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 #483 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 483 Wednesday, 15 April 1998 Today's Topics: NEWS: ET delay NEWS: ET Web updates NEWS: Santos Luminosos New Release NEWS: Trey Gunn sideman CD Wanted ... thoughts/review of projeKct two album and B.L.U.E. P2 Re: Pythonatronics P2/Baltimore, Trey song titles, Tull, Trey's scroll 80s King Crimson I'm Back Re: Two Basses Adrian's Voice? The projects and His Majesty re: fripp drumnbass [no KC] Hi! and Prog rock shutout on VH1's 100 Greatest about mr.fripp & mr eno Re:David Sylvian singer of KC ? crimson tab update CRIMSON IN CENTRAL PARK list hassals NEWS: What's that about? Bill Frisell's "Gone, Just Like a Train" Headphones vs Speakers NEWS: PROJEkCT2 and B.L.U.E. at HMV Shinjuku SOUTH Good shopping/LTE Review GIG REVIEW: House Of Space Blues GIG REVIEW: Space Grooving in California ------------------ 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 system v3.5b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Wednesday, 15 April 1998, 18.05pm From: Toby Howard (ET Moderaotr) Subject: NEWS: ET delay My apologies for the gap in appearance of ET -- I've been off with flu. Back at the wheel now, though. Cheers Toby ------------------------------ Date: Sun, 5 Apr 1998 22:29:54 EDT From: DanKirkd Subject: NEWS: ET Web updates ETers, Various quick things: We're getting lots of replies to our first survey (400+ so far) and I've now added a second survey (What's your favorite KC track?), and created a dedicated ET Survey page to house these and future survey questions and tabulated responses. Survey 1 runs until April 15th. Survey 2 runs until April 30th. Stop on by ET Web (http://www.elephant-talk.com/) to submit your answers. I've also added more tour dates (including June P2 dates), Tony Levin interviews, reviews by ETers for various releases, and sightings. Finally, anyone wishing to enhance their web link to ET Web can use a small version of our ET logo. Grab it from the "What is Elephant Talk?" section on our main page. Thanks - now back to the newsletter... Dan - ET Web (aka Nigel Gemby, Faith Meeno, Jake Youngman, luc "igotreligion", Uma Hilka, Murphy Wollery, Vince Strobello, and Man'O'War :^) ------------------------------ Date: Sat, 4 Apr 1998 11:37:17 -0300 From: "Gustavo Enriquez" Subject: NEWS: Santos Luminosos New Release Hi Eters; I've heard the new release from "Santos Luminosos" titled Metal Ambiente. If you don't know them, SL are a rock-pop-ambient duo that includes Hernan Nunez (gtrs, bs, devices) and Andres Jankowski (Kbrds, prog.). SANTOS LUMINOSOS defines itself as a post-Beatles ambient-pop project. This Argentine-German duo recorded this CD with some guests that includes:Martin Schwutke; Robert Fripp; Patricia Leavitt;Fernando Kabuzacki; Steve Ball and others. Andres Jankowski: Argentine, living in Berlin, is currently in Buenos Aires presenting his "Trance Ambient Nights" as a "remixer" every Thursday at "El Living." Hernan Nunez: Guitarist, he is also a member of "Los Gauchos Alemanes" and "League of Crafty Guitarists". Their first CD, "Leuchtende Heilige," is considered by Santos as a De Luxe Demo or calling card. The new CD was recorded in Berlin, Germany, and was published by "Possible Records" in Argentina, Germany and the US in a totally limited edition. The Santos CD is highly recommended for Gauchos and League of Crafty Guitarists fans. You can order at : Los Gauchos World Headquarters 1416 Evergreen Point Road Medina, WA 98039 USA Fax: (206) 688-1772 email: gauchos at gauchos dot com Best regards. Gustavo Enriquez Buenos Aires - Argentina Contact pcgeonline at houseware dot com dot ar ------------------------------ Date: Sun, 05 Apr 1998 17:12:34 -0500 From: Allen Welty-Green Subject: NEWS: Trey Gunn sideman CD Chris Cunningham, recently on tour with Trey Gunn of King Crimson and a long-time veteran of New York's downtown music scene (Saqqara Dogs, Ecstatomatique, Lounge Lizards, Marianne Faithful, etc.), has just released his first solo CD. Stories To Play is an interesting collection of funky acoustic guitars, ethnic percussion (by Bob Muller, another Trey Gunn alum, and others), cello, brass, harmonium, and various studio tricks (by producers Anne Pope and Toon) backing up Cunningham's oblique lyrics and resonant vocals. The sound is sort of a jazzy, bluesy, roots melange filtered through Cunningham's high-tech urban sensibilities and progressive influences. Standout cuts are "Walking Into the Lightning"...built around a driving tabla/surdo rhythm and a frenetic, brittle guitar ostintato with delicate harmonium chording and while Cunningham's weaves a tale of surreal love ("I'll be your grey man, I'll be your ghost...Always home but never there, often naked, but never laid bare")....and "Poppa Johnnie's Eyes"...a vigorous instrumental acoustic guitar and bass duet with lively frame-drum rhythms. Also noteworthy is "Stay" ...a melancholy ballad that teeters on the edge of melodrama but retains enough of a dark edge to keep it interesting. The only gripe I have with this CD is that it seldom departs from it's smooth dream-like ambience to explore the upbeat, driving sort of sound that is hinted at from time to time...especially in the last cut, "Under The Scaffold", with it's distorted baritone sax and wailing trumpet. Lunchbox Recordings, PO 369, Ansonia Station, NY, NY 10023, info at lunchboxrecordings dot com ------------------------------ Date: Sat, 4 Apr 1998 14:51:00 +0000 (GMT) From: dinosaur Subject: Wanted ... thoughts/review of projeKct two album and B.L.U.E. Hi there Eters. Just wanted to ask a favour. I am currently debating buying the Space Grooves CD by PROJEkCT TWO and also (more enthusiastically) Bruford Levin Upper Extremities. I'd really value the comments from anyone who has these CDs, as I want to know what the music is like before parting with my cash. The main reason for this is that if the P2 disc is too similar to the P1 show that I attended on December 2 last year, then I wouldn't be overly keen on buying it! Although exciting and an amazing experience, it is not really the sort of thing that I'd want to listen to on a cd. I was hoping that the P2 2CD set was fairly 'chilled-out' and groovy, as opposed to frantic and scary! Anyway, let me know, many thanks, James. +-----------------------------------------------------+ | jAMES http://www.geocities.com/Heartland/2511/ | | bEARD http://www.geocities.com/TelevisionCity/9108/ | +-----------------------------------------------------+ ------------------------------ Date: Sat, 04 Apr 1998 12:36:34 -0600 From: daniel farris Subject: P2 "James Hogard" wrote, in ET 482: > The comments of many ETers attest that the live ProjeKct 2 > is very different from _Space_Groove_. I understand that > Mr. Fripp and his cohorts were in a high state of excitement > when they recorded the CD, but IMO it might have been a > better representation of the unit had they played a few > shows (or rehearsed, even) before putting out product. Product? Pardon me, but if you don't work in the music industry, you should give it some serious thought; you would probably make a killing. Anyone who refers to music as "product" either works in the music marketplace or should. > With > _Space_Groove_ and now _Time_Groove_ in imminent release, > Mr. Fripp once again runs the risk of disparagement as a > money-grubber, and it seems to me that the two albums are > not a true portrait of the band. I would prefer to hear P2 > as I'd be likely to hear them were I to attend a show. How can a band make music that is not true to itself? What are the criteria for making music that is a true portrait of the band? I think you over-complicate the matter. Same band. Same members. Different music. What is so difficult to grasp about that? And why, if a band takes a slightly different approach on a given project, does that make it an untrue portrait of the band? It seems to me that making a record designed to be exactly as you'd expect to hear the music in a concert setting might be more easily viewed as pandering to the marketplace than what you describe above. It also seems that refraining from expressing a given set of ideas for no other reason than their being different from the live set might be one way for a band to make a record that is not true to itself. Robert's pervasive references to expectation seem more and more appropriate every time an issue of ET turns up in my inbox. Daniel Farris denial recording Birmingham AL ------------------------------ Date: Sat, 04 Apr 1998 15:14:17 -0500 From: Bayard Brewin Subject: Re: Pythonatronics In ET#482, "Brown, Ken" wrote: > It can not be mere coincidence that both King Crimson and > Monty Python will be celebrating their 30th anniversaries > next year, can it? Play the second "found sound" element on "Haaden Two" > backwards on "Exposure" and you should get the answer to your question. ;-) (BTW -- it's the first skit from the first show.) Bayard Brewin ------------------------------ Date: Sat, 04 Apr 1998 16:13:09 -0500 From: David Steimling Subject: P2/Baltimore, Trey song titles, Tull, Trey's scroll Hello All, (Dave bows to Toby) To Jack Badger: no P2 Balt wasn't cancelled, it was moved to Bohager's. Tix thru (arrrrrrgggggghhhhhh) TicketBasterd with the usual: money for handling this, money for handling that, $30 shipping, $20 handling, etc, etc. As for Trey's song titles, many of them are names of stars. I found this out searching the internet for "Kaffaljidhma". If you read the chatscript on his web page, he also fills in on what the Third Star actually refers to. I was very surprised after seeing the band w/CGT opening. I had previously purchased some CGT discs & knew kind of what to expect there. When I bought 2 Trey discs on the way out of the show & heard "Kaffaljidhma" on TTS I could not believe how close it was to what we had just seen live. My roommate & I thought Chris Cunningham was pretty much improvising, as they had only been together for a few weeks prior to the show (per Trey). It was amazing to realize that they had it that together after that short a period of time. I was "Gunned" down to say the least. (And as for Bagel references, I believe Trey's scroll for this show was "Bite Me Bagel Boy" or something like that. If anyone remembers, let me know for sure what it was. I see that the Bagel thing may refer to Levin (Papa Bear page reference) somehow. Was this a comment toward TL? Hmmmmmm.) I am currently anticipating getting Be-lew away, Gunned down & Fripped out for P2. I know I was for the KC show at the HORDE Fest (my first KC show!). Not to mention they were Levin me beggin for more. I a-Mast-e-lotto good musical kharma there. I didnt dare go for a Bru for d guys until they were off stage. It was awesome. Simply magical. I see Jethro Tull finally gets a mention in the prog scene, with a "Im not sure" kinda attitude attached. If you listen to "Thick as a Brick" (uncut) & (my fav) "Minstrel in the Gallery", to me there is no question. It is different than ELP, Yes or KC, but I believe it to be prog all the same. Long form, complicated, bridging rock & classical. A little more organised than KC, classical-wise, a little deeper than ELP or Yes, in a heavy jamming, rock & roll kinda sense. I really dig 'em regardless. Why is everyone so hept up on categorising anyway? Music is music. Some you like, some ya dont. Ya buy what you like & ya leave the Spice in the rack. Im wondering what Chris said about RFs views on the distortion of the relationship between the audient & the performer where autograph signing comes into it. (I am currently on a minor mission to get my DGM NL #1 signed by as many DGM performers as possible. RF was quite put off in London at P1 about it, although I currently have TL, BB, TG, & the entire CGT on it. I would love to get RFs & ABs at the P2.) Enough for now Dave Thanx Toby for #481!!! U guys have a great sense of humor!!! I really dig the part about the band taking the crowd's picture. ------------------------------ Date: Sat, 04 Apr 1998 16:37:58 -0500 From: Jon Swinghammer Subject: 80s King Crimson I have recently purchased the Frame By Frame Box Set as well as the Great Deceiver set. And I must say that the Great Deceiver is wonderful and the book is a fun read. However The Frame By Frame one is not nearly as nice I'm afraid. Though I like the layout and the book are neat the music on one cd I must say is lacking terribly.... I had my first exposure to the 80s era and I must say I wasn't impressed. Has anyone else noticed that most of the music sounds exactly alike? I mean Red or Lark's Tongues... were not even CLOSE to as repeatative as the 80s music. And to say that era "lead up to" the 80s era I would say is sick. Though Thela Gun Gineet or however that's spelled and Indisipline were fun songs the rest sounds exactly the same. There is the annoying repeatation in lead guitar and the drumming isn't up to par with Bruford's previous work and Tony Levin's bass mastery is hardly noticable. I'm sorry but this stuff is not up to what I've heard. I might as well go listen to Bad Religion if I want to hear music that is that repeatative. Though Bad Religion tends to have better lyrics. Adrian can't write good lyrics in those days to save his soul. The stuff on THRAX I tend like much more but the 80s era is pathetic. With all the talent in the members of that lineup you'd expect more. There is some good stuff if you seperate from the rest of the songs. Listen to two songs in a row and you are going to get annoyed. Those who are fans of the 70s era and have not checked out the 80s I would strongly caution against it. Sorry for the bluntness of my remarks but I was upset by this lineup and it's mediocre preformance. I do not expect much from musicians but when I hear things that are so built up like the 80s era often is and compare it to what I heard, it makes me ill. And oh yeah Doctor Diamond is one of my favorite King Crimson songs it was well worth the price of the Great Deceiver Set alone though the Starless versions are much better than the album version. Jon -- -- Hustlers of the World there is one Mark you can not escape The Mark Inside. -- William S. Burroughs -- -- ------------------------------ Date: Sat, 4 Apr 1998 23:49:03 EST From: WRNHAWK Subject: I'm Back Greetimgs all you Crimzoids, Yes, your Auntie is back on the line. I have been gone just long enough to have noticed a bizarre fact; that being that Adrian looks like actress/model Andie McDowell!! Some things are better left unknown. Isn't Night Watch just great ? Exiles just blew me away, talk about tingles, the solo on the first break literally knocked me over backwards(lucky that I was sitting on the floor at the time)....o,that loopy fluid guitar thing. The next break with Mr. Weton and Mr. Fripps interplay is amazing. To repete what alot of us have noticed, if that was an incohesive night, the music didn't seem to notice.---- the moral of the cover art is: listen to what the dogs are trying to tell you and watch those tricky bastard managers! In case it isn't too far along in the new year, those of you who haven't should pick up a copy of the DGM calander. It's a nice little thing and a great collectors item. John Millers' art work is very lovley and inspiring, only wish someone would have thought to print the titles to the paintings. Happy spring, Auntie Gail ------------------------------ Date: Sat, 4 Apr 1998 23:17:26 -0600 From: "Damon C Capehart" Subject: Re: Two Basses James Hogard wrote: > What kind of music requires two basses? "Big Bottom", by Spinal Tap? Damon ------------------------------ Date: Sun, 05 Apr 1998 03:43:45 -0400 From: Hacksaw Subject: Adrian's Voice? Howdy fans: Am I alone in thinking that Adrian has a great voice? I listen to Frame by Frame whenever I feel the need to be lifted, and Dinosaur when I feel like stomping around. Those songs require fairly different loud vocal techniques, and yet I am moved by each, and both are well in tune. -- -----------> Gall Bladder!, Is qui iacit in hamas marsupiales. | <----- | | Rev. Irreverend Hacksaw, Omnibenevalent Polyparrot (ULC) | Melior |XX| http://www.channel1.com/users/hacksaw/ | amare ---- <----- Do you have your badge on? Someone elses? Oh Good. | chemia ------------------------------ Date: Sun, 05 Apr 1998 16:19:39 +0200 From: Bopster Subject: The projects and His Majesty Dear ETers, There's been a discussion here as to the purpose (or "aim") of the projects and if I'm not wrong Fripp called them "R&D for the greater crim". I think their working as Court Alchemists would, in practice, mean about this: They are to play, improvised music or not, either in front of a crowd or in the depths of Belew's basement and be recorded. Then the recordings will be listened through for groove ideas, musical inspiration and so on, and these ideas may or may not be used in the next Crimson studio album which I suppose won't be ready in another year or so. Bummer. Anyway, I don't think Prince Scarlett is suffering of anything more than the occasional and quite easily cured personality split. As soon as this R&D phase is over Crimso (in the double trio incarnation I think) will be back and bad as ever. Well, I really have high hopes for the afer spending *this* long reinventing the wheel. Hope I got this right, Bop BTW Fripp said in a post to ET (I think) that P3 had started with Mastelotto sending him a tape of his ideas includin a dance version of Pie Jesu. So PM is definately not out of crimson as someone speculated. ------------------------------ Date: Sun, 5 Apr 1998 11:48:16 +0000 From: Rupert Loydell Subject: re: fripp drumnbass [no KC] >While listening to this, >Robert Fripp popped up in my mind. I'm thinking: "Wow! What >would Drum & Bass sound like with Robert Fripp as a >participant?" I'm really getting off on this idea You might like to sound what Fripp *might* [or could] sound like with drum n bass by listening to Derek Bailey + DJ Ninj's cd GUITAR & DRUM & BASS, or Bill Laswell's OSCILATIONS cd. Both are astonishing to listen to, and very different.Various other post-/out- rock units such as Trans Am, Tortoise, etc who touch on drum & bass, or dub, at times, might also interest you. ------------------------------ Date: Sun, 05 Apr 1998 03:15:57 -0500 From: "Justin A. Kolodziej" <4wg7kolodzie at vmsb dot csd dot mu dot edu> Subject: Hi! and Prog rock shutout on VH1's 100 Greatest Greetings from Milwaukee, Wisconsin, or, as it might more appropriately be called, Beer Central. After lurking for somwhere around 15 issues, I can lurk no longer. A: First a few words of introduction: I am 19 years old and so far only own four Crimson CDs: THRAK, THRaKaTTaK ITCotCK, and Red. Of course, I've only been a real fan since approximately Christmas, when I asked for, and received, THRAK and THRaKaTTaK. I have to admit, the sticker hooked me on THRaKaTTaK! THRAK, on the other hand, was more of a "Hey, it's something recent by King Crimson, let's see how it sounds" type of thing. My dad had a few tapes of old 69-73 KC, but I had never really listened to them, maybe hearing ITCotCK in the car once or twice and maybe USA once, but never really _listening_, just using it as background noise. Anyway, I put THRAK on. Not bad, I thought, the songs here are at least as good as anything on the radio. Then later I put on THRaKaTTaK. Too bad I can't describe how I felt next except to say that I was blown away. Finally, someone had the guts to put out music that sounded nothing like rock or anything else for that matter, except perhaps like old 60s avant-garde music which I had listed to a bit when I was back at home in Hammond, Indiana, but better. Taking a quick look through the ET web site, revealed that KC had been doing this type of thing for their (its?) entire lives. Needless to say, KC is now my favorite band, displacing Orbital. B. And now the real reason I was writing: Some of you may have seen VH-1's "100 Greatest Artists of All Time". For those of you that haven't, you didn't miss a thing. The reason? Not only did King Crimson not get mentioned anywhere, but in the entire top 100, there was between 0 and 1 prog band, depending on your point of view, honored: Pink Floyd. That's right, no Genesis, ELP, or Yes. They supposedly asked 700 musicians who the greatest artists were. Of course, the Beatles won... no surprise there. My point is this: If the survey were really based on artistry, KC, Yes, ELP, and Genesis would all be near the top based on what they did early on, and KC would be number 1 based on what they have continued to do up until the present. Instead, it seems to me that the survey was based on two things: Who got rock going and who do most of the fans love? Of course, that doesn't really explain how Devo made the list . So what if group "A" can make twelve minutes of _interesting_ music at a time? Group "B" actually sold records, so they win. That's all it comes down to in the music business today: record sales. If your music doesn't hit the mainstream and you haven't been around for forever, you may as well quit now. The proof? Turn on your radio. The exact opposite of KC will come out of your speakers: bland, repetitive music that somehow manages to sell. Then again, nearly everything seems bland and repetitive compared to KC, doesn't it? Well, it's just about time to quit; thanks to daylight savings, it's 3:15 AM, and I've played through THRaKaTTaK and Red writing this letter. Keep music alive, Justin K. -- I sense a great disturbance in the Source. Justin A. Kolodziej I am 4wg7kolodzie at vms dot csd dot mu dot edu Marquette University is http://www.mu.edu ------------------------------ Date: Sun, 5 Apr 1998 16:00:02 -0400 (EDT) From: David Laureti <94348852 at callisto dot si dot usherb dot ca> Subject: about mr.fripp & mr eno Greetings fellows KING CRIMSON'S enthusiats My name is David Laureti and I'm from Quebec, Canada. Quebec is the only french province of the country, so, be patient please, and i'm sorry for my bad english. (i'm learning!!, i'm learning!!) Thanks to ELEPHANT TALK manager to let me ask this. Regarding "NO PUSSYFOOTING", the album of Robert Fripp and Brian Eno, i was wondering about the meaning of that statement : no pussyfooting ?? Surely, my english is not so bad and I know what mean all the words taken separatly. But my question is, what is the meaning of the whole statement: NO PUSSYFOOTING ? If somebody in this forum could help me, It will be appreciated. Please help me with this problem. Thanks in advance David Laureti ------------------------------ Date: Mon, 6 Apr 1998 01:13:08 +0100 (BST) From: "A. De Wailly" Subject: Re:David Sylvian singer of KC ? The suggestion of D.S as a singer for KC is far from being stupid,but it has already been tried and did never materialize. Now what about Midge Ure ? Just think about it,what he can do when he's with the right people: Rich Kids,Thin Lizzy, Ultravox 80-84,and Breathe.RF began playing footsie with DS in 1985,and the latter almost ended up in KC.And we know that Fripp played on Breathe...KC needs Midge,and vice versa.Midge has the best voice,powerful and frail.Okay he's responsible for 'If I was' and 'Do they know it's christmas ?',but who cares ? As for Fripp,who needs him anymore ? What about me to replace him ? I haven't played the guitar for more than an hour in my life,but I'm SOOO good.But anyway,Midge can do the solos all by himself (remember 'All Stood Still'). ------------------------------ Date: Mon, 06 Apr 1998 14:09:15 +1000 From: cameron taylor Subject: crimson tab update One Time King Crimson INST: -INTRO play with delay or swing feel E--------11-13-I-------10-11-I-------8--10-I----4--10--11-I B-----8--------I----8--------I----6--------I--------------I G--5-----------I-5-----------I-------------I--------------I D--------------I-------------I-6-----------I-3------------I A--------------I-------------I-------------I--------------I G Bass E--------------I-------------I-------------I--------------I ? Bars Cm Gm Cm Gm ------------------|-----------------|-----------------|-------3-----------| T--6----4---------|-6-----3---------|-6----4----------|-6-----3-----------| A--3----3---------|-3-----3---------|-3----3----------|-3-----3-----------| B--5----5---------|-5-----5---------|-5----5----------|-5-----5-----------| ------------------|-----------------|-----------------|-------------------| ------------------|-----------------|-----------------|-------------------| Cm Gm One eye goes laughing Cm Gm One eye goes crying G# Gm Cm Gm through the trials and trying of one life Cm Gm one hand is tied Cm Gm one step gets behind G# Gm in one breath we're dying Fm Gm a-ha.. Cm Gm I've been waiting for the sun to come up Fm Gm waiting for the showers to stop Fm Gm waiting for the penny to drop Cm Gm one time Cm Gm and I've been standing in a cloud of plans Fm Gm standing on the shifting sands Fm Gm hoping for an open hand Cm one time Cm - Gm RIFF x2 INST: repeat all vocal ------------------------------ Date: Mon, 06 Apr 1998 02:06:58 +0000 From: Novakian Subject: CRIMSON IN CENTRAL PARK Hello all. Having read all the talk about KC in Central Park, I just wanted to say that I have a recording of this legendary concert on July 1, 1974. It is an audience recording, and the sound quality is rather good for being from the audience. I have owned this since 1981. You can really feel the energy of this show. They started with Schizoid Man and ended with Larks' pt. 2. Judging from other concert recordings I have of Crimson, they seemed to alternate these two for opener and finisher. I have e-mailed DGM to see if Robert would be interested in hearing the tape, but never received a reply. It could be that a soundboard recording of this concert exists. I also posess the very first performance of the Larks Tongues lineup on October 13,1972 at the Zoom Club in Frankfurt, Germany. It is an audience recording and the sound quality is, in Robert's terms, very lo-fi. It is interesting. They are not very tight and you hear snippets of songs that would eventually turn up on future KC album material. Incredibly interesting listening. Regards, Milo Sekulovich ------------------------------ Date: Mon, 06 Apr 1998 11:01:37 +0100 From: kate dot d at virgin dot net Subject: list hassals g'day all, may i suggest to those of you who have contacted me for a copy of the full 10+list that you adjust your filtering to allow the list through. I have not the money or energy to send it through over and over again only to have it returned. Basically if you've requested it and you haven't recieved it, your filtering and /or mail server won't allow it through. (it is an unzipped doc file)(which COULD look suspect...). please re-request when you've sorted it out at your end. all the best ashley "Eternity comes down to hours and even a minute makes a tough guy cower" - Leo Kottke ------------------------------ Date: Mon, 06 Apr 1998 10:00:09 -0400 From: "dumela" Subject: NEWS: What's that about? >04-Apr-98 Various DGM Artists DGM Convention Tokyo, Japan >Robert Fripp and "other members" in attendance. Invitation >only. Might we be hearing more about how this went and conclusions that were drawn (big colorful ones of abstractions)? Hopefully DGM is not like my own employer who just forms committees rather than make decisions (the US- GOV). tj ------------------------------ Date: Mon, 6 Apr 1998 10:01:59 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: Bill Frisell's "Gone, Just Like a Train" Not KC-related (directly!) but.... Bill Frisell's "Gone, Just Like a Train" is one of the most unique, challenging, unclassifiable and beatufully recorded CDs I've heard in a long time. His playing is fantastic, as is drummer Jim Keltner and the bassist (I forget his name). Absolutely dreamy, complex, and ass-kicking at the same time. -Emory ------------------------------ Date: Mon, 6 Apr 1998 09:45:14 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: Headphones vs Speakers Daniel Ferris sayeth: < BQ > It might be time to invest in a really great pair of speakers. Forgive me, but I will always choose a great pair of speakers over even the finest headphones. < EQ > Indeed, there is fundamental difference between headphone and speaker listening. When listening to speakers, one hears both channels with both ears. With headphones, each ear is hearing only one channel. This means that while headphones may allow certain sounds to be heard more clearly (perhaps primarily because you're eliminating the sound of your listening room), much of the spatial, 3-D information will be lost, as it is that both-channel crosstalk that allows your brain to reconstruct the recorded image (this is why on headphones most recordings break into three blobs of sound--one right, one left, and one center just above your forehead). There is, however, sort of a way out, called "binaural recording". Proponents of binaural sware that it can yield some of the best sound. If we deliberately record an event with two microphones that have very little crosstalk (like by putting two small microphones into the ears of a dummy), then on headphones a very 3-D sound can be heard. Indeed, Levin's "From the Caves of the Iron Mountain" was recorded this way, except that the "dummy" in this case was the human Tchad Blake, who walked around the cave while recording. Another interesting technology is the product "Headroom", which through some form of delay processes the sound so as to allow a speaker-like experience on headphones. ------------------------------ Date: Tue, 7 Apr 1998 00:00:52 +0900 From: "=?iso-2022-jp?B?GyRCOWI2NiEhRS8bKEI=?=" Subject: NEWS: PROJEkCT2 and B.L.U.E. at HMV Shinjuku SOUTH Hello ETers. I report the event of PROJEkCT2 and B.L.U.E. which were held at HMV Shinjuku SOUTH. The event was held on April 5th. Robert Fripp, Bill Bruford, Tony Levin, Adrian Belew, and Trey Gunn attended the event. The audience wrote the questions to the member in advance, and the sponsor collected them. Each member chose a question at random. Five questions were chosen and they were odd questions. To my regret, my question was not chosen. Q1.(Adrian Belew) Did you practice a drum for the live of PROJEkCT2? A1. I only played on drums of studio. Q2.(Bill Bruford) Do you also perform on a twin drums together with Pat Mastelotto from now on? A2. Yes. I may perform on a triple drums together with Pat Mastelotto and Adrian Belew. Q3.(Tony Levin) How do you consider about the structural development of STICK? A3. Although STICK itself is not a complicated musical instrument, we can perform STICK by various methods. Q4.(Robert Fripp) Does the member of the past of King Crimson participate in future PROJEkCT? A4.(Short answer) 6 persons are enough. Q5.(Trey Gunn) Do you plan a new solo album? A5. I am planning. I have just finished the solo tour in the U.S. I want to perform the solo tour in Japan. Then, the audience got signs from all the members. Finally, Robert Fripp told about forthcoming releases. The live album of PROJEkCT1 The 2nd album of PROJEkCT2 (Time Groove) The live album of KING CRIMSON (1971) The live album of KING CRIMSON (1984) Thanks. Satoshi TETSU Takahashi, Tokyo Japan t2t at mbd dot sphere dot ne dot jp ------------------------------ Date: Mon, 6 Apr 1998 11:20:00 -0400 (EDT) From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: Good shopping/LTE Review Hi all Did a little record shopping the other night and found these used CDs: ArkAngel(Japanese) for $12, Liquid Tension Experiment for $8 and Bryan Ferry's "Taxi" for $6(they also had B.L.U.E. for $8, but I have that already). The Wetton album is excellent, but don't buy it for the R.F. content(he's on the title track only and for a timed total of exactly 20 seconds!) "Taxi" is co-produced by Ferry and Robin Trower(!). Michael Brook is on several tracks and Mel Collins and Mike Giles make appearances as well. "Liquid Tension Experiment" is a gem! I really liked "Black Light Syndrome", but I wasn't moved like I was by LTE. The work is more polished with ideas that were allowed to develop more fully. TLev really kicks it here. and the guitarist shreds with the best of them(think Vai, Beck, and Belew), whereas on Black Light Syndrome, I thought the show was more Bozzio, then Stevens and Tony as an afterthought. LTE seems more like a well oiled machine with all four players getting the spotlight. I'd put this more on a par with B.L.U.E. But that's my 2 cents. Cheers, CV If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Tue-Thurs at 9PM and 1AM EST. -- Lucien LaCroix ------------------------------ Date: Sat, 4 Apr 1998 14:44:40 EST From: SMcmil6360 Subject: GIG REVIEW: House Of Space Blues I have a belated gig review to add. The Astronauts proceeded to groove away in their orbit of Crimson inspired music. I say orbit, because this IS NOT King Crimson. But rather something new, different, and infinitely interesting. I personally am glad they continue to experiment with different styles/forms lest they end up being forgotten like so many other bands of the 80s. I think Crimson was the most interesting band to come out of the 80s, and still find their music engaging. Think of how many bands came and went without notice during this same time-remember Duran Duran?, Flock of Seagulls?, The Buggles? Personally I think that Crimson, Talking Heads, and a handful of others are the only bands from this period that are still worth listening to. And Crimso's music from this period was a radical departure from what had come before. Fripp seemed to be enjoying himself, and even took a few long stares into the audience. He spewed out some wrenching solos that could only be (roughly) compared to the work of David Torn. Trey Gunn was arguably the most engaging that evening, and impressed with runs up and down the frets and punctuated bass notes that vibrated right through your body. (It was a bit too loud.) Belew was clearly having a good time, and did an admiral job firing away on the electronic drums. He avoided "cymbals" most of the time, an instrument that Robert really hates. He played continual polyrhythms that kept the audience's interest. At times Fripp seemed a bit out Gunned, but it Belew me away. Stephen M. ------------------------------ Date: Sat, 04 Apr 1998 15:43:44 PST From: "Larry Snead" Subject: GIG REVIEW: Space Grooving in California People wish to be settled; only so far as they are unsettled is there any hope for them. Emerson The secret as usual is that Robert Fripp is playing more. R. Christgau (on Red) Thanks to Stephen Goodman's purchase of my HOB ticket, I was able to see not only the P2 show in Ventura, but also to make it all the way up to Santa Cruz, from Phoenix. Stephen asked in ET #478 about the variation between shows. For me the two shows were such different experiences, the only thing that appeared the same were the oft-mentioned use of voice samples and the ascending notes in unison followed by hot playing in the second set. Even though I didn't recognize them, I figured that some of the patterns were somewhat prearranged, and I overheard Adrian saying something to that effect after the show. But Trey has described the Santa Cruz show as entirely improvised. Anyone on the East Coast ready to take on this research project? On to that regular feature of ET, my Encounter with Fripp. The first to arrive for the Ventura show, I looked up from my book, and saw Robert walking by, looking over. I nodded, as I would in passing a professor I knew at a university. I've never felt compelled to talk to him, isn't it obvious, just by being there, that I really appreciate his work. (Although I did think his response was cool when, at a Frippertronics show in 1979, a friend asked how he kept noise from building up, and he said something like "I twist some knobs".) As others have observed, the sound at the Ventura Theatre made the first set something of a mess. I was further perplexed when the manager told me during intermission that they said I could come backstage afterwards. Huh. Whatever that was about, Adrian came out afterwards and I overheard him saying he liked doing the tour for the opportunity it gave Trey, and how they were all pretty new to their instruments, except Robert. But, I should add, Robert is definitely responding to this novelty with creative vigor, as well as using new voices himself. Adrian also mentioned that we probably wouldn't see KC in action anytime soon, until the PROJEKcTS run their course. And, I had to laugh when he responded that he still played the guitar, everyday in fact. I went up into the mountains to camp, but had to change my location three times worrying that the sound of the trio Space Grooving through my headphones, escaped from my bedroom, might trigger a mudslide. The next morning there was no doubt, fueled with the two discs of most excellent sonic propulsion from Mr. Fribble and his pals, that I was on my way through the lush El Nino green hills to Santa Cruz. This was heaven to me, driving through that beautiful landscape with this new music, the most Fripp, the best Fripp playing in a long time, Trey, very inventive, providing superb backing and much more, and Adrian, that steady groove that moved things along with great sounds, reminding me some of my favorite drummer, Jaki Liebezeit of Can. (Hmm, Stephen said the music reminded him of Byrne and Eno, a record influenced by Holger Czukay's "Movies", on which Jaki played). The variety of the responses to the performances and CD have been interesting. If I may categorize and generalize, it seems Fripp fans are reacting more favorably than KC fans. Certainly I align myself with Lorie Campos (ET 476) who loves "that beautiful sustained lead" and finds the CD to be excellent. The first 8:20 of the CD has some of the coolest guitar playing ever, and Robert's playing remains appropriate, excellent, and inspired all the way to the elegant potion of blissfulness that is the last track. His playing seems warmer and more playful, in comparision with recent KC outings, and is surprisingly jazzy in spots. I didn't arrive early for the Santa Cruz show and was lucky to end up right in front of center stage, a few feet in front of Adrian's drums. So close that when Robert started with a little soundscaping, I had to turn and face the audeience. But with the whole band out it was great, being able to see their interactions, moving to the music, really feeling part of it. (Warning: extreme subjectivity follows.) Robert had this challenging look on his face, as if to say to Trey, OK here's your opportunity, let's see what you can do. And Trey responded with some great lines, dipping his instrument's neck, grinning back at Robert, how about that, as the audience applauded. Robert laid back at first, letting Trey capture the attention, waiting till later to win applause with a few dazzling solos of his own. Meanwhile, Adrian's working hard behind the drums, smiling at the audience, looking encouragingly at Trey, and respectfully at Robert. At one point, Trey and Adrian stopped playing, leaving Robert to finish up, which he did in two notes, the last one rather low and flabby. I couldn't help but laugh into the silence following that note, and looking up noticed Adrian laughing while looking over at Robert, who waved his hand in front of him, much as a gunslinger who had just made an impressive shot might. After the show I told Adrian I had been listening to the CD for the last two days solid and thought it was excellent. He said another one was going to be released that was more aggressive and more like their playing on the tour. That sounds great, but I do love the subtlety, e.g., the great use of effects, on Space Groove. I witnessed Adrian's generosity with fans as he stood noncomplaining while a fan tried to get her camera to work. It seems very generous of him to be supporting Trey while he basically takes Adrian's role in this band. Yes, it was great fun for me. I was just watching a tape of the debut of the new baseball stadium in town, with a band(?) playing lite space jazz for the five minutes it took for the roof to retract. It reminded me of a very dull P2, giving me this vision of the group as musical samurai/gunslingers come to town to save us all from the drab electronic soundtracks of the 21st century. Larry Snead ------------------------------ End of Elephant-Talk Digest #483 ********************************