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 #454 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 454 Sunday, 25 January 1998 Today's Topics: Bruford HMV signing Fripp Northampton, MA 73/74 Live Songs NIGHT WATCH weekend in New York City Fripp and Daryl Hall Dumb questions (not mine), better ones (I hope), and a sighting. gates of paradise: what's going on Nightwatch Project 2 warm up act? Fripp, of course Gig Review: Space Music in Montreal Un evening de musique space de Robert Fripp... EVENT REVIEW:Night Watch playback KC at HMV Funny Guitar Playing addition Bruford and the Blue Beat Thrakattack and others Mixed "Review" Tracking Problems tony, bill and torn and chris too ------------------ 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: Mon, 19 Jan 98 17:22:58 PST From: Mark_Jordan at roadshow dot com dot au Subject: Bruford All I can't beleive that I've just read posts questioning Bill Brufords' drumming, be they technical ability, musicality or ability to groove. For me, without Bill, it would simply not be King Crimson any more. If you want proof of BB's ability to groove check out some of his solo stuff. Mark ------------------------------ Date: Sun, 18 Jan 1998 23:52:55 -0800 From: Michael Tanigawa Subject: HMV signing I could not go to HMV on Saturday, however my brother took a shuttle flight from Washington DC to get my copies of "The Night Watch" and "S&BB" signed. He brought a cell phone so that I might at least be able to hear the festivities, unfortunately the signing took place in the basement where the phone was inoperable. During the Q&A session, someone asked Wetton "When is Asia reforming" or something along those lines. That question did not get an answer (and probably did not deserve one!). Mike Tanigawa ------------------------------ Date: Mon, 19 Jan 1998 11:39:17 -0500 From: djdowling at earthlink dot net Subject: Fripp Northampton, MA Well, A very interesting evening. The music was beautiful, but I'll cut to the chase. Fripp asked for no photography (big surprise). About 1 hour into the show: FLASH! Robert looked up, put down his guitar and left the stage. Does this story sound familiar? After some berating from myself and other audience members, thye culprit stood up and left with " sorry, I didn't know." I headed for the restroom where I almost ran into Robert. He had said at the beginning of the night that he might be found "in the queue." I foolowed him back upstairs where the show resumed. In the q&a segment Robert explained that he had made a decision, just the day before, that he would no longer "absorb the desires of others" as he only has so much time left in his life to be true to himself and his craft. I applaud his courage and determination. Highlights of the q&a: Woman: Do you have any pets? FRipp: The short answer is "yes". The long answer...[Robert then detailed the history and habits of Toya's white rabbits or rather One Rabbit that has occupied several bodies. He explainwd that their current rabbit, aparently some kind of award-winner, is a male and "dominates" him. I couldn't possibly transcribe the things that this man said.] Questins regarding Guitar Craft and his role as a "teacher" prompted Robert to spaeak at length about his experiences in S. America where music is "life and death" for the young men he counsels. His description of the hardships of the people almost drove him to tears. Robert was looking for "burning questions" not "is that a Digitech Whammy pedal? Why, yes it is." I found this evening much more engaging than the House of Blues show in Dec. The venue was much better suited with the exception of the kitchen that was directly behind me. The "talk" was very good, covering everything from Rabbits to "the slave trade" to buring questions and the possiblity of projeKct two fitting on the stage at the venue. I can't omit: Robert stands in the midst of one piece (a normal occurance) walks to Chris (a new team member) and whispers. Chris removes the seat of Roberts stool, sprays the post with lubricant and replaces the seat. Robert resumes. I withold judgement. p.s. The semiotics of the lowercase "a"s in THRaCKaTTaCK? RHYTHM. The male and female aspects of 5/4 time. Waiting for projeKct two. Dave ------------------------------ Date: Sun, 18 Jan 1998 17:40:10 From: Giuseppe Rallo Subject: 73/74 Live Songs Hi there, I've bought a CD with some live songs, years 73/74. It's a volume of the "I Miti del Rock", a CD series printed only in Italy and based on unofficially live recordings (you cannot say "bootleg" according to the Italian laws). The sound quality is fairly good except for the first one that is very good. The list of the songs is: 1) Starless [11'45"] 2) Medley: Improvisation/Mincer/Talking Drum/Larks'Tongues in Aspic,PT.2 [16'18"] 3) Easy Money [5'57"] 4) Lament [3'50"] 5) Book of Saturday [2'37"] 6) Exiles [5'26"] 7) 21st Century Schizoid Man [8'50"] CD notes say (translating from italian): "Private collections of public performances recordings: #1) recorded live in U.S., 11/4/1974; #2-7) recorded live in Amsterdam, 1973" More interesting appears the first track "Starless", wonderfully executed by the group. The other tracks seem to the usual "Amsterdam Councertgebouw" (I haven't bought it yet)- bootleg, with the order of the tracks shuffled, unless there was another gig date in the same year. Please, if you are able to recognize what I'm dealing with, tell me further details (the lineup, the full list of the songs played in the gigs, THE gig review if someone was *THERE*). Regards, Giuseppe. ------------------------------ Date: Mon, 19 Jan 1998 15:45:45 -0500 (EST) From: Andy Acunzo Subject: NIGHT WATCH weekend in New York City Hello, Well, I certainly had one hell of a King Crimson weekend in New York City. If you'll indulge me: Part 1: DEPICTED IN THEIR PRIME - King Crimson THE NIGHT WATCH playback, HMV, Saturday, 1/17/98 First the EPITAPH playback last May, then this. I suppose I have to reluctantly accept the fact that the day may come once again when I'll have to buy a new King Crimson album without having the band present to sign it for me, but I don't have to like it! :) This playback was not nearly as good as the EPITAPH one, which featured each band member speaking at length about the band and the music. The band members did not speak much at all at this one before the autograph assembly line went into action. Maybe they were under time constraints? There was a huge crowd. So huge, in fact, that the store sold out of the Night Watch and had to send out for more copies during the signing. A few memorable quotes: 1) After Fripp answered one question, someone yelled out "Who's your favorite Spice Girl?" Without missing a beat, Fripp replied, "Scary Spice." The place was in hysterics. Then he added "Although I think Mel B has the best singing voice." :) 2) Someone asked about U.K. John said "It's still not finished. It must be the slowest album in history. It's been three years and we have two songs." Then Bill chimed in, "Oh really. Are they any good?" To which John replied "You oughtta know - you played on them!" 3) Someone asked Bill if he had any plans for a solo tour. He said no (I guess becuse the Earthworks tour will only be in Europe?), but "The best that I can offer you is myself, Tony Levin, David Torn, and one of your country's greatest trumpet players, [I forgot the name!], New York City, late April." On to the next day... Part 2: THE LIGHT OF GOOD WORKS SHINE - John Wetton at The Bottom Line, Sunday, 1/18/98 (early show) We got to the Bottom Line early enough to sit within ten feet of Mr. Wetton. Before the show, John was hanging out at the bar. We noticed he seemed willing to talk to fans who went up to him, so we went up and chatted for a bit. What a friendly guy. In response to a question my friend asked, he said that the "bass solo" in "Red" was actually played on cello by Mark Charig (I think that's the name. I think he's listed on the album credits as just playing cornet, but I guess he played cello, too.) According to JW, he also played a bit of cello on the third verse of "Starless." One thing happened while we were talking to him which I thought was very cool. Some guy approached and told him he brought his 8 mm video camera and was wondering if he'd mind if he taped the show. JW thought about it, and asked the guy where he was sitting. Then he said "Okay, but just give me the tape after the show, and I'll mail you a copy." Not a bad deal! Wetton came onstage to an instrumental being played over the PA. A woman at my table said it was the opening track from ARKANGEL - she had bought the Japanese import a year ago. As Wetton would later say, "I have a new album out. Hard to believe in this country. Right now it's only out in... Indonesia." :) The setlist was as follows, including guest appearances on some songs by Ian McDonald on flute! Battle Lines You're Not The Only One * (? not sure about this title) Book of Saturday * Emma Arkangel The Smile Has Left Your Eyes Easy Money Hold Me Now Heat of the Moment * Improv/In the Court of the Crimson King (brutal teaser)/Only Time Will Tell * Rendezvous 6:02 The Night Watch Starless * * = with Ian McDonald Overall John sounded great. He hit some flat notes here and there, but when his voice was good it was great, ranging from an angry growl to a soft falsetto. I think he really has better control over his voice than he ever did live. He played one acoustic guitar throughout the show, as well as piano on the improv into Only Time Will Tell. I got the impression that maybe he was a bit out of practice because he forgot a lot of lyrics and his fingers seemed to forget where they were going from time to time, but it was a really enjoyable performance nonetheless. Although I still want to see him with a band someday so I can watch him rip up the bass! When Ian first walked up to the mike and started playing a flute solo, my friend and I just looked at each other with these big smiles on our faces. It was That Sound. The Crimson flute sound from '69 - it was I Talk to the Wind, it was Epitaph, it was all those improvs from the EPITAPH boxed set. That Sound. Chills. Easy Money was a great, totally rearranged bluesy version, complete with fudge licking and a long instrumental section before the last verse. I can't get it out of my head. After Heat of the Moment, John and Ian announced that they were going to do an improv. John sat down at the piano and started playing some backing chords while Ian went nuts soloing for a few minutes. It was the closest I'll ever get to seeing "Mantra" performed, I reckon. :) Eventually some familiar chords emerged from the piano - the chords from In the Court of the Crimson King. John even sang a line. Everyone went nuts, but then John just started laughing and went into Only Time Will Tell. I like Asia well enough, but to tease us with ItCotCK and then go into Only Time Will Well was just plain cruel. :) John intoduced The Night Watch by talking about the playback on Saturday and how the song was written about the Rembrandt painting which hangs in a museum in Amsterdam (I think he mentioned the name of the museum). He said something like "This song was written by myself, Robert Fripp, and Richard Palmer-James about 300 years ago, just as the paint was drying." I had goose bumps and a stupid looking grin during that song. The encore was itro'd as "A song we [Ian and he] actually recorded together" - Starless. Only the song part, but gorgeous nonetheless. More goose bumps. Never thought I'd get to see John Wetton and Ian McDonald perform Starless. A great moment. John joked around a lot during the show. At one point he was talking about the '73-'74 Crimson, and saying that it was a strange band - "We had three Tauruses and one Gemini [or maybe it was the other way around?]. Two right handed members, and two left handed members. Robert Fripp and I are both left-handed, but we play guitar right-handed. Of course he plays much better than me. But I can sing better than he can." :) At another point he asked "How many of you were at the NIGHT WATCH playback yesterday?" Lots of applause. Then he said "It's funny, being in the room together with those guys again after all these years. Nobody changes. You think 'Oh, well this guy must have mellowed out.' But everyone is exactly the same." Well, thanks for listening to my rambling. I had such a great weekend that I just had to type this whole thing out. Request you all to understand, Andy Acunzo aacunzo at sbchem dot sunysb dot edu P.S. Anyone tape the show? I forgot to ask the guy with the video camera... ------------------------------ Date: Mon, 19 Jan 1998 15:43:14 -0500 From: "Rob and Diane" Subject: Fripp and Daryl Hall Greetings fellow ETers and Cheers to Toby, In the late 70s I remember a squabble between Fripp and a Record Company(how unusual) concerning his collaborative effort with Daryl Hall ,of Hall and Oats infamy...This resulted in a release titled "Sacred Songs" if memory serves..It was pretty popish material interspersed with some blistering Fripp riffs and early Frippertronics, precursor to Soundscapes..Having lost my vinyl collection including Sacred Songs, I have'nt been able to replace this lost gem and seek help from fellow ETers...I also would like to know if anyone has info about any furthur releases by this dynamic duo?.As I recall the best of thier collaboration has never seen the light of day..How about a "Lost Gem" thread? DianeNYC(I see) kestra at Erols dot com ------------------------------ Date: Mon, 19 Jan 1998 17:49:54 -0500 From: Jim Bailey Subject: Dumb questions (not mine), better ones (I hope), and a sighting. Greetings all. It's been a long time, but I've been spurred into posting again. The reason is the Q & A session from the Toronto Soundscapes performance. Why is it that someone almost halfway back in the hall (or so it seemed) can manage to overpower those at the front with such stultifying questions as: "Who's your favourite guitarist?" and "The last time you were here, I asked a question about Lizard, and didn't like your answer so I'll ask it again." (or something along those lines). Obviously not the kind of things ETers would ask. I would therefore like to take this opportunity, as did someone else in ET 452, of posing the questions here should Robert have the opportunity to read this particular edition. The first question, while relating to equipment, is not actually a technical one: While the practical advantages of the gear used on the soundscapes tours is obvious, as compared with the Frippertronics set-up, I wondered how Robert would compare the aesthetic differences between the two, and if there is anything about the old system he misses? The second question is in regard to the predictions Robert made in the October '74 Melody Maker interview about an economic apocalypse happening in this decade which "would make the Great Depression seem like a Sunday outing." In view of the fact that this has not quite happened on so monumental a scale (for which I suppose we should so far be grateful), despite a number of glitches in the last while, has he changed his mind regarding this, or does he still see it as a possibility (if not the inevitibility it appeared to be at the time)? Now for the sighting. While doing some grocery shopping yesterday, I noticed something on one of the fruit stands that took me aback. On the end of one of those purple compressed-paper trays that hold apples, oranges and the like, was impressed the word "FRIPP." Not only that, but in the corner was stamped "80B", which can look a lot like "BOB". Needless to say, I grabbed it, and of course it was free! Look for it soon on the sightings page (it'll give me an excuse to use up that roll of film with the pictures of the Crimson King maple that I promised Dan last summer). BFN, and all the best to all. Jim Bailey ------------------------------ Date: Tue, 20 Jan 1998 11:46:51 +1100 From: j dot keens at rmit dot edu dot au (Jeremy Keens) Subject: gates of paradise: what's going on As reported in the last ET, purchasers of the first disc of the 5cd _gates of paradise_ cd have received a single, jewel boxed version with sometimes god hides. the saga of GofP is very odd. initially advertised in the SGH booklet as a 2cd sett recorded at queens elizabeth hall - a soundscape which Fripp described in another booklet (_november suite_?) as being one where the gates opened. this whetted our appetite for the pinacle! then a 'preview' disk became available - we could buy volume one, in a slip case, which would fit into a epitaph-like box with the three volumes of _gates of paradise_ and 2 volumes of _1999_ remastered (with an excellent pricing policy recognising we probably already had _1999 original_) and now _gates of paradise_ has remained as that original disc. but what is most surprising is that the disc is mostly 'assembled from studio performances recorded in the music room at DGM in the spring of 1994. Two tracks are from argentina, while only the additional track (sometimes god hides) is from queen elizabeth hall. this means that the disc is more like _1999_ part 2 than the gates of paradise concert. its a shame - i would have liked to hear the gates opening: however it is also interesting to know that this disk is a very early soundscape, explaining its similarity to _1999_ rather than later ones, and also to hear studio soundscapes. we also have quite a dense fripp philosophy/essay to peruse: no mention of EG! jeremy ------------------------------ Date: Mon, 19 Jan 1998 20:35:05 +0000 From: Michael Bennett Subject: Nightwatch I just received the Nightwatch cd, after reading all the posts you folk in Europe have been posting for the past two months, and still I was amazed upon hearing this disc. John Wetton has got to be one of the most underrated bassist in rock history! SABB was truly astounding, as was the Talking Drum. Does anyone know of the origin of "the Frightwatch" or is this it's first appearance? I was also glad they included the digital cataloge, and made it Mac compatible. I had no trouble whatsoever playing the disc. I hit the motherlode at work the other day. A fellow employee heard me running my mouth about Crimson, told me he had most of their stuff on vinyl, and proceeded to loan me both albums Fripp did with Andy Summers, one he did with Eno, a solo album (Power), an ep (Network), and three Crimson albums I used to own!! I was Fripped out all weekend. And then to finally get Nightwatch has made it truly a Crimson week. I am glad someone mentioned IONA, and Robert's work with them. In my opinion their very best album is Book of Kells, although the live version of When I Survey the Wondrous Cross has some lead guitar that will positively make your goosebumps have goosebumps! ------------------------------ Date: Mon, 19 Jan 1998 23:29:19 EST From: Mark2u Subject: Project 2 warm up act? I just read this interesting post in the John Zorn newsletter. Regards, Mark [Zorn post follows:] >Date: Fri, 16 Jan 1998 08:14:50 -0600 >From: Christopher John Moon >Subject: Anyone wanna play with Fripp/Belew?? >Hey, >Does anyone know of any artists who would be interested in playing a show >headlined by a new Robert Fripp/Adrian Belew project in Nashville the >week >of Feb. 18-20...it's part of NEA (Nashville's version of CMJ, SXSW, >etc...). >Email me with any ideas. Thanks, >Christopher Moon ------------------------------ Date: Mon, 19 Jan 1998 23:50:55 EST From: Bolinhed Subject: Fripp, of course Hey folks, I'm new to your page - just found it today, I'm new to computers - but a few questions to ask, apologies if they've been overdone already. [ please reply by private email to Jim -- Toby ] 1. What are some of Fripp's influences/listening faves? I've heard him cite Hendrix, the Beatles, some world music names I was unfamiliar with. 2. Any artists he enjoys or recommends people check out in the current day & age? 3. His response to the recent KC tribute album. 4. One statement that he made which I found VERY intriguing was his painful response to actions which attempted to pin down life or freeze-dry a moment, like recordings but also photographs. Does he mean all photography or just profiles? I would have to say that while photography by definiton does pin down a moment, there are such photographs that open themselves up to re- examination and re-interpretation so that you experience them differently each time, if you're open to their possibilities - like any art, really. I'd be curious to hear some expansion on that idea - unless as I say it's already been done on this site in which case I'll find it tomorrow and slap myself - though perhaps a re-examination of the question might provoke a different reaction. 5. That's it - thanks for the site, which has provided a lot of food for thought, and to Robert & Co. for providing the music, which has also brought a great deal of interesting actions & reactions into my life. Jim Sheridan ------------------------------ Date: Tue, 20 Jan 1998 00:16:31 EST From: ACaron7747 Subject: Gig Review: Space Music in Montreal Cheers from storm-striken MontrE9al A very welcome relief from the devastation left by the recent ice storm that hit Quebec, Ontario and Vermont: electricity, Fripp-style! The "Club Soda" was filled with mostly earnest (?) young (?) men (definitely). At least half the people had arrived an hour in advance, when the show "began" (ah, the wonders of the internet). I don't have much to say about the first hour, as everybody was trying to get comfortable, possibly including the performer. At "official" showtime, Mr. Fripp made his standard "lighten-up"announcement, invited the audience to act as they pleased, etc. However, this really never happened. . There wasn't enough space to walk around. When the music was soft, one felt like a conversation would cover the soundscapes. When it got loud, one would have had to shout to be heard. I felt some kind of malaise, a contradiction between Fripp's recommendation and the actual situation. Most people were being quite attentive. Gradually, the music seemed to build . Without really noticing, I found myself in a meditative state, a little bit of a trance. It was as if I had finally entered a receptive state. I wish I could have been in a movie theater or a planetarium seat, just drifting along. The soundscape grew louder, more frantic and dissonant: a helluva sound storm! Apparently satisfied with the amount of chaos he had created, the guitarist proceeded to tweak the knobs on the delay machines until it was one pulsating sweep left to right and back, like an imaginary train between nothingness and eternity. A very strong ending. Fripp thanked the audience for being generous and invited questions. He was in a good mood and quite funny. A young woman (really!) asked if he ever considered using visuals to enhance the Soundscapes, to which he replied that his wife had suggested the same (laughs). He then said something to the effect that the technology for somewhat syncing images to his music was not yet available. (Mr. Fripp, if you're reading this, may I suggest that you give a look to BlissPaint, a stunning realtime painting program for the Macintosh that can respond to incoming Audio or MIDI for control of most of its animation features. I have been using it for quite sometimes with my synthesizers.) In a remarkable lapsus, RF then said that he was going back to England to work with David Sylvian (applause!!!), but...no...he meant David SINGLETON!!! RF was announcing that he and David Singleton were going to put the final touch to the recordings of the last King Crimson concerts of 1984 in Montreal, to be released in April!!! How's that for a punch line? Antoine W. Caron ------------------------------ Date: Tue, 20 Jan 1998 12:21:58 -0500 From: Yves Bussiere Subject: Un evening de musique space de Robert Fripp... Hello there, Although I read each issue of elephant talk since 6 years, this is my first posting. I could've posted before, but I guess nothing ever shocked me as much as the show I've seen yesterday. Clearly, I need an exhaust chamber.... This was my first Robert Fripp - soundscapes experience. I am thinking of getting several others, beginning in Quebec tomorrow. I bought my tickets by phone and when I got to the "Club Soda" to take my tickets at 6pm, Robert was already on stage... The doors weren't opened but you could hear and see the beginning of it all. The same sounds that would crush me up and drone me for an evening. The same small, repentent guy that would move me, musically and verbally. Two guys were already waiting and we talked about the Live in Japan video. One had never seen Fripp. I then cleared all nervousness by eating a meal at KFC (PFK here in quebec). I guess what I ate helped very much in loving the show. If you ever come in Quebec, do no eat a "poutine" with BBQ sauce at KFC's. It is simple horrible. Well, to my taste. But I guess I got to know fries with gravy and cheese pretty much. Distasteful. Got back to the club at 7pm. Got in the line and started listening to the people around me, while talking to my girlfriend who was kind enough to come with me. Lots of poeple didn't know what would be happening that night. A couple were comparing Robert's stuff to Pink Floyd. "You know, with the light and all...". Others just came because of the name... Lots of girlfriends were asking who that Fripp guy was. Mine knew he played guitar with King Crimson and remembered the cd with the blue painting.... So we came in and sat, listening to the textures that were already evolving. Robert would stand in the back of the venue and, i hope this word exists in english, impregnate himself with the ambience. From time to time he would climb on stage and play some notes for ten minutes and then walk away. Lots of people around me didn't really understand what it was about. I just told them that the important thing was not to take photographs... At 8:45, after an hour and a half of music, Robert went to the mike and explained us what the evening was about. You can talk if you want, walk, anything. He actually said to "do whatever will make this evening enjoyable to you, and lighten up..." His French was enjoyable and really funny. He sat and started. During the show I was really moved and grooved so I called some friends who couldn't come to share the experience for seconds... I was asked if I had done drugs. I guess I sounded wierd. I told I was zen. Zen is the exact word for the space in wich I was. The same space Robert was creating. I was the music to a certain extent. Music was me too. Time didn't matter. Only notes. Think of this as if you were in a train looking out the window. Images come in at a fast pace but only one image matters, the one in front of you at that time. Music was almost vertical instead of horizontal. Very profound, very deep (space...). I thought at one point of the show that he was actually controlling the crowd. Taking it exactly where he wanted to. I could sware that when poeple talked very loud, the same notes above the 17th fret or a real low and long one would occur. Then, people would listen more. This is where there stands a great difference between Soundscapes on Cd and live in front of you. Robert sets himself in a mood to play and then plays the mood. The interaction thing discussed a lot in ET is real. There is something moving between the audience, the performer and, should I add, the venue. The show stopped at one point. Happily, Robert had already started talking with the audience that was pretty rude from my point of view. One guy was shouting "Why the guitar, why the guitar, play the guitar". I guess he was talking about the second, unused, guitar. Robert explained that once he started talking to the people, he was in a different mood, that he would not go back to music wich needed a mood in wich he was not anymore. He also talked about his calendar for the next 6 months or so. I CLEARLY remember him talking about a Crimson show in Montreal (from 1984) being released sometime in April and called "absent lovers". He also told us that he had booked three days with his wife at the end of the month :). He has a great sense of humour. When asked by a guy to sign a guitar, he answered:"Well, it not my guitar, so you sign it...". The ProjeKCt 2 CD should be out in March and the projeKCt 1 later in the year. He told us that he would be working with David Sylvian in England and when the crowd responded with "wouhous and yeas" he corrected himself, "David Singleton". He took a half second of silence when he heard that Carl Perkins was dead and looked at the ceiling. A funny part was when he asked if any young lady would be kind enough to say something. Which didn't happen. My girlfriend told me this morning that she would like to write something in ET, so you'll hear about her Robert, if you read. I guess she wasn't prepared to ask questions to her boyfriend's cult musicians. One of both (Zappa) being dead...After talking about "the gates of paradise", he told us to sit still and listen to ProjeKCt 2 - Space grooves. I can only say that I want this as much as I want peace in the world, and I really want peace in the world. He told us that we might see ourselves again on an Eastern leg of the projeKCt 2 tour. See you there, Canadians and Americans. See you all, Bonjour a tous, en esperant vous rencontrer a un show. Francois Bussiere ------------------------------ Date: Tue, 20 Jan 1998 12:42:53 -0500 (EST) From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: EVENT REVIEW:Night Watch playback Hi all Set out Saturday for the playback antcipating getting there shortly after noon but all of my connections hit just so and I arrived at HMV at 11:45 AM(!). Naturally, I was the only person on "line", as it was, and remained so for close to an hour. so I had a seat on the steps to the stage and read the booklet for The Night Watch CD which I had just purchased($15.99... much better than Tower's $19.99). Gradually, the faithful assembled; some knowledgeable, others clueless. One of the pack, who I will refer to only as Mark to protect his anonymity(he refers to himself as "The Enemy"...he's a taper) had an enormous collection of stuff, including a 2CD of "The Young Person's Guide", which none of us had ever seen. We worked on questions amongst ourselves, but it gradually devolved into "Razzles...gum or candy?";"O.J...Innocent or guilty?";"Boxers or briefs?". When 3:00 rolled around, The quartet took the stage to thunderous applause to an assembeld mass of several hundred(it seemed that more people were there for the Epitaph playback, but I could be wrong). Unfortunately, there was one highly baked Deadhead near the front who screamed "Exiles!" over and over until we finally got him to shut up. The Q & A was severely brief with most quaestions refering to the fractalized KC, Upcoming releases(Space Groove and Gates of Paradise end of March, ProjekCt One, later 98), The upcoming UK project(JW stated" we've been working on it for three years and we have two songs!") RF continued on about anniversaries(his 40 years as a guitarist, at which BB feigned mock impressedness). Another asked if Crimson will be playing again. Fripp Paused. Bruford looked at him and said, "Well?". RF only said yes, and the topic changed. Someone called out for Fripp's favorite Spice Girl, and he replied Scary Spice withou missing a beat. He opined that Mel B. was the only one with a good voice among them. Then the signing continued. As Robert signed several of the things I proffered toward him, he thanked me for being "a hero". "No", I replied, "I'm just a member of the team". He smiled and nodded. Bill thanked me for buying all of his albums(I brought them all; he only signed a few, which was good enough). A couple of EYM*s were afraid of giving Red to David Cross to sign, but he was OK about it(I don't know how I would react!). A graet album and a great day all in all CV *EYM-the newly-patented acronym for Earnest Young Men. 8^| If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Mon-Thurs at 9PM and 1AM EST. -- Lucien LaCroix ------------------------------ Date: Tue, 20 Jan 1998 09:56:06 -0800 From: Michael Tanigawa Subject: KC at HMV Dear Fellow ETers, The following is an excerpt from an email from my brother to his friend in NY. It explains why he did not visit him on his brief trip there on 17 January, and also the reason he was in NY in the first place. It should be obvious that my brother is not a KC fan, but I think he deserves credit for humoring me. I was unable to make the trip myself on such short notice. Mike Tanigawa The reason for my short visit was that King Crimson was having a signing session at HMV again. I got there at 2:45PM, the event started at 3PM and ran to 5PM. I would estimate there were 200 people when I arrived and another 100 showed up after me. They actually started on time at about 3:10PM with a short Q&A session, then laid out the ground rules for the event which was to sign the CD release and if there was time (and people were to get in line again), to sign other items (e.g., vinyl, posters). This was said by Fripp (MIKE: Fripp was probably stating the store's policy). Mike claimed that King Crimson would not disappoint their fans by turning away requests, and he turned out to be right. I did not buy another copy of the release as Mike had sent me his copy which was purchased as a British import before release in the colonies. I got to the front of the line and when the guy checking for receipts saw the CD in my hand, he did not request to see my receipt! Perhaps he recognized that I was the representative of a rabid fan and was afraid to challenge my imported goods. In any case, it was obvious that the four band members (these were the third incarnation of the band with different members, except for Fripp, than the ones you met) were signing anything put before them. Some fans even engaged them in heartfelt conversation to the consternation of store personnel who wanted to keep the line moving. I dutifully placed CDs and booklets before them, they were signed, I thanked each member after they had signed, and the item was passed down the line. I was done at 4:40PM so I do not know if anyone had to be turned away. Someone four positions in front of me had a contracts casebook signed; after some reluctance on the part of someone I took to be Fripp, it was signed with some odd dedication. I was quite excited when my brother sent me the package containing the two CDs and booklets for autographing because his note was that "KC would be signing at the event". Unfortunately, this was King Crimson and not KC of the Sunshine Band fame. Much heartbreak. ------------------------------ Date: Tue, 20 Jan 1998 14:04:28 -0500 (EST) From: "Christopher A. Jepson" Subject: Funny Guitar Playing In response to Douglas Robillard's post in #450, my favorite instance of KC humor is a tiny little guitar break that Robert plays in "Happy Family" -- near the beginning of the instrumental part (not the same break Douglas was referring to). It sounds like his impression of a really inept guitarist struggling heroically to produce a solo. Second for second, it is the funniest guitar playing I can think of. (Dr. Hook tried the same thing on "Cover of the Rolling Stone", but didn't come close.) -- Chris Jepson ------------------------------ Date: Tue, 20 Jan 1998 23:30:35 +0400 From: Brr Subject: addition hi:) best wishes from all kc lovers in russia:) i have one question: the best video of kc, that i have ever seen is their live perfomance at porijazz festival, finland in 82-83(?), but it is not listed on the discography page... does it mean, that i have seen a bootleg? this concert was on finland tv in a serial of concert films, but i never met it in moscow since 89 :( do you have any info abouot it and what is the correct name? tnx&br,brr ------------------------------ Date: 20 Jan 1998 13:10:27 -0800 From: "Philippe Toudic" Subject: Bruford and the Blue Beat Dear ET: Here's my take on the discussion in ET ## 451, 452 about Bruford and the beat (or pocket, if you prefer). The writer in ET #451 essentially said that Stewart Copeland is a better "pocket player" than our Billy B. and that Crimson might groove more mightily with a good "pocket player" such as Ben Perowski of Lost Tribe. I hope this is a fair summary. Bruford tends to play on the front edge of the beat (i.e., pushing the beat), rather than playing slightly behind, as is typical of most groove players. The tendency is more pronounced in BB's early work with Yes, and with Crimson on the Great Deceiver set. (Think of all the eighth-note hi-hat grooves on the latter.) Playing on the front of the beat brings an edginess and tension to the music, and is typical of jazz players like Tony Williams, Jack DeJohnette and BB's oft-cited influence, Max Roach. There's an interesting comment by BB in an interview in the Fall 1997 edition of Talking Drums (with Bill(y) Cobham on the cover). He says, "When I saw Mitch Mitchell do Elvin with Hendrix, I thought, I know, I'll do Max with Yes!" Personally, I think BB's approach is a perfect match for Crimson, whose music is much more about tension than release. BB's forward momentum pushes the music headlong on its journey. A behind-the-beat groove player might add a different spin, but it wouldn't be Crimson. For me, Crimson is about howling into the void, not shakin' booty. Anyway, I think BB provides a fine, butt-shaking groove when needed (e.g., Elephant Talk and Thela). Also, Crimson has added Pat Mastellotto (sp?), who is more of a groove oriented player in the traditional sense. As for Ben Perowski, BB's putative replacement, I've only heard him on a Mike Stern album, trading the drum chair with Mr. DC, the monstrous Dennis Chambers. Perowski seems to be a fine contemporary jazz-fusion drummer, but if you want metric modulation and beat displacement, why not suggest Dennis? No, I don't think he'd fit Crimson either, but he IS a frightening player. (Non-Crimson Aside: I saw Dennis Chambers in a trio with John McLauglin, Mr. Odd Time Signatures. During several drum breaks, McLauglin had to literally stomp his foot on each beat to keep his place, so bizarre were the metric modulations.) Anyway, think of Max, Tony, and Jack, and you'll be in tune with the rhythmic lineage BB brings to Crimson. And look for the Fall '97 edition of Talking Drums for the BB interview. Among other things, he talks about writing and recording If Summer Had Its Ghosts, coming up with Crimson drum parts, and the forthcoming BLUE album with Tony Levin. The other musicians on the recording are guitarist David Torn and trumpet player Chris Boti. BB describes the album as, "Jazz, but very much jazz with teeth." He says he hopes to tour with that line-up. I'll be glad to hear more from Torn, a very interesting player. (Non-Crimson Aside II: I've seen Torn twice, once with BB in support of Cloud About Mercury, and once with Terry Bozzio in support of Polytown. Great albums; great drummers; great shows.) Well, that's about it from my corner of the universe. I'm so glad we've had this opportunity to chat. Cheers, Phil T. ------------------------------ Date: Tue, 20 Jan 1998 14:23:59 -0800 (PST) From: Ryan S Subject: Thrakattack and others Hello E.T.ers, ( I don't like that term, its' too link with that Spielberg movie a few years back.) I liked the Thrak improv on the live from Japan video, so I perchased Thrakattack. I was quite disappointed. It sounds so choatic. Occassionly a good riff will flash by but everyone seems to be off in there own little world, doing something else instead of responding. Compare to the improv on the great deceiver box set. There is disonance and choas, but a shared sense of feeling and more of a response from what each other is doing. It isn't only about repetition, though that is part of it, I can't fully describe it. Thoughts? Also, I have a Rickbacker 4003 bass. The string tension is low and the E bounces off the fretboard when struck even moderately hard? What can I do to solve this? There is no truss rod. Can I make a neck adjustment on a one piece? [ er... private email replies please! -- Toby ] Lastly, When and what is the next release date for the new crimson album? I've been out of it lately. What are space grooves, Project one, two, ect? Thanks RS _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Tue, 20 Jan 1998 16:53:59 PST From: "Mike Heilbronner" Subject: Mixed "Review" King Crimson "The Nightwatch" (Discipline Global Mobile) Greetings ETers: FYI, the following relatively useless "review" (I use that term loosely) appeared in a clipping service I get. It's a review (out of four stars) of Nightwatch. The review is credited to: "Gary Graff, a nationally syndicated journalist who covers the music scene from Detroit. He also is the supervising editor of the award-winning "MusicHound" album guide series. " Here's what he had to say: 3 stars With its continuing procession of releases from its vaults, King Crimson is becoming the Grateful Dead of progressive rock. This two-disc set unearths the same 1973 Amsterdam show that has been used on other Crimson sets, but this time in its entirety. The concert has its ponderous moments, but the quartet's playing -- particularly the dazzling musicianship of guitarist Robert Fripp and drummer Bill Bruford -- usually justifies the indulgences. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 20 Jan 1998 17:11:05 PST From: "Mike Heilbronner" Subject: Tracking Problems Greetings ETers: I was dismayed to read that some copies of Nightwatch do not track properly on some cd players. I had similar problems with Disc One of Epitaph, which were not corrected on either of two replacement copies. Obtaining those replacements proved to be a difficult endeavor, as Possible Productions handled the situation in an unprofessional and disorganized fashion. I still cannot play Disc One on my home cd player. It's the only one of my 300 cds that does not play on a $500 NAD player. Pretty sad. My copy of Nightwatch is in transit, and I'm concerned. Does anyone know why such tracking problems occur? PS: Trey Gunn Band played a toned-down but very enjoyable show at a record store in Portland last Friday. They return for a full-fledged concert this Friday. Trey was extremely nice and spoke to anyone who waited around after the performance. PSS: Is there a reason Crimson chooses to mispell and alter the capitalization of the "Projects" or are these variations the result of fanciful whim? Likewise with Thrakattack. tHanX FOuR lISsenINg Mike Heilbronner ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 20 Jan 1998 20:06:45 -0500 From: "dumela" Subject: tony, bill and torn and chris too >Fwd from: DOOR X The David Torn Internet Newsletter Issue 86, Monday, 19th January 1998 for fans of "cloud about...", there is a cd tentatively scheduled for release in april called "Upper Extremities" by the line-up of Tony Levin, Bill Bruford, Chris Botti and David Torn. i was very fortunate to get to hear a couple of rough mixes last fall and i think it's gonna be the highlight of my year. it's amazing stuff! you can get a little >info on it at Tony Levin's web site. I'm nothing short of boiling for this one. Also the latest CGT is an interesting read http://www.cgtrio.com/upd1297.htm ------------------------------ End of Elephant-Talk Digest #454 ********************************