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 #462 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 462 Thursday, 12 February 1998 Today's Topics: KC Reunion 1980s Krimson. Will I become antisocial if I listen to Fripp? Re: Fripp at KMart OK, OK John WETTON Remastered Islands CD Discs For Trade/Damage FS KC and the R&R Hall of Fame Projeckt 2 and RF in Nashville Belew/Rundgren re: Dusty Rhodes' other name, Keith Tippett 80's Crimso fans a minority? 80's vs. 70's Re: Elephant Talk Digest #461 Sanskrit lesson part two Prometheus Review SAOTW Re: progressive women Earnest Young Women? re: I am not Robert Fripp Alan Lamb's "The Primal Image" The Dark Aether Project *Charlie Drake. You Never Know (7"), released November 1975.* RE: Intro Re: The placard in the closet Beat Taster England ProjeKCt Two tour dates project 1 and 2 How about a Local ETers' group in London? New Source Of KC's Name? Re: Nightwatch CD notes re: enhanced Peter Sinfield's non-KC productions ------------------ 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, 09 Feb 1998 15:27:45 -0500 From: Jon Quint Subject: KC Reunion I agree with Craig (Dr. C#) and can lurk no more! There could be nothing more relevant than a reunion of KC. They were, and could still be, one of the most vibrant, exciting, and awesome live bands ever! I have personally enjoyed the Soundscapes also, but to me they are but an intellectual delight -- music for the head. OTOH, KC live was always a feast intellectually, visually, aurally, and emotionally! There is no comparison! Please, Robert, humor us -- the 'earnest young men' (we are probably mostly earnest, but not all that young anymore!) who would revel in the mastery of a KC live tour! (BTW, if you do, please have your management find a better venue for Boston than in the recent past!) Jon Quint ------------------------------ Date: Mon, 9 Feb 1998 23:02:21 +0000 (GMT) From: dinosaur Subject: 1980s Krimson. >From: > ToaPP is my favourite album of the eighties > line-up, but all 3 have > many moments of pure brilliance. I find it interesting that in many cases, people who are big fans of one particular incarnation of King Crimson, aren't that fond on the others. I certainly enjoy the 80s Crimson as much (if not more) as the 70s and 90s line-ups. In fact, I'm probably in the minority that really like Beat. Even so, the most faultless of the 80s albums is (for my money) Discipline. My measure of how good an album is personally, is to see how many tracks there are that I would skip over when listening to the CD. For example, on Red I usually don't bother with Providence; on ToaPP I often flick past No Warning. But Discipline doesn't have a single track that I would want to miss. Indiscipline took a bit of getting used to, but now I know how to listen to it, I really like it! > James (it's only talk)...I understand you're rather fond > of "Neal and Jack and Me" Certainly, this has to be one of my all-time favourite Krimson tracks. Along with Three of a Perfect Pair [complicay-teed!] > From: et at blackcat dot demon dot co dot uk (Elephant Talk) > The main fault (for me) with much of what > happened in the 1980s King Crimson is that regularly the > music could have been played by almost anyone. I think this is an interesting comment. I've always looked at what KC did in the 80s and thought that I couln't imagine anyone else being able to play that! Maybe my progressive band knowledge is a little limited, but I've never heard anything else like 80s Krimson - I'm talking about tracks like Neurotica, Sartori In Tangier or Discipline. Anyway, enough for now - I'm tired! James. +--------------------------------------------------------+ | jAMES bEARD - http://www.geocities.com/Heartland/2511/ | | It's only talk. | +--------------------------------------------------------+ ------------------------------ Date: Mon, 9 Feb 1998 12:01:48 -0500 From: ganderso at notes dot cc dot bellcore dot com Subject: Will I become antisocial if I listen to Fripp? In response to all of the questions concerning fripp's behavior, both positive and negative, Maybe it's just easier to regard fripp as pretty much an anti-social, uptight asshole. No, I don't necessarily believe this (I don't know the guy), but why do we (I do mean we) seem to need to "believe in" our entertainers (for lack of a better word). I mean, as long as he hasn't murdered anybody recently, I consider it possible that a man or woman) can create great music and still have some character flaws (if you consider disliking people a character flaw). At least in the US, we seem to put a heavy weight on the perceived personality or lifestyle of someone when we consider their music. I go so far as to say, in fact, that someone like Madonna would never have gained her popularity if her fans couldn't think about her image while listening to her music. Actually, there is a once-famous trombonist named frank Rossalino who actually murdered his wife and children before comitting suicide. It is an eerie thing to hear his recording, for he was indeed a fine player. But I wonder if his "fans" while he was alive believed they should have been able to "hear the muderer in his music". Do we believe we are exposing ourselves to muderous impulses by listening? Actually, i find that long term Frank Zappa fans tend to become quite cynical about the world. Are they feeding from an element of Zappa's personality? Will I become antisocial if i listen to Fripp? -Emory ------------------------------ Date: Mon, 9 Feb 1998 17:59:01 -0500 From: "Mark Fenkner" Subject: Re: Fripp at KMart I do not know if Fripp ever worked at KMart but I am certain that he played some shows there. This was during the same time that he was touring pizza shops and McDonalds restaurants. I have some good bootleg albums from this time period (one was recorded in my hometown, Marlton, NJ at Pizza Den). I hope this information helps. Sincerely, Mark Fenkner markf at bellatlantic dot net ------------------------------ Date: Mon, 9 Feb 1998 18:53:08 -0600 (CST) From: flaherty michael w Subject: OK, OK John WETTON To the ETers who E-Mailed a correction to my spelling of John's name--um, thanks. Do you also send corrections to ETers who use incorrect punctuation and grammar? If so, you must be very busy. Some thought that no one would understand my post because of my error. I don't really think any of you are that stupid, but if so, yes, I meant the John of Asia who was in KC. What other John in a band called Asia who is of interest to this list that I might have meant I cannot say. Michael Flaherty PS Despite all of this, the story on www.BarkingDog.com IS worth reading. ------------------------------ Date: Mon, 9 Feb 1998 20:10:16 EST From: Biffyshrew at aol dot com Subject: Remastered Islands CD Camzone wrote: >Due to a problem in 1989, Islands was never re-released. This is completely untrue. _Islands_ was remastered and reissued at the same time as all the other KC Definitive Edition CDs. Unfortunately, the remastering was an inexcusable botch job: while some problems that plagued the old CD (and before that the Editions EG half-speed mastered LP and cassette) were repaired, new ones were introduced! As a result, the Definitive Edition _Islands_ can be instantly recognized by a tape speed change on the very first note of the album, a flaw which wasn't present on the original CD, or any other previous edition of _Islands_. Let's hope the reported RE-remaster gets it right... Your pal, Biffy the Elephant Shrew @}-`--}---- ...visit me at http://members.aol.com/biffyshrew/biffy.html ------------------------------ Date: Mon, 9 Feb 1998 20:10:49 EST From: MongoBoy at aol dot com Subject: Discs For Trade/Damage FS Any ET readers intersted in a trade? A few discs I'm just not listneing to - would be willing to trade for similar stuff. (Torn, Rain Tree Crow) Make an offer: R. Fripp: 1999; Pie Jesu LoG: Thrang Thrang Gozinbulx Bozzio Levin Steven: Black Light Syndrome Also, I came across a used copy of now "Damage" complete with box/booklet for If interested let me know we can work something out. ML/Seattle ------------------------------ Date: Mon, 09 Feb 98 21:43:00 EST From: "Brown, Ken" Subject: KC and the R&R Hall of Fame When KC makes into the Rock and Roll Hall of Fame (notice I said when and not if, after all they must at some point be let in). Will all the variations of KC go up to accept the award? Only the 69 version? What will Robert say? And what will he do if someone flashes his picture? Will then all the members of all the bands come up to the stage and play 21CSM? What a number that would be! Imagine to see all those guitars, basses/sticks, drums and saxes playing that song! The Hall would never be the same again Ken ------------------------------ Date: Mon, 9 Feb 1998 20:56:39 -0600 From: Antarctica Media Subject: Projeckt 2 and RF in Nashville For those interested in the NEA (Nashville Entertainment Association) dates for Projeckt 2 and RF keep watching: http://www.extravaganza.org/shows.html They currently show a listing on Thursday, Feb 19th as: ?????? location tba 8:00pm Robert Fripp(tentative) 8:30 Mogwai 9:00 Seely 9:30 Dinah Shore Jr. 9:45 Tba 10:30 PROJECKT 2(tentative) It seems that the location is the Canery (not so great of a choice in my opinion). Hopefully the NEA will update this info and keep us current on the schedule. All for now, John A. Trevethan Antarctica Media "Music, art, and creativity without restriction" http://www.nashville.net/~antarct ------------------------------ Date: Mon, 9 Feb 1998 22:47:02 -0500 (EST) From: dd867 at freenet dot carleton dot ca (David Collins) Subject: Belew/Rundgren After one of the two performances of The Bears I caught years ago I asked the other guitar player (whose name escapes me) who he was most influenced by as a young musician. His response was Todd Rundgren. -- ------------------------------ Date: Tue, 10 Feb 1998 04:12:21 GMT From: rtf_pjm at shsu dot edu Subject: re: Dusty Rhodes' other name, Keith Tippett Everyone knows Dusty Rhodes' real name is Virgil Runnels ;) ---------- Album of the Week: Beach Boys HOLLAND RIP: Carl Dean Wilson (1946-1998) ---------- ------------------------------ Date: Tue, 10 Feb 1998 03:10:49 +0300 From: Selinsky Subject: 80's Crimso fans a minority? 80's vs. 70's Hi all! Recently, there have been a lot of posts about the "relativley few" fans of the 1980's King Crimson. Let me assure you, dear friends, you are in the MAJORITY! Most of the discussion on this group tends to center around 1)The current KC (understandable), 2) Robert's solo projects/collaborations (also understandable), and 3) The 80's era band. I'm positive that the current KC and the 80's KC enjoy a solid following - look at the name of the site and the digest, plus all of the quotes at the end of emails from the song "Elephant Talk", and the brouhaha about Levin, Bruford, and Belew! Come on guys, most of us 70's fans are closet 80's Crimsoids, too. I am probably one of the only people that prefers the 70's crimso over the 80's by a large shot. Though I tremendously respect the musicianship of the 80's KC, I cannot say the music it produced neared the passion and intensity of Red, the subtlety and gentleness of In the Court, or the lyricism of Islands (which is the complete polar opposite of Discipline). As far as I'm concerned, the 70's and the 80's crimsoids are two completely different bands. I think Fripp should have called a spade a spade, and named the 80's band "Discipline", as he had originally intended. The development of the King Crimson band which was cooking with gas in '74 came to an abrupt halt, and never resumed properly (despite current fusion efforts like Thrak). While Robert Fripp had furthered his own musical maturity, the group King Crimson had, as he himself had said "ceased to exist". Thus, KC died, along with it's musical identity, in the wake of Fripp's complete change in musical and philosophical approaches. Beforehand, the band built logically on top of each album, regardless of the personel changes. The group, as left with McDonald, Wetton, and Bruford, couldn't continue logically, because it wasn't allowed to. It's not even that the 80's Crimson had 2 new different faces (standard operating procedure for KC), but the approach to the music changed in such a drastic way, that there could be no more continuity. It would be the same if Keith Emerson of ELP stopped playing keyboard, and took up the sax, while Greg Lake played reggae riffs and sang like Sting. Could you still call them ELP? I guess since it stands for their initials... The 70's Crimso was a product of the 60's attitude towards music, where conventional means of art were bravely reshuffled to produce totally innovative work. The Mellotron and the inclusion of saxophones, together with electric fuzz guitar, was an example of this Beatles influenced movement (the seed of progressive music). As the decade progressed, the music became more dark, heavy, and intense, yet continuously building on it's past, which retained the elements of subltety and passion. Discipline, in my opinion, was very intense, but lacked the subtlety and passion of the earlier years, seeming all too cold and rigid despite it's craftiness. While the 80's KC was a strong band which went both with and against the tide, it failed to build upon it's past to the degree the past incarnations have. Simply put, there was no room for the 70's KC in Discipline. Yes, I have a copy of "Beat", and very much admire several tracks from it. I enjoy Tony's bass/stick work, Belew's tight compositions, and so on. There is a beauty to the music, and it is non-conformist and brave, as usual. However, it seems anathema to me, to bring them up to the same level of judgement as the 69-74 KC. Maybe the '74 Crimso was akward in some spots, but those guys could go from Book of Saturday (passion with gentleness) to Larks II (extreme intensity, with passion and grace) with amazing moments in between, drawn from thin air. I think that time has, sadly, past for KC, and is now territory for other new groups to explore and elaborate on. The 80's and 70's Crimsoids are like oil and water. The "Thrak" era band, IMHO, is oil mixed with water, together with some fresh seasonings - Italian dressing. Sure, it works, but it's a difficult combination, and it's unstable (which can be exciting, but also dreadful). Anyways, it's the best we've got, and I hope I can always expect something exciting, and original. That's the most predictable variable in any Fripp project! Please, this is only my opinion, reflecting my musical taste - I am not saying that the 80's or 90's band "sucks" at all - the're all excellent musicians who have earned their right to do whatever they feel is in the best interest of their art. Didn't mean to go so far into this issue, but I had to SPEAK! - George. (notice I didn't say TALK!) ------------------------------ Date: Tue, 10 Feb 1998 05:19:04 -0500 From: Michael Townsend Subject: Re: Elephant Talk Digest #461 in Elephant Talk Digest #461, Toby Howard wrote: >The Truth is out There >Believe the Lie >All Lies Lead to the Truth >- X File Aphorisms > >[ Wonderful! That's ET in a nutshell! -- Toby ] That being said, I stopped reading right there. (Truth is, I'm a liar.) >mtownsend at earthlink dot net Dad's New Slacks PO Box 4722 Portland ME 04112-4722< ------------------------------ Date: Tue, 10 Feb 1998 09:20:27 -0500 From: Sanjay Krishnaswamy Subject: Sanskrit lesson part two >a little too quick. It was after I posted my original question that I >wrote the words down on some paper and experienced what is known as >"SHAKTI". I saw what Fripp had said. Think you mean "shruti" (Revelation, or that which is heard). Much amused by the various interesting translations of "atman" you guys have posted ... SK ____________________________________________________________________________ Sanjay Krishnaswamy sanjay at visidyne dot com ------------------------------ Date: Tue, 10 Feb 1998 09:22:11 -0500 (EST) From: Justin Weinberg Subject: Prometheus Review Neal Patrick Brown mentioned he had ordered the Prometheus CD from DGM/Possible Productions. I've had this CD for about two years, and I really enjoy it. The lineup is: (Crafty) Steve Ball - Vocals, Guitars, Keyboards, Percussion Sanford Ponder - Guitars, Audio Frame (?), Percussion (KC) Pat Mastelotto - Drums, Percussion (Crafty) Nigel Gavin - Bass, Voice Chris Rhyne - Solo Synth and Organ Steuart Liebig - Bass The album came out in 1994, and it's an electric rock album. The first track, "Dark," begins with some ambient noises and crashes, and then becomes a melodic, multi-layered progressive song. Though it has a contemporary sound, the style and lyrics of the song are vaguely reminscent--in spirit only--to UK's "In the Dead of Night." I know some people might disagree with that claim, but to me the track does have that progressive "spy song" atmosphere to it. The second track, "Sardukar," is an instrumental hard rocker that reminded me of something that could be off of Jeff Beck's "Guitar Shop" album, though a bit more angular. "Angst," track 3, is another instrumental, with a crafty-style electric guitar riff providing the backdrop for a metal-like guitar solo, and then morphs into some prog riffs, before returning to the main theme, and then back again to the riffs with some nice organ flourishes. "Enough's Enough" is a slow, short, waltzy song. "The Policeman's Ball" begins in quite a metal way, and then becomes a rather technically precise hard-rock instrumental with crafty and carnival-like keyboard and guitar touches, and then turns into a jazzy piece (a la Chick Corea Elektric), finally returning to its rock roots. Track 6, "The Spectacle," is the closest the album gets to Discipline-era KC imitation. An electric crafty riff in six forms the background for a great song. The whole band, keys, guitars, and bass, go crafty. Track 7, "Orphan," is probably my favorite track on the album. Though some might think the main melody line is a little poppy (as poppy as one can get in 5/4, that is), the lyrics are moving, the drumming is subtly delicious, and the whole song builds dramatically. "Assault on the Consensus" is over nine minutes long, the first half instrumental, based on a line in 7, switching occasionally to a variation in 4. There are some impressive organ work and solos here, but the highlight is undoubtedly the guitar solo that glides and ripples over the quiet midsection. Pat's drumming again shows lots of talent. The vocals appear like a big wave, cresting and then crashing. Very nice. The final track, "Redemption" is a 23 minute long, uneventful soundscape. But apart from that, the album gives you 45 minutes of good progressive rock. The vocals themselves are quite good. Though they sound a bit processed at times (e.g., with a lot of reverb), they are never obtrusive or off. A while ago I e-mailed Steve Ball to see if Prometheus would be putting out any new music. He said Yes. Perhaps he would post to ET with an update of his musical plans? Justin Weinberg ------------------------------ Date: Tue, 10 Feb 1998 09:35:05 -0500 (EST) From: Justin Weinberg Subject: SAOTW Must disagree with Ryochan's trashing of Sunday All Over the World's _Kneeling at the Shrine_ . This group--Toyah Wilcox on vocals, Fripp on guitar, Gunn on Stick, and Paul Beavis on drums--makes music similar in style to eighties KC, though a bit more delicate and less sophisticated-sounding. Toyah's thought-provoking lyrics and idiosyncratic singing style may not appeal to everyone's tastes, and the music is not the loud crashes of Vrooom, Thrak, etc., but a female voice and a break from thrak attacks is a welcome change every once in a while. Justin Weinberg P.S. Those of you who _really_ like SAOTW may wish to check out Toyah's _Ophelia's Shadow_, which has the same line-up except for the guitarist, who on that album is Tony Geballe. Quite a similar sound. ------------------------------ Date: Tue, 10 Feb 1998 10:05:57 -0500 (EST) From: "M. S. AtKisson" Subject: Re: progressive women Manuel Fernandez Otero listed the "reasons women don't like KC." I would like to answer point by point: > 1) You can't dance to it. Nah. You've clearly never seen *me* at a KC or AB show. > 2) The singer doesn't look good. Clearly a matter of opinion. He's s'damn *happy*... > 3) You can't remember the tune without listening 10 times. This is a negative? I've been driven mad by pop hooks. > 4) King Crimson fans are ugly or/and can't dance. Speak for yourself. I can be seen dancing in a band promo photo at http://www.geocities.com/SoHo/Studios/9342/bonepic.jpg (I'm the girl, not the skeleton. The band is based in Boston, and called BoneDance.) 'Ugly' is always a matter of opinion. > 5) Crimson music make lousy serenades (imagine a guy with a guitar at > 11 p.m. bcreaming on top of his lungs: "BROUHAHA! BALDERDASH!! > BALLYHOO!!! IT'S OOOONLY guy, or in jail; probably both!) Oh, it might've worked for me. On the other hand, I have sometimes wooed my husband with 'Heartbeat', and initially introduced him to KC. > 6) Women are too smart to listen to King Crimson. Patently silly statement. > 7) King Crimson is part of a plot to keep men busy while women take > over. No, but it does give us some help in the mate selection process. Does the man enjoy the music, or spend endless hours dissecting it in an intellectual game? Which one would I pick? Peg. ------------------------------ Date: Tue, 10 Feb 98 11:54:38 -0500 From: suzanne_cerquone at stercomm dot com Subject: Earnest Young Women? Norah wrote: >>I have a question for Robert Fripp or anyone else for that who can shed some light on the subject. Why does Robert think that his music past, present and future and even other similar type music appeals primarily to the male species? I am a female and I like progressive music. I realize I am in the minority, I was actually introduced to this genre of music by a female. I don't have many friends who like the same kind of music I like to begin with and none are female. I don't know why the type of music I like is mostly santicioned by earnest young men. Does anyone else have a good answer?<< Norah, I've been questioning the same exact thing. It seems like Fripp is very intrigued that women like "this kind of music," and in a few conversations with Mr. Bruford over the years, he has also echoed a bit of wonderment (but more so delight) that we do make this odd musical journey. But WHY?!! And I also get a bit ticked off when I hear comments like "There were only a few women at [insert progressive group's name here] show, who were obviously dragged there by their boyfriends or husbands." Excuse me? Did it ever occur to people that maybe the girlfriend/wife is dragging the boyfriend/husband to the show--as I have done? Just venting. But thanks, Norah, for bringing the topic up. --Suzanne ------------------------------ Date: Tue, 10 Feb 1998 13:04:49 -0800 From: Kathy Ottersten Subject: re: I am not Robert Fripp Hiya, In ET461 Denis Robitaille wrote: > Hi everyone. I just read E.T. no.460 and the following reminded me of > something :" Fripp has done everything short of wearing a placard saying > "I'm not quite like the other pop stars" ". Well , I'm afraid that he did! > At the time when he played around with bands like Blondie , I remember > seeing (in a French pop magazine, I think it was "Best" or "Rock and > Folk") photographs of Robert wearing a card hanging from his breast pocket, > on which was written in capital letters " I AM NOT ROBERT FRIPP " on one > side, and " NO, I DON'T LOOK LIKE HIM" on the other. Does this sound suspiciously similar to Rene Magritte's surrealist work "La trahison des images", known for showing a pipe labelled "This is not a pipe" (Ceci n'est pas une pipe). I often think that being a crimhead is surreal, so why not the head-crim himself. And regarding Manuel Otero's post(also in ET461), if I am supposed to be taking over then why am I sitting at my computer, with my stereo playing itWoP, reading ET? Blame my mom. But seriously, guys, quit making generalizaions about there not being many women crimheads. I've sees a few casual comments in ET (both the email-zine and the webpage) about women running away from Crimso-music. Blaming the music is a little like a failed athlete blaming the equipment. Just a thought. Kathy Ottersten "They come better looking, But they don't come mannered." ------------------------------ Date: Tue, 10 Feb 1998 14:18:02 -0000 From: "Ballentyne" Subject: Alan Lamb's "The Primal Image" In Elephant Talk # 458, Sid Smith wrote (in part): ... anyone interested in the Soundscape experiments should check out Primal Image by Alan Lamb. Released on the Dorobo label released in 1995 catalogue number 008) it features field recordings taken over a period of 8 years of wind in telegraph wires. I think Lamb is from Australia although I could have imagined that ... Clearly minimal in its nature, it contains some haunting and extraordinary moments which reminded me of some passages from Gates Of Paradise. Probably in the same vein as dark ambient ubermensch, Thomas Koner and the Somnific release by Bill Laswell. Well worth taking a risk. *** Well, I decided to take the risk, and tried to order this through the most helpful indy record shop I know (A plug for The Music Room, in Oakham where I live, run by the most unhip looking middle aged couple, but they know what's what, and guarantee to beat the big stores by at least one pound on orders), and the most wilfully obscure (Ultima Thule in Leicester, where the spirit of Canterbury lives on!). The first was just stumped, the second said it was now deleted, that he had sold his last copy only the week before, and that if I wanted it I would have to get it from Australia!! So, any reliable retail outlets or mail order sources where I can get my hands on this (for a decent price without a whacking great international postage charge?). It sounds intriguing! Makes me think of a gigantic Aeolian harp, so beloved of the Romantic Poets Wordsworth and Coleridge? It was like an oversized dulcimer, which you left outdoors, so that the wind could generate spontaneous random melodic ambience. You can still hear this instrument, on display at Wordsworth's cottage in the Lake District. In other words, acoustic Soundscapes! Eighteenth Century Schizoid Man, anyone? And remember how far away the 21st century seemed when we first heard that? George M. Ballentyne ------------------------------ Date: Tue, 10 Feb 1998 15:11:14 -0500 (EST) From: Adam Levin Subject: The Dark Aether Project The Dark Aether Project featuring Adam Levin (Chapman Stick/Loops/Guitar), Yaman Aksu (Fretted and Fretless Guitars/Guitar Synth) and Brian Griffin (Percussion) will be performing at Orion Sound Studios in Baltimore, MD on Saturday, February 28th. The core trio will be joined by some very special guests to help celebrate the release of their debut CD. Also on the bill will be North Carolina avant-garde fusion act Smokin' Granny and Pennsylvania's Finneus Gauge who's debut album was picked by the folks at Keyboard Magazine as one of the best releases of 1997. Please see http://www.ari.net/prog/shows/showcase/ for more information. -Adam --- "...if one strives at hearing for the sake of constant virtue, out of seeking liberation from cyclic existence, gradually one becomes a Hearer." - Chandrakirti ------------------------------ Date: Tue, 10 Feb 1998 18:13:18 -0500 From: David Kirkdorffer Subject: *Charlie Drake. You Never Know (7"), released November 1975.* Hi - I was wondering if any ET readers in the UK has a copy of this little gem. I'd love to hear it some day. *Charlie Drake. You Never Know (7"), released November 1975.* Written by Martin Hall and Peter Gabriel, produced by Gabriel, credited on the label as Gabriel Ear Wax. Robert Fripp had the following to say about this rather interesting session: "...When Peter Gabriel left Genesis (1974) one of his projects was to write a single for Charlie Drake, a well-known English comedian. The group for this session, at George Martin's Air Studios over Oxford Circus, was Peter gabriel (writer & producer), Phil Collins (drums), Percy Collins (fretless bass and later a founder member with Phil of Brand X), Keith Tippet (piano) and RF (guitar). This was arguably the strangest sessions of the entire era. Excerpted from http://www.eng.usf.edu/~chitalia/discog.txt David Kirkdorffer UNDO ------------------------------ Date: Wed, 11 Feb 1998 02:50:49 +0000 From: MARK ANDERSON Subject: RE: Intro Hi Folks Just wanted to pass on my respect and gratitude to the chaps who have put this wonderful site together. When all around were ripping out their favourite (black) blues riffs, only two English guitarists really struck me as trying to do something different, Robert and John McLaughlin. Both musics had intensity, power, passion and yes, they were a little scary at the time. I find much to compare with KC circa 1974 and Mahavishnu 73 (cf USA and Between Nothingness & Eternity). Both hugely malevolent and devastatingly beautiful at one and the same time. Both men were seeking spiritual truth through music and the connection between spirituality and music is a very strong uniting force that has the power to profoundly change the consciousness of the listener as was very much the case with myself. Where KC were dark and devillish (I remember at school 21stC Schiz man was viewed very much in the same genre as Come to the Sabbath, dealing with Demons and Demonic forces) Mahavishnu strived for the light but both had majestic power which could transform one's perception and carry the listener away to other realms, other states of being. My favourite KC period was 73-74, the classic Wetton, Bruford, Cross, Fripp line-up and I heartily welcome the release of the Amersterdam concert, warts and all ! The recent Royal Albert Hall gig was a treat, if not in the best acoustic environment for a band so powerful, and I look forward to seeing Bob and the boys again soon. I wrote to Robert last year, seeking his advice and possible sponsorship for my own somewhat eccentric brand of musicality. After a very long diatribe (duologue etc)about my views on his exploration of Gurdjieff (such cheek from a complete stranger !) he sent back a very polite note delivered by his aide de camp which simply said:- "Music is it's own reward." I would like to reply, Robert, that one cannot live on music alone. Let them eat cake ! We all need a break (even a kit-kat:-). Regards Marco ------------------------------ Date: Tue, 10 Feb 1998 23:21:21 EST From: DanKirkd at aol dot com Subject: Re: The placard in the closet In ET #461 Denis Robitaille wrote: >Hi everyone. I just read E.T. no.460 and the following reminded me of >something :" Fripp has done everything short of wearing a placard saying >"I' m not quite like the other pop stars" ". Well , I' m afraid that he did >! At the time when he played around with bands like Blondie , I remember >seeing ( in a French pop magazine, I think it was "Best" or "Rock and >Folk") photographs of Robert wearing a card hanging from his breast pocket, >on which was written in capital letters " I AM NOT ROBERT FRIPP " on one >side, and " NO, I DON' T LOOK LIKE HIM" on the other. Unfortunately, I don't >have a copy of this magazine anymore. Does any of this ring a bell to any >French or Quebec fan ? Denis R. Denis - you have a memoire impeccable! The magazine and issue in question is BEST #126 from January 1979. There's a very long 8 page interview and article with Robert Fripp and many pictures including the two photos you mention and photos that have Fripp talking to Deborah Harry (Blondie), at a piano with Peter Gabriel, and sitting with Brian Eno. I've long wished to transcribe this thing since my brother sent me the magazine a while ago, but I've been too swamped to even read the whole thing through! Unfortunately I don't think the photos would scan well enough for all ETers to see what we're talking about. Maybe if I were to photocopy the article, someone with more time would be willing to transcribe this for ET Web (it is in French of course), or even translate it? Dan ET Web ------------------------------ Date: Wed, 11 Feb 98 08:51:55 PST From: Mark_Jordan at roadshow dot com dot au Subject: Beat Hi All James and Steve do not dispare, I am also one of those seemingly few who favour Beat. I am not ashamed to admit it is my favorite KC album and get more playing time than the others. Neal and Jack and Me, Waiting Man, Neurotica and The Howler are my favorite tracks from this album although I never find myself skipping the other tracks. In fact the 80's lineup is definateley my favorite. Mr Fripp has been quoted as saying that the 80's band was the best live band in the world and I can understand that from some of the boots I've heard. Hopefully Mr Fripp has got all the early re-issue/live releases out of his system (I bought Nighwatch and Great Deceiver but skipped Epitaph) and we can get some of the live stuff of the 80's band out of the cupboard. I don't even listen to anything before Bruford joined in the seventies (although I own a few of the albums). Stand up 80's fans and be counted (and probably flamed). Mark ------------------------------ Date: Wed, 11 Feb 1998 12:52:36 -0500 From: Michael Peters Subject: Taster If you enjoy listening to ambient music in the tradition of Eno, Sylvian, or Fripp, you will love Markus Reuter's first solo CD 'Taster'. (Markus is one of the few masters and teachers of the 8-string Warr Guitar. He is also known for his complex compositions and virtuoso playing with the Europa String Choir.) 'Taster' contains seven long ambient pieces recorded at a live concert. Markus played his Warr Guitar, using a guitar synthesizer and two unsynchronized loop delays for a technique he calls 'orchestral soundscaping'. The result is a collection of utterly fascinating atmospheres - crystal-clear minimalism, vast, slow spaces, completely void of new-age pathos, but nonetheless extremely evocative and full of this rare thing that is so difficult to achieve or describe - magic. Check out Markus' homepage at http://ourworld.compuserve.com/homepages/mpeters/markus.htm ------------------------ Michael Peters ------------------------------ Date: Wed, 11 Feb 1998 14:31:29 EST From: Camzone at aol dot com Subject: England ProjeKCt Two tour dates Hey there! As I'm sure you're all anxious to know, here are the English and Japanese ProjeKCt Two tour dates - England (may be changed) - 15 & 16th APRIL --- Jazz Cafe, LONDON 18th APRIL --- Ronnie Scott's, BIRMINGHAM 19th APRIL --- Ronnie Scott's, BIRMINGHAM Japan - 7th APRIL --- NAGOYA 8th APRIL --- OSAKA 9th APRIL --- BLITZ, Tokyo 10th APRIL --- BLITZ, Tokyo Rest assured, once I find out the dates for sure, I'll post them for all. Cameron Devlin http://www.geocities.com/Hollywood/4472/kcrimson.html Newly Revised! ------------------------------ Date: Wed, 11 Feb 1998 17:43:09 -0500 (EST) From: Andrew Dietrick Miller Subject: project 1 and 2 Please, Please, Please someone reply to this e-mail. Project 2 (I believe) is the first one going on the road. What is that bands line up? Is it Adrian on drums, with Fripp and who else? And for that matter what is the line-up of project one. Finally is John Wetton back in the band, as I am constantly hearing those roumors. Help me please!! -andy Andrew Miller I can never be you ytsejam at Udel dot Edu I'll smile and learn to pretend I'll never be open again I'll have no more dreams to defend I'll never be open again ------------------------------ Date: Wed, 11 Feb 1998 22:59:54 -0000 From: Brian Thomson Subject: How about a Local ETers' group in London? London, England, that is, not Ontario. I say London, but I suppose I am obliged to include the backwards Provincials from Home Counties such as Buckinghamshire or Berkshire, the home of the Berks! (Only kidding - Ah'm a Scotsman masel'.) I was just surprised that there isn't one already, especially since King Crimson officially came into existence on Jan 13, 1969 in the Fulham Palace Cafe, Fulham Palace Rd., near Hammersmith, London. Check out the Local ET's section on the Elephant Talk site for an idea of what I'm talking about, and if you want to be included, drop me some private email and I'll let ETWebMaster (Daniel) know to update the pages. If you're in England, you should be aware by now that PROJEkcT TWO (Robert, Adrian, Trey (RAT?)) will be playing two nights (15-16 April), back at the Jazz Cafe, Camden, where PROJEkcT ONE played back in December. This time, if we get things organized a bit quicker, a whole bunch of us can have a dinner at table on the top floor, with great food and a panoramic view of the proceedings! (Not to mention a SEAT between sets!) I'm also wondering about some badge or similar we can wear, so that we ETer's can be recognized be eachother at these events. My suggestion: anything with an Elephant on it - t-shirt, badge, pink furry slippers, whatever! If I get three or more names (plus myself) by four weeks before the date, I'll happily go and book a table or three for the space groove. (If the reports are correct, this plans to be more of a spaced-out gig than the last one, and I'm due for a party anyway...) Cheers, Brian Thomson, London UK bnt at ibm dot net ------------------------------ Date: Wed, 11 Feb 1998 23:44:47 -0000 From: Neil Corkindale Subject: New Source Of KC's Name? I was listening to the car radio last night; Australia is having a convention about becoming a Republic or staying with the monarchy. The speeches are being broadcast on the radio, and this is what I was listening too. One of the delegates said in his speech something along the lines of "The crimson thread is the king of friendship". I tried to memorise the quote, but didn't quite succeed. I just remember hearing "king" and "crimson" in the same sentence. Those are, from memory, the right words, but I can't guarantee the order. Anyone know the exact quote and its source? In the context, it didn't sound like a politician's flowery prose. I've checked the Shakespeare on-line search engine, but it isn't one of his. I was thinking that, as Sinfield was generally regarded as coining the name "King Crimson", perhaps his English literature background helped with the name, rather than the Arabic\Devil connotation mentioned in the booklet with "Frame by Frame". ------------------------------ Date: Wed, 11 Feb 1998 16:39:45 -0800 From: "Eric D. Dixon" Subject: Re: Nightwatch CD notes re: enhanced Chuck Benz wrote: >One disappointment regarding the enhanced CD format is that it seems to >make the music-CD portion unavailable to play on the computer. Is this a >limitation of Nightwatch specifically, or is it generic to all enhanced >CDs? If you're using Windows 95, just shut down the enhanced program after it auto-starts, and then open the CD music player through your accessories menu. The music should work fine. Another option is to turn off your CD-ROM autoplay function. This way, the enhanced portion won't start up as soon as you insert the disc. But then you'll have to manually open the CD music player manually every time you insert a music disc. Eric D. Dixon http://www.geocities.com/SoHo/Lofts/6072/ "One man's theology is another man's belly laugh." -- Robert A. Heinlein ------------------------------ Date: Wed, 11 Feb 1998 18:16:46 -0700 (MST) From: Jim Bauer Subject: Peter Sinfield's non-KC productions Is anyone aware that Peter Sinfield did work as a producer and lyricist for several bands other than King Crimson? The first Roxy Music album was produced by Sinfield. Maybe it's the "Beat" of Roxy Music fans; the ROLLING STONE only gave it one star, but the mixing style does resemble Crimson from that period. He also produced a violin-rock group called Esperanto, an assemblage of classical musicians who immediately went downhill following Danse Macabre, their second album and the one Sinfield produced. There was also PFM (Premiata Forneria Marconi), for whom he wrote English lyrics. They were an Italian band, and like Esperanto, their work went downhill after the one that Sinfield worked on. Then there's Brain Salad Surgery by ELP, but I suppose every Crim-head knows about that one, so no further comment from me on it. ------------------------------ End of Elephant-Talk Digest #462 ********************************