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 #466 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 466 Tuesday, 24 February 1998 Today's Topics: Re: Did Crimson Play _Lizard_ Stuff Live? Stuff nightwatch running time Beat / One More Red Nightmare / Nightwatch Re: Night Watch sucks... San Francisco ProJeKCT 2 Re: M. Giles/Epitaph Re: Elephant Talk Digest #465 the big 6 recording monopolies Cowboy Bob and Nightwatch Review Cross CD to Trade Re: M. Giles/Epitaph mike giles double bass drum Re: Elephant Talk Digest #465 RE: M. Giles/Epitaph Larks' Tongues in Aspic Suite? KC Humour Re: Elephant Talk Digest #465 Re: Elephant Talk Digest #464 Merchandise Grooveless Regarding female Crimpersons RE: What about the Lizard-era ? King Crimson w/ Jamie Muir (live) Giles, Giles and Fripp....correction some recommendation requests Basses and pedals and drummers, oh my! electric guitars (and bass) RE: Dyble version of "I talk to the Wind" Forthcoming Releases? King Crimson & The Devil's Interval An unsolicited recommendation Gig reviews ============ Gig Review: ProjecKt 2 Nashville Review Gig review: Cosmic Night in Nashville Gig review: The Encore (ProjeKCt 2, Nashville) Gig Review: My ProjeKct 2 Experience Gig review: PROJEkCT 2 Review ------------------ 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, 22 Feb 1998 17:44:42 -0500 (EST) From: "Weissenburger - Jeremy S." Subject: Re: Did Crimson Play _Lizard_ Stuff Live? On Sun, 22 Feb 1998, Elephant Talk wrote: > In the recent message <6co9lh$ggp at holmes dot umd dot edu> you wrote... > > > the band fell apart. The 11/24/71 show I have has a great version of > > "Cirkus" on it. Boz actually redeemed himself on this one, folks... > > How good a sound is it? I have a couple of Boz-era bootlegs here but > they both sound like they were recorded in the next room. :-) Would you > be interested in a trade? It does sound pretty good. I have 4 71 shows, one of which is REALLY bad, but is on the tail end of the 11/24/71 show. Anyway, from my bootlist: All boots are listed in the following order: Name - Date - Place/Venue - Length - Source - Quality At the current time, I have an A-B-C rating. The plusses/minuses mark the quality as such: A+ = boot is album quality; sounds as good as a regular live release A = has some minor defect, but is still a great boot (Most FM boots & SB boots) A- = Not as good as an "A" boot. The best audience boots rate at the absolute best an A- ...and so on. King Crimson ============ 10/16/71 Brighton, UK 65 min. Aud. B+ 11/24/71 NYC Academy Of Music 70 min. SB A- 1972 Boston, MA 75 min. CD/Aud. B+ Send me your list and I'll see what to choose from. ------------------------------ From: "Joseph Basile" Date: Sun, 22 Feb 1998 21:27:00 PST Subject: Stuff Hi, Ho! Lost my ET for about a month...Wah! I just knew it was my peoples fault for three reasons:1)They blamed ET.2) All other Eters' I contacted were not getting "timed out " on their servers.3) NPR said certified computer people were highly in demand,and paid well.Why are they working for much less money than I,a poor school teacher, at our school. This leads me to this....I emailed "some character" named Mike Dickson at ET and he fixed my problem in less than an hour.This is such a professional operation at ET(all except your pay) ! The best things in life are free ! ET workers, you continue to amaze me !(...just like Robert.) THANKYOU!!!! RANDOM POCKET NOTES 1)High school males Eters in Michigan, there is a high school ETer named Stephenie.She has kept me into ET's twice now. She likes Robert and the drummers. So there are many intelligent ladies that read this digest,Kind ones too! Young ones. Forget it, she is probably already spoken for...Thanks Steph, your a class lady. 2) I have made numerous friends through this news letter. That is an important part of ET ,for me.(see above#1) 3) I loved Jim Sheridan information on the Satrioni article.Super,this is what ET is about for me.(&1&2) 4)Bill Nelson is a nice addition to the DMG stable. Loved his work on GONE TO EARTH.(Like Coles work also,and of course...I loved....) 5) I AM A" BEAT" lover too.... 6)Rodney ,you are intitled to your ideas of THE NIGHT WATCH, but I am intitled to totally disagee. The GREAT DECEIVER and NIGHT WATCH are on my deserted island collection !....Listen.. activley listen... 7) Alway loved LIZARDS, but not like the love affair I had with RED,S&BB,ect. Until I played the CD on a very good stereo.....Ahhhh! 8)Love the Elephant Tapes! It is so cool to put on THE JUKE BOX and read ET....love it .(have UP NORTH running in my mind...) Again another way ET amazes me.I feel instead of a cover album ,original works like these should be released. Oh I forgot. I promised I wouldn't bring this subject up again.I do admire the persistent work of the current cover tribuite in progress. And I do wish all involved the very best of luck. Any tribute to Crimson is very cool indeed ! 9) OK, I have the DOWN BEAT article and Fripp cover,If no one else will offer soon, remind me again to scan it to ET... 10) Wettons' web page was informative,interesting,and humorus.(Go see) I would love to hear his thunder and Roberts lightning one more time in my life time! Bills' wind,and maybe the others would be a storm. I always dug his voice too! So much emotion! He seemed to me to almost read Robert's mind. Warmly, Basile By The Three Rivers ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 23 Feb 1998 01:29:37 +0000 From: "Andrew Hathikhanavala" Subject: nightwatch running time hi all, ok, nightwatch is incredible...we all know that. has anyone noticed that most stores are selling it for around nineteen dollars? the running time is somewhere around 82 minutes. the capacity for a single cd is somewhere around 78 minutes? couldnt fripp have cut four minutes and saved us all a few bucks? this would have fixed the problem of continuity mentioned in someone else's post that i just read, and it would have been more practical in manufacturing. i dont mind paying a little extra for phenomenal music, and double cds are always cooler than singles, but wouldnt it have been more practical? either way, book of saturday has never sounded better to me, even though i have only heard the version on frame by frame. one more thing...i saw some KC tribute album in the store...anyone know if it's any good? thanks for listening, if you did... "unity in what is essential, liberty in non-essentials, and in all things charity" -jeremy post, model engine ------------------------------ Date: Mon, 23 Feb 1998 00:02:58 -0500 From: "Taylor K. Sherman" Subject: Beat / One More Red Nightmare / Nightwatch Ok, so I like Beat too, Discipline's at the top of the 80s list for me, but the only track I really like on TOAPP is TOAPP, and on Beat I love Neal&Jack&Me, Neurotica, Waiting Man, Sartori. I bought TOAPP before Beat because I liked TOAPP (song) so much better than "Heartbeat". Just goes to show you. . . John Wetton wrote the lyrics to "One More Red Nightmare," I believe. The song is about a fear of flying, right? Anyone out there notice that the runnign time is listed as 7:07 ?? Hmm. . .seems obvious but I never noticed it before. I work for Boeing, so I suppose if they re-did OMRN I'd say it should run for 7:77 (kind of like how Titanic is "2 hours 73 minutes" long or whatever) just to keep current. :) Also, I've got some of the same problems w/ my copy of _The Nightwatch_ that people have mentioned: the CD-ROM parts are invisible to my CD-ROM drive. Also, the cd works fine in my 2 home players but my portable one can't handle "Easy Money" for some reason. It's unplayable basically. UGH! I'd be devastated if it weren't that I could listen to one of 4 (5?) other versions I have whilst on the road. Taylor ------------------------------ Date: Mon, 23 Feb 1998 03:57:50 -0500 From: "Denis Robitaille" , ca at bach dot videotron dot net Subject: Re: Night Watch sucks... Hi everyone. "The Night Watch" is not a incarnation of a mythical King Crimson wich exists only in the minds of overzealous fans. Nor was it meant to be. If you read the notes ( I mean really read ! ) you will discover the reality of a touring ' 70s rock act. That reality may not be as appealling as the myth of flawless technical execution and awesome power associated with Crimson, but this recording is dedicated to the TRUTH. As such, it is an irreplacable document. How many bands would have the courage to admit their failures? This said, I love this album as much for the music as for what it represents as a statement about the reality of the rock'n roll circus. I could go on rambling, but that's enough for one post... I hope Toby forgives me for this but I recommend the the first "Miriodor" album to old proggers. Originally issued on vinyl in 1985, it has just been released as a CD by Cuneiform. Check out their site for more info... Denis R. ------------------------------ Date: Mon, 23 Feb 1998 01:33:21 -0800 From: jonah Subject: San Francisco ProJeKCT 2 I am going to attend the upcoming projeKCt 2 at the great american music hall on March 21. Are there any ETers who want to get together before the show. Email me (private please). Also, I was think of getting some T-shirts Made say "No Flash Photography Please RF". If anyone is interested in getting a shirt for the saturday night show, again email me and please include your size. I don't really know what it will cost, so I will advise when I know how many shirts I need to get. Shouldn't be more than 15. -- Jonah Stein Jonah at ricochet dot net 2329 Eagle Avenue "That Damn Web Guy" Alameda, CA 94501 510.521-7144 (v) 510.521.7145 (f) http://www.bcg.net http://www.buildersbooksite.com ------------------------------ Date: Mon, 23 Feb 1998 10:02:52 +0000 From: Al Murray Subject: Re: M. Giles/Epitaph In message , "Brown, Neal Patrick" writes > Anyway, a question >for the drummers....was Mike Giles the first drummer to use a double bass >drum setup? I don't think Tony Williams did it, and the only guy I've been >able to think of that might have done it first is Cobham, but I don't think >he did it til the Mahavishnu Orchestra got together. Any ideas? (I can't >really think of any music that would have called for 2 basses before >Crimson...) > Louie Belson was the first in the forties, back in the days of showy big band drumming - sorry to say that KC weren't pioneers on that one. Cheers! Al Murray "It's the way things are!" ------------------------------ Date: Tue, 24 Feb 1998 08:14:39 -0500 From: brad hall Subject: Re: Elephant Talk Digest #465 In response to Neal Brown regarding the "first" drummer to use a double bass set up, it is important to note that Jazz players had been using double bass set-ups long before anyone else... A long, long time before any of the players you have mentioned were around take care-- Brad.. ------------------------------ Date: Sun, 22 Feb 1998 11:55:22 -0800 From: larry buchalter Subject: the big 6 recording monopolies hi all- who are the "big 6 recording business monopolies? i know of CBS, POLYGRAM,WARNER,EMI, who am i missing please? thank you Larry ------------------------------ Date: Mon, 23 Feb 1998 11:44:23 EST From: TyphoonPro at aol dot com Subject: Cowboy Bob and Nightwatch Review Greetings again. Regarding Orn's query in ET 464: I am in the process of cleaning out storage spaces and DO have that issue of Downbeat magazine with Cowboy Bob Fripp on the cover. I'll post again when I find it, if no one beats me to it. Regarding Rodney's review of The Nightwatch (quote: "IT SUCKS") in ET 465: Remember that the historical perspective of King Crimson's music is a very important part of these archival releases. That is, we have yet a few more parts of the total picture regarding the 73 - 74 live animal Crimson. I agree that it is not as musically enlightening as the Great Deceiver box set, but found it very satisfying as a document of a band that planned to use material recorded at that show for their next LP release (which became a big chunk of Starless and Bible Black). It may lack in some musical fireworks in comparison to the sets on TGD, but certainly the Nightwatch does not suck. Tim Longfellow Typhoon Productions TyphoonPro at aol dot com ------------------------------ Date: Mon, 23 Feb 1998 16:53:30 -0000 From: Keith Burns Subject: Cross CD to Trade I've got a mint US copy of David Cross's "Exiles" CD to trade if anyone's interested. I'd be particularly interested in Soundscapes stuff, Trey Gunn, Levin, Ten Seconds, any Discipline-type product, Islands era boots, KC vids, Anekdoten, or "Permanent Damage" by the Icicle Works! Alternatively, it's yours for a tenner. P.S. I'm in the UK. Cheers, Keith. (keith at scran dot ac dot uk) ------------------------------ Date: Mon, 23 Feb 1998 12:07:04 -0500 From: Dave Lane Subject: Re: M. Giles/Epitaph From: "Brown, Neal Patrick" asked: > [...] Anyway, a question > for the drummers....was Mike Giles the first drummer to use a double bass > drum setup? I don't think Tony Williams did it, and the only guy I've been > able to think of that might have done it first is Cobham, but I don't think > he did it til the Mahavishnu Orchestra got together. Any ideas? (I can't > really think of any music that would have called for 2 basses before > Crimson...) Ginger Baker is a well-known rock drummer who had two bass drums in his kit when he played with Cream. I can't say that he was the first, but since Cream was in operation between '66 and '68, he was likely before Giles. Does anyone know if G.B. used two prior to Cream? He's also still making some very interesting music these days, which is more than I can say for the most famous member of Cream. --Dave ------------------------------ Date: Mon, 23 Feb 1998 12:30:22 -0500 From: Chris Mills Subject: mike giles double bass drum re: pushing back the fossil record on the use of double bass drums, i believe that clive bunker from jethro tull was using such a setup back in 1968. ------------------------------ Date: Mon, 23 Feb 1998 12:51:07 +0000 From: "Andrew Hathikhanavala" Subject: Re: Elephant Talk Digest #465 this is concerning the information in february 22nd newsletter. someone wrote about an album fripp did with "john hall (yes, of hall and oates)"...im pretty sure im not mistaken when i recollect hall and oates to be daryl hall and john oates... not that it really matters, cause im not a fan of either hall nor oates, but i thought it was a bit funny... andrew, aka *< (star-less) ------------------------------ Date: Mon, 23 Feb 1998 09:57:08 -0800 From: Michael Tanigawa Subject: RE: M. Giles/Epitaph > was Mike Giles the first drummer to use a double bass drum setup? I don't know what Giles used before King Crimson, but Ginger Baker and the late Keith Moon were using double bass setups as early as 1967. Mike Tanigawa ------------------------------ Date: Mon, 23 Feb 1998 13:30:22 -0500 (EST) From: Daniel De Blasio - 99 Subject: Larks' Tongues in Aspic Suite? I believe it would be interesting to hear a combination of titles that could be known as the "Larks' Tongues in Aspic Suite"...As of now the titles for this suite would appear in this order Larks' Tongues in Aspic Part I The Talking Drum Larks' Tongues in Aspic Part II No Warning Larks' Tongues in Aspic Part III The possibilities being: 1) An editing job that would present these titles in their entirety as part of a complete work created over a relatively long expanse of time, or 2) The current lineup could perform original versions of these titles. It has been rumoured that there is a "Larks' Tongues in Aspic Part IV" in the making that is to appear on King Crimson's next album of original compositon material. With such interest in an undying story, wouldn't it benefit the listener to experience it from beginning to end as a unit. If "Larks' Tongues in Aspic" was to appear on the new King Crimson album by itslef, apart from the other possible suite titles, that would be a good thing. For such a recording would hold true to a specific space in time. That is why I feel it would be fascinating to hear a collection of such musical development, either by the current lineup or through the use of editing. How does everyone feel about that? Graces, Daniel DeBlasio ------------------------------ Date: Mon, 23 Feb 1998 13:35:41 -0500 From: Don Cooper Subject: KC Humour Hi Et'ers, King Crimson's music contains alot of humour for me, even the instrumentals. ET #465 also had some comments that made me laugh, including the following common misconception: > Robert Fripp even recorded an album with John Hall (yes, of Hall & Oates), > called 'Sacred Songs'. This is not that far off, however. John Hall is one of my other favorite guitarists, along with RF and AB. He was on the group Orleans for many years, and wrote "Still The One" and "Dance With Me". I have a picture of him wearing a t-shirt that says "Daryl Oates". So what's the KC connection? Well, Woodstock neighbors Larry Hoppen from Orleans and Tony Levin were half of a band called the Unheard. And that same Tony plays on John Hall's new album "Recovered", which contains many of John's tunes in new versions. So two of my favorite bands are KC and Orleans. The other person who has similar taste, besides possibl TL, is Mark, formerly of Possible Productions. The other humorous thing I thought of, was that several months ago, a post appeared expressing one man's opinion that the sound made by his refrigerator was more pleasant than Soundscapes (not my opinion). Well, one night I was washing dishes in my kitchen and I heard the sound of my refigerator blended with the Soundscapes coming from the living room. Needless to say, I had a good chuckle. Keep Laughing, Don Cooper ------------------------------ Date: Mon, 23 Feb 1998 10:50:10 -0800 (PST) From: syd at intergate dot bc dot ca (Chris Trinidad) Subject: Re: Elephant Talk Digest #465 > >Date: Sun, 15 Feb 1998 20:22:27 CST >From: "Brown, Neal Patrick" >Subject: M. Giles/Epitaph > >Just picked up Epitaph last week...wow, it's incredible. The version of >Schizoid Man on disc 1 (I think it's the seventh track) is >phenomenal....even better than the one on In The Court. Anyway, a question >for the drummers....was Mike Giles the first drummer to use a double bass >drum setup? I don't think Tony Williams did it, and the only guy I've been >able to think of that might have done it first is Cobham, but I don't think >he did it til the Mahavishnu Orchestra got together. Any ideas? (I can't >really think of any music that would have called for 2 basses before >Crimson...) > A great big band drummer from the 30s and 40s (still alive AND playing today!) named Louie Bellson used 2 bass drums before any of these 60s cats came around! Chris Trinidad First Year Jazz Studies Richmond, BC, Canada ------------------------------ Date: Mon, 23 Feb 1998 14:48:47 -0500 From: bruce higgins Subject: Re: Elephant Talk Digest #464 >From: djdowling at earthlink dot net >Subject: The Noise? > >Hello, > >Just got the two concert videos from the 80's line-up. These videos are >both potentialy awesome. What puzzles me: why Fripp's guitar is almost >silent throughout The Noise and most of 3oaPP?? I'm sure that there are several answers/opinions/anecdotes that might be offered in response, but one is that Fripp's guitar isn't always making the sounds you might expect. One of the defining moments in the development of my Crimso appreciation came while watching the 3oaPP video. During Satori In Tangier, the camera focuses in on Fripp's hands, which are going *nuts*. "Well", I asked myself, "where is the accompanying noise?" I eventually found it =:-O B___ ------------------------------ Date: Mon, 23 Feb 1998 13:04:02 PST From: "Matt D" Subject: Merchandise Perhaps this is stupid question, but with all the talk about the Noise video (which i used to have on bootleg before my dad taped something over it) i am wondering how to order a copy. I looked on the DGM site and did not see it. I am also intersted in Crimson related T-shirts and the like. Any idea where to find them. Does Possible Productions still have that site? Could someone help me out? Please respond to private email Thanx Matt dibes at hotmail dot com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 23 Feb 1998 17:01:43 -0500 From: "simon beauchemin" Subject: Grooveless In an early newsletter I read a post telling how Fripp think of Bruford as a very grooveless drummer. I agree. But it seems to me Fripp's playing is actually everything but groovy. I also think Fripp would finish ahead of Bruford in an "grooveless" contest. That might be why they fit so well together, and why i like their playing that much. simon. Visit my home page at: http://pages.infinit.net/ambient Email me at: ambient at videotron dot ca ------------------------------ Date: Mon, 23 Feb 1998 17:11:15 -0800 From: Kathy Ottersten Subject: Regarding female Crimpersons Hi Crimpersons, In ET465 Mr. Wade Viland wrote > Women do tend to fanticise [sic] about a perfect world, and a perfect life > brimming with soft passion. Not necessarily a bad dream but not very > realistic. Fripp screams 'REALITY' in the listeners face (i.e. Exposure) > which at least temporarily extinguishes their eternal dream. 70's and 80's > King Crimson is great dance music. DON'T BE SO DAMN > UPTIGHT!!!!!!!!!!!!!!!!!!!!!!!!!!! Mr. Viland's (highly agitated) post reminded me of how nasty this whole string can be. So far (according to ET), women don't like Crimso and/or Fripp music because we are: unrealistic, realistic, smart, too dumb, and concerned with soft passion. Seems to me that there is divergent opinion on this subject. One thing that hasn't been explored, though, is the idea that just because one group does or does not like a form of music, does not reflect on the validity of the music or the groups identity. There seem to be some guys who need to strike out and defend their tastes, which causes me to ask: why? If you like the music, whether it be Fred Frith or the Beastie Boys, then it is valid to you. There is no need to attack others over it. Just to mention, for the sake of Crimperson group identity, has anyone noticed that among transsexual and transgendered persons that KC is quite popular. I did a search on the web for pages linked to ET, and found quite a few put up by TS/TG people. I wonder how this impacts on the female Crimpersons discussion. Peace, Kathy Ottersten "They come better looking, But they don't come mannered." ------------------------------ Date: Mon, 23 Feb 1998 14:11:53 -0800 From: Paulo Henrique Leocadio Subject: RE: What about the Lizard-era ? It's been a while since I started to "study" and wanted to post something about yhis subject. First, some considerations: (1) In the _EPITAPH_ box, we clearly liten to and read about some proto-ISLANDS and proto-LIZARD songs, all of them co-written by Ian; (2) After this, we have a long live blackout untill the "touring band" (Earthbound is the document) (3) These "co-written" songs appear as _HAPPY FAMILY_, _THE LETTERS_, etc. and DO NOT show Ian as co-author (4) ARE THERE LIVE RECORDINGS of this period ?? Sometimes we can fing _CAT FOOD_ by the post-72 band, no to mention 21st Century, but what about others ??????????? Regards, Paulo H. Leocadio ------------------------------ Date: Mon, 23 Feb 1998 15:01:35 -0800 From: Nate Olmos Subject: King Crimson w/ Jamie Muir (live) Hello There, Fellow ET Readers: I would obviously guess that many of us are familiar with the box set "Great Deceiver" and the recently-released live album "The Night Watch", featuring the 1973-1974 King Crimson. Although I haven't heard either of those works (though I intend to buy "The Nightwatch" when the opportunity arises), I am aware that it features the quartet of Robert Fripp, David Cross on violin and keyboards, John Wetton on bass and vocals, and Bill Bruford on drums. My question is this: although this version of King Crimson has been more-than-ably documented performing live, what about the lineup with percussionist Jamie Muir? Have any tapes (bootleg or otherwise) surfaced featuring live gigs of the band when Muir was in the lineup? If not, I hope Robert Fripp decides to present a box set or live album featuring the quintet version of King Crimson. I am vaguely aware that when Muir was in the group, he brought a lot of theatricality into their live performances due to his stage persona as well as the soundscapes he created on his miscellaneous percussion instruments. I also heard (vaguely) that he sometimes played a drum set with Bruford occasionally. But, essentially, his role was to bring lots of color and drama to the radically different music King Crimson was playing at the time. Any suggestions as to what would be a good title for this possible future concept? For me, I think "Exiles: Live in Europe" would be an apt title, since my understanding is that the quintet only managed to perform in Great Britain and various parts of Europe. Regardless of what the title should be, it undoubtedly would be a good idea for Robert Fripp to bring this thought into fruition. Sincerely, Nate Olmos ------------------------------ Date: Mon, 23 Feb 1998 12:05:15 -0500 From: "c. scott roundell" Subject: Giles, Giles and Fripp....correction In reference to my posting in edition #465, I have received a number of personal replies regarding mis-information that has been brought to my attention. I mistakenly named Daryl Hall of Hall & Oates fame as John Hall (don't know what I was thinking). Fripp did do an album with him called 'Sacred Songs', and Hall also appeared on Fripp's 'Exposure' LP. I have also received a couple of e-mails regarding the Giles, Giles & Fripp LP 'The Cheerful Insanity of....'. The song 'I Talk to the Wind' with Judy Dyble singing does not appear on that album, but was however recorded around the same time (blame The Rolling Stone Encyclopedia of Rock & Roll for that mistake), it does appear on the greatest hits LP 'A Young Person's Guide to King Crimson' though because I have that album myself. To everyone who replied to me, I thank you for pointing out the errors. I stand corrected! ------------------------------ Date: Mon, 23 Feb 1998 22:56:36 -0500 From: Jon Swinghammer Subject: some recommendation requests I've been listening to King Crimson for about a year now and my progressive rock tastes have expanded slightly outside from there. I've gotten into John Cale, some early ELP and that's about it really. I don't know if Tori Amos is progressive but i tend to think so. Anyhoo...what I would appreciate is some good recommendations for progressive rock I have heard YES and hate them so please don't recommend them :) I would appreciate it. Thanks! Jon ------------------------------ Date: Mon, 23 Feb 1998 22:25:48 CST From: "Brown, Neal Patrick" Subject: Basses and pedals and drummers, oh my! Well, I posed a question to the peanut gallery here an issue or two ago wondering if Mike Giles was the first to use two bass drums at a time. After approximately 89749871413741792 people responded, I've decided I'm going to ask an appropriate authority (my advisor--I'm a percussion major) to see if he knows. Most of the respondants mentioned Ginger Baker of Cream, a few mentioned Louie Bellson (!), and Carmen Appice and Keith Moon were brought up, as well as a couple of other guys I don't remember off the top of my head. Although I had no idea anybody as early as Louie would have even thought of a double-kick setup, I guess it's possible. Anyway, I bet it's some schmuck we've never heard of that Miles Davis caught in bar somewhere and told whomever was his drummer at the time, and the idea caught on from there. ;) Just a hunch. ------------------------------ Date: Tue, 24 Feb 1998 00:14:01 -0700 From: ecerb at indra dot com (Elaine C. Erb) Subject: electric guitars (and bass) Mr. Viland's comments have finally prompted me out of a prolonged lurking mode as I want to scream when I hear comments like this. Saying that women want a "perfect life brimming with soft passion" is a gross generalization which he surely realizes. I refuse to say I do or do not love King Crimson on grounds of gender. Granted how and why I listen may be different but I would say that is true for everyone, male and female. So from this woman's perspective, why do I love King Crimson? Largely because it is music with extreme passion and emotional intensity. Because it does not hold back. Because it requires active and intelligent listening. Because everyone involved in the band is a talented musician who has taken me down some fascinating musical roads. And because all these years later the band continues to evolve instead of rehashing the same themes album to album. So what am I listening to lately - well it's hard to get Upper Extremities out of the CD player. This has to be my favorite from Papabear thus far. It's got a great jazz influence, you can't go wrong when Torn is involved and Chris Botti sounds like a cross between Mark Isham and Miles Davis(or do I just say that because you just don't hear much trumpet outside of mainstream jazz?) This is not what I had expected considering the duos that Levin and Bruford have done on World Diary and with Yes. Finally picked up a copy of the Nightwatch at the store tonight. Can't wait to sit down and listen to it. Oddly enough, at the same time I found myself buying Idjah Hadidjah from Indonesia and Steve Hackett's Watcher of the Skies, Genesis Revisited. Previewing that at the store I found some tracks to be pretty weak but finally couldn't resist owning a copy of Watcher of the Skies with Levin playing on it. John Wetton is also featured on vocals on a number of tracks. And lastly, a question about another guitar hero of mine - Gary Lucas. I think he's put out one album I've seen since the 1992 release Gods and Monsters but I haven't heard anything very recent. This features a killer cover of Astronomy Domine as well as some interesting originals. Any one else familiar with Lucas and know what he is up to now? Cheers, Elaine (With many thanks to Toby, our fearless moderator, for continuing to moderate wisely) ------------------------------ Date: Tue, 24 Feb 1998 02:52:19 -0500 From: Ken Lacouture Subject: RE: Dyble version of "I talk to the Wind" "c. scott roundell" in ET 465 (Subject: Giles, Giles & Fripp): > > Read the postings in regards to Giles and > Fripp and an alternate version of "I Talk to the Wind" and hope I can help > you out. Uno momento, Chester! I am a proud owner of an original vinal copy of "Cheerful Insanity" (Deram SPA 423) and will probably not be the last person to testify that "...Wind" does not make an appearence on it. It does indeed appear on "The Young Person=92s Guide", but the liner notes state that it is a "Previously Unreleased Version", so unless Fripp made one of his famous "deliberate errors" somebody here has cheese in their butter dish. Is it possible that "Cheereful Insanity" saw a CD release, to which they may have added "...Wind"? Hey, while I'm typing away here, I'd like to propose a new term of Crimology. It describes that delicious, jaw dropping feeling you get when you've just had a long dose of KC exposure. It most recently happened to me the night I bought "The Nightwatch". First I bathed in the wonder of experiencing that magic night in Amsterdam for the first time, utterly amazed at the precision "Fracture" and just how GOOD Fripp and Singleton had made these 24 year old tapes sound. Then I went back and played the "Talking Drum/Larks' Tongues" sequence again, which made me think about just how big that piece had grown over the years and what an absolutly overwhelming monster the double trio had turned it into, so of course at that point I was compelled to slap "Live in Japan" into the ol' VCR, which lead me to watching nearly the whole video again, and when I got back to "Lark's Tongues" for the fourth time that night, my skin was tingling, my jaw was hanging open, my head was shaking back and forth in disbelief, and I realized just what it was I was experiencing -- that thing I had experienced so many times while listening to KC over the past two decades; I was having a "CRIMGASM". (In fact, I think that night I was having multiple crimgasms.) The beautiful thing about it was they still respected me in the morning... Tongue in my Aspic, Ken Lacouture ------------------------------ Date: Tue, 24 Feb 1998 14:19:35 +0000 From: mnolan at pdd dot pioneer dot co dot uk (Matthew Nolan) Subject: Forthcoming Releases? I know I should be more patient, but does anyone have any reliable news on the new KC/P1/P2 releases rumoured to be in the pipeline? I appreciate that these things often get delayed and also admit that if they all came out at once I'd moan for financial reasons! Anyway, are there any official dates yet for: Double Trio Live '95 (Longacre Theatre, NYC??) - already mixed by AB?, gone to DS for mastering? I hope this includes Neurotica and Thela, and the percussion features (Elevens and Prism). 80s band live (France or Montreal '84?) - status as above? ProjeKct Two sessions - due April 6th - US, UK or world? (info from web.dbtech.net/~rhino) ProjeKct One highlights? Are these to be released at all? Oh, and another question (can't wait for more ProjeKct Two reviews) - was Adrian playing Roland V-Drums? I'm itching to get a set for myself, but can't quite justify the expenditure. They're Roland's latest, supposed to be very realistic feel-wise, using real (woven fabric) tensionable skins which are acoustically silent (virtually) - my neighbours would love it!! Regards, Matt Nolan. ======================================================================== -Day Job: Design Engineer - Pioneer Digital Design Centre - Bristol, UK- -Evenings & Weekends: Drummer, Sound Engineer, Producer - Teeth Records- ======================================================================== ------------------------------ Date: Tue, 24 Feb 1998 17:56:23 -0000 From: "Brian Thomson, London UK" Subject: King Crimson & The Devil's Interval I'm wondering whether anyone here has thought of this - if it has been discussed before, I apologise for the byte out of your bandwidth. (What's KC's Bandwidth? Get all 6 guys to stand side-by-side, and take a tape measure...) Anyway: we all know the name King Crimson has, shall we say, devilish connotations - as in Beelzebub, the man with an aim. Now, musical intervals of five and seven semitones are called a "fourth" and a "fifth" respectively, and are the most "perfect" intervals in classical terms, although 20th century developments such as twelve-tone music and atonality have diminished their importance. Throughout the middle ages, and up to the Baroque period at least, the Catholic Church had a strong influence on all music, and identified "the Devil's Interval", which is an interval of six semitones, also called an "augmented fourth" or "diminished fifth". (NB: not a "minor fifth"). The "Devil's Interval" was banned in all religious music, possibly because of the sound it makes. Why the Church took such offence at the "diminished fifth" is a bit unfathomable in this day and age, but, hey, even rationality wasn't a virtue then. Even today, it still has a devilish sound to it... and it is featured throughout King Crimson's musical catalogue, from "21st Century Schizoid Man" (e.g.the cadenza), through "Red", "Three of a Perfect Pair", and "Vrooom", mostly in Mr. Fripp's compositions and performances. Some of that is a result of chromaticism - using "in-between" notes in moving from chord to chord, but on other occasions, the "devilish" sound is unmistakable, e.g. LTiA II. and Thrak. What I'm curious about is: did Fripp recognise or even emphasise the "devilish" connection at the time? Was it a way of thumbing his nose at the religious establishment, or was it in the nature of the music that King Crimson came into existence to play? Is it even a relevant question? I find this topic interesting from a musicological standpoint - how the doctrine of the Church played such a role in the _sound_ of classical music over the years. Compare Vivaldi's "Four Seasons" to Stravinsky's "Firebird" - the latter defiantly pagan in origin and sound. It's taken centuries for music to lose its blinkers and start looking around - we have Satie, Debussy, Schoenberg, Varese, Cage, and Zappa to thank (among many others). Could a group of any sort, 400 years ago, choose a name that means "Satan", make music that violated Church doctrine, and survive? Have King Crimson ever played in Salem, Mass.? (I'm not a professional musicologist, as I'm sure you can tell. If you want to pick holes in my analysis, please remember I'm only trying to make a simple point, and make no claims for myself... flames don't even register on the Richter scale.) Any opinions? (Nice ones! Don't force Toby to put his Elephant's Foot down...) [ Yes, that foot has been bothering me recently; but the cold compress is certainly helping -- Toby ] Cheers... Brian Thomson, London UK bnt at ibm dot net PS: i've been having great fun in the last few days learning the "Schizoid Cadenza", that inhumanly fast guitar run near the end of 21CSM. Thanks to computer technology, I can now play it at HALF the correct speed! I also had a go at laying out Tab for it in New Standard tuning - how on EARTH does Fripp do it, with hands smaller than mine? (Don't tell me... I know. Not worthy!) PPS: Anybody else from the UK interested in joining the Elephant Table at the Jazz Cafe, London, for ProjeKCt 2? Drop me a line, but don't forget they will be in Birmingham too... --- "It is only a step from the sublime to the ridiculous!" -- Napoleon I, following the retreat from Moscow, 1812. ------------------------------ Subject: An unsolicited recommendation From: jim_bricker at filemaker dot com (Jim Bricker) Date: Tue, 24 Feb 1998 13:04:17 -0800 Hello ET'ers, for the longest time I've wanted to recommend an artist/release to you all, and the last edition (465) has finally inspired me to do so. Have you heard Pat Metheny? I think this jazz guitarist shares many commonalities with Fripp: virtuosity, a passion to expand the pallet of their music, and associations with the top players in their field. The Pat Metheny Group's most recent release, Imaginary Day, is an amazing collection that blends influences of the Latin, thrash metal, pop, Indian, ambient, and Celtic genres. His previous releases mixed pastoral group improvisation and hip hop into his jazz vocabulary. And a solo effort from early 90's, Zero Tolerance for Silence, makes ThrakAttack sound as lilting as Brian Wilson harmonies. Truly dense, hard stuff. The music is jazz, no doubt about it. But Pat and band have a breadth of musical vocabulary and technical prowess that make it all sound easy.... even with songs that seamlessly blend time sigs of 11, 6 and 8. And don't let the warm tones of Pat's guitar mislead you to think he's a Kenny G type. Whether he's working on acoustic, electric, fretless classical, or 42-string (no foolin') guitars, his compositions and fret work are on par with anything I've heard / seen from Robert. I share this in hopes of letting the uninitiated know about another great guitarist/band. I do not intend to have this be the beginning of a pointless thread about merits of one vs. another. The intent here is to share the music of an artist of passion and fire who has given me more joy than even - dare I say it - Fripp and KC. If folks would like more info on Metheny or PMG, let me know directly - don't clog ET. I'll even offer to put together a sampler 90 minute tape for those who send me a tape and postage. And I'd also be interested in the opinions of those who think I'm smoking cat food. Regards... Jim Bricker, San Jose CA. ------------------------------ Date: Sun, 22 Feb 1998 20:01:04 -0600 From: rhino at indy dot net (rhino) Subject: Gig Review: ProjecKt 2 Nashville Review Well, this isn't the sort of thing I'd usually do. But I was there, so what the hell I'll tell you about it. Through my email dealings with Rob Murphree, the Big Electric Chat email maestro, we managed to hook up in Nashville just for this occasion. I wouldn't have driven 300 miles for Fripp or Belew or Gunn alone, but the chance to see the three at once was a tempting offer. The venue was the Cannery, an old canneryhouse down a dirty, easily overlooked back alley. The term "No Frills" could have been invented for this place. This crumbling old brick and timber bulding looked as if it would only barely pass the fire marshall's muster. The owners had literally swept the old place out and left it at that. There were four bands on the agenda that night. Sadly, I cannot remember the oddball name of the first band I saw, which is a great shame. Their name was an unpronouncable conglomeration of consanants. They were an excellent act playing their brand of screaming in-your-face jazz. I would appreciate any info anyone could provide privately. Fast forward to the ProjecKt. A small rolling platform filled with rack equipment and a barstool was pushed right up to the front of the stage. I positioned myself about 8 feet from it and planted my feet standing akimbo to occupy space. Being a six-footer has it's advantages. Rob Murphree had recieved complimentary tickets and later told me he was standing backstage. I had to deal with TicketBastard. The three took the stage. Trey shyly acknowledged the crowd. Adrian sat at the electronic Roland drumkit and raised the sticks in the air, posing with a trollish grin. Robert, eyes cast downward, strapped on one guitar, discarded it and strapped on another. He seated himself facing toward center stage granting only a profile view of himself to the crowd. The only time he ever turned forward was just long enough to step on a foot pedal. I was close enough to hear the switches click under his feet. He never looked out at the audience. Not once. He did howl "Whoa!" twice, seeming to be pleased with the music. So what do I say about the music. I haven't the ability to talk about music in a metaphoric way. But I can give you some personal impressions. There were perhaps four extended improvosations that each began with Adrian banging out a solid beat from the start. Trey and Robert sometimes seemed to defer to each other on what should happen next. I had the sense that Trey was in the roll of student to Robert much the way a son always feels like a son to a father, no matter his age. Something about their stage dynamics gave me this impression. I have no way to substantiate it. On several occcasions Trey produced sounds of a distorted almost sinister voice from behind the Warr guitar's notes. Robert ripped through more than a few blazing runs up the fretboard. I wish I could have seen his fingers as he played. But as he always faced inward only the back of his left hand was in view. Most of the guitarists I have seen had bony hands with thick veins across the back. But Robert's hand looked soft and tender like a child's. As the show ended Trey and Adrian both waved and bowed to the audience. Robert stood and removed his guitar while still facing away. He offered his hand to Adrian in congratulations and stepped offstage returning for his watch. He never looked upon the audience. I can't help feeling unappreciated by this. After just 75 minutes of playing and 5 minutes of cheering it was announced that the musicians had felt they had given us a good show and there would be no encore. Hey, what do you want for $10? (and another $5.30 in TicketBastard fees) ------------------------------ Date: Mon, 23 Feb 1998 12:54:40 -0500 From: John Barnas Subject: Gig review: Cosmic Night in Nashville Hello out there! This is John from Marietta, Ohio. A quick report on the Nashville experience. One word: Holyskibbideedoobop-a-mama-wow-wowzowie-bimbam-pow!!!!! Truly opened a door into a Brave Crim Universe. I'm still floating. An aside... I'm now one of the lucky many who actually got Robert to "not-shake" my hand. Yeah, that's right, "It" happened so fast I'm still blushing. Yikes! Adrian hung out afterward and chatted with us as if we were friends. How nice. Try with all your might to catch one of these Projeckt 2 experiences. You will thank yourself. Peace and Love, John (no longer the same after P2) ------------------------------ Date: Mon, 23 Feb 1998 17:52:10 -0600 From: "Doug Liles" Subject: Gig review: The Encore (ProjeKCt 2, Nashville) Greatings my fellow ETers! I recently attended the Projeckt 2 performance in Nashville and would like to share with you a couple of interesting notes about the evening. I'll leave the full blown review type posts for someone else. My jaw is still on the floor! The Cannery did a wonderful job of making the event go smoothly despite a few 'technical difficulties'. The sound was very clear and not so loud as to rattle the brain unlike a few KC shows where you almost had to guess what Trey or Tony might be playing based on hand movements. Near the entrance there was a wall covered with white paper and fans were encouraged to sign their names and tell from where they had traveled. What a great idea. I've never seen that done before but it certainly was a interesting read by the end of the evening. I think I could have stayed for 24 hours straight if the band had superhuman endurance but all good things must come to an end. The end is what I really want to talk to you about. How many concerts have you been to that end in this fashion? The band stops playing before you've heard a couple of those 'must play' tunes have been played. They come to the front take a bow and say something like 'You guy were great we'll see you again soon, Goodnight!'. You stand there for a few minutes applauding, screaming, whistling or whatever it is you do to show your appreciation and the band runs back on to the stage. They play a couple of tunes (including the 'must play ones from yesteryear' ) and once again thank you and bid you farewell. You stand their again clap clap clap, yadda yadda yadda and suddenly the house lights pop on and music comes over the PA. The audience abruptly ends its praise and begins to file out of the venue. I have always found this a little odd. I seem to remember a time when a encore was a spontainious event. If the crowd wasn't dazzled by the performance their was no encore or standing ovation for that matter. At some point the word encore had its meaning redefined as: A demand by audience for additional performance until the house ligths come on or the show will be over when we the planned out chain of events at the end of the show has taken place. Leave it to Robert and Co. to break another tired cliche of performance. When P2 left the stage I had no idea whether they would come back, the MC had no idea if they would reappear (he was kind enough to ask them for us), the sound crew had no idea, the only people who knew where the musicians and that my fiends is the way it should be IMH!!! I won't tell you what happened because I truly feel RF does encores on a case by case basis. If you see P2 by all means let them know how you feel at the end of the evening that's the point. Thank you for listening, Doug Liles dug at multipro dot com Xcommunication at multipro dot com the mailing list for all things Brand X! PS - On the million to one chance she might get this, here is my answer to the question "What is this guys' night out?" posed by the Bass player from one of the opening acts 'Seely' . No, it's probably more like musicians night out, please go back to Atlanta and never come back to Nashville! ------------------------------ From: "Rob Murphree" Subject: Gig Review: My ProjeKct 2 Experience Date: Mon, 23 Feb 1998 20:52:39 -0600 Hello Everyone! Just thought I'd throw in my experience in witnessing the World Premiere of ProjeKct 2 in Nashville last Friday night for those who couldn't make it. Early in the evening, several people I've met via Email from the Belew website gathered at the Hard Rock Cafe beneath Adrian's Twang Bar King guitar. After an hour or so, we made our journey to the P2 venue, The Cannery. First of all, The Cannery in my opinion, was an exact replica of a medieval prison complete with plank flooring that buckled when you walked across it combined with uneven slabs of brick and concrete. There is a railroad track about 8 feet from the back of the building and at one point during the show, an actual train engine was parked right outside the back door flooding the interior of the building with thick blue deisel20 fumes. This was the ONLY unpleasantry of the evening. At 11:30pm, P2 took the stage. I still don't believe everyone was aware Adrian was going to be the drummer because the minute he sat down behind the drum rig and raised his sticks, the crowd applauded; putting to rest the uncertainty of who was going to do what in this new trio. The viewing area in front of the stage was large and reasonably comfortable. There was also access to the rear of the stage which gave a better view of how Adrian, Robert and Trey were actually making this unbelievable sound. I can't begin to tell you how great the show was/is. From the non-stop blur of Adrian's drumming, Robert's playing, and Trey's demonic-speaking guitar, it works... and works well! 20 It seems as though Adrian was having the time of his life behind those synth drums. And Fripp was... Fripp. I don't mean that in a negative way either. He DID have his back to the audience several times during the show, but it would have been difficult not to. He was continuously pressing buttons, switches and turning dials located all around him, constantly changing the personality of the music throughout the performance. Robert was even seen smiling and talking to Adrian on occasion during the songs. The show continued non-stop for about an hour and 15 minutes. Which was longer than I expected with all the deisel fumes and smoke. At the end, the crowd wanted more and began beating on the stage and stomping their feet. Remember, this place was old and when a large crowd of fans begin jumping up and down, everyone feels it. Although it wasn't the best venue in the world, the show was incredible, the sound was great and ProjeKct 2 prevailed. I personally look forward to however many releases they care to make and urge everyone to see P2 if possible. For future ProjeKct 2 touring Information in Japan and England, please visit the Adrian Belew WWW Site at20 http://web.dbtech.net/~rhino. Adrian's management (and sometimes Adrian) is sending updates as they are made available. Or if you have any other questions, please feel free to email me at rhino at dbtech dot net. On a slightly different note, for those of you who missed the Irresponsibles (the Belew-produced band from Boston) on Saturday night in Nashville, you missed one hell of a performance. Adrian and I sat at a table behind Trey Gunn and watched the show. Afterwards, we all went out to a club and had a wonderful time. That is until my car was towed away. Here's the kicker... I was parked behind Adrian and I assume the Wrecker service saw THAT magical aura surrounding Adrian's vehicle and decided to take mine instead. ;) If any of the Irresponsibles are reading this, thanks again for getting me to my car. And Adrian... don't worry about it. It was all my fault. -Rob Rob Murphree's Adrian Belew WWW Site http://web.dbtech.net/~rhino rhino at dbtech dot net Irresponsibles' Web Site http://web.dbtech.net/~rhino/irros/index.htm ------------------------------ Date: Mon, 23 Feb 1998 22:21:51 PST From: "Rich Malitz" Subject: Gig review: PROJEkCT 2 Review Hello fellow ETers and greetings from Chicago, IL USA On Friday February 20th, 1998, I was lucky enough to bear witness to a historic performance, ProjeKct 2 in Nashville. My friend Frank Holdman and I were motivated to make the 8 hour drive down from Chicago for the show. And boy did we get our $10 dollars worth! Let me give you a few details and don't hate me! I won't go into extreme details about the venue, The Cannery was basically an old bar at the end of an alley! There were 3 bands ahead of the boys, who were slated to play at 11:30. There wasn't many people around for the first band, so I didn't worry about standing in the front, which was mine for the taking if I wanted to! There were no seats either, everyone had to stand. But I got worried when the 2nd band was setting up, I had to get to the front! Guess what? We ended up in the front row, about 10 feet from Robert's stool and pedals! Then when the other bands were finished, the road crew moved Robert's set up towards us!! Only a couple of feet away in my face! He was so close I could hear the clicking of his pedals over the music! Adrian sat a few feet to the left, center stage, behind a Roland Synth Drum kit. Trey Gunn stood on the far left with his Warr guitar. It was like I was at their house! All of a sudden the show began and Adrian was wailing away on that kit!!! He played like a 12 year old who got his first drum kit (never stopped smiling!) but knew how to play and fast too! WOW!! I will try to explain something here! Each "song" or idea they played would last about 10 minutes each. Adrian's bass drum had a bass beat with it allowing Trey to not worry about bass chores as much. Robert experimented with xylophone, organ, strings/Mellotron, and metal guitar sounds and then would harmonize everything! (Not all these at once! LOL) The 3rd song was the coolest. Imagine the band is backlit by green light, Robert just a shadow in front of it. Adrian starts an odd beat and Trey plays one low note and slowly slides it up the neck (higher pitch). But something is different. There seems to be a "droid" talking everytime he hit his Stick! On top of this slow groove come Robert's string sounds, like a space mellotron! Everyone, including all drunks, are in awe. No one moves, no ones speaks. This was a MOMENT! Space Grooves for sure! I'll never forget it! Like Trio in Amsterdam or Starless in Central Park, it just had to feel like this!! The song goes on for at least 10 minutes with Robert changing to the space xylophone! Trey was also unbelieveable. They all were. Later in another piece, Robert & Trey dive bombed by sliding down their necks from high to low. Over and over, together in unison! Adrian was loving it, he even was watching Robert and yelling "whoo!", like us! Finally, Adrian stood up, put on his coat, and that was the end. He hugged Robert and Trey and they bid goodbye. No talking to the crowd tonight. We clapped and yelled for more, but no more. I was stunned. That music. It was so new. So different. Maybe the CD was being sold by the door! I ran out to look. There was Adrian!!! He was greeting everyone and signing autographs. I only had a ticket, and he signed it. I asked him a few questions, one was about the ProjeKct 2 double cd and when would it be out. He said in about a month and that there was another one coming after that!! He said it was finished BEFORE the show! Yes!!! Also, he joked that his box set was up to 6 cds and may be delayed again. I looked around for Trey and Robert, but they were not around. Not a problem though, I met Adrian Belew! Everyone who can must see this ProjeKct 2 before they stop playing as a trio. What will King Crimson's new album sound like? Don't ask me, maybe this was a preview, but ..... Who knows? Lastly I would like to say to Adrian, Trey, and Robert.. Thank you, thank you, and thank you. It was wonderful. Please feel free to email me if anyone would like some more insight. Rich Malitz Buffalo Grove IL ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ End of Elephant-Talk Digest #466 ********************************