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 #367 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 367 Tuesday, 1 April 1997 Today's Topics: Epitaph Live '69 Re: Book on progrock Epitpah disc 1 problem That Which Passes... The Bears Epitaph Playback KC music in odd places Re: Fripp on his knees Sean Malone solo CD. Questions about Fripp and FSOL awesome 2nd gen video 6-95 San Diego,CA Performers and listeners: an italian contribute Islands 'Noise' A few questions Re: ET Digest #366 Rule Britannia Email me about revivalist Crimson UK version of Island VROOM or vroom? G3 Tour. Flute in "Exiles" Epitaph - yipppeeee!!! Hat-stand guitarist and friend Re: Elephant Talk Digest #366 ------------------ 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 UNSUBSCRIBE, 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/ to ASK FOR HELP about your ET subscription: Send a message to: et-help at blackcat dot demon dot co dot uk ETWEB: http://www.cs.man.ac.uk/aig/staff/toby/et/ (partial mirror at http://members.aol.com/etmirror/) You can read the most recent seven editions of ET at http://www.cs.man.ac.uk/aig-bin/newslet.pl THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- Date: Sun, 23 Mar 1997 16:16:39 -0700 From: "Steven W. Sthole" Subject: Epitaph Live '69 I just ordered an import copy of 'Epitaph' from Music Boulevard. The price is $34.99. So far this is the only availability in the states of this I'm aware of. Our British friends probably already have theirs! peace and prosperity -sws at indra dot com ------------------------------ Date: Sun, 23 Mar 97 22:33:31 From: drj_saro Subject: Re: Book on progrock yeah well, i question not only the depth and breadth of Macan's coverage, but his scholarship and his 'agenda', as well. to mention two problem points.... 1) he heaps praise on ItCotKC (not a bad thing), but then goes on to use it as a measuring stick by which to beat down the first albums by Yes, Genesis , Van der Graaff Generator, and Jethro Tull by saying that these albums "do not represent a fully matured musical vision" (which is a true, if obvious to anyone with ears, statement.)- _BUT_, IMO this is an unfair comparison (not to diminish the sheer brilliance of ItCotKC in any way whatsoever.) since it doesn't acknowledge the existence of 'The Cheerful Insanity of Giles, Giles, and Fripp' or of the abortive KC album sessions with Tony Clarke and instead seems to assume that KC leapt directly from the brow of Chronos and landed in the recording studio fully mature (which is clearly _not_ the case), while these other bands did their growing up in public (and adolescence is _not_ pretty). 2. his over-emphasis on the importance of psychedelic drugs (he bangs on this particular drum continuously throughout the book). i don't have a problem with drug use, or with anyone else using them (or _not_ using them, for that matter.) either, but i know for a personal fact that several of the musicians he mentions as crucial to the development of 'prog' did not use, yet he makes generalizations that would make it seem that these drugs were a prerequisite to both performer and listener. (to me it seems to be one of two things... either wishful thinking - "if i could just get me some of them there drugs, i could be a musical genius too!" or sour grapes - "they must not make the _good_ drugs anymore, 'cause i tried 'em and i'm still not a musical genius!"). these are just two points among many on just a _casual_ reading of the book, i am considering undertaking the chore of a more detailed reading with the intent of a rebuttal (of sorts), when time permits. (other key points of contention are his cavalier dismissal of the prog movements in countries other than the UK and US, and his tying in the anti-prog attitude of some critics with an alleged "leftist agenda".) *------------------------------------- Name: Julius J. SAROKA E-mail: drj_saro Date: 3/23/97 Time: 10:33:31 PM This message was sent by Chameleon (in the Shadow of the Night) *------------------------------------- ------------------------------ From: Phil Clarke Date: Wed, 26 Mar 97 10:26:23 GMT Subject: Epitpah disc 1 problem Well, I collected my copy of Epitaph at the playback, and obviously decided to have a listen as soon as I returned home. Being the logically minded type, I decided to start with Disc 1.....to my dismay, I discovered that the disc 1 I have is actually a disc 2 with a disc1 label printed on it!!!!!!!!!! Has anyone else encountered this problem? I can't believe a bodge up like this could happen to just one copy. I've tried contacting DGM about this (twice) but have so far received no response. Reading the inlay booklet, which goes on about the tracks on disc1 being considered some of the band's finest performances, isn't helping my efforts to contain my frustration. Phil. ------------------------------ Date: Wed, 26 Mar 1997 12:25:49 -0500 From: Chris Mitchell Subject: That Which Passes... I've only seen a couple recommendations for RF's latest soundscape installment, _That Which Passes_, so I'd like to add my thumbs up to anyone who may be considering this purchase. Stylistically, it indeed falls somewhere between Radiophonics and Blessing of Tears: swirling effects and sudden bursts of noise alongside several poignant, static moments. Noticeably, the whole thing is edited into one continuous piece; as RF hints, the feeling of a live performance is not always there. Nevertheless, it is easily digestable to anyone who liked the previous 1995 soundscapes. Any news yet on DGM in America? I was lucky enough to find T.W.P. in a local store, but what about Soundbites and Epitaph...? I was one of those who was dependent on Possible Productions... chris m. ------------------------------ Date: Wed, 26 Mar 1997 17:36:38 -0500 (EST) From: BABOOSKA at aol dot com Subject: The Bears Excuse me for interupting ET with a personal plea... There was individual whom I exchanged E-Mail with about the Bears. I lost your E-mail address, could you send it again. All I remember is that you are a student at UCLA. Sorry for my incompetence. I am interested in your offer about the Bears CDs. Now back to your regularly scheduled programming... As ever, I remain Ken ------------------------------ Date: Thu, 27 Mar 97 00:03:21 UT From: "Rich Mlinar" Subject: Epitaph Playback I'd like to add a few comments to those expressed by Robert Cervero and other ET'ers regarding the Epitaph playback at the Intercontinental Hotel on March 15th. I travelled to the event from New Jersey with my wife, Dot, our four-year old daughter, Lauren (the youngest playback attendee) and my friend Mark Kaucher and his 10-year old daughter, Alicia, from upstate New York. Mark and I are long-time Crimson enthusiasts. The Grand Ballroom of the Intercontinental Hotel provided a first-rate setting. It would be difficult to imagine a more tasteful and comfortable site for the presentation. We arrived early and were able to get prime seats for the playback at a table in the center of the room, adjacent to Pete Sinfield and his party. Our group shared a table with two Americans who travelled to London from locations in Europe, and two men from Britain, one of whom remarked that they must be seated at the American table! Some of the momemts I'd like to share include: - Robert Fripp urging everyone before the program started to stock up on cookies and cake, available in an outer room at a table marked Little Beasts. Terrific advice, they were great! (Coming next, the King Crimson fitness video?) - Robert using a video camera from the rear of the room to record the program. - The very warm feelings shared by the original members, their families, friends and everyone who attended the playback. - The great results of David Singleton's efforts to revive the recordings. - The power of the music after all of these years (despite Lauren's sleeping through Schizoid Man!) - Trading Crimson stories with other enthusiasts. - The opportunity to meet and speak with the original members (and John Wetton) and have Crimson-related items signed. - The feeling of having shared a very special moment. We still can't believe that we were fortunate enough to have attended the playback. Listen to King Crimson and see the world! In closing I must compliment the original members and the staff of DGM for all of their efforts. It was a day which will be long remembered. Rich Mlinar ------------------------------ Date: Thu, 27 Mar 1997 07:44:40 -0500 (EST) From: BABOOSKA at aol dot com Subject: KC music in odd places Since this list tends to approach pretentiousness occassionally, I thought I lightened the mood a bit. Anyone have any stories about KC music in odd places? I have one that a few people may find humourous. My apologies to the lady readers for the following: About 6-8 months ago I went on a golf outing, after it was over a crew of us decided to go to a local "Gentleman's Club." The featured performer was Ginger Lynn(soem might remember her), when she strutted out on stage, I heard a familar song. It took me a few seconds to realize that it was "VROOOM" I never thought the KC would be music to "dance" to, in my amazement at hearing this song I almost dropped my beer and almost didn't pay attention to the show. However, no one else at the show was interested in knowing the name of the song, no matter how much I wanted to tell them. Well that's my story, believe it not As ever, I remain Ken ------------------------------ Date: Thu, 27 Mar 1997 10:31:13 -0500 (EST) From: Enoboy at aol dot com Subject: Re: Fripp on his knees I would like to submit my eyewitness report on the alleged "Fripp on his knees"incident during the Peter Gabriel tour whilst playing the Kink's "All of the Day and All of the Night". It did not happen. During PGs second US tour, he played two surprise gigs at the Bottom Line. He had played the previous night at the Palladium and Fripp did not appear. At the Bottom Line gig, Fripp quietly walked on stage during "Here comes the Flood" and played some of the most brilliant solos I've ever heard him do. It was followed by the Kink's tune, and the encore was "Lamb Lies Down On Broadway" At no point did Fripp do anything uncharacteristic, except play tambourine during "Lamb". Part of this gig was later broadcast on "The King Biscuit Flower Hour", and you can hear the crowd go wild when Fripp appears during "Flood".I assume that's where the bootleg is from. BTW, this was part of a Fripp phase when he was showing up at a lot of gigs. Some months later, he showed up at a Blondie gig at the Palladium and performed 'Fade away and Radiate" and a blistering encore of "Heroes"!!!!!! Finally, the guitarist on the first PG tour was Dick Hunter. ------------------------------ From: Matt Walsh Subject: Sean Malone solo CD. Date: Thu, 27 Mar 97 11:25:00 PST Hello team, I was wondering if anyone here has or has heard the new solo CD from Sean Malone, called "Cortlandt" For those of you who do not know Malone (most of you probably have not), he was the Stick player for the incredible progressive death metal band Cynic (they've since broken up). The guy is simply astonishing. The reason why I was suprised no one mentioned it before is that Trey Gunn is part of the band he assembled for this CD, along with Reeves Gabrels (David Bowie's guitarist) and ex-Cynic drummer Sean Reinert on drums. I found out about it on the newsgroups and the CD is described as "instumental fusion" and a must for fans of Technical progressive music. The CD got a rave review from Emmett Chapman himself. So since I'm guessing not many people even know this CD exists, please post (or e-mail me personally) about this CD if you have it. For those interested, there is a CD review at http://www.innerviews.org/playlist/malone.html. Malone has also appeared on the "Guitars The Rule The World vol 2" CD, which also features a track from Robert Fripp. The track with Malone is a "death metal" all-star band. It may appeal to some here, since there are none of those lovely vocals on the track. I'm pretty much convinced to get the CD, but I thought I'd get some ETers opinions before purchasing it. Thanks, Matt Walsh mattw at smginc dot com ------------------------------ Date: Thu, 27 Mar 1997 11:47:14 -0500 (EST) From: Gideon B Banner Subject: Questions about Fripp and FSOL Anyone else find the liner notes to ISDN more than a bit exasperating? Am I right in thinking that Fripp plays on every track marked with the double dollar sign $$ (i.e. tracks 9 and 14)? And how exactly did he work with FSOL? Did he just walk into the Radio 1 station with them and spontaneously improvise? Did he ever take an outright solo? Was the music broadcast live, or was it altered during performance so that what Fripp played would be altered before it was broadcast to listeners? I'm very curious about this, and hope that anyone who happens to know about it can enlighten me (especially those of you with the Radio 1 bootleg). Many thanks, Gideon ------------------------------ Date: Thu, 27 Mar 1997 17:56:16 -0500 (EST) From: Airstan at aol dot com Subject: awesome 2nd gen video 6-95 San Diego,CA I have a super 2nd gen from master kc video shot on tripod from san diego 6-95 115 min an A+ rated show. for info on obtaining it & see my entire list over 1100 live videos see my web page at http://members.aol.com/rockvid/vidman.htm thanks ------------------------------ Date: Fri, 28 Mar 1997 09:38:15 +0530 From: rampini at telnetwork dot it (Antonio Rampini) Subject: Performers and listeners: an italian contribute Again about the relationship between performers and listeners. I would like to point out a different aspect of the situation, that in my opinion is basicly ahead of the others: I mean the differences between a single listener you are relating with, and a group, and how differently a single listener and a group (can) react to a phenomena. Me, I have been appreciating KC from the age of 14 (now I am in my 30s), and this is my second e-mail to ET; and my feelings about Fripp, the band, and whatelse (even) psicologically involved with KC have dramatically changed in the last 4/5 years, considering the kind of feeling I was in during my KC "early years". So what? I RF, Pat vzM. and others have noticed about the respect the performer should has full right to ask for from the audience, during an event. Right. I absolutely agree with the concept and idea, but I agree now, as a 32-years-old-human being with his own passed experience and knowledge. I have constructed myself as a mature listener (I hope it: dubito, ergo sum); but let me tell you something interesting. 4 o 5 years ago I was in Modena, at the Modena City Theatre, for a concert of the RF String Quintet (beautiful evening, indeed); and at the end, for the encores, Robert with Trey and the CG people reach the stalls, to play from inside to the audience. It was quite an experience, and (I believe) a formidable idea, a way to exceed the distance between artist/performer and crowd/audience. Then, there, for a few minutes I was not more me, I mean not in the way I suppose I know myself. I was extremely excited, I was near Robert Fripp!, and being near to Robert, I did not resist and touched his arm while he was playing. He did not feel disturbed from the fact; he simply ignored all (thank goodness!). I know the way I moved and behave was not respecting the artist nor the man (I apologizes for this, Robert: I AM sure today I would act differently), and for this I can say I have been through the problem. In the sense I know for sure listeners can act in a way that disturbs the performer. (And performers, do they influence the way different listeners reatc, or not?) So what? II I said I have been trough the problem; but fortunately, I have been passed through changes, and I am sure lot of ET readers has felt the same, or recognize the same. I have read a lot about KC in these years, to penetrate deeply into that "twilight zone" in which an artist reach his composition or the composition reach the artist, or both of them get in touch (nor me nor the artist, any artist, I suppose, will contribute with certain answers to this point); and believe me, in the latest 4 or 5 years I have changed the way I look at and think about and listen to KC, from a passive to a more conscious and active way. I have "growth", in any sense. And of course, the way today I listen to (all) the music has changed the same way. And the way I act (and re-act) to artist too. So what? III So, maybe the debate is uncorrect. Better, maybe the terms of the debate are uncorrect. The discussion has been focalised on person, single persons. Correct? But it is quite impossibile to focus on the behaviour of single person during a concert, and it is quite difficoult (less difficoult, anyway) to understand people's action-and-reaction to something in that moment. I said uncorrect, why? On one hand in the debate ("the respect the performer should pretend - or not - from the audience") we referre to the single, as a conscious listening being with his own will; on the other hand we mingle these "facts" when, thinking of a person, then we talk about the audience as it was the sum of single listeners, a unique melting amalgama, the "archetipal enthusiast body" - in a way thinking the audience will act as "lot of people acting". This, I believe it is an error. The artist can communicate and ask before the show the single "listener" for a certain behaviour; but he surely knows, or has to consider, that during the show (the "happening") that single persons could became something else, and the reactions of the persons=people during the event are another pair of glasses as well. During a concert, people can act, and/or interact with other people, and/or with the artist (the happening is the catalyzer): and insuch a moment, we define people, psicologically speaking, as a "group", not else, certainly not a sum of singles, nor even a sum of single behaviours. Groups dynamics are extremely far from person ones. Nothing can be considered pre-defined. When the "audience" has become the so called "group", than the group has gained a life on his own. Quite a mess. But get the point: outside the hall a person can absolutely believe he agrees with the ideas we are debating in, but than a) the situation, b) the interaction with other driven mad persons, c) the orgasmical music, d) the heat of the moment, e) whatelse exciting, all of this bring our poor guy to interact with other persons in the hall (creating a group), then making him (them) act in a different way from his (their) starting purposes. So what? IV Of course it is far from me to justify these behaviours. But I believe the "age", I mean not biological age, but the experience, and in quite a sense the knowl-(ed)age of the listener you are relating with can influence his behaviouring when he starts relating to the performer. The paroxism I demonstrated in Modena has been substituted by a different feeling; more recently I have been listening to the latest KC date in Rome, and I was for sure satisfied from that "terrific" exhibition, but nothing more. Then, after the concert, I have of course discussed and reasoned on it for entire weeks with some friends. What happened, what has changed? I think I have shifted the objiect of my attention from the "star" (not mediate, let's call it "simple first degree interaction") to the musicians, and the music (mediate with my own feelings, "complex second degree interaction"). What happened to me? I was no more simply part of a group. And this, while in front of the stage a "group" of young Crimheads were just dancing a ritual pogo, and screaming, and whatelse as well. I think the point is: if the listener will (would) be able to cultivate inside his emotions, than the listener himself (maybe) will (would) change his approach to music (as well as to performers) from the interaction I defined of first degree, to the one I defined of second degree. I believe also a group made of these more conscious, reflecting, active persons will move and act differently from others less complex. In a word, the more you understand, the more you respect. I think such an arguing can make clear of the selfish behaviouring of singles, too. But what about the "iter" to reach this more selfconscious feeling? And, is it my analysis a correct one? Then again, what if in the case of a mixed group? Just to say: there is a lot more to say. Ciao. Antonio Rampini ------------------------------ Date: Thu, 27 Mar 1997 23:08:10 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: Islands 'Noise' I was listening to the 'definitive' version of 'Islands' - the one with the orchestral tune-up missing from the end of the CD - just a short while ago, *very* loud, through headphones. (It's a 'programmer thing'...don't worry about it) I noticed that the title track is *very* noisy, almost as though the board that it was being mixed on was faulty. There is a bad earth sound when the string bass starts up, the piano is abruptly faded at one point towards the end and the overall tape hiss is far worse than on the rest of the CD. I tried to compare this to the vinyl version but my (Polydor) pressing is so damned awful that it's hard to make subjective comments about the quality through the sound of all the pops and clicks that have dogged that record since the day I bought it. Is this 'noise' another problem with this 'definitive' version, or is it something that has been on this song for as long as I've known it, but requiring a digital source to bring it out into the open? FWIW, this has to be one of the best records the band ever put their name to. There is hardly a bad moment on it. Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-653-6124 crimson at blackcat dot demon dot co dot uk : ET Administrator : Columnated Ruins Domino ------------------------------ Date: Fri, 28 Mar 1997 13:16:29 -0500 (EST) From: FISHBOY Subject: A few questions Hello, I have a few questions that hopefully some ETers can help me with. First off - I have a tape of Crimson which is labelled as Mannheim, Germany, 9/18/82. However, according to the list of gigs in the Frame By Frame set, there was no such show. The setlist on my tape is as follows: Waiting Man Thela Hun Ginjeet Frame By Frame Elephant Talk Drum Solo Indiscipline Heartbeat It's a radio broadcast with a female DJ speaking in German before the show, so judging from that and the setlist I guess it is a show from the Beat tour in Germany, but does anyone know the actual date and locale? My other questions aren't fact related; I'm looking for some recommendations on CDs to buy. The first category is Earthworks. If I was to buy one of their CDs, which one should it be? I've heard a lot of good stuff about the first album, but I figure the live one must be good too (especially if Bruford speaks during it - does he?) :) The other category is soundscapes. What's a good Fripp soundscapes CD? I have some idea of the range of what's available from the Sometimes God Hides sampler, but I don't know how representative those tracks are of their respective albums. I tend to like the more musical ones as opposed to the more noise-like ones. Any pointers? I guess it'd be best to email me privately with responses rather than clogging up ET. Thanks in advance. ttyl, Andy Acunzo aacunzo at ccmail dot sunysb dot edu ------------------------------ Date: Sat, 29 Mar 1997 15:46:27 -0500 (EST) From: Brazil5 at aol dot com Subject: Re: ET Digest #366 Rule Britannia Further to my last mailing - the patriotic tune occurs on track seven after 6' 25'' (Thrakattak II). .............................................................................. ................................................. Regarding DGM not replying to E Mail requests for details on Epitaph Playback from ET readers, I believe they've had a few problems with getting mail through because I ordered Epitaph set by E-Mail and they had no record of my order. It could be the same thing that prevented further queries re Epitaph being attended to. The answer is - use snail mail - and register it to make sure DGM get it. Neil Talbott ------------------------------ Date: Sat, 29 Mar 1997 20:46:32 -0500 (EST) From: Damon Mahon Subject: Email me about revivalist Crimson Hello all, Out of the recent artist/enthusiast discussions started by Mr. Fripp, there seemed to be a general consensus on the issue of new Crimson material that "Crimheads" really don't expect anything (stylistically) from Fripp; they just want new material to be good. Be that as it may. On the other hand, it does certainly seem that King Crison followers (or at least those subscribing to ET) do have certain hopes for OLD material at Crimson concerts. In the recent forum with Belew, somethng like three posts were devoted to asking for a revival of Starless, a few others of late have asked for a new edition of Fracture. Myself, I'd love to hear the double trio play The Great Deceiver; I think that while it wasn't a good live song for the '70's band, the current band has both the energy and talent to do it realy well. Fripp has always sounded as if he wishes to hear what we want from the band (as long as we catch him at a good time) and so I think that this forum is the perfect opportunity to tell him what old stuff we'd most like to hear. Since very shortly King Crimson will be rehearsing for their fall tour of their new material, and since they've played old stuff at concerts since as long as I can remember, we can use this space to tell them what old stuff we'd most like to hear, and they can heed or disregard our suggestions as they please. But we can't clutter up ET with individual suggestions, so my idea is this. Could anybody who has a song they want to hear again email me, with the song title in the subject line. Don't write anything in the email body; I won't read it, since I'll probably be flooded with emails by this, anyway. The song can be from any era, from In the Court of the Crimson king to THRAK. It can even be a song they've already revived, like Red. Only please make it one they could actually play - for instance, no Song of the Gulls (unless they plan to tour with orchestra), and nothing purely improvisational such as the material from THRaKaTTaCK. I'll make the deadline one week from the publication of this issue of ET. At the end of that time, I'l tally up all the votes and send the results in to ET, where anybody who wants to see what we'd like to hear may do so. My vote is, of course, for The Great Deceiver. Bracing myself for the email flood, -Damon Mahon (damon dot mahon at yale dot edu) [ Please don't inadvertently mail your votes to ET (they will vaporize!) -- send them direct to Damon as he requests. Thanks. -- Toby ] ------------------------------ Date: Sun, 30 Mar 1997 11:52:54 -0500 (EST) From: Mark2u at aol dot com Subject: UK version of Island Alex Moseley 's recent post in ET 362 regarding the "hidden track" after a 3 minute silence at the end of the last track (including Fripp's chiding of the violin player) reminded me of the end of the Island disk. This continues to be a point of irritation for me. I fool heartedly replaced all my older CDs with the Definitive Editions (sold off the old ones) before realizing that the US DE version of Island does not include the tag at the end "Let's do it twice more, once with the oboe, and once without it ..." I always enjoyed this aspect of the album. When I was in the UK in 1994 I searched every record store I saw for a copy of Islands, but this title was out of stock everywhere I went. (Including the Tower Records & HMV on Reagent Circle). Can anyone recommend a source for the UK DE version of Islands? email to mark2u at aol dot com. Mark Stevens ------------------------------ Date: Sun, 30 Mar 1997 20:21:57 -0500 (EST) From: Martin Kennedy Subject: VROOM or vroom? Hi, all. I'm just posting this because over Easter weekend, I had a mini-Krimson fest where I played any Fripp-related CD in sight. What was brought to my attention was something that bothered me when I first heard THRAK. Does anyone else out there in ET-land feel that the versions of VROOM, SexSleep.., and One Time sound weaker than their counterparts on the VROOM EP? Especially VROOM, itself. I think that the first version has so much more bite than the second, which I first thought was a MIDI-recording from a macintosh. Also, One Time sounds more relaxed and, on the whole, a less tight recording. Believe me, I'm not complaining; it's just that I never fully understood why the songs on the 'rehearsal CD' weren't left as they were. Well, I just wanted to know what anyone else's thoughts are on this (those who actually labour through reading all of this) and also to beg and plead for a new Krimson CD in the near future... ------------------------------ Date: Mon, 31 Mar 1997 11:06:43 -0500 From: jmc at sdr dot utias dot utoronto dot ca (James MacKenzie Crawford) Subject: G3 Tour. I just got an update from the Steve Vai e-mail newsletter Greasy Kid's Stuff which states that Robert Fripp will be participating in the new G3 dates with Joe Satriani, Steve Vai, and Kenny Wayne Shephard. Is this for real? James C. ------------------------------ Date: Mon, 31 Mar 1997 15:08:02 -0800 From: Michael Tanigawa Subject: Flute in "Exiles" Today I was driving down Mathilda Ave. in Sunnyvale (fine weather in this part of California) with "Exiles" playing on the stereo, AND leaves falling through the open sunroof. When I first heard the song (late 1973 in Aiea, Hawaii), I could not have imagined this day! I noticed that there is a flute throughout "Exiles" but no one is credited with it. It sounds too much like a real flute to be a mellotron. Is that an uncredited appearance by Mel Collins or Ian McDonald? Or one of David Cross' unpublicized talents? Maybe if the flutes are played backwards, they will sound like Fripp's Les Paul???? Mike Tanigawa ------------------------------ From: David Maclennan Subject: Epitaph - yipppeeee!!! Date: Tue, 1 Apr 1997 14:35:45 +1200 My copy of Epitaph arrived last week on the day before my birthday - best present I could have asked for (even if it was one I paid for myself!) It is a truly excellent set, from the cover art down to the last note. I was particularly impressed with the sound quality on Disc 2. I cranked this little sucker up on my friend's stereo (BIG Kef speakers!) and "Mars" especially just about smeared me over the living room wall. Talk about powerful! It's great to hear the improvs from this first KC, as well as things like "Drop In" and "Mantra" - quite a revelation. As for Discs 3 and 4 being of "appalling" sound quality (Fripp's words), I think he's being a bit hard here. Sure, they aren't the best, but I've heard much worse. I have the Plumpton gig on both vinyl and CD boots, but after getting Epitaph I'm getting rid of both, as it is much improved here. David Singleton truly is a necromancer! Can't wait to hear what he does with Earthbound-era tapes. The booklet is as entertaining and illuminating as one would expect from a KC box set, but I confess I could have done without yet another Fripp polemic about the nature of the music industry - even if I do agree with every word. On the packaging front, I confess I'd have preferred a larger box format a la FBF or TGD but hey, it's the music that's important. I do like the cover art, though - wouldn't have looked out of place on a KC album in the 70s. For some reason it reminds me of those Paul Whitehead Genesis sleeves (think of Nursery Cryme or Foxtrot...) Roll on the Concertgebouw set! David Maclennan ------------------------------ From: mnolan at pdd dot pioneer dot co dot uk (Matthew Nolan) Date: Tue, 1 Apr 1997 09:57:08 +0100 Subject: Hat-stand guitarist and friend Just a report of a 'sighting' I was reading 'Future Music' a UK hi-tech recording magazine (April issue) and there, in part 2 of their 'recording guitars' feature, were references to Messrs Fripp and Belew. Part 2 of recording guitar sounds was all about way out inventive sounds and effects. They had singled out 4 guitarists; The Edge and Steve Howe (actually, it could have been Steve someone-else - sorry!) were the other two. The article described Adrian as 'bonkers' and 'completely hat-stand' and then went on to describe exactly how to make rhino and elephant noises. There was a little more reverence for Robert. Very interesting for guitarists I'm sure. Future Music are also on the Web (http://www.futurenet.co.uk/). Regards, Matt Nolan. ------------------------------ Date: Tue, 1 Apr 1997 07:03:16 -0500 (EST) From: ASchulberg at aol dot com Subject: Re: Elephant Talk Digest #366 In a message dated 97-03-27 06:48:04 EST, you write: << Anyhow, there was second guitarist on each tour; on the first tour it was the fellow who played lead on Lou Reeds 'Rock and Roll Animal' tour, and who plays on PG's first album -- a moderately well-known name, WHICH I CAN'T REMEMBER RIGHT NOW DAMMIT (and it's going to bug me for the rest of the day until I can get home to chekc it) >> Dick Hunter? Arnie Schulberg ASchulberg at aol dot com ------------------------------ End of Elephant-Talk Digest #367 ********************************