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 #484 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 484 Thursday, 16 April 1998 Today's Topics: NEWS: Tony Levin RealAudio Chat NEWS: BLUE on NPR NEWS: IRC Chat with Ian McDonald NEWS: INNERNEWS: Bill Bruford Interview & More NEWS: Annie Haslam/Tony Geballe 5/8/98 in Baltimore GIG BIZ: NYC B.L.U.E. Tix Available Re: In The Wake Of Poseidon flash photography EXCUSE ME Trey's Display (Top Ten) Greenslade Re: TAB (take two) What's an instrument worth (Responses to my hypothetical is the new bruford levin upper extrem cd available in stores? thanks ProgRock boots for sale or trade worthless bits of information First Three Box Space Groove: ProjeKct 2 CD thoughts Seeking Dinosaur single Tattoo you From Russia about Crimson gig review - P2, house of blues, 3/24 RE : Pat Mastelotto - What's he been up to? Crafties in Boston?, BLUE, Brufordtronics Did Eddie Jobson Ever Play with KC? Marriagemuzic Discipline Knots Crimson's New Direction -- One Man's Opinion Just got Space Groove Earthbound Ian Wallace's projects post-KC Add the twin cities to the midwest tour! B.L.U.E this is for you...... GIG REVIEW: BLUE at Toad's ------------------ 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: Fri, 10 Apr 1998 01:50:42 -0400 From: Steve Smith Subject: NEWS: Tony Levin RealAudio Chat Hey gang - Having visited http://www.liveconcerts.com a few weeks ago to listen to an archived Marillion show from the House of Blues, last week it occurred to me to check back to see if there was a ProjeKCt Two show posted there. There's not. But there IS a request for questions to be submitted for a RealAudio chat with Tony Levin, scheduled for Thursday, April 16 at 4 p.m. Pacific Time, which is 7 p.m. Eastern time and I guess midnight in the U.K. (That's all the math I plan to do.) I suppose this means you send in your questions via the form provided on the web site and then someone actually interviews Tony with said questions and plays the interview back via RealAudio. It's not really my cup'o'chai but I thought I'd mention it in case anyone's interested. To get there, point yer browser to http://www.liveconcerts.com/ and click on the cute l'il TLev icon (damn shame they listed him on the front page as "formerly of King Crimson"......). Once you go to the next page you'll get a brief description of the event, a form with which to submit questions, and even a button to push if you want them to e-mail you a reminder about the webcast. Such convenience... Oh, and if you look a bit to the right of the TLev icon there's a text link to a "listening party" that occurred a few weeks ago for the B.L.U.E. album... click on that and you can actually listen to the entire album via RealAudio. Cool, huh? (I *swear* I discovered this stuff by chance and have no vested interest in leading you to this site. I'm listening to B.L.U.E. for the first time even as I type this...) I'll let you know if they ever DO post a P2 gig... (And for those so inclined, the Marillion gig ain't half bad...) Steve Smith ssmith36 at sprynet dot com ------------------------------ Date: Fri, 10 Apr 1998 09:43:47 -0400 From: "dumela" Subject: NEWS: BLUE on NPR U.S. B.L.U.E. fans will want to keep there ears open to National Public Radio. Tony just wrote to me from Japan that "we" will be doing an interview on the day between the Birchmere and Orion shows (April 16th). He said it was not "All things considered..." his first pick. This might mean that it will play at a later date. So for those sadly unable to see any B.L.U.E. gigs this is a small gift. tj DC - ET http://www.tidalwave.net/~dumela/index~1.htm ------------------------------ Date: Fri, 10 Apr 1998 17:41:31 -0400 From: Gary Davis Subject: NEWS: IRC Chat with Ian McDonald Hello, folks, Here's the special Elephant Edition of the latest Artist Shop newsletter. Those that want to check out the full newsletter can do so at . Here's something really exciting! Brand new on our IRC Chat schedule is Ian McDonald on Wednesday, April 15. [ I'm very sorry this didn't get out on time. But there's to be another IRC chat with Ian McDonald on 3 May -- see announcement in the next ET. -- Toby ] Many of you will remember Ian as a founding member of King Crimson. He was the main composer for that first incredible album, In the Court of the Crimson King, and also a multi-instrumentalist handling all sorts of wind instruments and keyboards including the mellotron which played such a key role in the overall sound of that album. Ian seems to be back in the news lately with the release of DGM's Epitaph CD, an official bootleg of the original King Crimson band, and the forthcoming release of Steve Hackett's Tokyo Tapes. The Tokyo Tapes are to be released at the end of this month on both CD and video, and is the recording of Hackett's recent Japanese tour which included not only Hackett and McDonald, but also John Wetton, Chester Thompson and Julian Colbeck! The performance includes two classic McDonald compositions, Court of the Crimson King and I Talk to the Wind. And rumors now abound that Ian is working on a solo album with some very special guest appearances. Definitely something to ask him about in the chat! Details on the chat are at . To find out more about King Crimson's Epitaph, go to . For info on Steve Hackett's Tokyo Tapes, go to . For any of you who missed our chat with Tony Levin and David Torn, the log for that chat is now up and linked from the IRC page . Just released on Discipline Global Mobile is the eagerly awaited ProjeKct Two/Space Groove. This is a two CD set featuring Adrian Belew, Robert Fripp and Trey Gunn. As many of you may already be aware, Fripp has been creating sub-Crimson groups for purposes of 'research and development' towards the next phase of the full King Crimson. Judging by the results on Space Groove, I'd say research and development seems to be going well. One of the discs of this set also has some CD-ROM material. As far as I've been able to tell, though, it seems identical to the CD-ROM material on Nightwatch. Also on DGM slated for release at the end of April is the long awaited Gates of Paradise by Robert Fripp. This is another in his series of Soundscape CD's. Although I haven't heard the full CD yet, the tracks on the maxi-single, Pie Jesu, ascribed to Gates of Paradise suggest this could be Fripp's best soundscapes CD to date. Gary ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com artshop at artist-shop dot com phone: 330-929-2056 fax:330-945-4923 SUPPORT THE INDEPENDENT ARTIST!!! ************************************************************** Check out the latest Artist Shop newsletter at http://www.artist-shop.com/news.htm ------------------------------ Date: Sat, 11 Apr 1998 01:33:08 -0700 From: Anil Prasad Subject: NEWS: INNERNEWS: Bill Bruford Interview & More INNERVIEWS: MUSIC WITHOUT BORDERS http://www.innerviews.org Innernews Update April 11, 1998 Innerviews is pleased to announce the availability of an exclusive, in-depth interview with legendary drummer and composer Bill Bruford. Bruford is renowned for his work with acts including King Crimson, Yes, Genesis, Anderson Bruford Wakeman Howe, Kazumi Watanabe, Al Di Meola and countless others. In this candid discussion, Bruford discusses his new acoustic jazz recording featuring guitarist Ralph Towner and bassist Eddie Gomez. He also goes into detail about Earthworks 2, his revamped jazz quartet, and takes you on a tour of the life a working musician in the Indie realm. In addition, he offers some fascinating insights into life as a member of King Crimson and the band's current status. Other recent Innerviews include: Joe Zawinul -- The revolutionary and highly-influential keyboardist who played a key role in sparking the jazz-fusion movement, both as a core member of Miles Davis' late 60s band, and as the leader of Weather Report. Deborah Conway -- Australia's premier pop diva. Well-known for her work with Pete Townshend and Do Re Mi, Conway offers a detailed look at the Australian music industry and the making of her recent trip-hop-pop CD 'My Third Husband.' Don't miss this intriguing chat with the outspoken artist who once gave the phrase "rising up the charts" new meaning with an Australian hit single about penis envy. Also, don't forget to check out these new album reviews: Thomas Bart: 7 Worlds Bruford/Levin: Upper Extremities Alain Caron: Play Michel Cusson: Omerta - La Loi Du Silence II Deep Forest: Comparsa Djam Karet: The Devouring Dr. Didg: Serotonality Bill Frisell: Gone, Just Like A Train Tony Geballe: Native Of The Rain My Friend The Chocolate Cake: Live At The National Theatre Pitchshifter: www.pitchshifter.com Various Artists: E-Town Live Various Artists: Sounds of Wood & Steel Chris While & Julie Matthews: Piecework ABOUT INNERVIEWS Innerviews is an award-winning, web-based music magazine located at http://www.innerviews.org. Founded in 1995 by California-based music journalist Anil Prasad, Innerviews was one of the first forums on the Internet dedicated to in-depth, exclusive music interviews and record reviews. Innerviews has been praised by The New York Times, The MIT Media Lab, Peter Gabriel's RealWorld Records/Multimedia and NetGuide Magazine for its innovative and expansive approach to music journalism. Tori Amos, Michael Hedges, Scott Henderson, Pat Metheny, Victor Wooten and dozens of other influential musicians have also acknowledged Innerviews' unique and uncompromising commitment to quality writing and research. Innerviews is currently referenced on hundreds of webpages and receives tens of thousands of unique visitors monthly. ------------------------------ Date: Mon, 13 Apr 1998 13:52:56 -0400 (EDT) From: Adam Levin Subject: NEWS: Annie Haslam/Tony Geballe 5/8/98 in Baltimore The Baltimore Progressive Rock Showcase Series Orion Sound Studios 2903 Whittington Avenue Baltimore, Maryland Friday, May 8th 1998 - 8:30PM Annie Haslam, former vocalist for legendary English progressive folk outfit Renaissance will perform with her band at Orion Sound Studios in Baltimore on Friday, May 8th. Annie will perform in celebration of her new CD _Live Under Brazilian Skies_ recorded during a recent tour of South America. Opening the show will be the 12 string guitar work of Discipline Global Mobile recording artist Tony Geballe in support of his DGM release _Native of the Rain_. Tony's credits include work with Robert Fripp & the League of Crafty Guitarists, Toyah, The Trey Gunn Band, as well as his status as Composer-in-Residence for New York's highly acclaimed Arden Party Theatre Company. Tickets may be purchased for $15 cash or $16 credit card orders from: Of Sound Mind Savage Mill 8600 Foundry Street Savage MD (301)497-6488 Wed 12-6pm/Thu-Sat 12-8PM ======================================================================== Directions to Orion Studios: -Take I-95 to exit 50, Caton Ave. (Just inside the south west side of the 695 beltway) -Take Caton Ave south to the third traffic light and turn left onto Washington Blvd (McDonalds on right/Pollock Johnny's on the left) -Go 1/4 mile up the hill to the U-Haul sign and turn right onto Inverness. -At the end of Inverness, turn left onto Whittington Ave. -Go to the end of Whittington and turn right into the parking lot at 2903 Whittington, in the Whittington Business Center. -Orion is on the right. -Adam --- "...if one strives at hearing for the sake of constant virtue, out of seeking liberation from cyclic existence, gradually one becomes a Hearer." - Chandrakirti T h e D a r k A e t h e r P r o j e c t http://www.ari.net/prog/bands/dap/ ------------------------------ Date: Mon, 13 Apr 1998 17:42:02 -0400 From: C Gribbin Subject: GIG BIZ: NYC B.L.U.E. Tix Available 2 tickets for 8PM B.L.U.E. show at the Knitting Factory (NYC) this Sat April 18 available at cost. I can't make it :-( Respond quickly by personal email....include your phone number. Best, Chris ------------------------------ Date: Wed, 08 Apr 1998 23:09:50 +0600 From: Yuri Zykov Subject: Re: In The Wake Of Poseidon > From: "Alfred Dodson" > > To those that own the Definitive Edition Remasters of "In > The Wake of Posiedon". 1. On track 3-Cadence And Cascade > about 4min. 5sec. into the song it sounds like it skips. I > cannot fully tell since my CD player doesn't register any > skip on its time counter or is this a bad edit job done at > time of the original recording in 1970.If anyone can tell me > please E-Mail me. I have the same feeling listening Cadence and Cascade. I think it was abad edit job in 1970. Most likely the tape cuts was just inaccurately pasted. I checked this song as it exists on 'Frame By Frame' 4CD box set (with Adrian Belew's vocal). Here the song is a little shorter and it ends ten seconds before the defective place. It ends at 3 min 55 sec and then goes several piano chords. Nevertheless instrumental background on this song from beginning till 3 min 55 sec is exactly the same as on 'In the Wake of Poseidon'. Regards, Yuri Almaty, Kazakhstan ------------------------------ Date: Mon, 6 Apr 1998 12:30:23 -0500 From: Fernandez Jose Subject: flash photography I think I understand RF now... last Saturday I played a small gig - my guitar and myself, and while I was performing one of my very own instrumental pieces (which far below from the quality of Mr Fripp's pieces, but I'm still proud of them), one of my friends shot a photograph and all my concentration on the piece - which I was performing in public for the first time - went down the gutter for a second, I hit a series of wrong notes, and actually someone mentioned afterwards that she had noticed I was distracted for a second. Anyway, I did not leave the stage and I'm still overall happy with the whole gig. Thanks JF ------------------------------ Date: Mon, 06 Apr 1998 22:08:02 +0200 From: hugo abbati Subject: EXCUSE ME WOULD YOU GIVE ME THE FRIPP'S GUITAR SCHOOL'S ADRESS IN U.S.A.? THANKS (PLEASE). ------------------------------ Date: Mon, 6 Apr 1998 13:52:14 -0700 From: Brian Arnold Subject: Trey's Display (Top Ten) Okay, here goes. Top Ten Suspected Sayings on Trey's Display: 09) "This Space For Rent (Sector G3)" 08) "thrak thrak thrakkity thrak thrakkitythrakkity" 07) "Eat my space, bagel boy" 06) "Wooosh" 05) "When the Creative arrives in space, it eats bagels" 04) "You Can Too Hear My Parts On King Crimson Releases" 03) "In Space There Is No Cigar" 02) "Out Getting Coffee, Back In Five Minutes" 01) "What we hear is the quality of our bagels. Listening is how we eat bagels. Hearing is is how we digest them." And the Number One Suspected Saying: 00) "In Space There Is No Yeast." (An obvious reference to bagels) Send me your favorites via private e-mail, and I'll compile an Official ET Top Ten Suspected Trey Display Sayings. - Brian ------------------------------ Date: Mon, 6 Apr 1998 18:34:44 -0400 From: "Dave Didur" Subject: Greenslade The topic of Andy Mculloch in Greenslade was bought up two weeks back, but I have just caught up recently,,, A long time ago I bought a book entitled 'Who's Who in Rock and Roll'. It was used, two dollars, and only goes up to 1980...perfect! It is very comprehensive, even concerning obscure prog bands and members. One of the first things I did was look up King Crimson, and every member (checking for solo work, collaboarations, other bands etc...). Thus I discovered Greenslade, with Andy Mculloch. Incidentaly, concerning the KC and the blues thread a while back, it's interesting to note that after Islands, Ian, Boz, and Mel ran away and played with Alexis Korner on an album called 'SNAPE, Accidentally born in New Orleans'. It's straight up blues, no question. Thanks to the fine store 'Records on Wheels' I was able to purchase both Snape, and Greenslade on original vinyl. I have 'Bedside Manners are Extra' (chosen for the song 'Drum Folk' which is basically and extended drum solo+ mellotron and keys- excellet). Bedside Manners... is the superior of the two, however, all the music is fun and dynamic, and in my opion, progressive. There is lots of mellotron- scaping, flauting, and rocking (on spyglass guest). It's highly enjoyable, particularily the instrumantals. Unfortunately, the jazzier, free flowing style of drumming found on Lizard is not much in evidence on most tracks, the drums being more traditionally rockin'. Andy also played on an album by Anthony Phillips in 1980 (Giles did in '79- or vice versa). Any reviews of these sessions? carl. ------------------------------ Date: Mon, 6 Apr 1998 19:02:04 -0400 (EDT) From: Zero the Hero Subject: Re: TAB (take two) My friend Dan Luft (HexaCorde at aol dot com) came up with a brilliant response to the April Fools' Soundscapes request/joke: Q: "anyone got TAB for [Fripp] soundscapes?" A: Actually its a fair request. The tab is as follows: 13/16 jauntily (and heavilly delayed) 16th fret || --------------------------------------- || ---------whiiiiiiiiiiiiiiiish------------- ||---------------------whoooooooo--- ||--------------------------------------- ||----------skrrrrrraaachkkkkk------- ||---------------------------------yip--- repeat while shifting time signatures by a factor of 3 each measure and cycling through the circle of fifths. ------------------------------ Date: Mon, 06 Apr 1998 16:17:43 -0700 From: Jason Thornton Subject: What's an instrument worth (Responses to my hypothetical A few issues ago, I posed an interesting (to me) question to my fellow E-Talkers: What, if anything, would a musical instrument previously owned by a member of King Crimson be worth? In particular, a Chapman Stick previously owned by Mr. Tony Levin. I want to thank everyone publicly for their considerate and thoughtful private (at Toby's request) responses. The general consensus among E-Talkers (and StickWired folks) seems to be that, considering the cost of high-end instruments, a Stick owned by Tony Levin is probably not worth more than a similar instrument would be worth used regardless of owner. As far as the ethics issue, no one seemed too disturbed by the idea of selling the instrument for a "collector's price," (i.e., no one suggested the seller would be trying to rip anyone off) but most did doubt that the market existed. A few suggested that more satisfaction might be gained selling it to someone who appreciates the history of the instrument, as opposed to making big mega-bucks off of it. In some sense, I agree, although, I probably wouldn't let it go for anything but an above-average price, except perhaps to a close friend. To be perfectly honest, though, part of me did hope that the market was there, and that I could sell the axe for a premium price. For those curious, no I wasn't considering purchasing the Stick, I've already owned it for a couple of years. And, no, I'm not the sort of "obsessed" fan who would pay more for Levin's Stick - in fact, I picked it up for a typical used price from Stick Enterprises, simply because I was dying to learn the instrument. In some ways, admittedly, it's fun (that's the best word for it) to own a Stick owned by a great musician like Tony. If only for the fact that it's a great conversation piece, and does get some "ooo's" and "ah's" among Stick players, KC fans, PG-heads, etc. The reason I purchased the Stick was not because Mr. Levin owned it - it was more a "right time, right place" situation. I had been looking for a used Stick for a few months...and a friend told me Stick Enterprises had one in stock...it just happened to be one of Tony's old ones. I doubt I'd even consider making a purchase like this (Levin's Stick, Fripp's guitar, Bill's drums) unless I were a dedicated player or student. In any case, I have heard of bandgear from "famous" artists being auctioned off on the radio here in San Diego, for charity, and such items always seem to find a buyer - often one willing to pay a good sum of cash. It did make curious whether such a market existed amongst Levin fans... In any case, thanks to everyone's input, I've decided to hang onto my Stick awhile longer. Hey, Trey, if you've got a 12-string you want to sell, just let me know. Might as well make it a set. ;) Cheers! * -------------------------------------------------------------- Jason R. Thornton || Chapman Stick, Silver #2125 * -------------------------------------------------------------- "Only the few know the sweetness of the twisted apples." - Sherwood Anderson * -------------------------------------------------------------- ------------------------------ Date: Tue, 7 Apr 1998 04:41:39 -0700 From: atavachron at webtv dot net (Ameet Sambray) Subject: is the new bruford levin upper extrem cd available in stores? Also how long time wise is it? Take care... ------------------------------ Date: Tue, 7 Apr 1998 09:49:27 -0400 From: BULLJ1 at westat dot com (BULLJ1) Subject: thanks ET481 was hysterical! I guess geeks do have humor. My favorite was the request for Soundscapes tablature. Joan Bull bullj1 at westat dot com ------------------------------ Date: Tue, 7 Apr 1998 18:26:56 +0400 From: "Expert" Subject: ProgRock boots for sale or trade Hello everybody - I would like to offer my collection of Progressive Rock bootlegs for sale or trade. It includes: King Crimson (2 titles), Fripp (1), Genesis (6), Yes (1), Blondie w/Fripp (1), Tory Amos (1), Bjork (3), Bowie (4), John Cale (1), Lanois (1), Phil Collins (2), Peter Gabriel (1), The Cure (2), Dead Can Dance (1), Japan (1), Jethro Tull (5), Led Zeppelin (5), John McLaughlin & Carlos Santana (1), Pat Metheny (1), Page & Plant (1), Pink Floyd (8), Queen (3), REM (8), Roxy Music (2), Rush (2), U2 (18), Van der Graaf Generator (1), Tom Waits (1). I also have The Beatles (6), Bee Gees (1), Clapton (8), The Rolling Stones (5), Cocker (1), Deep Purple (1), Depeche Mode (1), Dire Straits (1), Nazareth (1), The Doors (5), Duran Duran (1), Dylan (4), The Eagles (1), Fleetwood Mac/Nicks (1), Guns'n'Roses (15), Steve Harley and Cockney Rebel (1), Jimi Hendrix (2), Jane's Addiction (1), Jefferson Airplane (1), Billy Joel (4), Elton John (2), Lennon (2), McCartney (2), Meatloaf (3), Van Morrison (1), Nirvana (3), Pearl Jam (7), The Police (2), Sting (4), Red Hot Chili Peppers (2), Simon & Garfunkel (4), Soundgarden (1), Springsteen (4), Rod Stewart (2), Van Halen (2), The Who (2), Neil Young (3). , ------------------------------ Date: Tue, 07 Apr 1998 17:02:06 -0400 From: Darren Franck Subject: worthless bits of information I want to thank Toby for not releasing my reply to ET #481. I've never been accused of being too perceptive. Just want to pass along a couple of brief moments of Crimson I witnessed on the tele...VH1 had a countdown of the 100 greatest artists of rock and Zappa was in the 60's. They had a short snippet of Adrian Belew saying how complex FZ's arrangements were. That's it...pretty worthless, eh? Also I saw a rerun of Saturday Night Live with the Spin Doctors were the musical guests. They showed a still of the band before their performance where the lead singer was posed like the Crimson King on the inner sleeve of ITCOTCK (two fingers raised and the other hand extended out). Useless knowledge, but I thought I'd let y'all know. Got B.L.U.E. recently. Great stuff. Bruford's and Levin's excellence didn't surprise me, but I was very impressed with Botti and Torn, who I had never heard before. I just feel bad that I'll have to miss the shows in D.C. and Baltimore. Darren F. Blacksburg VA ------------------------------ Date: Tue, 7 Apr 1998 17:45:47 +0000 From: dlawrence at fkp dot com (Don Lawrence) Subject: First Three Box First off thanks to Ashley & Louis for the effort to compile the formidable 10+ list. I found it personally enlightening to see the large variety of music that the participating crimson fans enjoy. Although it is certainly not as hard to find as The Great Deceiver, I found a nice used copy of "the first three collectors box set" at a local cd dealer. I grabbed it under the believe that it could be of interest to someone here. It was $30 US. It contains picture disc cds of the first three crimson releases. Interestingly, only ITCOTCK is a "definitive edition". All three are in great condition. If interested let me know. Replies by private email please. Finally, thanks to toby for a great april fools edition. Don dlawrence at fkp dot com ------------------------------ Date: Tue, 7 Apr 1998 19:04:15 -0500 From: "Bill Knispel" Subject: Space Groove: ProjeKct 2 CD thoughts I just got my copy of SPACE GROOVE via the wonderful people at Possible Productions...it just arrived via mail yesterday. Just a copule thoughts.... Loads of funk. Grooves a plenty. Not very much space-ness. Fripp does rip a great solo on SG 1, but much of the rest is jazzy, vibes and other MIDI sounds abounding. This is certainly not accessible material, but it does present an interesting side of the musicians that otherwise might not have been seen. It's strange that this is Fripp/Gunn/Belew you can dance to...I wonder how the shows compare. My one big complaint...the font used in the liner notes (I assume it's meant to cop a Star Trek feel) is almost impossible to read easily. I wish it was clearer. If you don't have SPace Groove yet, I really think you should really try to give it a go. It ain't KC...but man, you can just about feel it around some corners... Bill May my living honour my family and friends. May my living repay the debt of my existence. Robert Fripp 1995 "Cast your eyes on the ocean, cast your soul to the sea, When the dark night seems endless, please remember me." Loreena McKennitt ------------------------------ Date: Wed, 8 Apr 1998 12:39:36 +0100 From: "Regent Export Plc" Subject: Seeking Dinosaur single Dear E T Where can one purchase the Dinosaur Single, as I never saw it in the Uk Regards Robert Dunford regentex at globalnet dot co dot uk ------------------------------ Date: Wed, 8 Apr 1998 09:43:39 EDT From: Goodcraker Subject: Tattoo you Tattoos? KC tattoos? I am waay ahead of all of you. Got my LTiA tat on my left calve around 6 years ago, and already have plans to get Discipline on the other leg. And I know some of the technophiles out there are rolling their eyes at reading this, but I am a fan of almost twenty years and faaaaar from the biker type. Im just what you'd call a Crimhead, Fripphead and on June 4 and 5 in Chicago a Projekthead. Hope to see alot of you there. Park West is a great venue. Returning to my lurking position..in the weeds......T Murphy ------------------------------ Date: Tue, 7 Apr 1998 23:25:20 +0700 From: "Boris Voron" Subject: From Russia about Crimson Hello! I was greatly impressed by album -Red- 1974. Fascinating music with mystical (in christianian tradishion) sense is wonderful. "Fallen angel" - "Providence" - "Starless": "There is certanly connection between Love, Music and Poetry". (Robert Burns) I'd like to recieve original texts from -Red- 1974 for translate to russian language. Thanks very much! Boris B. Voron. Russia. ------------------------------ Date: Wed, 8 Apr 1998 11:56:57 -0700 From: abhiman at juno dot com Subject: gig review - P2, house of blues, 3/24 hello ETers, i won't go into detail about the actual performance but i did have two very interesting encounters with Robert earlier that day: Fanatically, Kevin (my best friend) and I showed up at West Hollywood at around 2:00 p.m. We figured we'd get a chance to look around, find some interesting record stores, have a couple of drinks, and hopefully get to talk to 1/6, 1/3, or 1/2 of King Crimson. After walking around for a bit, we decided to hang around at the entrance of the House of Blues. Since 2:00, Kevin and I have been jokingly pointing at balding, eyeglassed citizens and swearing (not really) that these people are either Fripp or Fripp's long lost twins. Well who should we see crossing Sunset Blvd with guitar in hand but "Chuckles" Fripp himself...apparently he was staying at the Hyatt right across the street when we noticed him in the center divider waiting for a chance to cross the next half of the street. But the great thing is he was standing right next to a sign that said "Jaywalking is a crime punishable up to (and i can't remember the actual $ amount) dollars". So the entire time we just stare at the great deceiver, as he looks to the entrance and completely avoids making eye-contact with two typical earnest young men. 5:00 p.m....we are the only ones here for the gig so far. not surprising considering the doors open at 8:15 (?) and the show starts at 9!! The security guard at the entrance says, you guys here for the show? we reply "yes". He said that we could go in for a drink if we like...now at this point Kevin and i already had a beer each, so we weren't terribly keen on consuming any more...however we hear the boys soundchecking inside, so we casually walk in the door with full clearance and what not. So, besides the 3 Crimsons, and all the sound-technicians (including the ever-hospitable Chris who is mentioned in Christie's review of this performance) it's just Kevin and myself that are standing in the balcony of the HoB. They start jamming into this wonderful piece which for some reason wasn't played that evening...kind of sounded a bit like "when i say stop, continue". the whole time Adrian is smiling at us, we're cheering him on, he responds by speeding up BIG TIME and can't get that damn Belew grin of his face. Damn, he's a nice guy! Trey has no clue that we're up at the balcony. Fripp sees us, nods his head after i wave to him, continues playing. A half hour passes and Adrian and Trey have returned backstage. It's just Fripp now, playing with his toys, trying to get the right sound for this particular venue. He stops playing, stares at me for (I kid you not.) 60 SECONDS without blinking or looking elsewhere. At this point I've broken out into a mean sweat, and I'm looking around trying to pass this scary experience as something of a nightmare. Fripp: "Have you seen enough?" Me: "Pardon?" [i couldn't hear him very well.] Fripp: "Have you seen enough? I mean, if you haven't seen enough then I'll just go backstage and as soon as you've seen enough, I'll come back and play some more. Does that sound good?" Now while he was speaking, I thought nothing of this conversation...Fripp spoke to me. Cool, right? But then throughout the course of the evening I kept thinking about the whole audient/performer relationship. About all the people on ET who have tried to talk to Fripp but instead have the Schizoid Man dart for the nearest door backstage. About Adrian loving the attention and Robert hating it. So I came to the conclusion that Robert (a) is civil to his colleagues, (b) respectful to his audience as a whole [as one reads his liner notes], and (c) a complete @#$%&! to the singular audient. However, something good came out of this. Up until this point, Fripp (to me) was this musical, intangible enigma who would continue to remain enigmatic to me until his death...or mine! But the fact of the matter is, Fripp is one hell of a talented (did i mention pompous?) human being who can play as if the guitar was a true part of him. I'm not one of those who feels the need to directly write to Fripp and whine because he didn't smile and open his arms out for a hearty embrace. I would have just preferred if he got one of his technicians to come up to the balcony and ask us to let him soundcheck in privacy, rather than be subjected to Fripp's "cosmic" and notoriously-condescending humour. The rest of the evening was wonderful as Kevin and I had dinner with a fellow ETer, Christie. Burgers were the choice for us as that was the cheapest thing on the menu. We soon met up with Matt and Mike, also ETers, and just had a blast exchanging stories and finally answering the age-old question, "Where are all the local Crimsoids?" The performance was excellent and I'm sure the others will agree with me when I say that the next King Crimson album will have a heavy Trey Gunn influence. Hope to see Christie, Matt, Mike, as well as some new faces at the next King Crimson performance...whenever that will be! Take care. wearing the inside out, Abhi ------------------------------ Date: Thu, 09 Apr 1998 00:01:01 +0200 From: Massimo Bracco Subject: RE : Pat Mastelotto - What's he been up to? Dear Eters we're all wondering what happened to dear old Pat in the meantime of these wild live improvs by all KC's members... And the answer is simple : PAT will be starring in the next PROJEkCT THREE, kind of power-dance trio with Fripp and Trey that is intended to be a true 90's follow-up to League of Gentlemen. Believe me, this is NOT an hoax. It's a true assertion that came from Trey's lips in an interview for the Italian Mag GUITAR CLUB one year ago (actually was FEB97 issue) I'm not sure if Mr.FRIPP has changed his mind in the meantime, but certainly this Project's idea existed 16/18 months ago. At that time the ProjeKct Series wasn't born yet in its full form, but was already clear thatthe guys from the band wanted to experience something different outside KC format. ThrakByes SPACEGROOVE IS THE PLACE MAX from ITALY ------------------------------ Date: Thu, 09 Apr 1998 00:28:39 -0700 From: Peter Shindler Subject: Crafties in Boston?, BLUE, Brufordtronics Hiya. This being my first post after several months of lurking, I hope you'll excuse the unusual length. I've recently become very interested in Guitar Craft and I'm wondering if there's any GC-related resources in the Boston area; for instance, any guitar instructors who teach in the Crafty style, or perhaps a group of local Crafties who are still active in some form or another. Some recent events have really made me want to explore GC in more detail than I can get from listening to "Intergalactic Boogie Express" and trying to figure out what's going on- first, I was accepted to Berklee (like 78% of the applicants, save your applause) so I've been boning up on theory, and, more directly, I recently started on the Chapman Stick, an instrument which one could swear was made expressly for playing Crafty-type music (except that it was invented in 1974). Anyway, if anyone's got any information to share on this, please e-mail me privately. Thanks. I've got my tickets for BLUE at the House of Blues in Cambridge on April 19th (I'll be the guy with wire-rim glasses and the Snoopy hat), but it sold out quickly and some of my friends (non-Crimson Freaks who really need to be exposed) didn't get tickets. Anyone with any extras is similarly encouraged to e-mail me. One last waste of bandwidth: how cool would it be if Bruford borrowed Fripp's Soundscaping rig and went to work with his drumset? I imagine something like Steve Reich's "Drumming" with lots of funny electronic noises dispersed throughout. Just a thought. Sorry for the length, I'll shut up again now. Attempting to summon Projekct 2 to Boston by ESP, Peter ------------------------------ Date: Thu, 9 Apr 1998 11:20:00 -0600 (MDT) From: Jim Bauer Subject: Did Eddie Jobson Ever Play with KC? Dear Fellor ETers: The title about sums it up, though I've wondered about this for quite awhile. On the backcover of my old vinyl copy of USA, it credits Eddie Jobson of Roxy Music with "remix assistance;" keyboards on a couple songs and violin on Schizoid Man (you mean that wasn't Dave Cross?). I have two ways of interpreting this: 1), he assisted the engineers in the studio during the remix; or 2) they overdubbed some tracks in the studio. In a sense, though, Eddie Jobson did indeed play with King Crimson, albeit a KC fractal: Wetton and Bruford both played on UK, with Jobson and Allan Holdsworth on guitar. Nicotine-free Jim http://www.hi-line.net/~jbauer/ ------------------------------ Date: Thu, 9 Apr 1998 17:51:44 -0500 (CDT) From: flaherty michael w Subject: Marriagemuzic I would be interested in hearing (at the above E-Mail address) from anyone who owns a copy (original, tape, whatever) of the song Marriagemuzic (L of Gents 45). Michael Flaherty ------------------------------ Date: Thu, 9 Apr 1998 23:19:51 -0400 From: "Dave Didur" Subject: Discipline Knots In reference to the Discipline Cover... >I certainly wouldn't pretend to know exactly what this >means, but I'm almost certain that the fact that it is one >unbroken line is significant to its meaning. I believe it is actually two lines. I really love that sort of design (Celtic knots and such-e.g. LIZARD), but am sadly quite ignorant... anybody know of a good resource for learning about this? Private E-mail is great >ab503 at freenet dot hamilton dot on dot ca ------------------------------ Date: Fri, 10 Apr 1998 08:50:51 -0500 From: "Ced" Subject: Crimson's New Direction -- One Man's Opinion Greetings All: Much ado has been made about the KC "ProjeKcts" and the improvised formats therein. Many of us (self included) are wondering if the lads are straying away from the format that has endeared them to us over the years. Having heard parts of ProjeKct 2's "Space Groove," and given the love it/hate it reaction to "ThrakAttack," I can see where this concern is coming from. Far be it from me to presume that I know the mind of Robert Fripp, but given the pattern of his Crimson compositions, and the current instrumentation of the double trio, I think we'd better get used to what we're hearing, and be prepared for much more of it. I don't think improv will be the only direction of travel for the band on their new record (whenever it surfaces), but I think it'll be the biggest link in the chain. Consider: Fripp has always incorporated improv segments into concerts and on records ("Fracture," "The Fright Watch," etc). But the music of the 70s seemed to lack -- for lack of a better phrase -- a sense of melodic structure. You couldn't tap your foot to it very easily. Fripp and Bruford are students of the abstract. Enter Adrian Belew and Tony Levin. They bring with them genuine musicianship, AND a sense of melody. A hook, if you will. They can safely straddle the line, and give the band the best of both worlds ("Heartbeat," "Matte Kudesai," "Industry," "Requiem," and so on). The 70s band moved from one concept to the next. The 80s band moved from one SONG to the next. Some were just more abstract than others. In the 90s, we get the 80s band, plus two additional musicians who can hold the "rhythmic fort" while the rest of the band steps out. Or they can step out themselves. Combine that with the advances in technology, and you have a band primed to step into the Great Improvisational Unknown, while still able to put out a "single" or two. Robert Fripp is the luckiest man in the world. He has a band that can sing a catchy song, or shred wallpaper with an instrumental. I can't think of a single band in this day and age that can do both well, within the same set. Guitar, bass, drums, and violin couldn't capture what Fripp was after. "Frippertronics" was a step in the right direction. But the time has finally come. Guitars, guitar synth, Soundscaping, upright and electric bass, stick, Warr guitar, drums, percussion, loops, chordal drums and who knows what else are ALL at this band's disposal, right here and right now. King Crimson is more than a band. It is a six-man orchestra! We should be thrilled at the gumption of this group. With that in mind, no one in good faith could (or should) ask this band to tread water. To become stagnant now is to destroy the canvas just as the best touches are about to be added. As much as I love "Dinosaur," I don't want to hear it again, with a different title. As much as I enjoyed THRAK, it's clear to me now that this band was just starting to realize its potential. They haven't gotten it right yet, is what I believe they're thinking. We're close, but ... I personally would love to see a double studio album. One disc would be the singles, mostly Belew's doing. The catchy tunes (with interesting twists, rhythmic and otherwise) and other musings that could be captured in seven minutes or less. The other disc would be the six-man improv. The beast that comes from a simple theme statement, and continues to mutate until it finds its true voice, and goes until the end. How long does it take? Who cares! Just sit back and enjoy the ride. Will that happen? Probably not. But it WILL happen on one disc. The point is, we as fans need to allow the artist room to grow and develop his craft. That's why King Crimson are considered artists, and not pop stars. I said a long time ago that I love this band because they don't talk down to me. This -- the next phase -- is what I'm talking about. Keyboardist Keith Jarrett once told a great story about MIles Davis. During the 70s, Miles was once too ill to carry on with one of his "acid funk" shows of that period. So he started playing his ballads from the 60s, something he NEVER did. When that failed, he left the stage. Jarrett found him in the dressing room, where Miles asked Keith, "Do you know why I don't play ballads any more?" When Keith shook his head, MIles replied, "Because I love playing ballads so much." This, folks, is the mark of an ARTIST. He understands that even what he loves has to evolve. Put Fripp, et al, in this category as well. "Starless" was cool. Frippertronics? Great idea! But why stop there? Soundscaping may not be the end, either. We have to let it evolve, and see where it goes. Anybody can repeat himself just to sell records. An ARTIST puts his butt on the line every time he picks up his instrument. As a music lover, and an aspiring part-time musician, I thank God every day for the likes of Miles and Robert Fripp. Long live the music revolution. Whatever form it takes, I'll be listening. I hope you will, too. Until next time ... Peace, Ced ------------------------------ Date: Fri, 10 Apr 1998 19:28:09 -0500 (CDT) From: "R. CUDNEY" Subject: Just got Space Groove I just got Space Groove in the mail from CD-Now, and I have to say that I love just about everything about it. I love the packaging, with the John Miller cover, Adrian's sci-fi liner notes, and the little comments sprinkled around like 'space is still the place'(a reference to sun ra?). I also loved the price-12.99+s/h for two cds!. I also love the music. It is the sort of thing I always wished that modern king crimson would make, long continuous instrumentals. Hearing this makes me anticipate eagerly what the next king crimson record will eventually be. I will quickly buy the sequel time groove, as well as the projekct one album when it comes. However, there is just one thing about this album that bothers me, and that is its length. I suppose for such a good price it is a long album. However, in their online diaries, Adrian and Trey both talk about how incredible all of the music was and how much there was, so it seems strange that they didn't release more, in particular that Robert Fripp solo that so astonished Trey et al. At least knowing that there is all of this material in the vaults means that even when (God Forbid!)King Crimson are long gone, there will still be plenty to release, so that Fripp can 'steal' our money with excessive releases for all eternity. In general, it seems like there is much material left to be released: a '96 Crimson live album, that soundscape performance where the gates opened that was supposed to be the core of the Gates of Paradise, Soundbites, 1999 part two, and also the sequel to Thrakattack that the band said would be necessary since their improvs got so much better after Thrakattack came out. Will any of this material ever be seen? I also was glad to discover that The Gates of Paradise will finally be released in the US, which I don't think has been mentioned here yet. The release date is 4-28. Why is it that this release is nowhere mentioned on the official DGM site? ------------------------------ Date: Sat, 11 Apr 1998 14:47:11 -0400 From: BARB & LARRY Subject: Earthbound Great site you seem to have. I just found it today & haven't had a chance to get anything but the most cursory of perusals. Sure looks extensive! I am wondering if you could help me with an annoying problem. I have a copy of "Earthbound" on LP. It's an Italian release & unfortunately, I don't speak(read) Italian. I'm hoping you could let me know what the back cover notes are in english. Thanks in advance. Later, Lars. ------------------------------ Date: Sat, 11 Apr 1998 22:02:38 -0600 From: John Smallwood Subject: Ian Wallace's projects post-KC Thanks to several informative e-mails from many ETers I have the first attempt at compiling a list of the musicians Ian Wallace has played with since leaving King Crimson. If someone e-mailed a suggestion his/her name is in parenthesis after the entry. Special thanks to John at tam625 at hooked dot net. Not in any particular order: The Warriors Big Sound The Bonzo Doo-Dah Dog Band Vivian Stanshall's Big Grunt Neil Innes/The World King Crimson Alexis Korner/Snape (Mark at Mrkndrew at aol dot com) Graham Bell Billy Burnette Jackson Heights Alvin Lee and Mylon LeFevre (Doug at drobillard at hotmail dot com) Pete Sinfield Keith Christmas Alvin Lee (Doug at drobillard at hotmail dot com) Streetwalkers first (Roger Chapman, Charlie Whitney -with John Wetton) Big Jim Sullivan Alexis Korner Steve Marriott Lonnie Mack Bob Dylan (Rajeev at lcampos at flash dot net) Tears Keith Emerson Ronnie Wood David Lindley and El Rayo-X (ab at andrew at andreworld dot com) Jon Anderson Greg Copeland Don Henley Warren Zevon (Tim Hennigar at enhelect at istar dot ca) Stevie Nicks Chas and Dave Graham Nash Christine McVie Crosby, Stills, and Nash Crosby, Stills, Nash, and Young (recording) Jackson Browne Bonnie Raitt Traveling Wilburys Roy Orbison Duster Bennett Gerry Goffin Humble Pie Jump in the Water Jono Manson Procol Harum Johnny Halliday Larry Coryell Wallace-Trainor Conspiracy In addition I know of a project which had only a few recording sessions in Nashville which included Ian, Joe Walsh, Nicky Hopkins, and Frankie Miller. The project stalled when the Eagles reformed (and Ian's gig with Henley ended then, too), and since then of course tragedy struck both Nicky Hopkins and Frankie Miller. I've only heard rough mixes of the music but it's pretty good. Also, Ian played drums at Henley's performance at President Clinton's Inaugural Ball. He was on the road and I taped it for him, ignoring the broadsides during the show levied at the better Republican candidates. Please let me know if there are any other suggestions. Thanks. John Smallwood ------------------------------ Date: Mon, 13 Apr 1998 01:37:35 EDT From: Close2Edge Subject: Add the twin cities to the midwest tour! I am very glad that Projekct 2 will be touring the midwest this summer, bu I am disappointed that they won't be coming anywhere near Minneapolis/ St. Paul. Just one voice here saying that an audience exists! This is also an opportunity for any Twin Cities area ET'ers to E-mail me and let me know you're out there Eric J. Thorson ------------------------------ Date: Mon, 13 Apr 1998 12:51:40 -0400 From: Sanjay Krishnaswamy Subject: B.L.U.E Like probably everyone on the list, I'm listening to "Space Groove" a lot. However -- just thought I'd say I _really_ like "B.L.U.E." Which other people have said -- but, for the record, I thought "Bozzio Levin Stevens" and "If Summer Had its Ghosts" were really pretty poor (in my opinion) and I didn't care too much for Torn's "Cloud about Mercury" despite my respect for all the players -- so I had approached "Upper Extremities" with real hesitiations. So for others out there who also didn't appreciate Mr. Bruford's nor Mr. Levin's outings from Crim, this one's still probably worth your giving a listen to. ------------------------------ Date: Mon, 13 Apr 1998 19:16:10 -0600 (CST) From: Rafael Balboa Rivera Subject: this is for you...... The next text is one of what THRAK means for me, and i wolud like to share with all of you my sincerity and admiration to KC.... THRAK THRAK, is the god of desires. THRAK, is the Fat man eating the whole cake following some diets. THRAK, is when you turn on the radio laud disturbing the neighbors. THRAK, is the never understanding Art of the grotesque. THRAK, came from the heart of a WAR guitar. THRAK, is when you start the fire unconciously in the forest. THRAK, is the most purely THRAK. THRAK, are when the children hurts the teacher, and she cries. THRAK, are the Judges looking how the inocents suffer. THRAK, is the nightmare that you are afraid of, but you cant remember. -but, What THRAK means? THRAK is something That you cant see and you cant touch. When you see a THRAK, this is not the real THRAK. Anger,Fury and Tragedy belongs to men but doesnt belongs to THRAK. THRAK, are the words that you already known but you never say. THRAK, is when you cut your veins. Without bleeding. THRAK, is when the King wins sacrifying his soldiers. THRAK, are Fripp, Belew, Gunn, Masteloto, Bruford and Levin playing on a gig THRAK, is Sweetness and violence in one string. -Then, THRAK is something EVIL? IF YOU THINK THRAK IS SOMETHING INSANE OR EVIL. THIS IS NOT EVEN CLOSELY A, "THRAK DEFINITION". -............................ Rafael Balboa Rivera al704859 at campus dot ccm dot itesm dot mx -here in Mexico City are many KC fans! ------------------------------ Date: Tue, 14 Apr 1998 00:52:44 EDT From: Bolinhed Subject: GIG REVIEW: BLUE at Toad's A beautiful BLUE show at Toad's Place in New Haven earlier tonite (Mon. 4/13). The boys were seemingly psychic - Bruford would wander in and out of time iwht utter assurance of stepping back in whenever he felt like it. Torn too - who had PLENTY of effects but used them very nicely as a sound palette - does anyone know what that thing on a string(wire) was that he was shaking around? It was the commentaryof those around me that Levin was the least virtuosic but I think they focused on his anchoring of the sound and were fooled by his apparent ease at doing what he do. Where is Cotti from? Jim ------------------------------ End of Elephant-Talk Digest #484 ********************************