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 #372 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 372 Monday, 21 April 1997 Today's Topics: From Robert Fripp Cline/Gauthier/Stinson "Right of Violet" Song Polling Pundit VH-1 (UK Edition) KC sightings My Own Time--The Authorized Biography of John Wetton EPITAPH EVENT IN NEW YORK CITY 4/26 anti-"nostalgia" MIKE OLDFIELD makes comments about FRIPP/A collaboration maybe??? Dreams Wide Awake on the Internet! Turner Tattoos Re: Bathwater More Lake Possible Productions Epitaph in New York HMV Bozzio / Levin / Stevens // "Black Light Syndrome" crimso tattoos RE: Elephant Talk Digest #371 hi you there ! re: polling Wetton at Wilbarston. G3 w/ Robert Fripp ANNOUNCED Re: The Fillmore West Shows Webmeister Needed Fripp in Salisbury?? Re: John Wetton "Consert" Fripp consert in Union Chapel, London Re: Fretless guitars. ------------------ 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: 21 Apr 97 08:04:55 EDT From: DGM Subject: Fripp posting urgent From DGM World Central Dear Team: I For those who missed earlier postings... Please send mail orders for Discipline goodies in the US to the following e-address/numbers: Possible Productions P.O. Box 5282 Beverly Hills,CA 90209-5282 USA Tel: 213.937.9320 Fax: 213.937.9102 Email: PossProd at aol dot com Please use PossProd at aol dot com for your electronic mailing and orders, although we are now able to access messages sent to DGM-namebase E-mail addresses. If you have recently sent any orders or communications to an American DGM e-address and received no response, please re-send your message to PossProd at aol dot com and we shall respond. We have radically restructured the American operation of DGM by re-establishing its operation and personnel. The American mail order service continues as Possible Productions, while Discipline Global Mobile (the record company) is directed, administered and organised from World Central here in Wiltshire, England. DGM mail order in Europe, based near Salisbury, England, is now running successfully, efficiently, and flat out. Our main difficulty is in dealing with individual questions, queries, responses and enquiries. This is because we are a very small firm, with everyone doing double (or triple) duty. If you are wondering why you have not yet received a particular CD, it might be because there is a technical delay in the pressing of the record - Spandau Ballet's Greatest Hits as a volume of "The Great Deceiver" and The Shadow's "Apache" on "Discipline" are our two favourites to date - and the printing of artwork is notorious for errors. Or perhaps David Singleton and I decided to delay a release to improve the sound a further notch. Diane would like to see her family on a regular basis and Gill works weekends to clear mail order. Please be kind and, if possible, patient. It was necessary, for most of the DGM releases to become possible, to create an appropriate record company. The company operates in such a way that it is unlikely to stay in business purely as a record company. The success of our mail order services determines whether DGM is able to continue in business, pay its debts and release future records. Major archive releases are expensive to prepare - "Epitaph" took four months and was funded by DGM. Special events, such as Playbacks, are time consuming and as hard-nose business ventures lose a lot of money. In Discipline terms, they are a great opportunity to eat cake and develop dialogue / trialogue / connections between the audience and the audience, music, performers and record company; and eat cake. Discicpline's complete operation was set back two months because of the amount of time and effort involved in organising the Epitaph Playback in London, and David's heroic work on the sonics of Volumes 3 & 4 (formerly appalling, now acceptable). (Apologies to the occasional person who may have fallen through the Playback net: we thought we had you all). So, the future of Discipline Global Mobile depends upon the success of its mail order services and the success of its mail order services depends upon the loyalty of its patrons. II Playback / Presentation News... 1. There will be an Epitaph pre-release presentation and listening event at 15.00 (3.00 p.m.) Saturday 26th. April, 1997 in the HMV Record Store at 86th. & Lexington, New York City. It is likely that most, even all, of the members of the original King Crimson will attend, and very probably be prepared to sign the (imported) copies of Epitaph. David Singleton will also be in attendance. This is not being organised directly by DGM and no invitations are required. Simply arrive. Sadly, there will be no tables for cake. 2. DGM are hosting a Soundscapes Playback in London, 12.00 or 13.00, on Saturday 7th. June, 1997 to coincide with the release of Volume One of "The Gates of Paradise". David Singleton and I will make a presentation there, too. Invitations are required for this, limited to one person plus guest for anyone who would like to come. Please be in touch with DGM World Central here in Wiltshire for your invitation. Numbers are limited. The Playback completes one week of Soundscapes in England, beginning at The Union Chapel, Islington, 12 - 18.00 on Saturday 31st. May, then Salisbury Cathedral, 14.30 - 17.00 Monday to Thursday 2 - 5th. June., and then to the London Playback. III Live Soundscapes move to America as the opening act on the G3 tour, 17th. June - 3rd. August (I have no itinerary at the moment) in support of Joe Satriani, Steve Vai and Kenny Wayne Sheppard. Soundscapes open the show. IV Exceptional demands on my time and attention have taken priority over several replies to ET questions and questioners, but hopefully, eventually ... Meanwhile, in response to "Fripp - on - his - knees with Gabriel": the guitarist was STEVE Hunter (his partner in several ventures was DICK Wagner). The last time I played on my knees publicly was in 1961 as a member of The Ravens, at Oakdale Youth Club (between Wimborne and Poole, and 600 yards from where a 13 year old Greg Lake lived). I jumped from the stage and, on my knees, soloed from the dance floor. Radio mikes followed this pioneering approach years later - I had a very long guitar lead. This happened on two separate occasions. Sincerely, Wild Thing Fripp ------------------------------ From: ssmith at knittingfactory dot com (Steve Smith) Subject: Cline/Gauthier/Stinson "Right of Violet" > Dr. S. WILKIE wrote: > there's a cd by alex cline/gauthier/stinson - "right of violet" [nine winds > 0184] which sounds like a cross between the soundscapes stuff and side two > of three of a perfect pair; well worth a purchase! For those wishing for a bit more detail beyond what "Dr. Wilkie" provided, the trio is percussionist Alex Cline, violinist Jeff Gauthier, and guitarist G.E. Stinson. The disc is on the Los Angeles-based Nine Winds label, run by saxophonist Vinnie Golia (P.O. Box 10082, Beverly Hills, CA, 90213), and it's available for $12 plus $3 postage. You can e-mail for more information or to inquire about foreign postage at ninewinds at aol dot com. You can find out more about these musicians on the homepage of the Nine Winds record label: http://members.aol.com/ninewinds/bios/cline.html http://members.aol.com/ninewinds/bios/gauthier.html http://members.aol.com/ninewinds/bios/stinson.html And no, I'm not connected in any way to the label. Stinson and Cline are friends, that's all. Interestingly enough, I was talking with Stinson about this release just over a week ago. (For those who remember such things Stinson was the original guitarist in Shadowfax, back when that band was still moderately progressive.) He had heard from a mutual friend that "Right of Violet" had made its way to Crimson via a friend of Pat Mastelotto's, and that it had become one of the most played discs on the band's bus. I'd LOVE to hear confirmation of that... maybe a few people would investigate it and Nine Winds would have its first "hit" album! To my ears the record does bear echoes of the Crimson things mentioned above, as well as some of that '73-'74 improv magic (perhaps due to the violin). Stinson's got another band, A Thousand Other Names, that has more straightforward rock tendencies, though very atmospheric. The only reason I mention this is that, curiously enough, his singing voice reminds me of nothing so much as Gordon Haskell, and I mean that as a sincere compliment. Enough bandwidth, me gone. Steve Smith ssmith at knittingfactory dot com ------------------------------ Date: Sat, 19 Apr 97 02:19:56 UT From: "William Hearne" Subject: Song Polling Pundit I simply cannot resist responding to the diatribe which used song polling as a launch pad. It is posited that Krimson doesn't "need" suggestions. Granted, Krimson is a remarkably original, progressive and talented institution, but let's face it, Krimson is, in the end, simply a group of working musicians, counting on our dollars to make a venture of it. Krimson is neither icon nor alter. Without fans funding the effort. I suggest that Krimson would "cease to exist," at least as we know it. In short, as great as Krimson is (and I do not imply anything less than extreme admiration for them), it is after all a band making a living. I consider most of the comments rejecting song polling nothing more than idolizing drivel. Am I, simply because I like what Krimson has produced to date, simply to "trust where KC plans to go" with no regard for my own own personal predilections? I think not. Surely each of us can identify a band, now abandoned, who once could do no wrong. Finally, I take issue with the concept that how something is played is more important than what is played. That is absurd. Granted, it might be interesting to hear Fripp play, for instance, "Wild Thing," but will I crave an Archies tribute cd solely because Fripp is associated with it? Perhaps I'm alone, but I am glad that not everyone is so enrapt with Krimson that "anything goes." I do not mean to suggest that Fripp would alter KC's direction in hopes of a killer album or hit single, but I suspect Fripp would confirm that the market ultimatley dictates the product. If not, then I anxiously await THRaKaTTaK volumes 2, 3, 4, 5 ......... to be released in the near future. ------------------------------ Date: Sat, 19 Apr 97 06:11:25 UT From: "Clive Lathrope" Subject: VH-1 (UK Edition) Yesterday's (18/4/97) edition of "Into the Music" on VH-1 had footage of interviews with the 1969 band at the recent Epitaph Playback. Each member was interviewed for a minute or so but interspersed was B&W film of the Hyde Park Concert!!!! I've often thought that Granada TV MUST have filmed Crimson's first public appearance at the Rolling Stones Concert in the Park. Now it seems someone has traced the footage of that event. Great - please,please, please DGM pursue this film and release it on video ASAP!!! ------------------------------ Date: Fri, 18 Apr 97 19:44:15 UT From: "Jonathan Korein" Subject: KC sightings Here are some sightings for ET... On a televised horse race, I noticed that one of The horses was named King Crimson... I also discovered the web page of a band named Elephant Talk at http://leeds.soundcity.co.uk/bands/acts/elephant.html Here is the text that was on the page: Jon Greenfield - Saxophones, didgeridoo, hammer dulcimer Pete Barnes - tablas, conga, drums Adrian Sykes - Flute, kalimba, jews harp Jon Maybey - Spanish Guitar Shezhad Raja - Bass Guitar Elephant talk start their third year established as one of the most exciting and diverse acoustic dance bands of the UK festival circuit. The unique 5-piece instrumental band has gained rave reviews and reactions throughout 1995's tours of France, England, Ireland, and Wales, climaxing with performances at the Glastonbury and Heineken festivals. Here is their logo: [ I snipped the uuencoded GIF to save space. You can find it at www.cs.man.ac.uk/aig/staff/toby/etband.gif -- Toby ] ------------------------------ Date: Sat, 19 Apr 1997 14:33:29 -0400 (EDT) From: NorthernLn at aol dot com Subject: My Own Time--The Authorized Biography of John Wetton Dear Toby: Pre-publication orders for My Own Time are now being accepted by Northern Line Publishers. Detailed information can be obtained by visiting the Northern Line Publishers Web Site: http://members.aol.com:/northernln/MyOwnTime/bpwelc.htm Would you please place this URL on your web site. Thank you for your time and cooperation. Questions can be E-mailed to NorthernLn at aol dot com. Northern Line Publishers ------------------------------ Date: Sat, 19 Apr 1997 15:02:27 -0400 From: "Eric D. Dixon" Subject: EPITAPH EVENT IN NEW YORK CITY 4/26 Hi: Is anyone from the Washington, DC, area driving up to the Epitaph event in NYC on Saturday? Please e-mail me as soon as possible, as I would be interested in carpooling with you (i.e., sharing the gas expenses, etc. -- I don't have a car). Thanks for your time. Eric D. Dixon |\|\//\|\| "Making the world safe humbaba at bigfoot dot com |/|/\\/| | for radical capitalism" http://www.geocities.com/SoHo/Lofts/6072 "Reader, suppose you were an idiot. And suppose you were a member of Congress. But I repeat myself." -- Mark Twain ------------------------------ Date: Sat, 19 Apr 1997 15:31:05 -0400 (EDT) From: Damon Mahon Subject: anti-"nostalgia" Hi again all, All three responses to the "play it again, Robert" poll (ET #370) in ET #371 seemed to be hostile to the idea, or at best ambiguous. All right. First of all, I did not conduct the poll with the intention of turning this into a debate topic. And I must completely agree with two of the authors opposed to my idea that it is ridiculous to tell the band what to play. I think there is a major difference between saying to the band "we want you to play Fracture" and saying to the band "if you'd like to know what old composition we'd most enjoy hearing you play, it's Fracture." As much as possible, I worded both the invitation to vote and the results not as a mandate or even as "we'd be disappointed if you don't play this," but merely as "if you want our input, this is something we'd like." First of all, King Crimson has always been about innovation and cutting edges. For me more than most; my first (and still possibly favorite) album of theirs was THRAK, which I bought 2 days after its US release. By the time I saw my first Crimson Show, I was only familiar with that album and Starless and Bible Black. I went in wanting to hear "The Great Deceiver" but was not disappointed when they didn't play it. Instead I enjoyed Red and LTIA part II and Matte Kudesai, all of which I was hearing for the first time. What I'm trying to get at, I suppose, is that King Crimson cannot escape its past, nor does it try to. Had Fripp named the 80's band Discipline, nobody would be talking about wanting to hear Starless again. But the band was named King Crimson, because they played like King Crimson and of course because half of its members were ex-Crimsonites. And for King Crimson, history is always a part of their music; VROOM sounds a lot like Red in places, and anybody who's heard different bands do 21CSM will know that an incredible amount of evolution has taken place over the life of that song. Old songs have always been played at Crimson shows and they always will be. But there will always be something new about them at the same time; songs change within each incarnation of King Crimson (for instance, Easy Money) and they change drastically between incarnations (for instance, Red). So for me this suggestion list was more of a way of expressing interest in how the current band can play a particular piece than in hearing a piece note for note from 1970 with the same instrumentation. Robert Fripp has expressed an interest in performing some pieces again, notably Starless. He has also shown us that he isn't totally aloof and is at least somewhat interested in what we think, hence the series of postings he did a few months ago. I agree that it would be ridiculous to tell KC how to play. And it would be doubly ridiculous to tell KC what new stuff to play. But old KC will always be played in the style of the current band rather than the original style, and so I believe that by these suggestions we are more able to give our input, at least some of which Fripp has requested. And then, like I said, Fripp may freely ignore it as he chooses, and I don't think that anybody will be disappointed if the next King Crimson tour is all new stuff. Because that's what we listen to the band for anyway - new material. But isn't a double-trio "Starless" technically new material? Won't it be in a very different style than the original? We know Fripp is not going to make a programming decision exclusively to cater to the masses, and I really doubt that anybody will be disappointed or refuse to go to any more Crimson shows if their favorite song is not played. So in closing, these were inputs, not mandates, and sorry for taking up so much space. Damon Geoffrey Mahon (DGM.) ------------------------------ From: "Pat" Subject: MIKE OLDFIELD makes comments about FRIPP/A collaboration maybe??? Date: Sat, 19 Apr 1997 15:36:33 -0400 Hail Groons!!! I'm a big Mike Oldfield/Gentle Giant/King Crimson fan, and I've been reading plenty of literature on Mike Oldfield lately. While reading recent reviews on Mike Oldfield in newspapers, various publications, R & R magazines, and so on..., Mike Oldfield mentions KC as a strong influence on him, as well as Gryphon, Gentle Giant, Kraftwerk, & Steve Reich. The reason Mike Oldfield seems to comment on these "so-called" dinosaur bands, is because he, himself, has been accused of being a washed up old-fart dinosaur. His contributions as of late(at least in North America) have been completely ignored because critics(who listens to them anyway) have branded this label onto him. Mike Oldfield also comments on the issue of "Has Prog. disappeared???", in which he replies(not his exact words): "NO...It never has!!! In fact, King Crimson has reformed, and Gong has just jumped on a world tour"(not his words exactly, but I remember reading something along those lines). The reason I'm writing about Mike Oldfield, is because I highly regard him in the same category as Robert Fripp. Both have done strange, haunting, & dissonant masterpieces, but above all....ABSOLUTELY GORGEOUS!!!! They've both dabbled in commercialism as well... R. Fripp having better results(Blondie, D.Bowie). Mike Oldfield's commercial works are still well worth listening to though. I'd rather listen to M. Olfield's and KC's(somewhat) commercialism, than the latest MTV bimbo. What I'm inquiring about is: Does Robert Fripp have the same respect for Mike Oldfield, that M.O. has for Robert Fripp??? Have they ever met??? Have they ever discussed a collaboration together??? Both artists seem to be perfectionists(just my impression), but both like to have fun as well(my impression again). I don't know either Robert or Mike personally, but I feel I know them through their music...Which would take me days to explain. Both of them also appreciate the musical art-form of minimalism. I believe a finished studio collaboration between these 2 masters would speak volumes to the world. This is not a demand for these 2 artists, just an adventurous listener suggestion. Mike Oldfield's new agy(NOT fluff however)/industrial/minimalism/rock/ambient, combined with Robert's soundscapes??? Wow!!! What a trip indeed!!!! Maybe Robert could be so kind in answering this post. It would be appreciated if you could please. Thanks for the great music over the years Robert(and the rest of the KC alumni). So Sincerely, Julian Belanger(CJAM 91.5 FM, Univ. Of Windsor, Ont., CANADA. Host of "Elastic Rock") ------------------------------ Date: Sat, 19 Apr 1997 17:02:54 -0400 (EDT) From: Zero the Hero Subject: Dreams Wide Awake on the Internet! Hi all, Some of you may know about my 'progressive rock' radio show Dreams Wide Awake. I have great news! The show's listeners are no longer restricted to Jacksonville, FL. We are broadcasting live on the Internet! The following is copied from my web page: ---- WOSP also broadcasts live on the Internet! Using Streamworks technology, you can listen to Dreams Wide Awake (and other Osprey Radio shows) through your computer. Check out the Osprey Radio Internet Broadcast page for instructions on how to download the Streamworks client. We are all very excited about this. It's been a long time coming! ---- There you have it. The next show will air this Sunday night, April 20, 8pm - 12am Eastern time. Tune in and tell me what you think. For more info on the show, refer to ye olde .sig below.... Have a great one! Jason ----- jeller at unf dot edu Computing Services, University of North Florida Listen to DREAMS WIDE AWAKE http://www.unf.edu/~jeller/dreams.html Sunday nights from 8 to 12-ish Hosted by Jason Ellerbee Airing from the University of North Florida on digital cable radio channel 36 in Jacksonville and worldwide at http://www.unf.edu/groups/wosp/stream1.htm ------------------------------ Date: Sat, 19 Apr 1997 16:52:54 -0500 (CDT) From: Andrew Harmon Subject: Turner Tattoos Trent Turner mentioned getting a Crimson tattoo last issue and mentioned that the Disipline logo would be too complex to look good. Really this all depends on how much you pay (quality) and how large you're willing to have it. I'm glad to see that I'm not the only person who has considered doing this. I figured I wasn't, though I've never seen anyone with a Crimson tattoo. -haaaman ------------------------------ Date: Sat, 19 Apr 1997 16:00:21 -0700 From: Eb Subject: Re: Bathwater >From: Scott Hamrick > > I don't know why ANYONE doesn't like prog rock! Jeeeesus. Honestly?? It's EASY to come up with good reasons to hate prog (even if I don't always agree with them). >No, ignorant because they couldn't handle/understand talented, >forward-thinking musicians that played more than 3 chords and didn't use >the word "bollocks" in their album titles. Punk only took rock music >BACKWARDS 10 years! Ewwww...once again, I squirm in agony. Repeat after me, everyone: COMPLEX IS NOT NECESSARILY BETTER THAN SIMPLE. TEN CHORDS ARE NOT NECESSARILY BETTER THAN THREE. 5/4 IS NOT NECESSARILY BETTER THAN 4/4. YES IS NOT NECESSARILY BETTER THAN THE SEX PISTOLS. (In fact, it's easy to argue that Never Mind The Bollocks... is more important to music history than Yes' entire recorded catalog.) Thank you for your indulgence. ;) >You're right, most of the good first-generation prog bands had run out of >steam and/or didn't release anything in 1976! Ummm...of course, I was talking about inert pop/rock music in general, and not merely confining my perspective to the state of prog at the time. Sheesh. Punk was not just a reaction to prog, but to ALL stagnating musical styles of the day. >From: Bradley Stewart Cook >Subject: Don Caballero > >I just went one night and DC was opening for this pathetic >band called Laughing Hyena.(I give laughing Hyena vote for worst >performance ever) That's the Laughing Hyenas, actually, who are on the same label (Touch & Go) as Don Caballero. And yeah, they annoy me also. However, I would say they put on a pretty powerful live show, considering the underwhelming merits of their albums. >From: Bruce Selzler > >On the other hand, Punk failed, in that it was the beginning of "fashion >driven rock". Not enough substance to sustain an art. Previously rock had >directed fashion, but the punk/new wavers with the record companies >following like sheep, threw out the baby with the bath water. Well, mayyybe. But what about all the lame early-'60s bands with Beatle haircuts and collarless suits? What about all the poseur psychedelic bands of the late '60s, in their tie-dyed shirts and carefully coiffed hippie haircuts? Or the calculatedly fresh-scrubbed doowop groups of the '50s? Punk was certainly not the beginning of contrived band images. And actually, the subsequent New Wave was more guilty of this than punk. >From: Ed Mayall > >Much as I love the Pistols, it's important to remember that their image and >"Politics" were manufactured almost as much as the Spice Girls'. Well, it's also important to remember that a lot of their image/attitude was imposed on them by McLaren against their wishes. Perhaps the band might've endured longer if they had been left alone. >From: Markus Schneemann >Subject: night wounds time > >Tom Phillips designed >the cover of "STARLESS AND BIBLE BLACK" ! I think the "night wounds time" >- bit comes from Phillips' work "HUMUMENT" a treatment of a Victorian novel >with water colour. Is this true? Because I've always wanted to ask about this, but figured I'd get soundly spanked and sent to a FAQ somewhere. Eb ------------------------------ From: andrew at castle dot net (andy goldenberg) Date: 97-04-19 00:28:45 EDT Greetings, i live in Edison New Jersey, Central/North near New Brunswick are there any ET's near me? my e-mail is andrew at castle dot net Starting on May 1, my new e-mail will be ag at creol dot com Thanks for your help, I'm looking for contacts to get together and play music, guitar etc. together. Thanks for your help Andy ------------------------------ Date: Sat, 19 Apr 1997 18:12:39 -0700 From: Eb Subject: More Lake Another interesting discussion topic about the new Greg Lake anthology might be Fripp's uncharacteristically banal and perfunctory introduction in the CD booklet. Just a brief sketch of history, along with mild, measured compliments about Lake being a close friend AT THE TIME and Lake being seen as likely to become famous (rather than any praise of his talents, etc.). Seems like Fripp consented to write a blurb out of obligation, then just scrawled it out with an indifferent sigh. Hmmm? Eb ------------------------------ Date: Sat, 19 Apr 1997 22:55:06 -0400 (EDT) From: PossProd at aol dot com Subject: Possible Productions The new Possible Productions mail order service in the USA can be reached in the following ways: by mail - PO Box 5282 Beverly Hills, CA 90209 - 5282 by phone - (213) 937 3194 by fax: (213) 937 9102 by e mail: PossProd at aol dot com Please send no further mail to the Magnolia Ave. Long Beach address or it will be opened by the wrong person. If you have previously been on the Possible Productions mailing list and have recently moved, please email us your new street address. The Possible Productions website is at http://www.rockslides.com/possible where our full catalogue of Crimson related items are listed with revised , better-than-ever prices. New Releases pre-orders welcome ! King Crimson: Epitaph The original lineup of King Crimson recorded in 1969. The long awaited follow up to the Great Deceiver set. Available as a two or four CD boxed set with 64 page booklet containing rare photographs and contributions from all five members. Discs 1 & 2 feature recordings from the BBC, Fillmore East and Fillmore West. Discs 3 & 4 (also available as a separate purchase) contain digitally re-mastered Chesterfield Jazz Club and Plumpton Festival recordings and are only available by mail order . Available April 29 (DGM9607A/B) 2 CD Box Set=85.$22.00 (DGMBOX2) 4 CD Box Set) $35.00 (DGM9607C/D) Vol 3 & 4=85. $13.00 (DGMPST6) Epitaph poster $7.50 Robert Fripp: November Suite A mail-order only Soundscape release and probably the best example of Fripp's live improvised style to date. Recorded live at Green Park Station in Bath, England. An hour of sonic-environment-fun condensed from a three hour installation. Plus 'out-of-this-world' artwork from John Miller. (DGM9701) $13.00 Available April 29 Robert Fripp: That Which Passes - 1995 Soundscapes Vol. 3 Completing the Soundscape trilogy from 1995. Studio treatments of live recordings from Washington Square Church in New York and the Goethe Institute, Buenos Aires. (DGM9507) $13.00 Available Now 1995 Soundscapes Collectors' Box Make sense of all those Soundscape releases with this FREE slip case. Contains spaces for Radiophonics, A Blessing Of Tears and That Which Passes and features matching artwork. Only available from Discipline Mail Order. (DGMBOX1) FREE with any Soundscape CD purchase. Available Now 1995 Soundscapes Poster Series. Beautiful set of three 18"x 24" fine art posters featuring cover artwork from Radiophonics, A Blessing Of Tears an= d That Which Passes. (DGMPST234) $18.00 Available Now Sometimes God Hides: The Young Persons' Guide To Discipline 79 minute seamless journey through the musical world of DGM. A look backd at some catalogue highlights plus a glimpse of things to come. (DGM9605) $5.00 Available Now ------------------------------ Date: Sat, 19 Apr 1997 23:00:02 -0400 (EDT) From: PossProd at aol dot com Subject: Epitaph in New York HMV Robert Fripp, Greg Lake, Ian McDonald, Michael Giles and Pete Sinfield will be reconvening in New York City to launch Epitaph and sign autographs at 3pm Saturday April 26 at HMV Record Stores, 86th & Lexington, New York, NY 10028. ------------------------------ From: David Kohn Subject: Bozzio / Levin / Stevens // "Black Light Syndrome" Date: Sat, 19 Apr 1997 22:46:47 -0500 (CDT) Hi ET'ers, I haven't seen it mentioned here yet, and I figure some of you would like to know.. Terry Bozzio, Tony Levin, and Steve Stevens got together to record the "Black Light Syndrome" CD, due out July '97. For more info, check out http://www.magnacarta.net/magcar15.htm dave ------------------------------ Date: Sun, 20 Apr 1997 01:34:37 -0400 (EDT) From: Benjamin Greenberg Subject: crimso tattoos re:Trent Turner's post about Crimson tattoos (ET 371). Funny you should mention it, Trent. I have the Larks' Tongues emblem on my back, covering a large portion of my left shoulder blade. I had it done the summer of 1990 at Old Orchard Beach (in Maine), by a tat. artist who calls himself Captain Morgan. My first choice was the Discipline cover, but there was too much detail. As it was, the Larks' Tongues cover took 3 hrs. The Captain was so into the image that though I told him ahead of time I could only afford an hour and a half of his time, he insisted on doing the job anyway, effectively giving me the tat. for half price--and he did a great job. Ben Greenberg btgreen at bu dot edu ------------------------------ Date: Sun, 20 Apr 97 01:21:30 From: drj_saro Subject: RE: Elephant Talk Digest #371 WebMonkey writes: > >Actually, if you check the FxF liner notes you will find that one of the >first songs KC played in the '69 lineup (probably at the Speakeasy) was >"Lucy in the Sky (w/ Diamonds)" and when they toured the US during the same >year they played "20th Century Man" which is a cover, I know not by whom, the Kinks did a song by that title around that time. _________________ WrongWay writes: > >Hi, everybody > This is my first time writing on ET but I've enjoyed reading >everyone's comments lately. Last weekend (April 5th) me and my >Philadelphia trio, Wrong Way Out, played our CD release party at a small >coffee house. Our set included mostly original material as well as "You >Say He's Just a Psychic Friend" by Vernon Reid and Masque, (opened for >Crimson in the August show of 96 in Phila) as well as VROOOM, and Larks' >Tongues in Aspic Part Two. a round of applause from out here in the cheap seats! it takes a brave soul to try to play Crimson at all, let alone in public! you deserve some solid encouragement and positive feedback. (and i for one would like to know more about your CD) _________________________________ Peirron & Anastasi both ask about the Epitaph Box Set... it's been said here before, and i've had it confirmed by two other sources as well, that the 4 CD version will _only_ be available from DGM/PossProd, the 2CD will be the only one available "commercially". (they are also exclusivizing the latest of Fripp's Soundscrapes) >------------------------------ Alex writes: >As a follow-up to my post a few issues back re: the Union Chapel Concert >double CD by Peter Hammill & Guy Evans / Van der Graaf Generator, >- much wonderful improvisation (Evans is a match for Bruford in terms of >unusual beats), Try it! 12.50 sterling in the UK from Sofa >Sound, PO Box 66, Freshford, Bath. > not meaning to quibble, but GE is _more_ than a match for BB, in fact BB could learn a thing or two (in life, not just on the drum kit) from GE!. if there are any fans of the KC as featured in tGD box set that are not familiar with Van der Graaf Generator, you owe it to yourselves to check them out. (start with either Pawn Heart or Still Life) Kurt writes: >Hey! I was just checking www.pollstar.com and saw that Robert Fripp is >listed as playing Concord Pavilion on August 1st. i think that this is probably part of whats being called "G3" with Satriani , Vai and Kenny Wayne Sheppard ( someone asked last time about KWS, and i second the question.) *------------------------------------- Name: Julius J. SAROKA E-mail: drj_saro Date: 4/20/97 Time: 1:21:33 AM This message was sent by Chameleon (in the Shadow of the Night) *------------------------------------- ------------------------------ From: "Carlos Henrique Moller" Subject: hi you there ! Date: Sat, 20 Apr 1996 10:03:27 -0300 hi ETs ! this is my first time writing just to say i'm a big big crimson fan here in brazil and i'm really excited with the epitaph release ! all you people: feel free to e-mail me, anytime :-) carlos moller jundiai - sp - brazil ------------------------------ Date: Sun, 20 Apr 1997 07:47:51 -0600 From: Thomas payne Subject: re: polling In ET371, Joe Brancaleone voices his objections to polling the ET world for an indication of which pre-current-lineup piece we'd most like to hear live again. His main objection is based upon KC not needing such direction from us, which is a good point. However, Robert has indicated his desire for feedback simply by being a participant in this "I don't see how anyone would want to read it all for fun" forum. I don't think the exercise hurts, since RF, of all people, will pay attention or disregard the poll results as he sees fit, which to my mind supports Joe's thesis. I, for one, would rather the band received such feedback from a poll, rather than hearing some drunk in the audience yelling for "Free Bird" or something. Full disclosure: I am delighted with "Fracture" winning the poll - IMHO the final movement of this piece is, especially at high volume, the most uncompromising, viscerally moving instrumental ever written in rock. ------------------------------ Date: Sun, 20 Apr 1997 15:17:48 +0100 (BST) From: "J.S. Gilchrist" Subject: Wetton at Wilbarston. Re: Kim Fyson's: Amateur Night at Wilbarston in ET371. I'm afraid you won't get a positive vote from me - what a dissapointment. My heart sunk as In the Dead of Night opened the show and was dreadful - it came at me as a garbled wall of sound and the band sounded all over the place - what a mess. Unfortunately things did not really improve. The gig had its moments though - they finished really strongly with Easy Money and Starless and then Battlelines - these tracks were great (Starless.....) and were played well. Th Asia tracks: Sole Survivor, Time and Time Again and Voice of America also gained pass-marks. But the rest of the show was frankly crap. The drummer is superb - he has a sense of precision and speed that takes the breath away. When Lieslang (the guitarist) played a solo spot, people took the opportunity to visit the toilet...not so for the drummer - his solo was incredible! Back to the guitarist - well he's alright but did not come over as a particularly gifted chap. However the keyboard player (Martin Orford) was abyssmal. I could not believe how awful he was - he was too loud, off-key and out of time with the rest of the band. He totally slaughtered some of the tracks - it was at times painful to listen to some much loved tracks get such an amateur treatment. The UK tracks were murdered, mostly due to the keyboards - this band was simply not capable of playing complicated tunes. I don't know what happened to Night Watch - it was totally out of tune (and John knew it). Unfortunately not even John's acoustic set rescued us - the audience tended to talk over it, but having said that John's playing of the acoustic guitar left a lot to be desired....sorry John. I found this surprising because the playing on his live album "Akustika" was perfectly sound. Steve Hackett's guest appearance was very popular but a bit too brief...I don't think they had planned it very well -the band did not come on after Horizons when he seemed to expect them and then he stayed on the stage after the band expected him to leave (for Rendevous 6:02). His volume could have been cranked up for Firth. By the way I thought John did a good vocal job on Firth...apart from losing a few words. In summary, I was very dissaponted - I had been really looking forward to this gig. The whole way through I was hoping that it would improve - it did at the very end from Easy Money on. I think John needs a new guitarist and DEFINITELY needs a good keyboard player (it would have been better without keyboards). When you consider the standard of the bands John has played with, and the musicians within - King Crimson, UK and Asia it really was a shame to see some great tracks get killed on stage. Unfortunately the band member he is most likely to lose is Thomas Lang, the drummer - who was far too good to be on the same stage as Lieslang and Orford. If anyone is at any of the other gigs, please let me know if Wilbarston was just a bad night...or if he's ditched the keyboards! Track list was (as far as I can remember): Synthie-Intro In The Dead Of Night Sole Survivor Voice Of America guitar solo Arkangel The Smile Has Left Your Eyes The Night Watch 30 years Only Time Will Tell HACKETT acoustic solo: Horizons Tales of the Riverbank+ The Heat Of The Moment (acoustic) (w Hackett) Firth of Fifth (w Hackett) Rendezvous 6:02 drum solo Caught In The Crossfire Hold Me Now Easy Money Starless encore (w Hackett): Battle Lines All Along The Watchtower ------------------------------ Date: Sun, 20 Apr 1997 15:40:05 -0700 From: Kenley Neufeld Subject: G3 w/ Robert Fripp ANNOUNCED August 1, 1997 Concord Pavilion Concord, California G3 with Joe Satriani, Steve Vai, Kenny Wayne Shepherd & ROBERT FRIPP go on sale Sunday April 13 at all BASS outlets. You must buy a series of tickets if you wish to buy on Sunday otherwise the show goes on sale on May 18. It is not real clear if he will be opening the show or if he will be playing with G3. The name G3 implies that he won't. Concord Pavilion holds about 12,500 people and is an outdoor amphitheatre with seats in the front and lawn in the back. It is about 30 minutes west of San Francisco. Kenley Neufeld kenley at sfbayconcerts dot com http://www.sfbayconcerts.com/kenley.html ------------------------------ Date: Sun, 20 Apr 1997 15:40:07 -0700 From: Kenley Neufeld Subject: Re: The Fillmore West Shows >the original poster as printed in the back of the booklet announces >the Filmore West shows as Dec. 11, 12, 13 and 14. >the gig list in the Young Person's Guide booklet mentions only 3 >gigs at the Filmore West, at Dec. 14, 15 and 16. >the booklet of the Frame By Frame live CD credits "Mars" as being >recorded at San Francisco, Filmore West, on December 10 1969. >hence my question - when _were_ these Filmore West shows, and when was >the last one???? I just got off the telephone with Bill Graham Presents Archives Department in which they stated that King Crimson played at the Fillmore West on December 11 - 14, 1969. Since it was their production gig, I would tend to believe their information. Hope this helps. Kenley Neufeld kenley at sfbayconcerts dot com http://www.sfbayconcerts.com/kenley.html ------------------------------ Date: Sun, 20 Apr 1997 23:40:55 -0700 From: "Jeffrey A. Weinberger" Subject: Webmeister Needed PROGRESS REPORT ON THE FRIPP AND ENO TRIBUTE I recently proposed a collective effort on the part of ET members to construct a ^hazardous space suitable for solo^ as a tribute to Fripp and Eno. Several people indicated to me that they thought was a good idea, but no one has come forth with a specific immediate practical course of action to contribute towards the project. Several other people have stated that they are in favor of a straightforward tribute consisting of cover versions or pieces heavily influenced by Fripp and Eno recordings. I replied that I was willing to listen to any material that a person wished to submit for this project. No one had anything positive or negative to say about my suggestion to try to include the artists in the tribute. I still think it is a good idea to not exclude the artists from their own tribute. For instance, if I was assembling a collection of King Crimson covers as a tribute from young musicians influenced by that band, I would invite KC to contribute a cover of a song as a tribute to an artist that was an influence on them. The invitation might be declined, but then again you might get the double trio performing "Purple haze"... By bringing the tribute concept full circle, the KC tribute album would resonate more deeply. But back to the Fripp and Eno tribute. Because the purpose of this endeavor is to give thanks to Fripp and Eno, and since I sense a need for a continual reminder of Robert's admonition to the KC project ("Please don't send me a turkey to be roasted."), the appropriate title has revealed itself in the form of "Music for Thanksgiving : A Tribute to Fripp and Eno". (A gentle fluttering breeze causes drops of dew to shimmer down blades of grass and melt into the reflection of the rising sun which peacefully ripples across the sparkling surface of the babbling brook. But hark! What wondrous sound is this which pierces the mists of morning on yonder meadow? It is the plaintive cry of the Meleagris gallopavo, it's distinctive "gobble, gobble, gobble" delicately wafting across marsh and field so that all may feel joyful on this fresh new morn.) I'll be using the phrase "Cloud Corsage" to identify efforts intended to promote creative interaction among ET members. One such effort is called "Elephant Tape". The Elephant Tape is designed to be a musical territory for ET musicians. The current plan is to put up a page which will contain an audio recording of an ET member playing music in a style of their own choice. It can be metal, jazz, Mahler, whatever; with no requirement that the musician cover or imitate material by Fripp or Crimson. The Elephant Tape can be up to 5 minutes in length, and it will change once every week. In order to get Elephant Tape on the web, someone has to volunteer to be the webmeister of this page. Dan Kirkdorfer, who does a very fine job as master of the ET Web, has indicated that he will put a link to the page from the Elephant Talk site. If you would like to be webmeister, and you have the capability to put audio on the web, please contact me for further information. Also, please contact me if you can retouch photos and would like to help with the graphics. I was thinking that the top right area of the page would contain a disposable cellophane tape dispenser, with the tape going across the page and threading into the take-up reel of a Revox reel-to-reel tape recorder. Let me know if you can think of a better idea. reply to: jweinber at ucla dot edu >>Jeff ------------------------------ From: "d.j.mcallister" Subject: Fripp in Salisbury?? Date: Mon, 21 Apr 1997 09:06:26 +0100 () I seem to recall a mention of Robert Fripp playing a concert of Soundscapes in Salisbury Cathedral as part of a music festival. I may be mistaken, but can anyone confirm this, and provide any details? Even a contact address of the organisers to find out more details would be wonderful. I think it was scheduled for mid-June. Many thanks, David McAllister ------------------------------ Date: Mon, 21 Apr 1997 11:01:15 +0100 From: Rolf Welde Skeie Organization: Scali AS Subject: Re: John Wetton "Consert" > Date: Mon, 14 Apr 97 21:17:22 GMT > From: KIM_FYSON > Subject: Amateur Night at Wilbarston > > I am worried that it was just me who thought this concert was total > rubbish. Please let's hear it from some others who were there with a a good > thing to say about it. I was at the Croydon gig. Sorry, no comforting words from my mouth... > To start with the sound mix was dreadful. Someone forgot to tell someone > [snip] > I've heard much better sound from village hall band's. > [snip] > but clear as a bell. The Wetton Band was much, much louder and distorted > and muddied beyond comfortable listening levels. The worst thing was not the level, but the distortion in my opinion. The PA was grossly underpowered and delivered real messy noise... And the balance between the instruments was dreadful. > exception of a very fine drummer, as good as Bruford or Palmer (at least at > that age) where did he get the others from and why insult us by playing > that carelessly. The guitar player, despite being capable in his own > right, was simply not able to come near being able to play the Crimson > songs. Most of the instrumental work was unfortunately left to the > keyboard player and that was a serious mistake - my gran who only plays the > upright piano, would have been a better bet. Finally, John Wetton is not, > at least from this performance apparently, a particularly accomplished > acoustic guitarist. Stick to the bass, John, please. I totally agree with you. The guitarplayer(Liesegang?) was dreadful; a real "effects-and-twangbar-wanker" on a bad night. Horrible! The keyboardplayer(Martin?) was at the musical level of a 12 year old, using only the preprogrammed sounds on his Roland gear... BUT The drummer was VERY good, a mr. Lang(?) from Austria. Hope to hear more from him in some other constellations. > I'm seeing the band again at Croydon next weekend so will reserve final > judgement until after that event, meanwhile I'd love to hear a positive > review of this concert to reassure me that all is not lost. Anxsiously awaiting your comments.... NOT I'm afraid all IS lost... AND > Date: Wed, 16 Apr 1997 16:01:47 -0400 > From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) > Subject: John Wetton in NYC > > Wetton is playing at The Bottom Line in NYC(West 4th Street & Mercer) on > 5/18/97. Two shows at 7:30 and 10:30. $15.00. Don't know if it's with his > band or a solo acoustic like last time. >From what he said on the Croyden consert it'll probably be with his "band". (he mentioned LA in a month's time) Don't look too much forward to it, though... Rolf Welde Skeie (Senior Design Engineer) =| __________________________________________________=====|_ mailto:rws at inko dot no http://www.scali.com =====| ------------------------------ Date: Mon, 21 Apr 1997 11:08:20 +0100 From: Rolf Welde Skeie Organization: Scali AS Subject: Fripp consert in Union Chapel, London Hi! Just received a leaflet with this information: Robert Fripp An eight hour performance by the legendary guitarist Saturday 31 May 12noon - 8pm Union Chapel, London (no advance tickets) A real marathon! -- Rolf Welde Skeie (Senior Design Engineer) =| __________________________________________________=====|_ mailto:rws at inko dot no http://www.scali.com =====| ------------------------------ Date: Mon, 21 Apr 1997 11:20:43 +0200 (MET DST) From: Olivier Malhomme Subject: Re: Fretless guitars. Organization: "GIS INFOBIOGEN, 7 rue Guy Moquet BP8, 94801 VILLEJUIF, France" I happen tu use myself a home modified into fretless guitar. If you need whatever advice I could give, i suggest you e-mail me privately. If there is ineterest on the list I can re-post later all the questions and answers??? Olivier Malhomme ------------------------------ End of Elephant-Talk Digest #372 ********************************