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 #430 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 430 Monday, 20 October 1997 Today's Topics: Plea EXPOSURE LP Over 7 ET topics! Live on your screen! Re: Still don't care what KC and DGM think of my collage Fripp & G3 Eric Tamm - Brian Eno Earthbound Fripp w/G3 in Concord Re: Crim Tapes, Mellotrons, wordplay and USA The Nightwatch Watch Re(2): theoretical bootlegging NPR, Mellotons, and Synchronicity Tingle Clarification Eccentricity? Mythic Crimson, Fripp's Guitar & Gabrels live Bruford CD-rom Exposure LP Remixed Bruford? Cynthia Plaster-Caster Any more Islands Earthbound? Now Real Audio on the Night Watch Playback Multimedia site KC live '95/LoCG Live Once again accepting reviews on releases for ET Web Saint Gabriel. Re: Elephant Talk Digest #429 Re: Anekdoten, Goot Schtuff Re: Mellotron "In The News" Figured someone would like to know.. Re: Fripp's guitar Crimso tapes & League Live Tele-Tubbies Psychomuzak? Peter and bible Black stick interest (I mean the musical instrument) ------------------ 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: Sat, 18 Oct 1997 11:59:04 +0100 (BST) From: Toby Howard Subject: Plea Calling all ETers! Back in June, webmaster Dan asked this readership for feedback on how we could find a new, more reliably accessible web home for ET Web, and more importantly, how we could find ways to pay for the cost of hosting the site. Unfortunately very little feedback was received. 4 months later we still find ourselves pondering how we can achieve this necessary re-hosting of ET Web, and it would seem that, because we don't want to charge visitors to the site for access to anything on it, and because neither Dan or I wish to pay -- and cannot afford to pay -- for the ongoing hosting fees such a move would entail, our only recourse is to hope that amongst our many thousands of subscribers there might be a charitable soul with the means and the opportunity to provide ET Web a new home free of cost. ET Web's needs are pretty simple: - we need a host that both Dan and I can access via FTP or telnet - we need access to run CGI processes and Perl scripts. We'd also like to register a domain name (we think that "www.etweb.com" would work great) that we can associate to the site. This might preclude a number of options, so we aren't married to the idea. We have been fortunate to have been able to host ET Web where it currently resides for all these years, but lack of bandwidth and filestore, and unreliability are increasingly growing concerns that are not likely to improve, especially during the scholastic year. So if you think you might be the charitable soul we seek, please contact myself or Dan, in confidence. The future of ET Web depends on your help! Thanks, and now back to the threads at hand. Toby Howard - toby at cs dot man dot ac dot uk Dan Kirkdorffer - DanKirkd at aol dot com ------------------------------ Date: Fri, 17 Oct 1997 13:32:06 -0700 From: "\"UNPLUGGED\" in L.A." Subject: EXPOSURE LP Hello, and thank you for allowing me to post the following... I have what I believe is an original pressing of the Exposure LP, produced in 1979. It has all of the characteristics of the original depicted in your column, including the inscription in the trail off on side 2, and the liner notes in particular. The disk, sleeve, and jacket are in absolute pristine condition, and still covered in the factory's shrink wrap. I also have Fripp & Eno's "Evening Star" LP, #EGS 103 on the Editions EG label, produced in 1975. With the exception of a small water stain on the front of the jacket, both pieces are in extraordinary condition, (NM+) at worst. I am considering the sale of these two items, but I would first like to get your (and/or your readers) opinion on the present value, and make them available to Fripp fans, before I would the general public. I would appreciate any and all comments from your staff and fans alike. Thank You again, Warm Regards Keith Butala butala at pacbell dot net ------------------------------ Date: Fri, 17 Oct 1997 18:35:15 -0400 (EDT) From: KenLac at aol dot com Subject: Over 7 ET topics! Live on your screen! Hi gang. Please pardon both the length and the lateness of this post: I've been on the road for the past two and a half weeks, with only sporadic access to eMail. I'm catching up with at least half a dozen ET's. Here goes: TOPIC 1: PRECEDENTS TO "SGT. PEPPER" In 422, "TW" comments on my "Ownership of Recordings" treatise in 420; >>>I have only a minor nit to pick: "Before 'Sgt. Pepper' recordings were commonly considered to be 'documents' of live performances. ... 'Pepper' heralded the concept of the recording itself being the primary art...." Yes and no. So, while I agree with Ken's basic point, I have to point out that this switch from "documentation" to "studio creativity" not only occurred before "Sgt. Pepper," but had been in the wind for well over a decade. Another person mailed me privately to offer similar comments, citing "Pet Sounds" as a notable precedent. While I agree with these views (and find them to be worthwhile history), I feel that they're moving off the point of my original post. Perhaps the word "heralded" was a poor choice. My intended point was that "Pepper" was the pivotal moment, after which the entire industry model changed from one form to another. There were many precedents, but until "Pepper" they were considered unique events. "Pepper" created a sea change that revolutionized the recording industry, and literally almost everybody followed along. The Beatles did not invent the studio as an instrument, but they were the first to bring it's potential to fruition on a mass scale. While I find this issue fascinating, I want to make sure that it doesn't become yet another endless sidetrack. Toby, are posters allowed to declare the threads they are responsible for starting "dead" of their own initiative? If so, pass the shovel... (Wouldn't mind continuing the discussion privately, however.) [ Good idea -- thread originators calling time. I like it. Do it by all means. -- Toby ] TOPIC 2: IS THAT A VIBRATING MASSAGER OR ARE YOU JUST TINGLING TO SEE ME? ryecatch at cts dot com in #421 say: >>> I have to wonder if many of these posters even know what was originally being discussed as tingles in the first place! >>> Can we let this damn thread die please? Amen. Enough room in the grave for two. TOPIC 3: HOW TO IDENTIFY DIFFERENT TYPES OF WEASELS FROM QUITE A LONG WAY AWAY Awhile ago I made a flip comment that "Artist Shop might be a bunch of shameless marketing weasels, but you've got to admit they've got taste." and a few have leapt to Artist Shop's defense. To those people; I meant no offense, as my tongue was firmly in my aspic when I made that comment, and I've written Gary privately to make sure there is no rub. I probably should have made some "emoticon" of an indication at the time. (Note: just saw Bruce Seltzer's comments in 427: for those who may have missed it, the whole Artist Shop controversy was the result of a lengthy press release that was not intended for ET showing up here by accident. Gary explains himself quite adequately in an earlier version of ET.) TOPIC 3A: TRULY SHAMELESS SELF-PROMOTION (a.k.a. "There's no doubt at all this is off topic") ...and related to the comment that started it all, (How are things in YOUR town?) and it's various sub-threads; those who are interested in things Nordine might wish to visit the website for my spoken word/sound collage group "Head and Leg", as we are building a directory of artists in the "eclectic recordings" realm, such as Ken Nordine, Harry Partch, Negativland and Tod Dockstader (as well as promoting our own record). The site is at "www.reading.com/headleg". I'll accept my fifty backlashes with a wet noodle now... TOPIC 4: SMILE WHEN YOU TYPE THAT.... EB: My subscription is really hanging by a thread, at this point. ME: Wow, threatening to cancel his free subscription. That'll probably reduce ET's revenue by 100%! Talk about throwing your weight around. EB: Oh, don't be absurd. ;) You know that wasn't a "threat" -- just an expression of dissatisfaction. ME: Of course I did - it's called "sarcasm", babe. I suggest we either kiss and make up, or take it private. Me, I'm for the first option, except without the kissing bit. TOPIC 5: EBBING ALONG In 424: "...Eb should be seriously considered for curtailment." In 427, Ted White replies: "...I would miss him if her were 'curtailed' " If I read the post in 424 correctly, then the suggestion involved curbing discussions *about* Eb, and not the gentleman himself (or might it be a herself?). I too would disfavor censorship of an individual unless they were truly disruptive, which Eb is clearly not despite a rather -- shall we say -- "imperative" way of phrasing his opinions. Eb on, Eb! TOPIC 6: REDEFINING DEFINITIVE SO many thoughts on this. I'll try to keep it succinct. As a few people have pointed out, I agree that nobody is *forcing* KC enthusiasts to reinvest in the remastered catalog - are we music fans or trainspotters? And it always surprises me when folks accuse Fripp of greed; there are so many easier ways to earn a whole whopping lot more money than by spending 25 years building up a comparatively small fan base and then offering them improved versions of the things they like. On the other hand, chasing the holy grail of sonic perfection can get a bit ridiculous after a while. There are some remarkable advances in mastering, but I have a hard time believing the improvements would be anything more than incremental. We're talking about material that for the most part is over 20 years old. We'll be able to hear the tape hiss and drop-outs a bit better. Whoopee. The question I have is what form this "update" will take? If it's a question of taking the Definitive Edition mixes and getting them to disc in a better way, by all means go for it. Newbies get better sound, oldies can update their favorites or not (save a copy of Starless and Bible Black for me - two ain't enough). It it means going back and remixing yet again, I say time to let go and move on. I'd much rather see Fripp spend his time making more music instead of creating yet more incremental technological "improvements". Chasing the technology grail can become Sisyphus' stone after a while. My respectful suggestion Mr. Fripp; wait a bit and see if they come up with a 96k, 24 bit DVD audio format, because if they do you'll have to remaster yet again. I also wish to add some perspective to Steve Parker's comments about "flaws" in the various reissues of the early KC catalog. It is always hazardous to compare the finer qualities of vinyl and CD releases. The quality of analog to digital converters can vary greatly even within CD players in the same price range. Unless one is pretty confident that both reproducing machines are comparable, it's oranges and tangerines at best. In the studio I work at doing an A/B comparison of the original signal to the same program routed through the recorder (that's just electronically, not playback from the digital tape) results in audible differences, and trust me, this is top-end stuff. Hazarding a potential insult to Steve's sound system, the audio detective in me can't help but suspect that there may be something up with his CD player. He identifies problems with the left channel repeatedly; in this case the play-back unit joins Fripp and Arnold on the list of common denominators. Steve, have you tried borrowing a different player and swapping cables to confirm that it's the media and not the messenger? (Hope there's no condescension taken here - for all I know you may be an audiophile.) In the case of the 70's titles that have been remixed, there is another mitigating factor. Much of a records's tonal color is created at the time of the mix. This includes not only equalization, but reverb, delay, compression to individual channels, and other effects, which can have a great effect on the overall color of the sound, but are never recorded to the master tape. If you go back and remix and you do not have exactly the same outboard gear you had for the original, the new mix will be an approximation at best. When Geroge Martin remixed the Beatles catalog, he had Abbey Road haul their vintage gear out of storage. One doubts Fripp and Arnold had that kind of luxury, and even if they did, wouldn't it be beside the point? If the idea is to create an exact duplicate of the original, then why not just stick with the original? In cases such as this, the differences can't really be considered "flaws", just differences which one can subjectively find better or worse than the original, but which are an unavoidable consequence of the undertaking. I'm one of those who gets attached to the originals, and usually finds any alterations "wrong". I like to think that once something's done, it's done. I hate all the alterations that were done to the first CD issue of "Exposure". I dislike how the cut-off of "The Mincer" doesn't break away clean, but the reverb hangs out a bit, screwing up the up the abrupt effect. I'm sure Fripp, Arnold, et al, had to make a tremendous number of subjective decisions when redoing the catalog the first time, and should the do it again from scratch, there's going to be a whole new set of "differences" and "flaws" to sort through. Methinks it just ain't worth it. The music is what counts, and the music is what we've got, be it at 7.5 ips, 16 bit, or 24 bit. Stop fiddling with the frame and the lighting, and work on some new canvases. TOPIC 7: A WAIL AND PLEA (ONLY PARTIALLY RATIONAL). Could we PLEASE STOP F***ING TALKING ABOUT ELP?!? PLEASE?? PRETTY PLEASE??? I mean, they guy left KC about 600 years ago. Enough already. Ken Lacouture ------------------------------ Date: Fri, 17 Oct 1997 18:35:50 -0400 (EDT) From: KenLac at aol dot com Subject: Re: Still don't care what KC and DGM think of my collage Me again. I felt this one deserved a separate reply. Response to "Z V" post in 424, subject "Still don't care what KC and DGM think of my collage." 1) >>"First off no one is bootlegging by creating this, as you imply (etc.) I did not imply that your activity was bootlegging, per se. The text of my comment read "I don't agree with all of Fripp's stated views on bootlegging, etc...." I believe your project falls in the etcetera category. Others may differ. 2) >>"I'm offering it free... (etc.) Money is not the issue here. I am taking issue with a very specific aspect of you post - the statement that you "do not care" what the artists think about a substantial remanipulation of their work. It doesn't matter a scrap if money changes hands or not - that occurrence, or the lack thereof, has no bearing on the *artistic* concerns involved. I'm not accusing you of stealing. I'm accusing you of willfully violating artistic protocol and then being smug about it. 3) >>"Does Robert Fripp care what someone might think about the Monty Python bit embedded in Exposure?" That's pretty much my point right there: I'll weigh odds that Fripp *does* care what the Pythons think about his appropriation. He might not *agree* with what they think, he may decide to behave in a way that does not conform with their wishes, and such behavior may or may not be artistically ethical or legally defensible. But I doubt he would ever go to a Monty Python website and say, "How they feel about it is none of my concern." 4) >>"Why should I pay lip service to people that I don't particularly know? They're not gods. (etc). a) politeness b) respect for a fellow artist's endeavors (which you obviously admire at least a bit or you wouldn't have embarked on your project) c) It's a good way to avoid being called to the carpet for arrogance in a public forum. 5) >>"I do not know what DGM and KC would think of such a construction. I don't particularly care." Then why did you bring it up? I am not condemning your project. I myself have been involved with making an album that has enough appropriations to choke an ox. I care a great deal about what these other artists might think, not just from a legal standpoint, but from artistic and human perspectives as well. I do not find your project to be objectionable, and I have no issues with your means of distribution. It's your attitude towards fellow members of the artistic community that makes me prickle. If you disagree with their opinions, fine, but don't get all regal about it. Now back to our regularly scheduled lack of schedule. Ken Lacouture ------------------------------ From: leslabb at ptd dot net Date: Fri, 17 Oct 97 18:43:30 -0400 Subject: Fripp & G3 >> I would like to point out too is RF approached G3 to join, he wasn't >> asked. Tells you something of his opinion of these gentleman. I asked Joe Satriani how Mr. Fripp came to join the G3 tour and he said: "We asked, He said 'YES'." Les B. Labbauf ------------------------------ Date: Sat, 18 Oct 1997 00:11:28 +0100 From: Alex Brugger Subject: Eric Tamm - Brian Eno Re Stewart Murrell's posting in which he mentioned the Brian Eno book by Eric Tamm.... > At the time, I also ordered Eric Tamm's book on Brian Eno, but it turned > out to be out of print -- although the publisher was reportedly considering > another print run if there was sufficient demand. (Just how they'd assess > demand, I don't know...) sorry to tell you this, Stewart, but I've been trying to order this book in British bookshops since, yes, 1992, and ever since then its status was "reprint under consideration". well, it seems that some people do need quite a bit of time to make up their minds.... what about the idea of asking Faber and Faber directly and getting LOADS of fellow ETers to sign the letter, to show them there actually _is_ a demand for a reprint? hey, I'm serious about this.... [ I have the book already, and it's fascinating. Start the petition, I'll sign -- Toby ] best wishes, Alex ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ____________________ Alex Brugger ____________________ alex dot brugger at physik dot uni-erlangen dot de http://www.physik.uni-erlangen.de/hi/ab/ab1.html ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Fri, 17 Oct 1997 16:47:05 -0700 From: dermel at pacbell dot net Subject: Earthbound Hello, I have all the other KC releases but I have never heard of the release "Earthbound". Is this not a US release? I suppose this is out of print. How can I get one? If not available can how can I find out the dates of the shows. ------------------------------ Date: Fri, 17 Oct 1997 17:31:39 -0800 From: rtc at sirius dot com (Robert Cambra) Subject: Fripp w/G3 in Concord After reading the reviews here of the first leg of the G3 tour I knew the basic itinerary. Fripp starts his soundscapes when the gate opens, with Mike Keneally joining him for a time. Then at showtime Sheppard's band goes on, followed by Vai's and then Satarini's. The show closes with an all-star jam of "Going Down," "My Guitar Wants to Kill Your Mama," and "Red House." So the may script was familiar but there were still lots of surprises. I'd never been to the Concord Pavilion before and it's pretty amazing, expansive, and huge, nestled in large, grassy rolling hills. Looks like it was built yesterday; kind of airport/mall architecture and landscaping. One walks up long, paved walkways to the crest of a semi-circle of hills where the ticket window and concession stands are-lots of concessions, including micro-brews. I'd met Mike on the shuttle over from BART. He was there to write a review for a local paper and had two comp tickets being held him. Knowing I was going to buy a ticket at the gate he gave me his spare and refused money for it. This put me in an even more relaxed and receptive mood. How nice of him, i'd just met him. Going down from the hill crest, we enter the Pavilion ten minutes after the gate's opened and there's our man, performing soundscapes. There's hardly a hundred people there in thousands of seats, and this begins to change only shortly before 7:00pm, the advertised showtime. There is a relaxed atmosphere. We descend to find our seats, Mike and I, through the outer grassy area, past the outer seats, under the covered area before the stage and find we are situated several rows in front of the soundboard. We have great seats! The soundscapes are at a low volume. I figure a lot of the early people here must be ETers and wonder if I can spot Robert Cervero (the man I would nominate as the No. 1 KC fan in California if anyone were holding a contest) from his picture posted from The Nightwatch playback, but no one looks similar enough to the picture to trouble (hummm . . . but there was that intense looking guy with the camera). I get a sudden jolt of recognition when I notice Patricia Fripp a few rows behind us, seated right in front of the soundboard. The first time Fripp puts his guitar down to wander the stage and look out at the audience he breaks into a smile and nods a welcoming glad-to-see-you-made-it acknowledgement to her. The music slides back and forth from ordinary to extraordinary soundscapes. A lot of the bell sounds. The other soundscape performance I attended two and a half years ago was at Slims, a club, and the large, outside space is more suitable. I can see why Fripp's been performing soundscapes in churches; I feel like I'm at church and we are all slipping, with the aid of the music, into a contemplative, meditative state; but two hours isn't really enough time. I think it's better to have the extended four to twelve hour performances for deep immersion. Eventually Mike Keneally joins Fripp with some very Frippian soloing over the soundscapes. Very nice stuff, and after he leaves the stage Fripp brings up the volume as the seats rapidly fill. Only after the soundscapes go ten minutes over the scheduled starting time for G3 does one person yell "get off the stage." He is ready to rock. Fripp plays till 7:15 and he get a sparse but very enthusiastic applause, then it'sG3. K.W. Sheppard: Starts off strong but gets real showy. The band ends with a couple Hendrix covers and he really shows his youth here. Not awful but I was really ready for them to stop. Steve Vai - Pure schmalty showmanship, the likes of which I haven't witnessed since the mid 70s at Winterland. Goofy solos and posturing The drummer had to hit every piece he had within every two measures and he had a large kit. Kinda fun like the circus- loud, over the top and silly. It makes you weary, those bombastic never-ending endings . . . and the hair kept constantly aloft by a fan! Vai must be a god. Joe Satarini - Clearly the best and most sophisticated of the bunch, though he does slip into bombast and showiness now and then. A powerful, direct drummer, excellent bass player(who took a fun solo mixing up Beatles tunes, Beethoven and, was it "Rocky Mountain Breakdown?"). Satarini did some tasty, straight ahead guitar playing.They rock. Then for the encore Robert Fripp, K.W. Sheppard and Steve Vai joined Satarini's band for the all-star jam . Fripp in back, stage right, seated and in proper guitar-playing position as we would expect, the others lined up at the front of the stage to strut their stuff. Fripp had a bit of trouble with the equipment but by the time it came for his solo on the very fun, tight and rocking "Going Down," he was able to deliver something exquisitely beautiful and strong. Fripp could only be heard during his solos and he didn't take one on the next number, "My Guitar Wants to Kill Your Mama," but on "Red House" he dished up another heartbreaking beautiful, eerie and awesome solo, but he didn't use the Hammond organ sound it's been reported he's been using here. The word has been for over twenty years that the only thing Fripp cann't play is the blues and now we know that isn't true. There's no mistaking that it's Fripp's idiosyncratic take on the blues you are hearing, but it's a strong blues voice nonetheless and I think very sweet. How could we doubt it? So much of his music is in touch with melancholy, doubt, hope and despair. Two song wasn't enough! I'd love to see Fripp playing in a blues band again . . . maybe more than I'd want to see KC next year . . . maybe more than I'd want to see ProjecKt One . . . . An unusual and very enjoyable evening and if anyone knows why Fripp decided to tour with these guys, let me know. Robert Cambra San Francisco ------------------------------ Date: Sat, 18 Oct 1997 00:26:03 -0400 (EDT) From: DanKirkd at aol dot com Subject: Re: Crim Tapes, Mellotrons, wordplay and USA Responding to various posts in ET #429: Alex wrote: > I do not have a CD player that works, and I cannot find any TAPES of >Thrak or B'boom. Every music store I have visited tells me that they don't >get tapes from DGM, only CDs. Is there a Borders Books and Music store near you? Every one I've been to in the Chicago area seems to have at least 1 copy of THRAK on cassette. I'd be happy to pick one up and send it to you if you can't find a copy any other way. Chris wrote: >National Public Radio's late afternoon show All Things Considered >had a segment on our friend, the Melotron. [...] Here's a link to the show: >http://www.npr.org/programs/atc/archives/current.html >There will be a Real Audio copy of the show available by tomorrow. The >segment in question is about one hour and fifty minutes into the broadcast. I went to the site and the only had 1 hour worth of the show and it did not include the Mellotron bit. Oh well. Marc wrote: >The "completely new direction" from Adrian's post holds promise; I >just hope he's referring to his lyrics as well as the music. What in the >world...has happened to wordplay? If you are implying that Adrian's lyrics lack wordplay I'd have to strongly dissagree with you. In fact Adrian probably incorporates more wordplay in his lyrics than any other KC lyricist has. All the same, I think the biggest challenge for the new KC sound will be the lyrics. If the sound is to change, then surely the lyrics will have to be different in some way too. I trust Adrian will come through on that score. Interestingly Brian and Paul both say, with respect to USA, and only a few posts apart: >the simplest theory wins. >the simplest explanation is the likeliest This synergy of thought never ceases to amaze mine wonderous mind - I agree with them BTW. Finally, A few ETs back I suggested that the IRC chat forum might be an interesting meeting place for ETers. Seems like nobody agreed as I heard from nobody about it. This would be for only short gatherings, perhaps once a week. A place to pop in an say hello to other ETers. I'll ask one more time before letting the suggestion die: anyone interested? I'll stop bothering you now, Dan ------------------------------ Date: Sat, 18 Oct 1997 00:58:57 -0400 (EDT) From: DanKirkd at aol dot com Subject: The Nightwatch Watch I have the following information about the release of the Nightwatch from Amy at Possible Productions: "The official US release date is January 4th. We plan to sell it mail order a few weeks prior to that (probably begin accepting orders in early December)." Amy also indicates that impatient audients may contact them to inquire about obtaining import copies of the Nightwatch. Their phone number is: (310) 435-5901 Their email address is: PossProd at aol dot com Cheers, Dan ------------------------------ Date: Sat, 18 Oct 1997 07:46:00 -0400 From: whitmd at email dot uc dot edu (Mark D. White) Subject: Re(2): theoretical bootlegging Daniel Farris said: >Bootlegging is clearly not a problem in classical music, therefore there is >no need to frisk the audience. Bootlegging is clearly a big problem in >rock, therefore you get frisked. Want to stop the frisking? Eliminate >bootlegging. It's ironic that bootlegging started in the early 1900's by people trying to record opera performances! Mark D. White Cincinnati, OH ------------------------------ From: "Douglas Robillard" Subject: NPR, Mellotons, and Synchronicity Date: Sat, 18 Oct 1997 07:31:18 PDT Dear ET, Talk about coincidence! A friend and former student of mine from Iowa State University named Jeff Vallier e-mailed me and mentioned that he and his brother were looking into buying a reconditioned Mellotron from "some guy" in Montreal. Figuring I'd help widen his search for an instrument, I visited ET, checked the Mellotron websites, and sent the pertinent site info to Jeff. It turned out that he already knew Dave Kean, of Mellotron.com fame, at Evergreen College where he transferred after Iowa State. The mystery deepened! At about that time in the afternoon, National Public Radio announced their upcoming feature story on. . .Mellotrons! So, I sent another quick note to Jeff, urging him to tune in. Well, gentle readers, what happened? Mere coincidence? Jungian Synchronicity at work? Or a Vast Disturbance in the Force? God wot! Jeff is a gifted musician, attempting to launch a music electronics firm called Pefftronics. Apparently, he and Fripp ended up working in the same studio one night; I've asked if he'll relate this story to ET. I understand that his younger brother Robb is in L.A., working as a session player and producer. Music is a surprisingly small world, after all. As a regular National Public Radio listener myself, I second Sanjay Krishnaswamy's suggestion in ET #429 that Fripp & Co. might consent to an NPR interview or profile. NPR is the only place on the dial I hear KC music, although only in short snippets. I agree that they might find a sympathetic audient at NPR. And imagine KC performing "Dig Me" on the CarTalk program! Tom and Ray, the "Tappet Brothers," could supply appropriate automotive percussion, methinks. Later. Best, Doug ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Sat, 18 Oct 1997 10:00:55 -0600 From: William Jacobson Subject: Tingle Clarification In ET 426 I posted: >If the thread isn't dead yet, my tinglers are typically Fripp's fuzz tone and his Frippian Hi-Watt crunch playing, and practically any Mellotron sound. "Starless" has that achingly beautiful melody played by Fripp over a wash of Mellotronic glory. The Great Deceiver album's version on the third CD with David Cross playing the melody on violin doesn't move me the way Fripp's playing on Red does. A great example of Frippian crunch with Mellotron is in "Sailor's Tale" from Islands. In ET 428 Eric Anderson replied: >Your comparison of Fripp and Cross's mellotron ability aren't fair since all of Red's mellotron parts (save Providence) were recorded in the studio, while most of the S&BB album (referred to as the Great Deceiver album, just clarifying your point as I understand it) were recorded live. Fripp has admitted that playing the mellotron live isn't (to paraphrase Frippian). Many of the tracks you mentioned as representing Fripp's proficiency with the mellotron over Cross's proficiency were recorded in the studio, where Fripp had the chance to balance levels, mic carefully, and do different takes if he had too. Cross, on the other hand, only had one chance in dim lighting, with Wetton's stack two feet away from him. Granted these are the same conditions that Fripp had to play mellotron under, but there are also plenty of examples on TGD which show Fripp struggling with the same elements as Cross. >Essentially, I feel that Cross's studio contributions on mellotron are e= qual to Fripp's, and that Cross himself was able extend his mellotron abi= lity beyond most of his contemporaries. Apparently I wasn't clear in my statement, as I essentially agree with Mr. Anderson. When I state that Fripp's fuzz tone, his crunchy chordal work, and the Mellotron's sound are tinglers, I mean that in the purest sense -- these sounds provoke a change, a pleasurable sensation in my body, and when combined, really hit my musical G-spot. The violin is a terrific acoustic instrument which can be used in a number of idioms, as follows: world folk, jazz, blues, classical, cowboy/western, cajun/zydeco, and so on, but it isn=92t the greatest rock instrument. Wha= t I was trying to say to is that I thought Mr. Fripp's fuzz on the studio version of "Starless" is goose-pimple time compared to Mr. Cross' TGD version played on the violin. This is not a criticism of Mr. Cross' violin or Mellotron-playing ability, nor his talents as a dancer or lover; I am talking about how these same haunting notes combined with TONE really give me, personally, the tingles. The greatest beauties of the Mellotron are its deficiencies, notes speeding up to reach the proper pitch and variations in tone and pitch. For a good example of this, listen to "Trio" again. For a good example of Fripp fuzz used outside of rock, see (and hear) the Roches' "Hammond Song." Anyway, best I close now, William Jacobson ------------------------------ Date: Sat, 18 Oct 1997 12:48:14 -0500 (CDT) From: flaherty michael w Subject: Eccentricity? In his recent posting Christopher Jepson implies that I have miss interpreted his definition of eccentric and that in fact my definition of "interesting" fits his definition of eccentric. Fair enough, Christopher. Every response to every posting I have made has been a misinterpretation, so I understand. But I must ask: if my definition of interesting is what is meant by eccentric, then why did you ask what we think? Of course Fripp, and all real artists, fit this definition. Why else would we spend so much time on them? Also: Webster's defines eccentricity as "an oddity or peculiarity, as of conduct." These implications are certainly carried in the word eccentric: eccentricity being the trait of one who is eccentric. To expect that no one will assume thses traits as being part of one's eccentricities (and I see no evidence of Fripp having these traits) seems unrealistic. Now you know what my students suffer through. Enough! ------------------------------ From: djdowling at earthlink dot net Date: Sat, 18 Oct 1997 13:55:04 -0400 Subject: Mythic Crimson, Fripp's Guitar & Gabrels live Three things today. 1. Recently read The Palm-Wine Drinkard by Amos Tutuola. Written in naive English in the early fifties by an African with 6 years of elementary education and a unique expression of imagery, the book tells of a man who's only job was to drink Palm-Wine (225 kegs a day) until his expert tapster fell from a tree and died. The hero then sets out on a journey to Dead's Town to find his tapster and encounters all manner of creatures and adventures along the way. At one point he and his wife are taken by a mysterious Red-lady to Red-town. The Red-king greeted the travellers and then secluded them in a room that "was very far from the other rooms and nobody was living near there." I was struck by this phrase that appears on the page, "What was his aim, the Red-king of the Red-people in the Red-town, was the question we asked ourselves, and we could not sleep till morning, because of this question." 2.Fripp's Guitar. Timothy Gueguen wrote "The simple answer is that its a modified Tokai Les Paul copy." I belive his Current guitar (following the Tokai) is A Fernandez Les Paul with sustainer system. This I think has been mentioned. Also, I own a Tokai and am quite pleased with it. 3. Gabrels Live Brian Cameron wrote "It seemed to me that Gabrels was living out some rock 'n roll fantasy by doing his best Eddy Van Halen routine." Gabrel's stage manner on the current tour is indeed theatrical and some of his playing more pyrotechnic than usual. Perhaps, having seen him in several bands and in small club situations, I am more forgiving of this theatricality (suited to the large scale performance), knowing the subtle command that he has of the instrument. The "solos" in the large-scale Bowie shows are heightened in the spirit of a rock-n-roll atmosphere but if you observe his playing throughout, Gabrel's character is more in depth than you might glean. I've had the privelidge of seeing/hearing him perform at close quarters and with guitar and amp (Les Paul and Vox) as his only equipment: it is here that the variety of sounds produced and sheer musicainship astound. enough. Dave D ------------------------------ Date: Sat, 18 Oct 1997 22:39:07 -0400 (EDT) From: Gideon B Banner Subject: Bruford CD-rom I too am interested in finding out how to get the Bruford CD-rom with samples and shtuff. Please e-mail me privately if you know anything about it. Many thanks, Gideon ------------------------------ Date: Sat, 18 Oct 1997 20:55:30 -0700 From: "\"UNPLUGGED\" in L.A." Subject: Exposure LP Help!!!!! I've had a very difficult time trying to reach you and your readers with the following message. I suspect my 486 processor and 14.4 modem played a major role in my inability to access and navigate your website more effectively from my home in Los Angeles. My frustration level is high and I have no more time to waste. Accordingly, I'm directing this to you in a last ditch effort to spread the word. I have what I believe is an original first pressing of the Exposure LP, produced in 1979. Both the jacket and disk are in absolute pristine condition and still covered in the factory cellophane. I would like to get some more opinions regarding it's current value, and perhaps even an offer I won't be able to refuse. In addition, I have several promotional solo LP's from various Fripp related band members; (Eno, Giles, Gabriel, etc.) that I'd like to sell. I wanted to make these available to true fans who not only appreciate the talent of the artists, but who are also intrigued with the controversy associated with them. I would welcome all inquiries, and appreciate any help. Sincerely, Keith Butala butala at pacbell dot net ------------------------------ From: leslabb at ptd dot net Date: Sun, 19 Oct 97 02:43:50 -0400 Subject: Remixed Bruford? in ET 429 Matt McCabe mentioned: MM>> Awhile back, I saw an advertisement for a CD-ROM of drum loops and samples MM>> by Mr. Bill Bruford. Has anyone used this disc or know where it can be MM>> found? Thanks! MM>> MM>> Matt Well back in 1994 during a drum clinic in Harrisburg, PA I asked Mr. Bruford the following: "Would you consider releasing a CD-Rom similar to Todd Rundgren's were the user could remix your music. " He stated an emphatic no, that the artist music must stand on its own, not up to reinterpretation. Les B. Labbauf http://home.ptd.net/~leslabb "It's always better to regret something you have done then to regret something you haven't done!" - Anonymous "Something Unknown Is Doing Something We Don't Know What." Sir Arthur Eddington "What Me Worry?" Alfred E. Newman ------------------------------ Date: Sun, 19 Oct 1997 02:48:33 -0500 (CDT) From: Tommy B McIntosh Subject: Cynthia Plaster-Caster Hi Ya'll, Excerpt from THE REAL FRANK ZAPPA BOOK: I met Cynthia Plaster-Caster when the Mothers were working as the opening act for Cream at the International Amphitheater in Chicago in 1968. This was toward the end of Cream's existence, when all the guys in the band hated each other. Each guy had his own road manager, his own limousine, his own etc., etc., etc. During a conversation backstage, Eric Clapton asked if I had ever heard of the Plaster-Casters. I said I hadn't. He said "Well, after the show, come with me. You won't believe this." So we went to his hotel. Upon our arrival we found, sitting in the lobby, two girls. One of them had a small suitcase with an oval cardboard emblem glued to the side that said "THE PLASTER-CASTERS OF CHICAGO." The other one had a paper bag. They didn't say a word--just stood up and followed us into the elevator, and into the room. The suitcase girl opened up the suitcase. The other one opened the bag. They took out some some 'statuettes': "Here's Jimi Hendrix, and here's Noel Redding, and here's the roadie from..." They just put them on the coffee table and took out the rest of their gear--everything a person might neeed to make a plaster replica of "the human weenus." We spent two or three hours talking with them. Neither of us volunteered to be 'immortalized.' ...The material used for the molds in each case was the same stuff the dentist puts in your mouth for taking impressionss of your teeth. It's a powder called alginate, which,when mixed with water, gets rubbery,and eventually hardens so that plaster can be poured into it. The way the Plaster-Casters worked was, one of them would mix the goo while the other one gave the guy a blow job. As you can imagine, this sort of thing requires a scientific sense of timing. The blow-job girl had to take her mouth off the guy's dick at the precise moment the other one slammed the container full of glop onto the end of it, holding it there until it hardened enough to make a good mold. Cynthia wouldn't blow the guys, that was the other girl's assignment. Cynthia mixed the goo. Meanwhile, the 'subject' had to concentrate on maintaining an erection, otherwise he wouldn't "make a good impression." Love ya, tb ------------------------------ Date: Sun, 19 Oct 1997 18:56:08 +1000 From: Rodney Benning Subject: Any more Islands Earthbound? With all the reissuing and remixing of past concerts currently going on, is there any room left for a decent live release from the ISLANDS/EARTHBOUND formation? This band deserves a definitive live document, as do all KC formations. A final note to the KC members (if your reading this!): Take as much time as you need recording a new album, just make sure its as exciting as the rest of them, oh and visit Australia. ------------------------------ From: ossi at icelandair dot is Date: Sun, 19 Oct 1997 13:25:42 +0000 Subject: Now Real Audio on the Night Watch Playback Multimedia site Dear readers I have got numerous postings from users who accessed my recently announced web site that covers the Night Watch playback party. Due to some mistakes the RealAudio files were missing. This has now been corrected. Please feel free to visit the page on http://www.verk.hi.is/~ossi/playback/playback.html You can even hear few seconds from the KC jam in Nashwille May 1997. The funky KC. Feel free to download the MPEG videos for local storage (no copyright problems) In Netscape press SHIFT and click on a link. In MS Explorer click on the right mouse button. This applies if you don't have and MPEG streaming player configured for your browser. Orn Orrason ossi at icelandair dot is ------------------------------ From: David MacLennan Subject: KC live '95/LoCG Live Date: Mon, 20 Oct 1997 15:38:15 +1300 Re ET#429: I share Jim Bricker's views on the forthcoming KC live in '95 disc. While I will certainly buy and greatly enjoy it, I agree that a live album from the '96 tour would have made more sense. The '95 tour is well represented by the "Live in Japan" video (if you can get one on which the soundtrack works properly on a hi-fi VCR, that is...), so a '96 tour disc, featuring things like this lineup's version of "Schizoid Man", would have had me really slavering. Maybe such a disc is ultimately planned -- it wouldn't surprise me, especially as it will probably be late '98/early '99 before any new KC music is forthcoming. Eric Thorson asked about League of Crafty Guitarists live discs. I'm not sure wich one he was referring to, but the first one (from 1986?) is very good, and "Intergalactic Boogie Express" is even better. No one who likes the Crafty sound could fail to like both discs. David Maclennan ------------------------------ Date: Mon, 20 Oct 1997 01:14:26 -0400 (EDT) From: DanKirkd at aol dot com Subject: Once again accepting reviews on releases for ET Web I have finally been able to process the backlog of reviews ETers had sent in for various releases, and once again you may send in your reviews. *** HOWEVER *** I would like you to try to review something not already reviewed. Perhaps a track that's not received specific attention, or a release that has not been reviewed. Thanks, Dan ET Web ------------------------------ Date: Sun, 19 Oct 1997 21:42:48 +0000 From: Tim Salmon Organization: ucsf Subject: Saint Gabriel. Saint Gabriel. Hello again, I am writing to add something to the following post from the latest ET (#429): From: Close2Edge at aol dot com Subject: Another side of "Here Comes the Flood". Specifically, in relation to this excerpt: >If this seems far-fetched to you, know that in Genesis (the band), Peter Gabriel was making use of Biblical metaphor left and right. Who is the "Lamb" who lies down on Broadway? The main character of the same album is Rael (Israel means "he struggles with God" in ancient Hebrew). In "Supper's Ready", there is a "farmer who looks after the farm" (parable of the sower and the seed- Jesus compares himself to a farmer), a "fireman who looks after the fire" (Holy Spirit associated with fire, "you will be salted with fire", Pentecost story of tongues of fire) This farmer/ fireman is later revealed in the song as "Lord of Lords, King of kings, has come to take his children home, to take them to the new Jerusalem." ... During the early years of his career, however, I think it is plain that he was working with an intimate knowledge of the Biblical tradition. Eric J. Thorson< On TRESPASS -- during "Dusk" -- Peter sings the line "Once a Jesus=20suffered; Heaven could not see him. And now my ship is sinking; the captain stands alone." (I don't know if this indicates a deep Biblical knowledge or not.) Gabriel's Christ allusions pop up again later in his career. Let's not forget from "Solsbury Hill" (see, a FRIPP connection!): =B3Turning water into wine, etc....=B2 or from "Lay Your Hands On Me": "No more miracles; Loaves & Fishes. Been so busy with the washing of the dishes." (One of my personal faves!) Can't think of any others right now, and I don't wanna stray too far from the Crimson Path. (Sounds suspiciously like a Leftist guerilla group from South America.) -- TiM SaLMoN, SF. ------------------------------ Date: Mon, 20 Oct 1997 02:50:38 -0400 From: Steve Smith Subject: Re: Elephant Talk Digest #429 > From: Stephen Arthur > Subject: King Crimson CD bootleg for sale > > For sale: > > "Exiles" > > Featuring: > > Red NOT! NOT! NOT! Sorry, Stephen, I really don't mean to screw up your sales pitch, but I truly have it in for this particular release, because I spent a LOT of money on it before I realized that I'd been screwed. Oh, make no mistake, the material here is fine. But it does NOT feature a live version of "Red" from the 1974 lineup, which was my sole reason for buying this disc. The track labeled "Red" is actually the final section from "Fracture." Thus, I don't really care whether it's from the Central Park show, which it well may be, or not. All I care about is to make sure anyone about to part with significant bucks for a live 1974 "Red" doesn't buy this particular disc. But collectors who don't already have the 1973 Concertgebouw show (soon to be released in its near-entirety as "The Night Watch") and 1974 Atlanta and Pittsburgh shows wouldn't be too poorly served by this disc, assuming you can't wait for "Night Watch" (due for US release in January) and can't find "Doctor D" or "Super Golden Radio Shows" which feature the Atlanta and Pittsburgh material in more complete form. Steve Smith ssmith36 at sprynet dot com ------------------------------ Date: Mon, 20 Oct 1997 11:52:31 +0100 From: Alex Brugger Subject: Re: Anekdoten, Goot Schtuff Dear fellows, I can only agree with what Grant Colburn wrote in the last issue of ET. I've known Anekdoten since 1994 and I've seen them live for 4 times yet. it is in fact no coincidence that they do sound _a bit_ like KC, 73/74 style. they started as a KC cover band, playing such goodies as Cirkus, Easy Money, Starless (!), LTIA2 and Mars. later they started writing their own songs, they've released two studio albums so far and although they throw in the odd KC encore at their gigs they are apparently not too happy anymore playing these songs now that they've got enough compositions of their own to fill a full-time gig. Don't get this wrong, they do still like KC but they rather play their own music at their shows. If you're very lucky, you might still hear a fantastic rendition of Starless though, and believe me, they are pretty close to the original! (definitely a _lot_ better than the version John Wetton did with his band this summer. no offense, John!) the two albums of Anekdoten are called "Vemod" and "Nucleus", they're both highly recommended IMHO. instrumentation is drums, bass (and *what a bass sound!!!*), guitar, cello, mellotron (only one though, Grant) and keyboard - and when I saw them live this summer they even used a teremin in one song (is that the Englilsh name too? it's that synthesizer-like thing where you influence the pitch of the sound by moving your hands in front of something like an antenna. yes, no joke, although I have no idea how it works exaclty. any help on this anyone???) they have an official website too, it's on http://home2.swipnet.se/~w-25753/anekdoten/anekdote.htm there's loads of information there and also a couple of audio samples, so you can get an idea of how they sound. hey, and pleeeeaaaase don't shoot me - I know I'm treading on fragile "you like KC so you simply _must_ like this and that band too" ground here... take this as a recommendation and nothing more. all I'm saying is simply that I like them (...a lot) and that I'm quite sure many of you would find their music interesting too. have fun, Alex ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ____________________ Alex Brugger ____________________ alex dot brugger at physik dot uni-erlangen dot de http://www.physik.uni-erlangen.de/hi/ab/ab1.html ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Mon, 20 Oct 1997 11:59:56 +0100 From: Alex Brugger Subject: Re: Mellotron "In The News" Hi again, in his posting on the radio programme on mellotrons in ET #429 Justin Weinberg mentioned > Ironically, wasn't it determined that those string sounds towards the end > of "Dinosaur" were midi-guitar, and not mellotron? I haven't got the THRAK CD here now, but I do remember a mellotron technician being mentioned somewhere in the credits. could it be then that these bits of Dinosaur were recorded in the studio with a proper mellotron and that they only do it on stage with midi guitar??? cheers, Alex -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ____________________ Alex Brugger ____________________ alex dot brugger at physik dot uni-erlangen dot de http://www.physik.uni-erlangen.de/hi/ab/ab1.html ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ From: "Jari Schrodeus" Date: Mon, 20 Oct 1997 14:20:31 +0200 Subject: Figured someone would like to know.. Hello ET'ers! This is my first posting and first of all I would like to say that I'm sorry if there is some miss-spellings in my writing. Some while ago I found a comic book (or a gaphic novel, what ever you want to call it), wich mentioned King Crimson. The artist's name is Moore (firstname Terry if I'm not wrong) and the book is called "Strangers in Paradise". I enjoyed it very much. Any way, the third or fourth section of the book (can't say if they're published separately since I've only got the finnish translation at hand..) begins with I talk to the wind -lyrics. On the next page there is a man and a woman talking a bout the song while making love.. Check it out! Thrakk on! Jari Schroderus ------------------------------ From: Kevin Simonson Subject: Re: Fripp's guitar Date: Sun, 19 Oct 1997 19:32:33 -0600 (CDT) Hello there... Currently, he endorses Fernandes and uses a sunburst les-paul model with the sustainer unit. One can see the Tokai really well on the String Quintet video. -- Kevin Simonson Computer Science Graduate Program University of Illinois - Springfield simonson at uis dot edu "haha.....HA!.....ohhhhhhhhh" --Phil Collins/Genesis "Mama" ------------------------------ Date: Sun, 19 Oct 1997 15:56:39 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Crimso tapes & League Live >Date: Mon, 13 Oct 1997 21:07:53 -0400 (EDT) >From: Close2Edge at aol dot com >Subject: League Live? > >I have loved the music of the League of Crafty Guitarists and their >descendant bands. I have followed Guitar Craft music since the release >of "Show of Hands". I always see the CD of Robert Fripp and the League >of Crafty Guitarists: Live! in local stores, but due to the remarks in >Eric Tamm's book on Fripp regarding flat sound quality and the early >stages of Guitar Craft's development being less interesting than the >later, I have refrained from buying it. I would appreciate some comments >on this record here or in a person E-mail, if that were more appropriate. Well, I enjoyed the live CD Fripp released in the 90s, entitled _Intergalactic Boogie Express_. This is very good, only if you get into Larks' Thrak, which gives you a 1991 version of THRAK on acoustic guitar. I don't know about the earlier CD, but this 1995 CD is very lively, IMO. >From: "Van Wey, Alex J" >Subject: Crim Tapes >Date: Mon, 13 Oct 1997 08:53:19 -0700 > >To anyone who can help- > I do not have a CD player that works, and I cannot find any TAPES of >Thrak or B'boom. Every music store I have visited tells me that they >don't get tapes from DGM, only CDs. I am in Dire need of KC's Thrak and >B'boom, and maybe even Vroom and Thrakkattack on tape. If someone made a >tape copy of these CDs, would they be bootlegging? Does DGM make tapes >as well as CDs? As, this takes me back. When _The Great Deceiver_ came out, I was not a CD buyer, and had a huge tape collection. Since this set was only on CD, I wound up getting a CD player one Xmas, and had to upgrade a lot of my worn out tapes with CDs.... As to your question, I have seen in Best Buy here in Maryland _THRAK_ on tape, but none of the others. I think since many Crimso fans are into sound quality, that there is a not a big market for cassette versions, which is just plain sad, IMO. Cassettes cost too much money to import, which makes them difficult to sell, so many imports you find only on LP or CD. Goodluck in your quest to find the others on tape, but I know _THRAK_ exists on cassette. --Jeremy ------------------------------ From: "Dave Goldsmith" Subject: Tele-Tubbies Date: Sun, 19 Oct 1997 13:23:35 +0100 This will not make much sense to non UK members (but I may be wrong) I (unfortunately) caught an episode of Teletubbies the other morning and caught one Mrs Fripp in the credits, I think we should know the truth ;-) ------------------------------ Date: Sun, 19 Oct 1997 02:45:04 -0700 From: Anil Prasad Organization: Innerviews: Music Without Borders Subject: Psychomuzak? Hi everyone, I saw a CD in a shop today by a group called Psychomuzak. It had a big red sticker on it that said "Features ex-members of King Crimson!" The shop wouldn't let me have a look at the booklet or hear it, so I have no idea what this is or who's involved. The disc is a 1997 release on Delerium Records I believe. Can someone fill me in please? -- Anil Prasad Innerviews Magazine: Music Without Borders aprasad at innerviews dot org http://www.innerviews.org ------------------------------ Date: Mon, 20 Oct 1997 08:33:00 -0700 From: Jason Thornton Subject: Peter and bible Black At 09:16 PM 10/17/97 GMT, Eric J. Thorson wrote: >It all adds up to me. The Bible has been the source for plenty of strange >lyrics. Gabriel says at Real World website that he is currently influenced >by Buddhism more than any other religous tradition. During the early years >of his career, however, I think it is plain that he was working with an >intimate knowledge of the Biblical tradition. I would say Gabriel still works with this knowledge, and still uses biblical imagery to some degree. For instance, take the song "Blood of Eden" from his last ablum "US," which is filled with metaphors lifted from Genesis (the book, not the band). He also produced a CD-ROM with "Eve" in the title, and he designed a swatch called "Adam," with two drops of "blood" on its face. Cheers! -- Jason R. Thornton // Chapman Stick, Silver #2125 "Only the few know the sweetness of the twisted apples." - Sherwood Anderson "...the Year 2000 won't change anyone here" - Morrissey, _Reader Meet Author_ ------------------------------ Date: Mon, 20 Oct 1997 13:59:57 -0300 (CDT) From: GOMEZ COTORAS SEBASTIAN JUAN Subject: stick interest (I mean the musical instrument) I'm quite interested on getting either a Chapman stick or a Warr guitar, specially if its used or very very cheap. I also want to know how to run a rig due to the complex and wide range of the instruments. As I saw the japan video of thrak, Tony had a Big trace Trident guitar all tube head, and a few trace bass amps. Please let me know how!!! The Icon-o-clast ------------------------------ End of Elephant-Talk Digest #430 ********************************