the last year or two that major labels became heavily involved. They only jumped on the bandwagon (a common strategy). The labels have lots of power, yes, but ultimately they're at the mercy of whoever plunks down their $12 for a CD. They can steer people toward discs, but they can't make them buy 'em. Some people seem to suggest that major labels can casually pick any band, sign it, touch it with a magic wand and whisk it to the top of the Billboard charts. And that labels don't sign prog bands (and subsequently "whisk" them) because they're prejudiced or part of some mad anti-prog conspiracy. Sheeesh. A&R scouts have one goal: to sign bands who will sell records -- regardless of genre. That's the only way they can hold onto their jobs. They don't think prog bands will sell records, so they don't sign prog bands. Simple as that. And I think their suspicions are correct. I think it's important to note that all these underground prog bands always seem to play live as part of massive prog-themed, multi-band "festivals." The individual bands can't sell enough tickets on their own, so the promoters lump a bunch of them together and hope for the best. These homogenous bills also show how isolated from other musical styles the prog cult tends to be. It's just more evidence that the demand for prog music isn't great enough to warrant major-label interest. Sorry to be such a curmudgeon, Eb ------------------------------ From: "Stephen P. Goodman" Subject: ...Kansas City Bands? Date: Tue, 14 Jan 1997 18:58:29 -0800 In ET#368, Andrew Harmon mentioned, "and most of the Kansas City bands are ever so slowly working their way up, .." Which Kansas City bands? Do they have web pages? Is there a place for a guitar loop player there? I've been seriously debating leaving the Los Angeles area, where I've been since 84, for other less-than-policed-states. I used to live in Kansas City when I was young (up till 64), and have fond memories of the area, though I haven't been back since. Is there an amusing coincidence that the initials are the same as our beloved band? Stephen Goodman * Download The Loop Of The Week and more! EarthLight Studios * http://www.primenet.com/~sgoodman/Studios *--------------------------------------------------------------------------- *------------------------------ ------------------------------ Date: Wed, 15 Jan 1997 01:13:03 -0500 (EST) From: MarkDAshby at aol dot com Subject: Six degrees of King Crimson I've been playing around with a game recently that some KC fans might be interested in. Perhaps some of you are familiar with the concept of Six Degrees of Separation -- that is, anyone can be linked with anyone else by mutual associations in six people or less. Since the circles and memberships of my favorite musicians are so often intertwined, I find it interesting to try to link up two disparate groups in such a way, and I've been doing so with KC members. Here's an example: How to get from King Crimson to the B-52s -- 1) Robert Fripp (guitarist for KC) played in the League of Gentlemen with bassist 2) Sara Lee, who was a session musician for 3) the B-52s on songs such as "Love Shack." Or: How to get from King Crimson to Skinny Puppy -- 1) Adrian Belew (guitarist for KC) played on the album "The Downward Spiral" by 2) Nine Inch Nails; Trent Reznor of NIN was previously involved in an underground project called 3) Pigface, which featured drummer Martyn Atkins; Atkins served as producer and guest musician for a couple of tracks on the album "The Process" by 4) Skinny Puppy. Or how about: How to get from King Crimson to Christopher Franke (composer of the music for TV series such as Babylon 5 and Walker, Texas Ranger) -- 1) Adrian Belew (guitarist for KC) once worked in the band of 2) Frank Zappa, as did 3) Patrick O'Hearn, who has also released several solo albums, a couple of which were produced by 4) Peter Baumann, a former member of Tangerine Dream who, while he was in TD, played alongside 5) Christopher Franke, another TD alumnus. It can get addictive if you know your connections. Perhaps some of you might want to try it out and report back to the group on what weird combinations you come up with. I'd love to hear some. Remember, though, no more than six steps. (By the way, if you can't connect KC and Yes, don't even attempt this.) :^D -MDA <---who just learned how to play THRAK today! ------------------------------ From: mnolan at pdd dot pioneer dot co dot uk (Matthew Nolan) Date: Wed, 15 Jan 1997 11:35:37 +0000 Subject: DVD - Sorry, only tech. stuff really DVD - Digital Versatile Disc - blue laser technology, up to double layer double sided capacity - about 18 Gbytes (only about 8 Gbytes for recordable - single layer only), 5 inch disc like CD, more compact than LaserDisc. CD-rom, video, multi-media, interactive, etc. applications. Audio CD-like random access. The death of VHS tape? Maybe, especially once DVD-r (recordable) is available. The first players/drives haven't really taken off in Japan (released Nov '96) and this is the place where LaserDisc is most popular. It is early days though, people are waiting for full compatibility with recordable versions. MPEG-2 Video compression - varies in quality dependant upon the choices at the encoding stage, but can be well up to the 'videophile' standard. The decoding is less critical - no choices to be made, just following 'instructions' (I know, I design these chips, well major parts of them at least). As for KC video releases, only DGM and Possible productions would know. Whatever, it will be at least a while yet. There must be a lot of footage about in various archives. I'd be very interested to see such things on whatever format. Old BBC recordings - The Old Grey Whistle Test for example, all the other TV companies around the world, record companies' own produced material, there's a wealth of it out there and a fairly large market I'd imagine. But whether such a project is of any interest whatsoever to Robert Fripp and friends is up to them. If it's a choice between time spent on that or time spent on new musical explorations I know what I'd choose. Enough musings for know. Matt Nolan. ------------------------------ Date: Wed, 15 Jan 1997 10:41:59 -0500 From: chris price Subject: Crimson Good day fellow enthusiasts: I have been listening to King Crimson's ITCOTCK on vinyl off and on for some time now, but it wasn't until just recently that I began to truly appreciate the incredible musicianship and sound of the record. I have always loved bands such as Yes and Pink Floyd, but something extraordinary struck me about Fripp's tremendous guitar work combined with the talents of Giles, MacDonald and Lake. Now I am extremely interested in the Crimson history and other albums that could strike me as significantly as ITCOTCK. I went to the record store the other day and saw several, but I wasn't sure what album to move on to next, if anyone can offer assistance to this ardent follower on this matter, please help. Thanks, cp p.s. being a guitarist myself, I was awestruck to actually see a message from Fripp (the genius) himself on the last newsletter. It seems great to me that we enthusisats actually have a true connection to the legend himself. ------------------------------ Subject: neo-Cloud Date: Wed, 15 Jan 1997 12:59:11 -0500 (EST) From: innerviews@@pobox.com (INNERVIEWS) > From: "Brown, Ken" > Subject: Clouds Above Mercury follow-up? > > 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'. I have to violently disagree with this. _Cloud_ was my favorite Torn album until _What Means Solid, Traveler?_. The latter album is a devastatingly terrific record. The way Torn incorporated past and present sounds and samples into it is mindblowing. From a composition, rhythmic and playing standpoint, it's on an entirely different level than _Cloud_. I highly recommend Crimson fans check it out. But I'll warn you, this isn't music for the tame. For a lot more information about this album and Torn's own words on a follow-up to _Cloud_ (yes, he's considering it), please visit the Innerviews website. The URL is below. You'll find two in-depth interviews with Torn there. ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ Anil Prasad innerviews at pobox dot com ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ INNERVIEWS: Your link to exclusive interviews and CD reviews featuring the world's most interesting and innovative musicians! http://pobox.com/~innerviews (Netscape 3.0 enhanced) New interviews: Victor Wooten, Ten Seconds, Alain Caron (ex-Uzeb) Coming soon: Tony Levin, Michel Cusson and Gary Willis ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ ------------------------------ Date: Wed, 15 Jan 1997 18:54:58 +0100 From: Patxi D\maz Subject: Re: Announcing Elephant Talk Digest #326 Toby Howard wrote: Hello talkers, In my first new year's e-mail I would like to say hello again to all, wishing you a very happy new year '...let's hope it's a good one without any fear...', as lennon said. Carry on with this lennon's sentence, why don't we stop our singular battle against Adrian?, '...WAR IS OVER IF YOU WANT IT...'. I think that Adrian is a very tough man and one of the most imaginative and colourful guitarist and vocalist we have ever listen to. Well,let's talk about other things. I live in Spain (Barcelona), and I play the guitar in an avant-garde rock group (Difmcil Equilibrio). After having attended one of the Crafty Guitarist courses, which took place in Firence'89, not only in Crimso's themes but also in my own music I play with the alternative new tuning...It's great !!! During the last summer (August) we were recording at the studio and one of the songs included in this work was a cover version of the 'STARLESS AND BIBLE BLACK's master piece, FRACTURE' (Frame by Frame's 4-cd box-set abridged Fripp's version) We back up the idea of a tribute album and we will be pleased and ready if you wanted to include our Crimso's cover. We are going to publish our first CD work by the end of February, since we are just finishing the tablatures in order to give them to the SGAE (Spanish Authors General Society) for the copyrights and so on... If you wanted to get more info about us and our music do not hesitate to contact me. Kind Regards, Alberto Dmaz P.S. Thanks Ade for all you've done, and carry on doing it!: the Zappa, Paul Simon, David Byrne, Herbie Hancock, Garland Jeffreys, Robert Palmer, Bowie, Laurie Anderson...CRIMSON'S stuffs. Let the Elephants talk...nonsense, use your Two Hands with Discipline and with Indiscipline. You're a Model Man, With an Open Heart... ...to MUSIC. See you, Regards from Spain. Alberto. ------------------------------ Date: Wed, 15 Jan 1997 11:33:52 -0700 From: ecerb at indra dot com (Elaine C. Erb) Subject: FRIPP, ENO, BOWIE >Date: Sun, 12 Jan 1997 19:28:49 -0500 >From: James Poulakos >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.... snip... >IMO, the coolest Bowie >album next to _Scary Monsters_. You might remember that Bowie released Station to Station, Low, and "Heroes" as a sort of trilogy. Lodger and Scary Monsters came next and served as sort of transition albums before he started to make pop albums like Let's Dance. I find it interesting that while I always liked Carlos Alomar's guitar work, his most interesting albums featured other great guitarists. I think Station to Station and Low rival each other as amongst my favorite Bowie releases. StS was worth my upgrading to CD which I rarely do. It has some fun songs on it like TVC15 which beats Springsteen's 52 Channels.... as a comment on the lack of good television. Low is the one I am most apt to put on the turntable again. While Fripp is not on it, the performances are great and the album has a clear definition between the two sides, the first being short and to the point songs some with the distintive touch of Eno (A New Career in a New Town, Always Crashing in the Same Car) and others inserting the agressive edge that music in the late 70s started to carry (Breaking Glass). Side two has fewer longer cuts which Phillip Glass saw some point in turning into the Low Symphony which I thought added nothing to the music. "Heroes" concluded the series and did feature Fripp on lead guitar. I don't think it as complete an album as the others as the album does not flow as well nor every piece work as well as they do for me on Low. The first side is still a great piece of vinyl and does a good job of expressing the feel of Berlin while the wall still stood. The live album Stage came out after "Heroes" and is far better than the other live Bowie notably for the fine guitar playing of Adrian Belew who I love to hear on Station to Station. Now that I have Station to Station on CD, there is also a live version of Stay available with Belew again ripping up the guitar. Bowie's last album of the 70s was Lodger, which featured not Fripp but Belew on guitar. Some good songs are featured, including Boys Keep Swinging which Belew used to play in his own shows. This album has a bit more international flair than other Bowie albums but I thought his songwriting had already peaked before this release. Fripp returned to help out on Scary Monsters... in 1980. Interestingly, the other noted guitarist making an appearance on the album is Pete Townshend. Thanks for reminding me to put this one on the turntable. It's those touches like Fripp's screeching guitar and the Japanese vocals that catches my attention here. Many thanks to Toby and all the contributers for making ET such an enjoyable forum! ------------------------------ Date: Wed, 15 Jan 1997 11:23:26 -0800 (PST) From: akmonday at hooked dot net (Anthony Kyle Monday) Subject: Luscious Jackson/Crimson response Thomas Matthews wrote: 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." ************ A couple of things: I can whole-heartedly recommend Luscious Jackson's newest album, "Fever In Fever Out." Produced by Danial Lanois, it delves heavily into a weird trip-hoppy space, and the Can influence makes lots of sense in context. It's a great relese. RE: snickering.... a couple of interpretations. One, that the Can and Crimso vibe might have been heavy in the studio and it might have been a personal joke... two... Luscious Jackson is largely made up of Village/New York girls, and their drummer used to drum for the Beastie Boys, and for those actually unfamiliar with Crimso, the band *does*, unfortunately, churn up images of the worse of the early prog-rock days. I can attest to this as a good friend of mine, with impeccable taste in music, asked me once why I had a huge stack of Crimson CDs, as, for some reason, all she knew of them was that a rather unwashed hippie girl she knew liked them. Then, I played it for her and she was blown away, and is now a fan (well, she already liked Fripp's work on other stuff, and may not have actually realised Fripp was in Crimson).... *-------------------------------------------------------------------------- Anthony Kyle Monday / Like Svevo's Zeno akmonday at hooked dot net / akmonday at uclink3 dot berkeley dot edu / With A Nicotine Patch *-------------------------------------------------------------------------- ------------------------------ Date: 15 Jan 1997 14:25:33 U From: "Matthew" Subject: "Islands" sleeve I bet this topic has been raised before, but I haven't seen it as long as I've been on the list (since the name change), so I'll go ahead and ask: My record of Islands has a VERY different cover from the CD. It looks like a small blue cloud on the lower right corner on a white background. The back is basically the same, and the photo montage in the gatefold is the same. So what's up with this? Why the change? Regardz, Matthieu *** matthew at wra dot k12 dot oh dot us - I repeat myself when under stress, I repeat myself when under stress, I repeat myself when under stress, I repeat myself when under stress, I repeat- -King Crimson, "Indiscipline" *** ------------------------------ Date: Wed, 15 Jan 1997 16:32:09 -0500 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: BB's "Masterstrokes" Hi all Are there any additional tracks on Bruford's Masterstrokes album that would necessitate purchasing it in addition to his other albums? Please e-mail me privately. Thanks. CV If you have an unpleasant nature and dislike people this is no obstacle to work. --J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Monday-Thursday at 9PM and 1AM, EST. --Lucien LaCroix ------------------------------ From: Paul Parkinson Subject: Easy Money AGAIN Date: Wed, 15 Jan 1997 21:26:14 -0000 Beg to differ with other posters BUT my version of LTIA has a booklet inside. Inside the booklet are some lyrics. These lyrics include the lyrics for Easy Money (which I am listening to now just to double check) and these lyrics are : "EASY MONEY" Your admirers in the street Got to hoot and stamp their feet In the heat from your physique As you twinkle by in moccasin sneakers And I thought my heart would break When you doubled up the stake With your fingers all a-shake You could never tell a winner from a snake but you always make money 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 would take the money home Sit around the family throne My old dog could chew his bone For two weeks we could appease the Almighty Easy money Got no truck with the la-di-da Keep my bread in an old fruit jar Drive you out in a motor-car Getting fat on your lucky star just making Easy Money So. Different versions of Easy Money. Qu'elle surprise. Surprised no-one realised before. I didn't... Regards Paul Parkinson Diplomacy is saying "nice doggy" while you find a rock ------------------------------ Date: Wed, 15 Jan 1997 21:27:44 -0500 (EST) From: Biffyshrew at aol dot com Subject: Hands, Minced Words, Wellsprings, Fudge, etc. Responses to various ET musings... Chris Mitchell wrote: >Here's a silly trivia question: in the back of the Great Deceiver's >scrapbook, there is a nice sized picture of someone's hands playing what >I assume is a mellotron. Now, the sleeve of Roxy Music's live _Viva_ >album contains the very same picture....just wondering whose >picture that actually is. Good spotting, Chris! That's a real puzzler. Between the two bands there are five (at least part-time) keyboardists it could be: Robert Fripp, David Cross, Bryan Ferry, Eddie Jobson or Andy MacKay. (I think Eno can be safely ruled out!) My guess is that it's Fripp, because it appears to be someone wearing a black t-shirt, which matches Fripp's stage garb at the time. The only reason I don't feel terribly confident about this guess is that the picture seems to be a still taken from a video monitor, like all the other shots on the Viva! sleeve, suggesting that it could after all be one of the Roxy members. * * * Cipresso Francesco wrote: >Fingers reaching >Linger shrieking. >Jump off the screen >Ggood nigh,Ruby. > >You're all alone >Maybe breathing. >They call >Better looking >But they don't come >Manner. Sounds like a case of inkey pudge to me. * * * On which subject: Datboy wrote: >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. Bingo! It's about TIME someone got it right. Some of you dudes out there need to invest in a box of Q-tips. (Myself, for years I thought it was "*making* fudge." I wish it were.) *** Christopher Jepson wrote: >"India" by John Coltrane (off the LP _Impressions_) sounds >uncannily similar to the first part of "The Sailor's Tale." Yusef Lateef's "Like It Is" (from The Blue Yusef Lateef) has always reminded me of that long transitional section between "Formentera Lady" and "The Sailor's Tale." BTW, I've always considered this passage to be part of "Formentera Lady," even though the "Sailor's Tale" theme is heard here--to me "The Sailor's Tale" begins when Ian Wallace starts playing that 6/8 hemiola beat on the ride cymbal. According to the CD (both original and Definitive Edition, not that the latter was prepared with much care), "Formentera Lady" ends at 5:20, shortly after the vocal ends. The Atlantic LP shows "Formentera Lady" as 5:45 and "Sailor's Tale as 9:30, which doesn't account for the total length of the two cuts. The British Polydor LP (I don't have an Island copy) and the US Editions EG reissue time the tracks at 9:55 and 7:20 respectively, which I think is a lot closer to the truth. >Speaking of larks -- it strikes me as odd in a way that RF should use >"Larks' Tongues in Aspic" as a running title for his music. Larks' tongues >do make beautiful music, but not after they've been chopped off and stuck >in aspic. In fact, "larks' tongues in aspic" seems like a singularly apt >metaphor for RF's feelings about _recorded_ music: Enjoyable perhaps, but >dead. Christopher's interpretation reminds me of what Fripp himself said when I asked him about it in an interview: "The title came from Jamie Muir. It may or may not be an actual dish available at your neighborhood delicatessen, but what it means to me is something precious which is stuck, but visible. Something precious which is encased in form." *** terry kroetsch f wrote: >Finally found the Jamie Muir/Derek Bailey CD *Dart Drug* in Los Angeles. >Highly atmospheric and recommended (Incus CD19). Great album if you like free jazz, but I was annoyed when I got it on CD to discover that the first couple of minutes of the original LP version were left off. *** Emuguy5830 at aol dot com quoted Bill Bruford: >"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." Now we know the real reason why Robert Fripp plays sitting down. *** Roberto Galvez wrote: >I really miss the saxes and flutes Me too! Me too! "All that dippy-dippy guitar stuff...how many years do you have to listen to a lousy guitar, man?"--Frank Zappa Your pal, Biffy the Elephant Shrew @}-`--}---- ...visit me at http://users.aol.com/biffyshrew/biffy.html "Can we hit it and quit? Hit it!" ------------------------------ Date: Thu, 16 Jan 1997 16:57:50 +1300 (NZDT) From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan) Subject: Larks Tongues, Tritones, and Dire Straits (yes!) >2. Speaking of larks -- it strikes me as odd in a way that RF should use >"Larks' Tongues in Aspic" as a running title for his music. Larks' tongues >do make beautiful music, but not after they've been chopped off and stuck >in aspic. In fact, "larks' tongues in aspic" seems like a singularly apt >metaphor for RF's feelings about _recorded_ music: Enjoyable perhaps, but >dead.< >>"Larks' Tongues In Aspic" was coined by Jamie Muir, not Fripp. The sound >>of the words together sounded good, that's all. << I've mentioned a similar thought to Christopher's in ET before: If you think of Larks tongues as producing beautiful music and aspic as being a food preservative, and then think of live performances being put on vinyl/tape/CD, it all makes a certain amount of sense. "Larks tongues in aspic" is simply beautiful music preserved for posterity. The fact that it was Jamie Muir's comment originally doesn't change the fact that a Fripp continues to use the title, so must have liked it. Whether that Fripp liked the sound of the words, or read his own meaning into them, though, is another story. Perhaps it's something worth asking him (Patricia, if you're reading this - could I perhaps ask you to do this for us?) Ferenc asks: >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 !!)< I believe Eric Tamm says something to this effect in his book on Fripp. Evidence for the connection is also suggested by the title of the track "The Devil's Triangle" on ITWOP. I was looking at a copy of Dire Straits' "Brothers in Arms" album the other day, and I noticed that one Tony Levin is acknowledged in the liner notes. Anyone know why? Did he play on any of the tracks? (if so, my guess would be "One world") James ------------------------------ From: Terrence Dorsey Subject: CDs for trade Date: Thu, 16 Jan 1997 09:49:05 -0800 I have a couple Fripp/Crimson-related CDs that I just don't enjoy much. Maybe you will, and I'd be willing to trade them for something I don't have. Here's what I have: Sunday All Over the World, "Sunday All Over the World" (listened to twice) Brian Eno, "Nerve Net" (listened to once) UK, "UK" (used, but very clean) I'm interested in "Discipline," "Red," "Lark's Tongues in Aspic," or Fripp/Eno, "No Pussyfooting." I'd also consider other trades if you have something interesting. Prefer very clean vinyl, but CDs are not out of the question. terry dorsey terrend at microsoft dot com -- The opinions expressed in this message are my own personal views and do not reflect the official views of Microsoft Corporation ------------------------------ Date: Fri, 17 Jan 1997 14:54:16 -0500 (EST) From: ASchulberg at aol dot com Subject: Easy Money lyrics < Subject: Lyrics On Easy Money (Live Versions) I have never been quite sure of the altered lyrics to Easy Money as performed live (on the USA album for example). It sounds much like "Well I argued with the judge, but the bastard wouldn't budge, 'cause they called me inkey pudge (?), and you never told me *what* you were a minor (?)" If the 'inkey pudge' part is accurate, I presume it is a reference to fingerprinting and therefore a 'past history'. On the other hand, I am very possibly way off here. Anyone here have a line on the actual lyrics here? Many thanks. >> I suppose Wetton could and did play around with the lyrics in the mighty spirit of "improv" which moved the '72-'74 incarnation of KC, but I've always heard it as: "Well, I argued with the judge But the bastard wouldn't budge 'Cause they caught me making fudge and they never told me once you were a minor, Easy Money." "Making fudge" is a euphemism for (how should I put this????) Well, buggery. And with a minor, no less. No wonder the judge wasn't buying it. Arnie ASchulberg at aol dot com _______________________ "To be is to do."- Sartre "To do is to be."- Nietzsche "Do be do be do."- Sinatra ------------------------------ Date: Fri, 17 Jan 1997 17:48:46 -0500 (EST) From: CWA Subject: Fripp and Bowie ET'ers Just some interesting news, especialy considering that we've all just been talking about Fripp and Bowie. There was a 50th birthday concert for David Bowie at madison square garden on January 9th. The basic format of the concert was that Bowie sang and performed. And special guests backed him up throughout the show. The guests included Sonic Youth, Bill Corgan, Lou Reed...and Robert Fripp. He was an "unannounced special guest" and he played "Heroes" and "Scary Monster". >From what I heard, he was hidden in shadows in the back of the stage (surprise!), but then again, so where all the guests. Just an interesting tidbit. Anyone else hear about this concert? Anyone there? (I wasn't, but my roomate and a friend from college told me the details). That's all. Later... chris ------------------------------ Date: Sat, 18 Jan 1997 12:32:38 -0500 (EST) From: Ctao at aol dot com Subject: Fripp's use of the tritone Some thoughts on the use of the tritone in KC: I doubt very much that RF's attraction to the tritone (or flatted fifth, for you jazzers) is based on its classification as the "diabolus in musica"(sp?), or "devil in music", in medieval church doctrine. This would seem a rather misplaced act of rebellion, against ancestors dead several centuries. It may be more fruitful to look at the tritone in relation to its harmonic function (or lack thereof). 1) The tritone is the fifth of the wholetone scale (codified in the music of Debussy), and, as such, is one of the primary structural points in that system. The wholetone scale, it would seem, was a favorite of Fripp's circa "Starless and Bible Black". In fact, most of that album was based on its use, as well as much of "Larks Tongues". 2) The tritone, it can be argued, is the most structural of dissonances, and the seat of the greatest tension in 12 tone equal temperament (our Western tuning schema). Whereas the dissonant seconds and sevenths can often be used as ornamental or coloristic devices, the use of the tritone declares pretty clearly "this is not your standard diatonic situation" or "resolution may never come". 3) Simply put, Fripp enjoys the artful use of dissonance and chromaticism, and the matrices of tension/release that dissonant intervals as structural points of emphasis can set up. 4) To distinguish between the tritone's use as ornament or as fundamental harmonic element, it's helpful to listen to the harmonic progression or bass line. Some examples of the tritone as structural element are: a) The Talking Drum b) Thela Hun Ginjeet c) Lament d) Starless 5) One more though on the wholetone scale - it is functionally "static", or completely at odds with the forward thrust of diatonically based music of the Western tradition. In fact, it is much closer, in theory, to Schoenberg's 12 tone system. Both are made up of perfectly equal intervals, and both undermine the traditional roles of functional harmony. The wholetone scale has a "floaty" or "dreamy" quality, often associated with non-Western musics (in fact, it has been suggested that Debussy may have been inspired in his development of the scale by seeing a Javanese Gamelan in Paris in the 1880's). By basing a piece on such a limited harmonic terrain (6 notes per octave), other elements of rhythmic, dynamic, and texture can be brought to the foreground. Sorry if this seems a bit dry, but I found the thread an interesting alternative to the increasingly insufferable "fudge/judge" debate, perhaps one of the most meaningless imaginable. Peace, CDowling ------------------------------ Date: Sun, 19 Jan 1997 00:07:29 +0100 From: rolit at mbox dot vol dot it (Rolando Michelazzi) Subject: Re: I really miss the saxes and flutes On Sun, 12 Jan 1997 15:32:06 -0500 (EST), Roberto Galvez wrote: >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 I agree that 'Lizard' is generally underrated. I remember that many years ago, Robert Fripp said 'Lizard' was his favourite KC album, but later he changed his mind, considering the choice for the "1989 Definitive Edition". 'Cirkus' is one of my favourite crimson tracks, and, IMHO, it is the major lack in the "Frame by Frame" box set. Cheers. Rolando. ------------------------------ Date: Sun, 19 Jan 1997 00:07:12 +0100 From: rolit at mbox dot vol dot it (Rolando Michelazzi) Subject: Re: Peter Hammill On Sun, 12 Jan 1997 15:32:08 -0500 (EST), Roberto Galvez wrote: >Does someone here know the song 'The Birds' from Hammill's 'Fool's mate'? >it's a delicate song with a subtle Fripp ). I know this song (I've purchased the LP when it just came out) and I think it is one of the best Peter compositions. cheers. Rolando. ------------------------------ Date: Sun, 19 Jan 1997 10:28:08 -0500 From: sid smith <106050 dot 2211 at compuserve dot com> Subject: Lizard I must say I agree with the recent post which applauded the Lizard album. For me that album contains some of the most memorable moments in Crimson's career. Of particular note for me at least is RF's acoustic playing which manages to weave in and out of the horns and sweeping mellotron. When I first heard the album, I was astonished at the ferocity of the playing and found it to be quite a dark and forboding place to be. 25 years later it still is. One query though to any one out there who may be reading this; why did Gordon Haskell get airbrushed out of the Frame By Frame box set ? Whilst I don't think Haskell is the most versatile of vocalists, his voice has just the right shade of broodiness for this music. Tony Levin's replaying of Bolero is of course beautifully done. However, comparing the two performances there seems little in it ( though I concede Levin has a more fluid quality ). Did he leave Crimson under a cloud ? The scapbook is ambiguous on this point. (Please no Haskell is better than Lake / Wetton et al debates) Finally, has anyone else noticed that the intro to Heartbeat on the officical bootleg B'Boom sounds remarkably like the opening notes of Cirkus ? Was it meant to be a tease for audiences ? RE Eno's Taking Tiger Mountain I think the guitarist was Phil Manzanera late of Roxy Music. ------------------------------ Date: Sun, 19 Jan 1997 19:39:12 -0500 From: mlehrer at icanect dot net Subject: Tony Levin interview? Just wanted to let everyone know about a great interview with Tony Levin in the latest Musician magazine (March 1997). He talks about being a session musician, how he plays, what he plays, and recording with John Lennon. Musician is published in the USA. Subscriptions are PO Box 1923 Marion OH 43305 (USA). Or call 1-800-745-8922 in the US, or 614-382-3322 else where. I highly recommend this magazine. It's one of the few publications written by musicians and very intelligent critics, and is designed for intelligent readers. And since ET readers are highly intelligent.... M Lehrer -- Internet Communications of America, Inc. ------------------------------ From: Matt Walsh Subject: Yngwie Malmsteen Date: Mon, 20 Jan 97 11:32:00 PST Hmm, never thought I'd ever put that name in this newsletter... Anyway, this weekend I bought the new album from Yngwie Malmsteen, "Inspiration", where he plays some of his favorite songs from artists that inspired him (hence the title). I mainly bought it just to check out his covers of Kansas and Rush, but was very suprised to see that he covered U.K.'s "In The Dead Of Night". He has short notes for each song, and UK has the largest note: "My great friend Peter Rooth gave me a tape of this album in 1980. I never heard guitar playing like that before. The arrangement includes odd time and intricate instrument arrangement. For years I've been doing this in rehearsal and at sound checks. I just love this one" It's nice to know he has a lot of respect for Allan Holdsworth. The song is pretty respectable, though I don't care too much for the higher pitched vocals (but they're not too high). The drums work didn't even compare to Bruford's (but then again, who could?) Definitely worth a listen to those interested. How often do you hear a UK cover? Well, some sort-of Crimson related info I thought some might be interested in knowing. Matt Walsh mattw at smginc dot com currently annoying co-workers with: Cathedral - "The Carnival Bizarre" ------------------------------