Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: newsletter at elephant-talk dot com Precedence: bulk From: newsletter at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk Digest #450 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 450 Sunday, 11 January 1998 Today's Topics: In Concert in the 70's Innernews: JOE ZAWINUL interview tour dates Those mysterious practice riffs! _Globe_ article and discovering soundscapes audient or spectator? I think this post got lost in Number 447 Re: Fripp's dexterity Trey Gunn Band West Coast Tour January 1998 Mr. Fripp at the Phoenix in Toronto / Coltrane's 1961 Village Vanguard Re: Elephant Talk Digest #448 MBV / SoundLovelessScapes a recommendation for an aTTaK 'Death by Drowning' ETers notes on Damage and B.L.S. G.Lake Retro. correction, Boston Globe article/interv. Enhanced Nigthwatch CD Review of "No Pussyfooting" and "Exposure" Right-handed? Wrong-handed? Fripp on Ure CD/ The Dark Side of Joe Missing Disc! From DC to NYC Listening Party Fripp's dexterity - Russell Whitworth Monty Crimson's Flying Cirkus Fripp & Bruford, again ProjeKCt Two in Hamburg? Levin/Petrucci/Portnoy Projekct One FSOL, The Orb and RF The return of the Phantom album Gig reviews At the House of Blues, Cambridge MA -- December 16, 1997 ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com, or use the DIY list machine at http://www.elephant-talk.com/list/ to ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ETWEB: http://www.elephant-talk.com/ You can read the most recent seven editions of ET at http://www.elephant-talk.com/cgi-bin/newslet.pl IRC: Regular get-togethers at #ElephantTalk on Undernet Sundays at Noon PST / 3pm EST / 8pm GMT Mondays at 6pm PST / 9pm EST / 2am GMT THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- Date: Sun, 4 Jan 1998 20:13:09 EST From: Frippless Subject: In Concert in the 70's Okay, so I knew that Crimson played on "In Concert". But now I hear that there were also shows with Roxy Music (including Wetton on bass), and with Genesis doing "Supper's Ready". Since these were on syndicated TV shows, tapes of these should be available somewhere. Does anyone remember or know the syndication company name? Has anyone looked into this? E-mail responses to me, not ET. Thanks. ------------------------------ Date: Mon, 05 Jan 1998 00:09:39 -0800 From: Anil Prasad Subject: Innernews: JOE ZAWINUL interview Just a quick note to let you know an exclusive, hyper in-depth interview Joe Zawinul -- the legendary jazz keyboardist, composer and founder of Weather Report -- is now available on Innerviews, located at http://www.innerviews.org Zawinul is credited with spearheading the entire fusion movement and is responsible for some of the most timeless records released in the 20th century. They include Weather Report's 'Heavy Weather,' Miles Davis' 'Bitches Brew' and Cannonball Adderley's 'Mercy, Mercy, Mercy' -- just to name a scant few. This interview features Zawinul's commentary on: - His new discs 'My People' and 'Stories of the Danube' - The state of the music industry and American culture - The state of jazz in 1998 (Wynton who?) - Working with Miles Davis, Cannonball Adderley and Jaco Pastorious - 1996's aborted attempt at a Weather Report reunion - Growing up during World War II - and a whole lot more! The piece also includes contributions from Scott Henderson -- renowned guitarist and co-leader of Tribal Tech, as well as bassist Gerald Veasley who's known for his work with the Zawinul Syndicate and Grover Washington Jr. You'll also find a guide to Zawinul and Weather Report resources on the Web in the piece. If you have an interest in jazz, fusion or progressive music, this interview is a must read. -- Anil Prasad aprasad at innerviews dot org Innerviews Magazine: Music Without Borders http://www.innerviews.org "Innerviews is a notable example of the music e-zine genre that produces articles and reviews about adventurous artists." -- The New York Times ------------------------------ Date: Mon, 5 Jan 1998 04:07:23 -0500 From: Discipline Global Mobile <73064 dot 1470 at compuserve dot com> Subject: tour dates Happy New Year from Discipline. Robert begins the year with the following Soundscapes performances: Sun 11 Jan Milwaukee, WI, Shank Hall Mon 12 Jan Chicago, IL, Park West Wed 14 Jan Toronto, ONT, The Phoenix Sun 18 Jan Northampton, MA , Iron Horse Mon 19 Jan Montreal, QUE, Club Soda with possible extra date on Tue 20. plus in New York City on Sat 17 Jan, an in store appearance at the HMV 86th & Lexington with the original members of the 1973 Crimson: Robert Fripp, John Wetton , Bill Bruford and David Cross, to launch the Night Watch album. There will be a playback of the album and autograph signing. (This is not a performance) Bill Bruford's Earthworks tour Europe in February/March February 8 Utrecht, NL SJU 9 Amsterdam, NL Paradiso 10 Bonn Jazz Gallery 11 Freiburg Jazzhaus 12 Kaiserslautern Kammgarn Cotton Club 13 Ludwigsburg Scala Theatre 14 Kircheim Club Bastion 15 Ingolstadt Burgertreff 16 Frankfurt Sinkkasten 17 Tilburg, NL Noorderligt 24 Bolzano, Italy Auditorium Roen 25 Ferrara Circolo Renfe 26 Padova La Fornace 27 Forli Naima Club 28 Ascoli Piceno Cotton Club March 1 Todi (Perugia) Teatro Communale 2 Firenze tba 3 Gorizia Auditorium Regione Please Note: tickets are NOT available from DGM for any of the above shows. Please contact the appropriate venues for further information. Hugh O'Donnell DGM ------------------------------ Date: Mon, 05 Jan 1998 14:29:47 -0800 From: Jonathan Casey Subject: Those mysterious practice riffs! Hello Everyone, I recall reading an interview with Robert Fripp sometime, and in it, he was discussing Guitar Craft and music technique in general. He mentioned that he had devised something like practice riffs or sequences for students, which, if focussed upon, would result in an improvement in playing skill, the sort that a guitarist without guidance could only attain after about twice as much time practicing. I think he didn't want to give the whole game away though (the interview took place when Guitar Craft was a new course), and declined from describing what they were exactly. Now, I'm not asking anyone who has an idea of what they are specifically, to tell me what they are specifically, but I would be interested in finding out what is the agenda of the exercises... rhythm, nimbleness, exactitude ? I'm having an appalling writer's block on the guitar, and it would be great to have some positive focus. Can anyone help ? Your friend in need, Jonathan Casey. ------------------------------ Date: Mon, 05 Jan 1998 11:51:34 -0500 From: Sanjay Krishnaswamy Subject: _Globe_ article and discovering soundscapes The Jan. 2 _Boston Globe_ contains a nice Fripp interview done, apparently, prior to the Boston Soundscapes show. The big shocker: Fripp's implication that we might not hear more studio recordings by all six musicians together anytime soon. Went to the Boston Soundscapes gig (where I met Martin Bradburn) and enjoyed it. I went as someone who didn't particularly enjoy Soundscapes, except when used as a context for something else musical (as on _Thrak_ or a lot of Eno-treated stuff). But thought, well, what the hell, it's (relatively) cheap, it's a weeknight, and it might be fun to meet some ETers. I found that I really liked the event. Fripp said some (OK, kinda hokey) stuff about, this is "not a concert in the Western tradition", the upshot of which was, move around, chat. So I did. Now, better heads than mine have thought about the role of audience noise in performances (in particular Boston is a big Cage town) but I really felt like, yeah, the audience functions here as participant. Martin and I ended up having beer and talking and every now and then the discussion noise in the room would swell, and then pause when some particularly lovely new Soundscape theme came through -- that is, one had the feeling that Fripp was playing into the audience noise and in response to it. Which isn't, I guess, a particularly deep observation -- I mean, the guy's in the room, there's conversation taking place around him, he hears it, and therefore, whether it is intentional or not, he responds to it because he's human and it's pretty hard not to (like the guy in Calvino's _If on a Winter's Night a Traveller_ who looks at letters on signs without reading them). So you had a feeling of sacred space -- everthying being said and done got echoed back, resonated. Nifty. I don't purchase or favor bootlegs but would be fascinated to hear the output of, say, a tape recorder placed behind the bar, to see if one can easily track the audience hum/Soundscape interplay. I'm not sure that's all that avant-garde, in some way -- I sort of think of a country hoedown or something where people are socializing over the music, the performers are periodically leaving the bandstand to get sloshed and to chat, people yell up onto the stage, as being an extreme of this kind of thing. Impressed, I bought a disc ("Blessing of Tears"), then walking home kicked myself for my idiocy -- what's the point unless there's that "Sacred space" interaction? But I actually find I like "Blessing of Tears" a lot -- not like I like _Thrak_, more when I'm driving on a nice day. Also my parrots seem to like "Blessing of Tears" just a hell of a lot and improvise beautifully over it (then again, I have an African Grey parrot that can improvise along with "Kind of Blue" -- not mimic the solos, but improvise tonally -- like you wouldn't believe). So, there ya go -- Sanjay Krishnaswamy, sneerer at new age electronic music, now listening dreamily to Soundscapes, in the Twilight Zone. Since there's (duh) endless Soundscape enthusiats on the list I though to solicit some ideas, see if that series of ideas about Soundscapes goes anywhere and if there's any stuff I might want to hear, given those ideas, since they don't seem tremendously original or anything and I'm sure a lot of you have thought the same stuff (and then thought better?). So I'm soliciting. I'm sure Toby would rather I didn't lead people to crud up the newsletter with "What Soundscapes mean to me" articles so feel free to respond via private email. Thanks for your ideas. SK ____________________________________________________________________________ Sanjay Krishnaswamy sanjay at visidyne dot com ------------------------------ Date: Mon, 05 Jan 1998 13:33:56 -0500 (EST) From: "M. S. AtKisson" Subject: audient or spectator? Although this is not entirely about Fripp or KC, I think this speaks to the ongoing discussion about the performer / audience interaction. As a musician, I am not a purist. I will do only what is right for me to do, but I do not ignore the possibility of this including some form of entertainment for the paying customers. A number of people on this list (Himself included) have approached this subject in the context of what the performer 'owes' the audience, or doesn't. An article torn from the December 7, 1997 San Francisco Examiner Magazine landed in my snail box recently. It's by Dave Hickey, and it has some very interesting things to say about the musician/audience relationship. In the article, "Romancing the Looky-Loos", Hickey tells stories of the rise of the spectator. When his dad would come home from a gig where the crowd was not up to standard, the elder Hickey would dismiss them as Looky-Loos, spectators, or civillians. "We all knew what he meant: Civillians were non-participants, people who did not live the life -- people with no real passion for what was going on. They were just looking. They paid their dollar at the door, but they contributed nothing to the occasion..." Waylon Jennings had this to say (in the 70's) about spectators: "My best guess is that they'll keep on loving me till they start hating me, or their Waylon duds wear out. Because they already hate me just a little, just because I'm me,and they're them." Hickey contends that participants, on the other hand, do not hate what they admire. They seek out what interests them, and scout outside the mainstream 'arts', which are too busy already luring spectators. Here's his example of participation: "...if you recruit all your friends to go and listen to a band in a bar...and [they] show up and have a good time, you will almost certainly pay more at the door the next time the band plays. But that's the idea: to increase the social value of the things you love...the pleasure of having your views prevail." The catch is this: As soon as the 'new thing' the participants have found gets invested with value (due to the attention), it often becomes mainstreamed. How many times have your heard (or said), "They sold out," when a band you supported becomes widely successful? Hickey says, "...you may be assured that what is being gloried in public splendor is just a residue, a mere simulacrum from which disinterested spectators may infer the experience of the participants." This may be somewhat true, but I find the evaluation to be rather harsh, the lack of greyscale disturbing. Which brings me to the question of whether there is a the line between artist and performer. Just as I delineate between physicians and people with medical degrees, I also distinguish Meredith Monk from Wayne Newton. But where do you put Peter Gabriel, who is a consummate performer as well as an artist? Or Belew, for that matter, or Levin, both of whom are fun to watch as well as being stunning musicians? Many people on this list seem to place Fripp in some reverence because he seems to eschew any hint of performing. Others rail at him for failing to perform to their expectations. Why do they care so much? Waylon Jennings put it this way: "When I play a little club, I'm playing songs for people I know. Up there under the lights in front of a stadium crowd, I'm playing Waylon for strangers." I _think_ Fripp is trying to place himself so that he gets to play music more than he has to play Fripp. Peg. ------------------------------ Date: Mon, 05 Jan 1998 14:43:07 -0800 From: jonah Subject: I think this post got lost in Number 447 Happy New Year to All Eter's First, let me express my appreciation for the signs that the members of my favorite band actually read the comments of their fans. As someone who spent two years in the music industry in the mid 80's, I can appreciate the amount of energy which fan enthusiasm can take from the performer. I wholeheartedly support the performers desires to not be swarmed by autograph seekers and groupies. The desire to be treated like a normal human being, the ability to sit down in a cafe for a cup of coffee without being pounced upon like a clue in a scavenger hunt. I distinctly remember the relief that one particular star expressed on his face when a fan approached the limo and said " happy new year" and left, instead of fawning over them like a super hero. Having said all this... I'm back on my horse again. My last post generated a couple of personal replies from other KC fans who treasure their live recordings. My question is simple. Is their some way to allow fans to record the show while neither taking something from the performance or the artist? The ideal solution is for Possible Productions/DGM to sell CD's of each show to any fan who is interested. The unfortunate economics make this impractical, so what other solutions are there? It seems apparent that the artist need a stake in this. I know from Mr. Fripps posts KC is not about money, but I also respect his right to be rewarded for extreme creativity. So how about this approach...enlightened self-interest. I firmly believe that a couple hundred ETer's would gladly hand over several hundred dollars for tickets and follow the band for a dozen shows if they could get tickets in a special tapers section (so we didn't interrupt the rest of the show.) As a special bonus, I would even wear the 'Absolutely No Pictures' T-Shirt, Hat, Button, and Tie. I also believe that these people would not release bootlegs of the show. The entire premise of unauthorized releases is that the material is as rare as it is desirable. I have never heard of bootlegs being made of a Blues Traveler's show, a Grateful Dead Show, or a Gong show. In fact, the archives of tapes are the rallying point which hold together those communities. The fans form tight knit groups of tape traders. Sometimes, these trades even lead to friendships and a sense of family among fans So why do I bring this up again so soon? The obvious reason is that the band is paying attention to us (Thank You, One and All) and the fact that many ETer's are secretly traders. So how about it? If enough of you follow up on this thread (sorry, Toby) we can find a dialogue which develops a strategy to make KC shows taper friendly? As an experiment? Your West Coast Tour? Just your next Berkeley show? Please? Pretty Please?. Either Way, a special thanks to the Band and to Mr. Bruford and Mr. Levin. The polyrhythm in Discipline (Especially Neurotica and Thela Hun Ginjet, recorded live, Greek Theatre 1982, a mediocre recording of an incredible show) seemed just beyond my grasp until they woke me in a cold sweat one night. I saw the battle between the beats, the tension propelling itself forward instead of resolving. This vision allowed me to step through the door into the into the world of Davis and Rollins, Monk and Ellington, Sun Rah and Cecil Taylor. A journey once begun which is never finished. : One last word, I went to a George Clinton and the P-funk Allstars show last week. No comparison or attempts to start a thread here (although Bernie Worrell did work with Adrian Belew in the talking heads). Just reporting that George is "An Excellent Excuse for a Good Time" and a warning that they will play for five hours, so bring your dancing shoes! -- Jonah Stein Jonah at ricochet dot net 2329 Eagle Avenue www.barrongroup.com Alameda, CA 94501 510.521-7144 (v) 510.521.7145 (f) http://www.bcg.net http://www.buildersbooksite.com ------------------------------ Date: Mon, 5 Jan 1998 23:46:39 +0000 From: babs Subject: Re: Fripp's dexterity >Fripp clearly plays the guitar right-handed... but from pictures of the >Nightwatch playback I notice he signs his name left-handed. > >So is he playing "wrong-handed" (Ringo Starr does this), or signing >"wrong-handed", or is he ambidextrous? Fripp is left-handed, but plays the guitar "wrong-handed" as you put it. He mentioned this in I think a 70's Guitar Player interview. And in doing so joins other such musical virtuosi as Ringo Starr and Noel Gallagher (ahem...). babs ------------------------------ Date: Mon, 5 Jan 1998 20:15:11 EST From: Tgexp Subject: Trey Gunn Band West Coast Tour January 1998 Apologies if this is redundant info: The Trey Gunn Band West Coast Tour '98 the band: Trey Gunn -- 8-string Warr Guitar Chris Cunningham -- 8-String Warr Guitar Tony Geballe -- Electric Guitar Bob Muller -- Drums, Tabla and Percussion the gigs: 1/14/98 Seattle, WA -- OK Hotel w/ Phineas Guage 1/15/98 Vancouver, BC -- The Starfish 1/17/98 Salem, OR -- Tommy Johns 1/20/98 San Fransisco -- Justice League (628 Divisidero) w/ Michael Manring - solo bass 1/23/98 Portland, OR -- Satyricon to keep in touch for further updates to the tour and other info check-out the web-page at: http://www.treygunn.com/ ------------------------------ Date: Mon, 05 Jan 1998 23:17:36 -0500 From: Pat and Julian Subject: Mr. Fripp at the Phoenix in Toronto / Coltrane's 1961 Village Vanguard Hello fellow Groons!!! When Mr. Fripp comes to Toronto, could you please tell the M.C. of the evening(Mr. Fripp himself perhaps?) to inform the audience of NO PHOTOGRAPHS DURING THE SOUNDSCAPES. Please leave a sign at the entrance which says: "No Photographs During The Soundscape Performance, Or Robert Fripp Will Spit On Your Shoe!!!". Hee! Hee! 8^D I really don't want some nimrod to ruin the evening for me(or others for that matter). Someone also mentioned the John Coltrane "1961 Complete Village Vanguard Sessions" box-set. Man..., I received this for Christmas from Santa Klause(he was German this year), and it's a must for any Jazz freak(like myself) on this ET list. I found most of the highlights to be that of Eric Dolphy's. Nice packaging too!!! Free your mind, and your ass will follow-GEORGE CLINTON Ciao, JULIAN "The Ranting Man" BELANGER (Chatham, Ont., CANADA) ------------------------------ Date: Tue, 6 Jan 1998 01:40:00 +0000 From: "Kosh" Subject: Re: Elephant Talk Digest #448 If anyone goes to a Robert Fripp or King Crimson concert could they please ask him if he will ever play with the band Iona again? Iona is an Irish band that is fantastic. ------------------------------ Date: Tue, 06 Jan 1998 01:23:40 -0500 From: Noah Green Subject: MBV / SoundLovelessScapes Well, I believe that all the pre-MBV influence bands --- I mean Jesus & Mary, Sonic, of course VU, et al --- figure heavily in the discourses that helped Loveless happen. My main reason for posting the post was to highlight a band/album that could speak with/to the Fripp/Crimson continuum (shoot me for all the /'s) and yet be somewhat outside that continuum. I agree with everyone's feelings on the topic....would that Kevin Shields had his act together half the way RF does, we'd hear much more beautiful music. Maybe Robert should give him a little talking to. Well, if I can't have a new MBV album....there is still Soundscapes II (my favorite.) Keep speaking upon this topic! And to throw another monkey wrench into the mix....are there any Yo La Tengo fans out there? I have only met one person in my life who loves them and KC both...they are very much inheritors of the VU/MBV legacy, and Ira Kaplan's guitar cries out the way RF's does (when RF wants it to, that is.) -noah ------------------------------ Date: Wed, 7 Jan 1998 14:26:23 -0400 From: Tommy Kochel Subject: a recommendation for an aTTaK I was listening to the local public radio (classical) station while driving to the studio to record Irish drum (bodhran) for my brother's Celtic band's second release last night when I heard about five minutes of Michael Tippet's [born 1905] "Piano Concerto" {and something about "John Ogden", "philharmonic", "under Sir Collin Davis"}. What I heard contained three or four separate melodies at the same time, each dissonant in relation to the others and it all sounded very like much of the guitar-synth-piano-sound-centered improvisation on THRaKaTTaK. For those of you who like those improvs, check it out. Tommy Kochel Chapman Grand Stick [teak] #1325 "I find it hard to take offense at, or be insulted by, a commentary which demonstrates that life without sentience is not only possible but ongoing." - Robert Fripp, 1997, Epitaph boxed set booklet. ------------------------------ Date: Wed, 7 Jan 1998 16:02:42 -0000 From: "Mark Phipps" Subject: 'Death by Drowning' Hello from Ipswich....... I've just found your site, it's bloody good! I hope you can solve a mystery which has been bugging me for the past ten years. I have an Old Grey Whistle Test compilation video from around 1982 and on it is a song called (I believe) 'Death by drowning' which definitely features Mr Fripp. No-one that I have spoken to knows anything about this number and I work in a radio station! If you can give me any info on this, eg band,album,video or whatever, I'll buy you all a pint....... Many Thanks Kevin Ford (If you want to hear local radio in Ipswich try www.sgrfm.co.uk - just don't hold your breath waiting for any King Crimson) ------------------------------ Date: Wed, 7 Jan 1998 11:34:57 EST From: Goslice Subject: ETers notes on Damage and B.L.S. Commentary on Damage and Black Light Syndrome During life in ol'Blighty, I came across and purchased a Sylvian/Fripp album called Damage. Sensitive that this particular ET thread maybe a bit hackneyed, this album continues to be a delight for me, as I have owned it since 1995 and it is my favorite of all Robert Fripp's more recent non-KC efforts. The recordings were taken from concerts held throughout 1993 and renders glimpses of half the double trio concept that we all currently enjoy. The personnel include RF, David Sylvian, Trey Gunn, Michael Brook and Pat Mastelotto. More than just a few quid, this album comes on gold disc, has an elegant libretto and packaged in a sturdy little box. Apparently it is unavailable in the States, which is unfortunate. I would urge that all RF fans locate this gem and give it a listen. I've heard that some of the song titles have made there way onto other US distributed Sylvian/Fripp recordings but these live recordings manufactured and distributed by Virgin (P/N; 7243-8-39905-2-8) are spectacular. RF's guitar runs the gamut from aggressive, fret wrenching injections to team player with sonorous nuance. David Sylvian plays guitar as well but it is his singing style that is memorable for me. Definitely a baritone, he sings with a easy unctuous grace (sometimes a low tonal warble as well) that he uses to his own and the band's advantage. I would strongly urge that like minded Fripp fans, give this one a go. On the other hand, I was initially a little hesitant to purchase Bozzio, Levin and Steve Stevens' Black Light Syndrome (Magna Carta MA-9019-2) but at the prompting of another ETers post, I ordered it for a mere 11.99USD and eventually took delivery. The libretto indicates that all compositions were spontaneously composed but for some guitar and bass work that was overdubbed at a later date. Although I still need more time with it, the album does have some very interesting passages that make me wonder if more preparation time were given to this "instrumental collaboration" that some truly magnificent music and wider appeal/commercial success would have resulted. I am unacquainted with Steve Stevens body of work (Billy Idol/Michael Jackson and The Atomic Playboys) but he is a very good electric guitar player but actually it is his Flamenco-esque rhythms on a Ramirez acoustic that I enjoy most. Particularly, a song called Duende which I currently cannot get enough of. I had not listened to anything by Terry Bozzio since his Frank Zappa days but he is as still as adventurous on the drums and crash cymbals. On one piece, Book of Hours, the song grew into a bit of a frenzy for both Levin and Bozzio. Stevens seems to make Terry drum himself into a tight corner but mercifully the tune is put to bed. Tony Levin seems to have gotten all his bass types in on the overdubs and even made some room for his bowed NS Upright Stick. But I can't help but to feel that he was a little crowded by the others flourishes. As FZ once said, "you have to approach it's statistical density", but all-in- all Black Light Syndrome is an excellent effort that leaves you longing for a reunion to build on a foundation of some very imaginative musical wanderings. Jim Clark goslice at aol dot com ------------------------------ Date: Wed, 07 Jan 1998 13:43:05 +0000 From: Martin Bradburn Subject: G.Lake Retro. correction, Boston Globe article/interv. In ET 448 I wrote: > Minus (Love Beach Tracks and A really lame GL solo band 21st CSM). There are no tracks from Love Beach my error , although most of Disk 2 (the solo stuff doesn't compare to Disk 1) and I stand by my evaluation of 21st CSM. The Boston Globe had a really good article/interview with Robert the morning before the HOB Soundscapes gig. I've requested permission to post the article in it's entirety to ET but haven't heard back yet. Individuals may read or download it for personal use at: http://www.globe.com/globe/living/music/ I'm not sure how long it will be there, but it's very enlightening. - Martin ------------------------------ Date: Tue, 06 Jan 98 19:34:16 -0500 From: leslabb at ptd dot net Subject: Enhanced Nigthwatch CD In ET 449 Steve Sthole Inquired About The Following: SS>> Anyway, when I put disk '2' in my desktop CD-rom, in order to SS>> enjoy the enhanced capabilities, my Windows-95 system didn't even SS>> recognize that a CD had been inserted! Steve it may not be a hardware problem, but a difference in the version of Windoze95, assuming you are running win95, that is installed on your PC vs. your laptop. Since you mentioned that your laptop is newer, I am assuming it has WIN95 OSR2. This release has all the latest bug fixes that are available for Win95. I know I had a similar problem with the Vernon Reid CD "Mistaken Identity". To check if you have the latest version of WIN95 click once on the MY COMPUTER icon (so that it is highlighted, and not open) and then right click. Select properties and then check in the right upper corner for the Windows version If it is the OSR2 release it will have a B at the end of the number, and an A if it is the older release. If you can get your hands on an OSR2 WIN95 CD-Rom I can email you with a simple solution on how to install it. Les B. Labbauf http://home.ptd.net/~leslabb ------------------------------ Date: Thu, 08 Jan 1998 10:46:21 -0500 From: Scott Swann Subject: Review of "No Pussyfooting" and "Exposure" Can anyone provide me with a descent review of Fripp/Eno's collaboration "No Pussyfooting" and Fripp's "Exposure". I've read the Exposure pages on ET, and they contain a lot of information, but I'm looking for more straightforward opinions of the albums. I'm somewhat cautious about purchasing an Eno release since I'm not into completely ambient music; however, I am impressed with the stuff that he did with Bowie (Low and Heroes) in the mid/late 70's. I was mainly wondering if "No Pussyfooting" is a recording of long droning electronic "noise" (I hope not) or if there is some innovative and interesting guitar playing by Fripp (I hope so). Also, I like the work that Fripp did in the late 70's, early 80's with KC, Bowie, LoG. How does "Exposure" compare to these? Thanks in advance for any personal replies. Scott Swann sswann at bdm dot com ------------------------------ Date: Thu, 8 Jan 1998 11:25:11 EST From: Mark2u Subject: Right-handed? Wrong-handed? >Fripp clearly plays the guitar right-handed... but from pictures of the >Nightwatch playback I notice he signs his name left-handed. >So is he playing "wrong-handed" (Ringo Starr does this), or signing >"wrong-handed", or is he ambidextrous? -- >Russell Whitworth http://www.anchorag.demon.co.uk/ Right-handed? Wrong-handed? Mr. Fripp is left-handed. He plays a right-handed guitar holding it as any typical right-hander would. (Is the glass half filled or WRONG?) Mark Stevens ------------------------------ Date: Thu, 8 Jan 1998 11:44:12 -0400 From: "Joseph S. Basile" Subject: Fripp on Ure CD/ The Dark Side of Joe Hi,Ho! Hope all fellow Eters had a happy holiday! From Santa I got the Midge Ure CD.It was recommended to me by Neil Talbot a fellow Eter. The CD is on RCA records and is titled BREATHLESS. Boppin Bobby plays Soundscapes on two tracks. A very good CD. The song titled;Guns and Arrows, is worth the price of this CD especially if you are Fripp fan,because he soars on this track! The title track, Breathless does not have Robert playing on this,but is a pretty song that is used on a MTV program according to my nephew,Robby Warnick.I believe it was released in 1996. Was a little disapointed in the new Yes CD.The first two songs were good.For me, to much Jon Anderson singing.Maybe a couple of more listens will help.Love Steve Howe playing on this very much,but they do miss Wakeman,(IMHO). Now for something deep and dark from my brain.(Toby Don't Read this) Have been enjoying all of the recent posts.I did like the thread were you listed ten or more albums and was sorry to see it cut. But that is about me ,not ET. How about CDs of five or more.For me it is ,of course ,:Crimson, Fripp,The Beatles, Yes, The Who, Jimi, Oldfield,Belew,Zappa,Gabriel/Genisis,Bruford,Tull,Eno,The Doors, Mott the Hoople/Ian Hunter, Patsy Cline,Carpenters(my wife,ok!)I've listed this in order of most to five.Had to have my imput! I wonder if this is the first time Mott the Hoople has been mentioned in ET?( Dark ,a very dark side of Joe) [ Nooooooooooo! No "5 or more CDs" thread! -- Toby (unable to find suitable smiley to indicate groaning ] Warmly, Joe ------------------------------ Date: Thu, 08 Jan 1998 15:05:21 +0000 From: Michael Bennett Subject: Missing Disc! Someone has stolen disc three from my Frame by Frame set and I need a replacement. Amy at Possible Products says they can't help me. Can any ET'ers? ------------------------------ Date: Thu, 08 Jan 1998 20:53:24 -0500 From: Doug Otte Subject: From DC to NYC Listening Party Any Washington, DC area ETers looking for a rider to the NYC party? I'm willing to pay all your fuel & parking fees. BTW, I'm a 39-year-old married man, so don't expect any wild party-hardy behavior; I'd just like to spend the day w/ fellow Crim enthusiasts. An alternative would be 3 or 4 of us renting a mini-van & splitting the cost. Please respond privately to me, not to ET. Thanks. Doug Otte ------------------------------ Date: Fri, 9 Jan 1998 05:16:05 EST From: Camzone Subject: Fripp's dexterity - Russell Whitworth Russell Whitworth writes - >>Fripp clearly plays the guitar right-handed... but from pictures of the >>Nightwatch playback I notice he signs his name left-handed. >>So is he playing "wrong-handed" (Ringo Starr does this), or signing >>"wrong-handed", or is he ambidextrous? In the Eric Tamm book "Robert Fripp: From King Crimson to Guitar Craft" (now horribly out of date) it does mention that Fripp plays with his right hand but is actually left handed. He finds it easier, which is also his excuse for sitting down at concerts. Seems like a good outlook to me. Camzone ------------------------------ Date: Fri, 09 Jan 1998 06:41:11 PST From: "Douglas Robillard" Subject: Monty Crimson's Flying Cirkus Dear Elephant Talkers, I hope my brief reference to Frank Zappa doesn't provoke Toby's ire, but one point that ETers overlooked in their comparisons of Zappa and Robert Fripp is that both share a wry sense of humor (or humour, for you Brits). Zappa's sarcasm was obvious; Mr. Fripp's humor is more subtle, and of course, veddy, veddy British, but quite evident in his communications and music. His wit is ironic, self-deprecating, and sharp, and quite capable of puncturing and deflating the biggest egos and pretensions. Possibly this habit of irony is be a tactic for sane survival in the rock and roll circus. ETers who have been fortunate to attend ProjeKct One and Space Music performances have expressed surprise at Mr. Fripp's comic side, as though they never imagined that so serious a musician was capable cracking a joke! I think Mr. Fripp's request that his audiences "lighten up" reflects his desire to NOT be perceived as a Delphic Oracle, a burdensome role he quite sensibly eschews. Perhaps it is to defuse such false expectations that he invites the "earnest young men" in the audience to interact with him; perhaps he recognizes that it is the same earnest young men who have recently filled the pages of Elephant Talk with speculations on the true meaning of the mysterious phrase, "Bite Me Bagel Boy!" (I humbly suggest the phrase is a band in-joke, not a Zen koan or Gurdjieffian conundrum. Contemplating it may not necessarily lead one to enlightenment. . .) Well, since there is a long-standing comic tradition in the music and lyrics of King Crimson, I'm hardly surprised to learn that Mr. Fripp has a marvelous sense of humor in person! Listen to the comedy in an early song like "Cat Food"; not only are the lyrics sarcastic, but Keith Tippett's piano runs are positively zany! Is it permissible for "serious" music to have a comic edge? Give a listen to "Indoor Games." Surely those lyrics poke fun at the bizarre household described in the song! The flippant melody supports the sardonic lyrics and the horn section employs a decidedly mocking tone. At the end of verse 2 ("One-string puppet shows amuse your sycophantic friends/Who cheer your rancid recipes in fear they might offend"), Mr. Fripp plays a descending guitar line that sounds like laughter. Then, at the conclusion to "Indoor Games," Gordon Haskell breaks out in hysterical laughter. . .leading right into the ironically-titled "Happy Family," which presents a satirical view of the fame, personal squabbles, and dissolution of the Beatles. The song's sinister carnival music (rather like a Dark Carnival, in Ray Bradbury's phrase) creates a sardonic atmosphere, suggesting that the Beatles were trapped in the three-ringed "Cirkus" that was Beatlemania, a situation not to their liking. This "family" is anything but "happy." Actually, Beatlemania could be construed as a case of false expectations on the part of an adoring audience. . .and an example of the very sort of problem Mr. Fripp seeks to avoid even now. The list goes on: how about the hilarious Sinfieldian picture of musicians and groupies in "Ladies of the Road"? (Recall Zappa took on the same subject with "Mudshark.") There certainly are satirical elements in the words and music of later songs like "Easy Money," "Lament," and "The Great Deceiver" (especially in Mr. Fripp's lyrical contribution, "Cigarettes, ice cream, figurines of the Virgin Mary"). And to my ears at least, the conclusion of the "We'll Let You Know" improv contains elements of hilarity. I'd suggest that Adrian's lyrics continue the KC tradition of satire. Many's the time I've emerged from tiresome meetings with college faculty and administrators muttering, "It's ONLY talk. . ." And don't forget the self-deprecating irony of Ade singing, "I'm a dinosaur!" The moral? Satire deflates pretension and pompousness by inspiring us to laugh at them. I'd suggest that while King Crimson's music can inspire us to experience emotions ranging from terror to transcendental wonder, and from tragedy to ecstasy, it also touches the funny bone; and the gift of laughter is of those elements that makes us (and Mr. Fripp) most human. This is no small feat. Happy holidays, Doug ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Fri, 09 Jan 1998 11:57:38 -0700 From: "christopher trionfo" Subject: Fripp & Bruford, again IMHO the reasons why Fripp continues to play with Bruford are several. Bill is the best damn drummer he's ever played with, and probably the best musician he's ever played with. It's much more difficult to play with a drummer who's constantly manipulating the time than with a drummer who is all chops but plays predictably. Secondly,after 25 years, Bill is as much King Crimson as Fripp is, if not more, as he is the engine that makes the machine go.Lastly, who is going to take his place? Please don't say Marotta,Pert,Katche(sp.?),etc.because this not about chops,this about something much more difficult: time. Cobham,25 years ago yes, today , no. Bozzio, maybe. He would have the best shot. No offence to anybody, but those of you who don't play drums have no idea the ungodly stuff Bill does, because he makes it look easy. Make no mistake, the best musican in King Crimson is Bill Bruford. That's why Fripp plays with him. He makes him work. --- chris the infidel Free web-based email, Forever, From anywhere! http://www.mailexcite.com ------------------------------ Date: Fri, 9 Jan 1998 18:58:12 EST From: Camzone Subject: ProjeKCt Two in Hamburg? I heard recently from a fairly reliable source (forgotten who now) that ProjeKCt Two will also play in Hamburg. Can anyone back this up?? ------------------------------ Date: Sat, 10 Jan 1998 17:36:46 -0500 From: Chris Calabrese Subject: Levin/Petrucci/Portnoy Does anyone have any news about the new Tony Levin album featuring John Petrucci and Mike Portnoy of Dream Theater on guitar and drums? Chris ------------------------------ Date: Sun, 11 Jan 1998 02:43:57 -0800 From: Stephen Porter Subject: Projekct One Dear ET, Been a Crimson/Fripp fan since 1975. Saw first US gig Boston 10/81 (Disipline).Will Projekct One be performing in USA? Bye,Stephen SJP1138 at worldnet dot att dot net ------------------------------ Date: Sat, 10 Jan 1998 23:04:53 -0800 From: alphacat at loop dot com Subject: FSOL, The Orb and RF Hello. I've recently become a big fan of the ambient/techno "bands" Future Sound of London and The Orb. I noticed a couple things on their discographies that have connection to Robert Fripp. I was hoping some ET'ers could give me reviews to see if I need to pursue them. The Orb did an album released on CD called "The Orb versus Robert Fripp" which was later retitled "FFWD". I believe this was released only in England. Future Sound of London did a live radio broadcast with Robert Fripp in 1995 (I think). Did anyone tape this? Any information about these two projects would be greatly appreciated. Please e-mail me privately. Yours in Crimson, Jim Allen ------------------------------ Date: Sun, 11 Jan 1998 17:43:25 GMT From: Massimo Bracco Subject: The return of the Phantom album Dear ETers (and particularly Keith Messier) the short diatribe about my right of fantasying a KC Holy Grail album (and sharing my visions with you, in ET 443) has probably found an happy ending. Fellow Keith in ET448 surrendered to the fantasy and kindly wrote : >I'm glad to see that many read about the "Phantom Album" with the proper >sense of humor. Hey Max, I think that your fantasies are great, not >sadistic jokes - and I think you're right about the way critics can be >about reviews.... > >.. So what's the suggested retail price on this boxed set? I want to know >if I need to refinance my mortgage. > As you probably have read in last ET, my ipothesis wasn't so crazy as it seemed at first sight : I imagined a phantom 6CD box, and actually 3 or 4 CDs are coming, since Projekct One concerts will be released and "Space groove" from the Project Two rehearsals is coming as well, as stated in recent ETs. (If you lost details about it, check also Trey Gunn's beautiful home page.) So sometimes reality can give more suprises than fiction (Adrian playing synth drums in Space Groove !). Anyway I'm afraid we won't find in these Cds the "Darker than starless" Belew/Toyah duet or the Fripp impersonification of Hannibal Lecter ; still waiting for these Phantom stuff. You ask me about the prize of this monster release : "CRaSHMuZaK" 6CD Box will cost 685 dollars (it's already a collectors' item indeed !) but will come for free to anyone capable of singing exactly the entire Soundscapes Albums music in a row. (8 hours, folks and Fripp will check it note by note !) I still would like to know what Mr.FRIPP and Mr. BELEW think about this Phantom music (see ET 443), and which of these fantasies may become true some day. THRaKByes MAX from ITALY ------------------------------ Gig reviews =========== Date: Mon, 5 Jan 1998 17:49:13 -0500 From: David Kirkdorffer Subject: At the House of Blues, Cambridge MA -- December 16, 1997 Here in Boston the other night, it was standing room only for the sold-out 250 person crowd jammed into our little House of Blues. Fripp seemed in a very open, relaxed and whimsical mood. As reported elsewhere, in a concise and humorous manner, he invited us to enter into a less formal and less western audience/performer relationship. However, possibly due to the very tightly crowded conditions that would have made it rather difficult, Fripp didn't leave the stage. His soundscapes were filled with tenderness and serenity. They were much more peaceful and open than many of the recordings I've heard. The spaces between the sounds were quite magical. Quite sublime. A few piano and bells sounds interrupted a mostly soft-textured evening of soundscaping. And, at one point he played a melodic solo reminiscent of what he may have done over a Frippertronics piece years back. After a while (time seemed to pass so quickly!) he stopped playing, approached the microphone, thanked us for being a most generous, giving audience and made himself available to questions from the audience, mostly comprised of (to use his phrase) "earnest young men." Questions and shouts covered the topics: autographs, spit, autographs, equipment, bootlegging, when will you release such-and-such, gifts, and if he believes in Nostradamus' Year 2000 Doomsday Prophecy - which was offered as a question "to pre-empt another equipment question." In answering a request for him to release a Live League of Crafty Guitarists record, he mentioned that he has to prioritize his time and that there are a number of other releases planned for the coming year, including Project 1 & 2. When asked if he would accept a gift, he asked what kind of gift. Robert went on to share how, in the course of a tour, he receives a small sack-full of cassettes and CD's from musicians who would like him to listen to "their gift" and offer opinions on their music. When the gift turned out to be a ladle, he was most pleased and thanked the gift-giver most happily. A few times Fripp pleaded for a question from any women in the audience. He asked if there were any readers of Elephant Talk in the audience, to which a fairly boisterous cheer went up. Seems there are quite a few Boston-based ET-ers. Overall, I had the impression that Robert Fripp was in a good mood and wanted to connect and share with the room. He tried hard to get "past" the same questions he must hear over and over and over again. I suspect he felt the evening wasn't developing. Repeatedly he beseeched us for "...burning issues, burning issues..." Maybe the room was too tense from standing so crowded and closely together for so long. Questions were reduced to short clipped bursts. Energy was being dissipated. Final words: when asked what he likes to listen to when he's at home, he responded (I paraphrase): To the sound of my wife's breathing as her head rests on my shoulder. With that, Robert Fripp left the stage. Thank you for the wonderful music. Thank you for trying to connect. Have a wonderful Christmas everyone. David Kirkdorffer UNDO ------------------------------ End of Elephant-Talk Digest #450 ********************************