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 #375 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 375 Sunday, 11 May 1997 Today's Topics: NYC Epitaph Playback Brand X Various postings Fripp summer itinerary Ptree and other mundane topics Re: Bollocks vs. The Chord-Counters old/rare Fripp/Crimso vinyl for trade KC at HMV Questions & Clones DISCOG: Fripp /w Damned; Persp. & Distortion; Toni Childs; KC/Fripp in San Diego .. Playback review in New York Times? KC's attractiveness? DREAMS WIDE AWAKE news Fripp & The Doctor More Various Postings Marotta, Dream KC, Horror Double Crimson, etc. Satriani G3 Tour Dates -- Fripp, Satriani, Vai, and Kenny Wayne Sheppard G3 1997 US Tour Dates ------------------ 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: Thu, 1 May 97 01:35:44 UT From: "Rich Mlinar" Subject: NYC Epitaph Playback Like Robert Cervero, I was fortunate enough to attend the NYC playback at the HMV record store, a little more than a month after attending the London playback. Once again, I was joined at the playback by fellow enthusiast and good friend Mark Kaucher, who traveled from upstate New York. Our friend Jim Bisbee also traveled from Richmond, VA to join in the event. Just like the day of the London playback, the weather on Saturday in New York was extraordinarily good. The great weather added to our excitement as we journeyed to the playback. We arrived about 45 minutes early and joined the queue which snaked to the rear of the store. We soon thought better of that, and moved away from the head of the line, to a location directly in front of the stage, a great vantage point to see and hear the proceedings. I greatly enjoyed reading the postings regarding the playback from ET'ers in digest #373. Without repeating their observations, I'd like to add the following: - In responding to a question, Greg Lake contrasted the recording/production techniques of 1969 with those of the modern era by noting that the entire first album was recorded in only 10 days, and that Schizoid Man had been recorded in one take! Robert Fripp then commented that it had only taken eight days to record the album, to which Lake responded that he didn't know what he was doing for the other two days! - Ian McDonald's response as to whether the original lineup would ever form again was truly surprising. Who would have thought that it was even a possibility, much less discussed? - During the signing, I asked Robert Fripp to sign the program from the London playback and the booklet from the Sylvain/Fripp Damage CD (which he didn't appear to recognize at first). He was very interested in our impressions of the London playback, and stated that the playbacks were alot of work for a small company like DGM. After expressing how much we enjoyed them, he mentioned that other playbacks might occur in the future. Upon hearing that Mark's mother was also from Dorset, where he and Lake grew up, he happily discussed the merits of the region. - I tried to coax Mike Giles into going out with us after the signing for a pint or two. Unfortunately, there were several hundred people still waiting in line behind us. Since it was very warm in the store, we had to carry on without him. - We spoke with David Singleton for quite awhile after getting our articles signed. He explained the techniques which he used to improve the sound quality of the concert tapes which became Epitaph. All Crimson enthusiasts are indebted to him for his intensive labors on the project. - The no camera policy was not enforced. Many people took photos, I'm sure that there will be alot of good photos of the event. - The HMV policy of not being admitted to the signing area without a store receipt for the Epitaph two-CD set was also not enforced (Much to my relief, my four-CD set is hopefully on its way in the mail from Possible Productions/DGM USA). - All sorts of Crimson paraphenalia was presented for signing. Someone even brought a bass guitar for Greg Lake to sign. After leaving the store, we proceeded on a whirlwind tour of some of our favorite spots (Heartland Brewery, The Telephone Bar, McSorley's Old Ale House, and Gus' Place), where we regaled other Crimson and music enthusiasts with descriptions of the playback, and toasted our good fortune. I strongly advise all Crimson enthusiasts to make the effort to attend any playbacks which may be scheduled in the future. I'd like to thank the band and DGM for making the effort to meet and interact with us. Rich Mlinar ------------------------------ From: "Doug Liles" Subject: Brand X Date: Wed, 30 Apr 1997 23:38:18 -0500 I will be starting a new digest for Brand X fans very soon! I'm asking for ubscribers only at this point (I will open the digests for posts early next week). So if you want to subscribe send a message with the subject being 'subscribe' to Xcommunication at multipro dot com. I would also like to thank Toby and John Relph for their advice and encouragement getting this started! Doug Liles dug at multipro dot com I can't directly link King Crimson with Brand X but Robert and Percy Jones were on the same Eno CD once. ------------------------------ Date: Thu, 01 May 1997 10:46:00 -0700 (PDT) From: George Korein Subject: Various postings This is George Korein, who usually mails from mopobeans at msn dot com. Any postings by Jonathan Korein are actually postings by George Korein. I happen to be in Wrong Way Out, the band Colin Marston made a post about a few issues back. He is the guy who transcribed "LTIAP 2" for ET. 1. Because KC is so early in the process of recording the next album, I bet nothing is set is stone, but I did hear there would be "LTIAP 4". Ooh la la. 2. If anyone out there, like me, is contemplating a move to the Warr Guitar, you can check out a week-long Warr Guitar seminar during which you can rent one out. Info available at the Warr Guitar site and at guitarworkshop.com. At the end of the seminar, you can buy one for $1000... very expensive, but a better deal than you will ever get: Warr Guitars usually range from $1500-$4500. 3. For the ET tribute to KC, I thought that maybe the title could be a play on "In the Court of the Crimson King" but "The Crimson Courtiers" sounded inane, as did "The Crimson Royalty". ------------------------------ Date: Thu, 01 May 1997 18:52:57 -0700 From: Netscape User Subject: Fripp summer itinerary Hi. The Fripp itinerary with the G3 tour in the States this summer is now available at www.g3tour.com. I think that's the URL. If not, yahoo G3 and you will get it. No return email possible. Ken ------------------------------ From: "Brown, Ken" Subject: Ptree and other mundane topics Date: Fri, 02 May 97 09:05:00 EST I must disagree with Max from Italy on his opinions on Ptree and that fact that they are not innovative and experimental. Steve Wilson, who was in fact Ptree until the last two cds, is a genius. He is trying to move prog into the 90s. Many of today's prog bands are just trying to rehash what they thought was so great about prog in the 70s. Mr. Wilson is trying, and with much success, to infuse prog with what is going on in the 90s. All four of Ptree releases are a hodge podge of prog/ambient/techno/and whatever he can find. I find Ptree much more interesting then KC Mark IV (please no flames, it is just my opinion and I realize many will not agree, but as I have stated before I don't see a radical departure from version IV and version III, and to me new Crimson meant a new direction. While I find the idea of the double trio appealing I don't think they have pulled off a new sound) I do agree with Max about his recommendation of bands that sound like KC. But ask yourself does that seem to be a paradox? Here we all like this grand and glorious band that is, for the most part, trying to break new ground, yet the bands Max mentioned are all trying to sound like KC and they are all trying to sound like Mark 2 KC at that. Wait I stand corrected Philarmonie does try and imitate KC mark 3. Also some advice to Steve Parker about EB, don't waste your breathe or your typing skills. EB knows everything about music, just ask him he'll tell you that. I had a debate going with him several months ago and it was just frustrating, because he is always right. I still challenge EB to give me a band or type of music that will be the new 'big' thing. And I challenge him to pick up a copy of Ptree 'Signify' and tell me that this band is not the future of Rock. I listen to today's music on the radio and I hear nothing lasting or interesting. While prog was interesting in 70 and New Wave was interesting in the 80s, there as been no new interesting style in the 90s. there are no popular bands taking chances that the bands took back in the 60/70/80. Its all disposable, its hard to tell one band from another, nor does it really matter. To be on EB side for a minute I do agree with him that complex is not necessarily better, nor is it worse. Music must be listened to and enjoyed by artist not by type. Each genre as it good artists and bad, in fact I would say that best bands go beyond the genre they are in. But I disagree with both EB and Steve about the importance of LPs. 'Never Mind the Bollocks' never sold well and wasn't released until after the band was over with and the Punk movement was already gaining speed. It was the idea of the Pistols that changed things and not the LP itself. And lets be truthful here without the Ramones there would be no Pistols. I would think the worst selling Yes LP sold more copies then Never Mind ever did. Where I disagree with Steve is that ELP made the first impact on the world that prog was ok. The first few Yes LPs went unnoticed, but ELP's first LP scored a hit with 'Lucky Man' and that was few years before 'Fragile' or the 'Yes' LPs hit the streets. Of course, this was an old argument that we had when I went to High School who was better Yes or ELP, Wakeman or Emerson, Palmer or Bruford. But now I can see the argument wasn't important, it was the fact that they were two prog groups we were arguing about! So to sum up and get off my soapbox 1) Prog is still vital music entity that survives and flourish despite the major record companies ignoring. 2) Its hard to put significance on how certain recording affect the industry as a whole and where their place in history will be. Only time will tell and I don't think 20 years is enough time. Although we have had Symphonic Yes, do you think we will ever have Symphonic Pistols? 3) To quote Mr. Belew out or 29,000 cds released last year only 800 sold over 10,000 units. 4) Ptree is the group of the 90s, without a doubt in my mind this is the BEST band to emerge from any music form in the 90s. Go and buy 'Signify' and discover the truth. Keep the Faith (in the Music) Ken ------------------------------ Date: Fri, 2 May 1997 23:04:21 -0700 From: Eb Subject: Re: Bollocks vs. The Chord-Counters Apologies for this post's length...just remember, I wasn't the one who originally brought up the punk issue. ;) >From: Bruce Selzler > >BTW, the Sex Pistols were important, but it was all a scam. Its time we >got over it. The fact that so many people still can't "get over it" shows that it was a lot more than a scam. They may have been MARKETED as a scam, but there's no doubt that the music had substance. >Just look at them on David Letterman. Good thing Sid wasn't >here to see it. No one (including the Pistols themselves) claimed the reunion tour was artistically significant. However, I saw the tour's L.A. show and it really wasn't bad at all -- it's just awfully hard to sell angry-youth songs like that when you're 40 years old. Lydon's voice is as piercing as ever, the musicianship was solid... . It's just that the sense of the moment/spontaneity was missing, which is inevitable when you're performing tightly constructed rock songs that are 20 years old. >Also, its interesting that you seem to think that the Sex Pistols all too >brief career has more value than the entire Yes catalog. Aww, I'm not so interesting. There are thousands and thousands of other music fans who would agree with me. ;) >There is more emotion, and balls-to-the wall rock on >Gates of Delirium than the whole Pistols catalog. Um...that is HIGHLY debatable. But I'll agree with you this far: "Gates of Delirium" IS the most "balls-to-the-wall" thing that Yes ever recorded, yup. >And frankly the majority >of the Yes catalog holds up a lot better than the Pistols. Again, a totally subjective opinion, and not an especially common one. It doesn't take much effort to see that the Pistols' music is a lot more influential than Yes'. The shadow of the Sex Pistols endures across a wide range of musical genres today -- it just doesn't extend to the prog-rock cult, unfortunately. >>>>>>>>>>>>>>>>>> >From: sparker at iphase dot com (Steve Parker) > >But, [Eb] then blows his cover and shows his true identity: > >> (In fact, it's easy to argue that >> Never Mind The Bollocks... is more important to music history than Yes' >> entire recorded catalog.) > >Har-dee-har-har. I couldn't stop laughing. Eb, you've a great career in >comedy ahead, if this is indicative of your material. And here we thought >you were serious all along. Good one. > >I'd love to hear this argument, Eb. I'm sure we could all use some more >laughs. It's amazing to me that people can be so gleefully self-righteous about their opinions on this issue. If you want to be more of a Yes fan, fine, go for it. But it's ridiculous to assume that Yes' superiority is some sort of universally acknowledged fact, and that I'm some crazed deviant for daring to suggest otherwise. Let's look at some other folks' opinions, shall we? Here are some passages I copied from the 1983 edition of the Rolling Stone Record Guide (sorry, I didn't buy the new one): About Yes: "Classical rockers with hearts of cold, Yes entered the Seventies as a creative example of post-PEPPER's artistic aspirations, a musicianly alternative to the growing metal monster rock was becoming. It left the decade as perhaps the epitome of uninvolved, pretentious and decidedly unprogressive music, so flaccid and conservative that it became the symbol of uncaring platinum success, spawning more stylistic opponents than adherents. [Unenthusiastic album reviews clipped, ranging from three stars to one star...if this book gave The Yes Album and Relayer only two stars, imagine how it would trash records like Big Generator, Union and Talk which came later] "...If the release of all those solo records hadn't already put them on the same level of crass corporate rapacity as Kiss, then surely this move [replacing Anderson and Wakeman with the Buggles] did. Yes had become a machine whose reputation was larger and more important than any of its human components; as with all such companies, the bottom line was money, not art or the welfare of its employees. Who cared if the final product was now a bland assembly-line concoction? Apparently no one." [End] Now, understand: **This entry is much harder on Yes than I would be myself.** After all, I do own a stack of Yes records, a few of which I enjoy a lot. Heck, I even like Topographic Oceans. (Note: I don't personally know even ONE other Yes fan.) But there's certainly more than a grain of truth in what was written, and the fact that the record guide's editors would collectively choose to include such a violently anti-Yes entry shows that Yes' "brilliance" is not exactly unquestioned. And sure, you could probably find more positive takes on Yes -- I just don't have any in my possession. Still, it's not easy to find raves about Yes today, outside of publications/critics with HEAVY prog/hippie-jam biases. At best, you'll find enthusiastic recommendations of The Yes Album, Fragile and Close to the Edge, and mild tolerance of the rest. In other words, Yes' heyday lasted from 1971-1972. The Sex Pistols' lasted from 1976-1977. Either way, it's just two years...so how come Yes is so superior? At least the Pistols spared us a long decline. OK, how about the Sex Pistols? From the same book: "The Sex Pistols were unquestionably the most radical new rock band of the Seventies...The group's nihilistic politics, coupled with their basic punk-rock musical approach, was startling, the best example of deliberate vulgarity rock has ever produced. Stretched over an album, the relentless power of Johnny Rotten's scabrous vocals, Steve Jones' stinging guitar and the blitzkrieg of sound can become a bit wearing, but the best tracks, including 'Anarchy in the UK,' 'God Save The Queen' and 'Pretty Vacant,' are as challenging as anything recorded since the advent of Elvis Presley himself. Not for the faint of heart, but if that's your problem, you may have wandered into BOLLOCKS by mistake." This Pistols assessment actually is *less* enthusiastic than most, yet NEVER MIND THE BOLLOCKS still gets a four-star rating, a higher grade than any Yes album earned. I'm not saying at all that this proves the Sex Pistols are better, but it does certainly prove that Yes' superiority is the furthest thing from an absolute truth (or a "painfully obvious fact," as one indignant emailer sniffed). By the way: I don't own the new Rolling Stone Guide, but I checked it in a bookstore, and here BOLLOCKS is upgraded to *five* stars while Yes' entry remains essentially unchanged (Fragile upgraded, Close to the Edge downgraded, etc.). More evidence: Ten years ago, Rolling Stone conducted a critics' poll to determine the best albums released between 1967-1987. Where did BOLLOCKS rank? Number two, following a wee album called SGT. PEPPER. Meanwhile, there were no Yes albums on the list at all, nor *any* hardcore prog-rock albums beyond DARK SIDE OF THE MOON. Perhaps some of you would point to Steely Dan's KATY LIED at #98, but I'm not comfortable calling that prog-rock myself. Either way, the Sex Pistols come out easily on top. Furthermore: Here are some selected Sex Pistols comments from the fourth edition of the Trouser Press Record Guide, probably the most highly regarded review guide of its kind: "...[the Sex Pistols'] importance -- both to the direction of contemporary music and more generally to pop culture -- can hardly be overstated.... Fulfilling an essential and immaculate role as martyrs on the new wave altar by logically self-destructing (and politely waiting until no one was paying much attention before descending into typical wasted rock-stardom) rather than falling prey to standard rock 'n' roll conventions, the Pistols and manager/provocateur Malcolm McLaren challenged every aspect and precept of modern music-making, thereby inspiring countless groups to follow their cue onto stages around the world. A confrontational, nihilistic public image and rabidly nihilistic socio-political lyrics set the tone that continues to guide punk bands. On top of everything, the Pistols made totally unassailable [this writer obviously doesn't read ET ;)] and essential electric music that has stood the test of time, and sounds just as exciting and powerful today as it did way back when. "Populated by such classics as 'Anarchy in the UK,' 'God Save the Queen,' 'Pretty Vacant' and 'No Feelings,' NEVER MIND THE BOLLOCKS is an epiphany. Prototypical punk without compromise, it includes almost everything you need to hear by the Sex Pistols.... Paul Cook, Steve Jones, Johnny Rotten (Lydon) and Sid Vicious (plus Glen Matlock, the original musical architect and songwriter, who was sacked early on, allegedly for liking the Beatles) combined to produce a unique moment in rock history and BOLLOCKS is the evidence." Enough. So anyway, any/all of you are perfectly welcome to prefer Yes over the Sex Pistols. Just don't give me this pompous "har-dee-har-har/you must be a comedian" garbage for thinking otherwise. My view is far from unusual. And in case you're wondering, yes, I DO like King Crimson more than the Sex Pistols. And Genesis, for that matter. The difference is: I realize that liking KC and Genesis more than the Pistols is my own opinion -- and not really a popular viewpoint, overall. >While our dearly beloved Crimso certainly showed us all, musicians and >listeners alike, a brave, new musical world, it was Yes (and, to a lesser >degree, ELP) that made prog palatable for the masses, AND got it played on >commercial radio, all without any compromise to their sound or >songwriting. This earns Yes equal historical significance to KC and the >aforementioned Pistols, in my book. I guess that's assuming that you regard prog-rock getting on the radio as an important milestone in music history.... >>>>>>>>>>>>>>>>> >From: Matt Walsh >Subject: ET King Crimson tribute update > >The deadline >for submissions is set to be September 31st. Is that before or after the Twelfth of Never? ;) Enfant terribly, Eb PS Incidentally, if any of you Can fans don't own Public Image Limited's Second Edition (PIL being the second group of Johnny Rotten/Lydon), you're missing out big-time. Or better yet, shell out for Metal Box (the original UK packaging of the same tracks). ------------------------------ From: crux at best dot com Date: Fri, 2 May 1997 16:32:02 -0700 Subject: old/rare Fripp/Crimso vinyl for trade I'm considering divesting myself of some old/rare Fripp/Crimso vinyl I've been hoarding for years. For a list of what I have to offer, please see my web page at http://www.best.com/~crux . Tom Ace crux at best dot com ------------------------------ Date: Fri, 2 May 1997 15:09:25 -0700 From: Michael Tanigawa Subject: KC at HMV I received the 2-cd "Epitaph" box set on Tuesday (29 April). My brother's friend, who attended the autograph session, sent it by express mail. The packaging was first-rate, much better than the usual run of plastic jewel cases. The group photo in the booklet and cd #1 were signed by Fripp, McDonald, Lake, and Giles. McDonald and Lake also signed cd#2. Everyone signed in black ink, except for Giles who used blue. Mike Tanigawa ------------------------------ From: Ted White Subject: Questions & Clones Date: Fri, 2 May 1997 13:09:02 -0400 John Anthony Wilcox (373) asks what attracts us to Crimson's music. I first heard "In The Court" within a week of its U.S. release - back in 1969 - and didn't much like it. At the time it sounded to me like rockers trying to play jazz. My mistake. A couple of years later I picked up "Lizard" and was totally turned on by it - and which point I got the first two albums and began exploring them. Coming out of a background in jazz and fifties rock, I found some interesting similarities between sections of "Lizard" and some of the music of Charles Mingus (a giant among jazz composers). In 1979 I asked Mr. Fripp if he'd listened to Mingus. He said he hadn't, really. He'd heard only a track called "Abstractions" from an early fifties Mingus album known variously as "Jazzical Moods" or "Jazz Experiment." That track was not written by Mingus, but by Teo Macero (later the producer at Columbia for Thelonious Monk, Miles Davis, and others). (Manfried Man's Chapter 3 band also sounded Mingus-influenced; I used that as a basis for a piece on Mingus in CRAWDADDY circa 1970.) For me, the appeal of Crimson's music is its use of contrast: emotional, dynamic, etc., and the breadth of ambition in the music. It covers more range than that of any other "rock" band. This is why I like the 80's band least: Adrian's vocals and the music lacked much of the breadth and depth of earlier Crimson music. As for "clone" bands, Max from Italy has named a few, but there are an increasing number of bands around the world who have drawn upon Crimson. Aanglagard is another Scandinavian band like Anekdoten, who made two albums and broke up. Rivendale is a Spanish band whose albums show Crimson influences. Exclusive Raja has two albums on Musea that are Crimsoid. Algaravia is a Brazilian band whose album's first track is called "Crimsoniana." And there are others. To the extent that bands draw upon Crimson for inspiration, this is a good thing. To the extent they simply copy Crimson, not so good. I think we're all sick and tired of Genesis clones; we don't need to see THAT repeated. (But the Brazilian Rael is so good Musea picked up their album for rerelease, so even among Genesis clones there is hope....) And so it goes, Ted White (aka Dr. Progresso) ------------------------------ Date: Sun, 04 May 1997 22:45:25 +0200 From: Claas Kazzer Organization: Dept. of English Studies, University of Leipzig Subject: DISCOG: Fripp /w Damned; Persp. & Distortion; Toni Childs; KC/Fripp in San Diego .. Hi everyone, PERSPECTIVES & DISTORTION: I haven't heard much about Robert Fripp's contribution to the PERSPECTIVES & DISTORTION compilation in ET. The compilation was released on Cherry Red in 1981 (B RED 15) and features, among others, The Lemon Kittens, Morgan Fisher, Matt Johnson & Fripp. Fripp's contribution is a frippertronics piece called REMORSE OF CONSCIENCE (3:10), which slightly reminds in its opening of VOLO ERGO SUM of the Recorder III collection -- very beautiful. I often wish, that Fripp had had the freedom to publish he has now back then... Anyway, the liner notes run: 'Remorse of Conscience' was improvised and recorded live in two passes before the cameras of Bournemouth College film department at Arny's Shack in Parkstone, Dorset during March 1981. The documentary was directed by Chris Harvey. Does anyone know this documentary or could supply further information? ********* THE DAMNED: THE DAMNED's "Fun Factory", originally released as a UK single with Robert Fripp contributing an amazingly angular, distorted guitar, is also available on a compilation called "Totally Damned": CD: DOJO CD 65; DOJO LIMITED, 1991 ********* KING CRIMSON: SCEETCH! I just found a double CD with the above title. It seems to feature the entire concert from San Diego/CA on June 28. 1995. Although audience recording the Soundscapes part is of very good quality, little babbling here and there, while the KC is slightly dull, but good. However, as BONUS TRACKS follows ROBERT FRIPP's SOUNDSCAPES PERFORMANCE in SAN DIEGO (27-I-95) from which parts of A BLESSING OF TEARS were sourced. The improvisations were given names (assumedly) different from what the pieces are called - if they are called something all. All in all there are six improvs, including a rather sonic first one, what became RETURNING I & II on Blessing, as the second, a third slightly sonic track a fourth track reminiscent of Blessing track CATHEDRAL OF TEARS, maybe modelled on it, a fifth with jittery sounds and a sixth where you hear the noises of the strings picked underneath a soundscapy humm The information given on the Fripp pieces is (time displayed on my player in brackets): UNDERWATER CAGE IMPROVISATION 9:39 (9:54) ANTARCTIC IMPROVISATION 3:00 (4:23) includes a little anouncement from Fripp, not listed SUN STORM IMPROVISATION 7:00 (7:06) DRAGON FLIGHT IMPROVISATION 11:49 (11:48) TERMITES JOURNEY IMPROVISATION 4:40 (4:43) MYSTIC NIPPON IMPROVISATION 14:05 (14:10) I can only most strongly recommend this, if you come across it, for those who have never had a chance to attend a Soundscapes live performance... It was published by kinky sounds in 1995 KS280466 ******** KISS OF REALITY I also found KISS OF REALITY's self titled album with Toyah on vocals. Kiss Of Reality are a mostly German band with Guitar Craft background, taking GC into a rock-musicky environment. A very enjoyable disk, sometimes reminiscent of Sunday All Over The World, and OPHELIA'S SHADOW. However, this only seems to have had a limited German release and the only place to find it may be some 2nd hand store bins. The details on this release are: Kiss of Reality: David Pittaway - Electric and accoustic guitars Volker Rehn - Stick J=F6rg Schwickerath - Electric and accoustic drums, synthesizer with special guest Toyah Willcox - Voice and Lyrics recorded in Berlin between 13/4/93 and 17/4/93; tracks 8 & 9 recorded 31/5/91 1. Harlequin (Holy Day) / 2. Hicksville (3D) / 3. Broken Special (The Island) / 4. Amazon / 5. Robert's Night / 6. Fret + Tap / 7. Space Hopping / 8. Brown Dogs / 9. Shirt of the Muse / 10. Repercussions / 11. Face the Space m+d records 1993 ******* Cheers, Claas ------------------------------ Date: Sun, 4 May 1997 14:54:37 -0800 From: Stephen Arthur Subject: Playback review in New York Times? Hello, Was there a review of the 'Epitaph' playback or the CD itself in the New York Times? Will there be a playback in LA too? I would like to get my copy of 'Epitaph' autographed by the whole gang. thanks for being you Fripp, steve By the way I just bought some used ELP cd, these guys are OK, but if there was on connection to King Crimson, through Greg Lake and Sinfeld they would not be very interesting. They lack the edge and ambiguity of KC. Good stuff overall though, with a lot of high points in the music, but also a lot of cheese. ------------------------------ Date: Sun, 04 May 1997 16:34:42 -0700 From: Herbert Boardman Subject: KC's attractiveness? In ET 373, John Wilcox posed a deep one: What first attracted you to KC? Here goes: It's good music. Another burning issue this question resurected for me is the issue of vocals. Are they necessary, and whyorwhynot? Indeed, John Wetton's sparse singing on RED (my first KC find) was a contributing factor to my becoming a listener. Most groups, given a singer as good as JW, would have the vocals the focal point of the material (Asia). But most groups can't play as well as KC to make instrumentals interesting (Asia). In my perfect world, there would be no singing. I like the voice as an instrument, but using words with the aim of putting out a message bothers me. IMO, music is art, and my own definition of art is communicating without words (i.e. painting, photography, etc.). Simply put, good music doesn't need explaining. This logic goes handinhand with the pop industries dominance in the music field. Joe Audient-Fan isn't very knowledgeable, and needs to have things spelled out for him. Sad, but true. I figure Fripp feels this way, what with his apparent lack of interest in lyrics. (AFAIK, he never wrote any.) Regards, Mike Holst "Cheap bastard. He borrows my computer." --Herb Boardman "To reproduce is human. To create is divine." --Maynar That's why I'm single. --MH Style is for people who can't do math!!! ------------------------------ Date: Mon, 5 May 1997 00:52:25 -0400 (EDT) From: Zero the Hero Subject: DREAMS WIDE AWAKE news Hi all, I have some news concerning my prog radio show Dreams Wide Awake, so Internet listeners take note. I'm moving the show to Saturday nights at 8 pm EDT, starting next week (May 10). Also, next week's show will be part two of the Side-Long Epic special edition (part one was in December). It will be six hours long (!) to accomodate as many of those humongous tracks as I can :-) Be sure to tune in! Feel free to make requests or suggestions as well. See the Dreams Wide Awake web page for more information. 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 worldwide via the Internet at http://www.unf.edu/groups/wosp/stream.htm ------------------------------ From: David Kirkdorffer Subject: Fripp & The Doctor Date: Mon, 5 May 1997 09:02:16 -0400 Why does the thought of multiple concurrent versions of King Crimson -- each complete with a Robert Fripp -- remind me of an episode from Dr. Who? David Kirkdorffer ------------------------------ Date: Mon, 05 May 1997 10:46:00 -0700 (PDT) From: George Korein Subject: More Various Postings How much does Chapman stick cost? Anyone got a used one? Does anyone have any insight into how to get the "Big Electric Cat" tone without buying an expensive synthesizer? Everyone has been asking the double-trio to do old songs. Here is my wish-list, in no particular order: One More Red Nightmare Sartori in Tangiers Fracture Highlight songs for almost every crimson member there ever was: Fripp: Fracture Levin: Stick: Elephant Talk, Sartori in Tangiers Bass: Vrooom, Thela Hun Ginjeet, People Vocal: Dinosaur, Thela Hun Ginjeet Bruford: B'Boom, Indiscipline, One More Red Nightmare Belew: Vocal: Dinosaur, One Time, Elephant Talk Guitar: Elephant Talk, Indiscipline Wetton: Vocal: Starless Bass: Fracture Mcdonald: I Talk to the Wind Giles: I Talk to the Wind Lake: Vocal and bass: 21st CSM Sinfeld: Epitaph Palmer-James: Lament Cross: Trio Keep on Thrakking in the Free World, George Korein ------------------------------ Date: Mon, 5 May 1997 10:56:40 -0400 (EDT) From: Marc Roemer Subject: Marotta, Dream KC, Horror Marotta A while back someone was wondering about the fate of Jerry Marotta, who had been rumoured to destined for the new Crimson. I don't know the answer for sure, but at the Sylvian/Fripp show in Toronto, Marotta seemed to have some difficulty with "20th Century Dreaming," a piece in 5/8, like "THRAK". Michael Brook even appeared to be coaching him through it at one point. Otherwise his drumming was impeccable at the show, so much so that it must have inspired the sound crew to crank him way up. I could hardly hear our hero at all. Fripp himself seemed disgusted with the sound, quickly removing himself from the stage at the end of the concert. Dream KC I enjoyed our teammate's reverie about the possible musical reunion of the original Crimson. More than that group, however, I dream of the abandonned '74 band, Fripp-Wetton-Bruford-McDonald (see booklet for details!). The loss of this group seems even more tragic than the '69 breakup in that the band had really progressed and matured, coming full circle to incorporate one of its primary creative forefathers. Horror Soundscape "1999" reminds me very much of that moment in a horror flick when a character realizes she's in grave, imminent danger. Like in _The Shining_, when the woman reads the paper in the typewriter, and all her husband has been writing for weeks is "All work and no play makes Jack a dull boy" over and over and over. Only in the Soundscape, this moment of revelation lasts for 10 minutes! Quite unnerving, being suspended there. Marc Roemer ------------------------------ Date: Mon, 05 May 1997 13:46:00 -0700 (PDT) From: George Korein Subject: Double Crimson, etc. I accidentally sent several things I wanted to be posted to toby at cs dot man dot ac dot uk. I hope they will get posted even though they were not sent to et at cs dot man dot ac dot uk. In response to talk of a double crimson, I say "nay!" Already, it is going to take a year for the next double-trio album to come out. That is a while to wait. The band members are busy people. (Belew's solo career and session work, Levin's work with Peter Gabriel and session work, Fripp's G3 tour and management of DGM, Gunn's solo career, etc.) Another Crimson would add more to Fripp's to-do list, slowing things down even more. Besides, the double-trio is all the Crimson we need, in my opinion. BTW, Crimson would not be the first to have two incarnations at the same time... the old primus line-up, under the name Sausage, made an album while the new primus line-up was still going strong. Check out Reginald Hunt's big band cover of 21st CSM... you can listen to it on his page via realaudio. ------------------------------ Date: Mon, 5 May 1997 13:53:07 -0400 (EDT) From: GooBoy95 at aol dot com Subject: Satriani Hello fellow ETers. I'm an 18 year old Crimson fan from New York. First of all, I wish to express a great deal of respect for Wrong Way Out, as I am extremely concerned with the musical tastes of my generation, and even more concerned with where it seems to be going. It is reassuring to know that there are Crimson fans in my generation, and even more assuring to know that some of them even have musical talent. Even with that talent, it takes courage to play anything that's not MTV mainstream to a teenage audience today. Despite my only having become acquainted with KC about a year ago. I have already been fortunate enough to see a live performance (at last year's H.O.R.D.E. show). Unfortunately, this was also my fist exposure (though I already knew of KC through the Levin..Peter Gabriel connection), so maximum appreciation potential was not reached. However, I apprciated it enough to buy THRAK two days later, and now rate KC as one of my, if not single favorite bands. I caught the 69' group at HMV, and Fripp amazed me with just how cool a person can be. He was basically how I had pictured him, except or one thing, he was both kind as well as receptive to every question that was asked of him (despite the fact that he has probably answered every one several times by now). Yes, he's egotistical, and answers stupid questions with heavy sarcasm, but I find the former trait undrstandable given his position, and the latter I actually find quite respectable (as well as amusing). Incidentally, I asked his opinion of modern American "jam" bands (bands typically categorized togerther based on their tendencies to jam, i.e. Phish, Rusted Root, Dave Matthews, Moe), and while he insisted that he doesn't judge other artists (I should have seen that coming, but what about Hootie and the Blowfish?), he said that he has been asked by Phish to make an appearance, and would love to. All I know is that if I miss that show, I'm definitely going to have to cry. Please excuse the heavy bandwidth, but this is my first time writing so I have a lot to say. In any case, the inspiration for writing this came a couple of minutes ago when I found out on theSatriani site that G3 was coming to Jones Beach (Ticketmaster hasn't listed it yet). Needless to say, I haven't ben able to get the smile off since. My main reason for writing this is because I know nothing about Satriani and am curious as to whether my fellow ETers consider him worthy of checking out, and if so, what albums would be a good starting point? In any case, thanks for doing all that hard work, Toby, it's because of you that a vast international network of isolated KC fans have been able to come together to share information, opinions, and not feel so isolated (as fans). Thanks again. -Jordan ------------------------------ Date: Fri, 2 May 1997 10:28:36 -0400 (EDT) From: MarkJX at aol dot com Subject: G3 Tour Dates -- Fripp, Satriani, Vai, and Kenny Wayne Sheppard Taken from the Joe Satriani Web Site! Both European and US dates provided. I'm getting my tickets NOW! Mark J. G3 1997 US Tour Dates June 1997 Date Day Venue City/State 9 Mon Mud Island Memphis, TN 15 Sun Agora Quebec, Canada 16 Mon Molson Center Montreal, Canada 18 Wed Blockbuster Sony Center Camden, NJ 19 Thu The Meadows Music Theater Hartford, CT 20 Fri Jones Beach Amphitheater Wantagh (Long Island), NY 21 Sat PNC Bank Art Center Holmdel, NJ 22 Sun Harborlights Pavilion Boston, MA 24 Tue Nautica Stage Cleveland, OH 25 Wed Finger Lakes Performing Arts Center Canandaigua, NY 26 Thu New Pine Knob Music Theater Clarkston (Detroit), MI 27 Fri I.C. Light Amphitheater Pittsburgh, PA 28 Sat Melody Fair N. Tonawanda (Buffalo), NY July 1997 Date Day Venue City/State 1 Tue World Music Theater Tinley Park (Chicago), IL 11 Fri Woodlands Pavilion The Woodlands (Houston), TX 16 Tue Red Rocks Amphitheater Morrison (Denver), CO 25 Fri Plaza of Nations Vancouver, BC 16 Sat The Gorge Amphitheater George (Seattle), WA 27 Sun Queen River Showplace Portland, OR 29 Tue The Joint Las Vegas, NV 30 Wed Blockbuster Sky Pavilion Phoenix, AZ August 1997 Date Day Venue City/State 1 Fri Concord Pavilion Concord, CA 2 Sat Summer Pops Bowl Park San Diego, CA 3 Sun Hollywood Bowl Los Angeles, CA G3 1997 European Tour Dates MAY DAY DATE LOCATION VENUE FRIDAY 23 ROTTERDAM - HOLLAND AHOY SATURDAY 24 HAMBURG - GERMANY G2 SUNDAY 25 DUSSELDORF - GERMANY STAHLWERK MONDAY 26 STUTTGART- GERMANY FILHARMONIE TUESDAY 27 MILAN - ITALY MILAN FORUM WEDNESDAY 28 ZURICH - SWITZERLAND HOTEL SPIRGARDEN FRIDAY 30 PARIS - FRANCE THE ZENITH SATURDAY 31 NOTTINGHAM - ENGLAND ROYAL CONCERT HALL JUNE DAY DATE LOCATION VENUE SUNDAY 01 BIRMINGHAM - ENGLAND N.E.C. MONDAY 02 SHEFFIELD - ENGLAND SHEFFIELD CITY HALL TUESDAY 03 MANCHESTER - ENGLAND APOLLO WEDNESDAY 04 LONDON - ENGLAND SHEPHERDS BUSH EMPIRE THURSDAY 05 LONDON - ENGLAND SHEPHERDS BUSH EMPIRE ------------------------------ From: "Mascarini, Rick (CORP)" Subject: G3 1997 US Tour Dates Date: Fri, 2 May 1997 10:11:00 -0400 For those ETers interested, I stumbled on the G3 1997 US Tour Dates (of which Robert will be performing Soundscapes as the opening act) at the URL: http://www.g3tour.com/g3_tour.html The dates listed are June 18th through August 3rd, 1997. I was able to nab a pair of very fine seats for the June 19th performance in Hartford CT armed with just a telephone, a credit card and about 10 minutes of spare time (vary rare.) Anyway, thought you may want to know. Cheers, Rick Rick Mascarini GE GSO/Information Delivery Services Voice & Fax: 8*235.5187, 518.385.2394 ------------------------------ End of Elephant-Talk Digest #375 ********************************