Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: Discipline #39 Discipline, Number 39 Friday, 8 May 1992 Today's Topics: Your accounts! Guitar Craft Guitar Craft Tuning Fripp and The Damned Belew Hullabaloo Belew & Fripp & Bruford [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 8 May 92 12:03:28 BST From: Toby Howard Subject: Your accounts! It's spring, and most people's thoughts turn to finals and a summer job. My thoughts turn to bounced mail from email accounts that disappear when Spring {Quarter, Semester} is over. If you read this mailing list through an account that is going away, *please* send me some email telling me when it's going away, or when you'd like to be taken off the mailing list. It makes my job much simpler, as I don't have to do as much cleaning up of bounced-email messes when I know to remove someone from the mailing list beforehand. If you're going to be switching accounts, tell me that, too, and I'll change the mailing list to reflect your changed account name. If you're going away for the summer but will be back in the fall, follow the instructions above, and then send me some email in the fall when you get back. Thanks for listening and have fun whatever you do. Toby PS I "borrowed" the above text from chalkhills, the wonderful XTC list (thanks John, and to your sources!) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: aaron at minster dot york dot ac dot uk Date: Tue, 5 May 92 05:06:07 Subject: Guitar Craft: The flyer made an interesting read. While I can see the point of some of the concepts (working with attention from within a state of relaxation) there are a few things the boggle me. What exactly are 'Exercises of the Transmission of Qualities' and 'The Assumption of Virtue'? On an more mundane level, can any one refresh my memory as to the Robert Fripp tuning. I think I remember it running from C(low) to a G(high). Of more interest would be the tuning reccomended for the abortive Bass Craft courses. Thanks, Aaron Turner (P.S. Sterling work - really is an excellent mailing list) [ Why thank you Aaron -- Toby ] [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 6 May 92 12:45:23 BST From: Toby Howard Subject: Guitar Craft Tuning The Guitar Craft tuning (low to high) is CGDAEG. I've experimented with it quite a bit, but it's hard work to avoid everything you play sounding like a ham-fisted version of one of the easiest Guitar Craft tunes! It is for me anyway! Toby [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 6 May 1992 11:50:49 +0200 From: Eric dot Rutten at cwi dot nl Subject: Fripp and The Damned Hi, Here is a new Fripp-related reference, to be added to the discography; I found it recently in a cheapo-bin in Belgium: 1991 The Damned: Fun Factory 1.Fun Factory 2.Freedom .Pasties .A Riot On Eastbourne Pier 12" UK Deltic Records DELT 7T (under licence of Palatin rec) Fripp plays guitar on "Fun Factory" I've heard quite a long time ago that Fripp had played with the Damned, but this is the first time I find something: however, I'm not sure if it's what I had heard about: the date (1990) is a bit too near. I also remember seeing a photo of Fripp on the cover of a 2-LP sampler of the Damned, 2-3 years ago, but saw no indication of why he was there: do you know more? Eric [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 6 May 1992 15:44 -0500 From: MOONLIT KNIGHT Subject: Belew Hullabaloo I saw the show in Northampton last night, but don't want to be repeating things others have said. The show was the same and just as fantastic as everyone said. The opening band was the Atom Said including guitarist Gabriel Reeves (?) of Tin Machine, who was an absolute monster. They were funny as hell and pulled no punches; he stopped a tune to explain how something went wrong with his twang bar and then started it again saying "Doesn't that sound better?" I couldn't tell. Anyway, to comment on a few things: I think Adrian is dependent on an enthusiastic audience and a lot of eye contact. He seemed to get a little flustered if people were too insistent about shaking his hand; he was great after the show about signing autographs but seemed pretty frazzled by then. When asked about Crimson he said, "We're talking about it". I asked if he was going to Japan he perked up to say that they were. Anyway, he is just as skinny as crazed as he looks on the videos; his band was tight and often they would do that hopping around in unison. The Crimson songs were different and had extended solos (except for Matte Kudasai) and he did the beginning of Elephant Talk with a synth noise but without really trying to do it like the Stick. He seemed to have these guitars with the synth parts inside them, though I couldn't see how he was adjusting the sounds. It was incredible when he played drums on his guitar. Anyway, a great show. It seemed like I could really see the tension in his career between artiness and good solid pop; of course I'm hoping he doesn't abandon the artiness (ie King Crimson). [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Belew & Fripp & Bruford Date: Thu, 07 May 92 16:45:42 -0400 From: bill at verdix dot com I'm going to the Belew & Fripp show at Lisner in DC next week. I've got a single ticket but I could try and meet someone there I guess. Anyway, I'm really wondering what's going to happen. The local radio (sponsoring?) seems to think they're going to have seperate bands. The possibilities are almost endless: Sunday AAtW people, Fripp with the Bears, Fripp/Belew duet, Fripp with the California Guitar Trio, Frippertronics, just Fripp and guitar, and of course some form of Crimson. Any clues?? Someone mentioned that Bruford is sick of Fripp. Fripp also has definite ideas about drums and their role too, especially in Krimso, and I think Marotta probably comes a LOT closer. Anyone see the "King Crimson Diary" articles by Fripp in _Musician_ magazine in the early 80s? One had a list of "suggestions" by Fripp for Bruford. I lost my copy -- took it over to a drummer's place, thought it was potentially very useful. Fripp had a lot to do with Bruford getting into a big snare sound for the first time and not using cymbals because they make guitar hard to hear. This no doubt helped lead towards the electric drum set in the effort to find other things to hit on. Another was "if you have an idea, don't play it and allow someone else to use the space to play something." Now remember this is a *suggestion*, not a rule, but still implies that Bruford would never consider such a thing (when in doubt, roll..). My theory is that it's possible for a musician to influence another like this, but only to a limited extent and time. Someone mentioned Neurotica and how impressive it is. According to Mr. Spence on rec.music.misc, this was originally an instrumental that makes the album version look completely limp by comparison. I never really thought about how unnecessary the vocals are on the KC IV stuff, not that I don't like them. I don't think Fripp is bothered at all by the various interpretations possible and that not everybody gets to hear all of it. I can appreciate it, but I'm sure completists can't stand it. When they played that live Neurotica version it was a special moment for those who were there, not intended for anyone else. Thing to do is see him/them and experience your own moments, not anyone else's. Just a thought. Bill s [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] To join this group or have your thoughts in the next issue, please send electronic mail to Toby Howard at the following address: toby at cs dot man dot ac dot uk The views expressed in discipline are those of the individual authors only.