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 #486 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 486 Sunday, 19 April 1998 Today's Topics: NEWS: ET Web Survey # 1 Results NEWS: Press Release: Emmet Chapman's Lawsuit -- Dismissed! NEWS: WLYK issue 8 GIG BIZ: Looking for Boston B.L.U.E ticket Peter Sinfield: "Stillusion" MR. Tony Levin (the morph master) The Discipline Era Thanks to all of you space groove comments not surpising Re: gig review - P2, house of blues, 3/24 in ET#484 Re: Earthbound (BARB & LARRY) those troublesome ET demographics Levin in the Boston Globe, Space Groove Re: Elephant Talk Digest #484 A Few Remarks O come, o come... Space Groove & Islands Re: Ian Wallace Exiles and Covers Speakers, headphones, and Lou Reed Re: BLUE review, Fripp/Cross, pussyfooting explained, Warr/Chapman suit? Tokyo Tapes Musings... Re: about mr. fripp & mr eno Space Groove ET "Favorite Track" Survey RE : Pat Mastelotto - What's he been up to? WLYK issue 8 Trade ------------------ 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: Sat, 18 Apr 1998 14:14:45 EDT From: DanKirkd Subject: NEWS: ET Web Survey # 1 Results ETers, Thank you for participating in our first ET Web survey. We received 631 responses to the question "Which is your favorite King Crimson release?". I have tabulated the reponses for all to see on the Surveys page at ET Web. I'll only divulge here that "Red" was the top selection by a narrow margin. It is also clear that the 1972-74 band was in general most favored. I'll leave it to you to further analyze the results as you feel fit. One last note: all releases received at least one vote. Make sure you vote in Survey # 2, "Which is your favorite King Crimson track?" Cheers, Dan ET Web http://www.elephant-talk.com/ ------------------------------ Date: Tue, 07 Apr 1998 15:19:55 -0700 From: Traktor Topaz Subject: NEWS: Press Release: Emmet Chapman's Lawsuit -- Dismissed! For Immediate Release: "Chapman Lawsuit Dismissed!" -- by defendant Traktor Topaz [ I have decided not to include the text of Traktor's Press Release in ET. This is because it is rather detailed and legally technical. If I were to publish the Release, I would then feel obligated to publish any detailed response by Emmett Chapman, and so on. I don't believe ET is the appropriate forum for such exchanges. Instead I refer interested readers to Traktor's full acccount at http://www.traktor.com/lawsuit/dismissed/, and of course the full text of the Press Release can be obtained from Traktor himself at traktor at traktor dot com. -- Toby ] ** Post Office Box 969, Fairfax CA 94978 http://www.traktor.com ** ** "The fates lead him who will. Him who won't, they drag." -Cicero ** ------------------------------ Date: Sun, 19 Apr 1998 11:58:16 +0100 From: Michael Madden Subject: NEWS: WLYK issue 8 Dear ET Issue 8 of the Crimson Newsletter We`ll Let You Know is now available, featuring reviews and comment on all things Crimson and Fripp related. Featured in this issue are Adrian Belew interview: Many of the readers sent questions to Adrian which he very kindly answered. David Cross Interview: WLYK had to opportunity to talk to David earlier in the year, covering many things from pre 72-74 Crimson right though to Exiles, his recent solo recording. Also Featured: Part 2 of the Wetton Story, Epitaph for short attention spans how to fit it on to a C90 tape not missing out any of the good bits and reviews from readers of Breathe, Cheikha Rimmitti, Chasing the Deer, Arkangle, Something with a pulse, Space Groove and If Summer Had its Ghosts, Exiles, Schizoid Dimension and Blueprints. #2.00 an Issue, or see options listed below: Option one Any readers taking out a 4 issue subscription (#7.50) can choose any single back issue free. All other back issues can also be obtained for #1.00.This offer only applies when taking out a Full 4 issue Subscription. Option Two Any readers taking out a two issue subscription (#4.00) Can choose a single back issue free. This offer only applies when taking out a 2 issue Subscription. If You are not taking up option 1 or 2 the price for back issues is #2.00 If you would like a copy of the newsletter or would just like to find out more about the newsletter. Please e-mail Darren or myself. Darren Woolsey the Editor, e-mail: darren dot woolsey at virgin dot net Next issue due in June will feature Pt. 3 of John Wetton feature, Start of the Deceiver Revisited project, lots of news and reviews and another Crimson related interview if we find a willing Crimson member past or present. Anyone who would like to contribute material to the Newsletter would be most welcome. It is the Newsletters aim to publish everything which is submitted if possible. Not everyone has e-mail, much of the news and views expressed here on ET are not common knowledge to the none net surfing Crimson fans which are out there, so if you do have any Crimson Talk of interest please post it to We`ll Let You Know, see e-mail address above. Thanks for your time, look forward to hearing from you in the near future, If any of you have time please send WLYK a Project 2 review. Best Wishes Michael Madden ------------------------------ Date: Sat, 18 Apr 1998 17:16:54 -0400 From: Ken Lacouture Subject: GIG BIZ: Looking for Boston B.L.U.E ticket If anyone has a spare ticket to this Sundays show at the House of Blues (Boston) of Bruford/Levin Upper Extremities, I will buy it without hesitation! Please respond to Ken at "6kenlac.worldnet.att.net", but take the "6" off the front of the address (trying to protect this address from spammers). Thanks, Ken Lacouture ------------------------------ Date: Fri, 17 Apr 1998 17:25:12 PDT From: "Nate Olmos" Subject: Peter Sinfield: "Stillusion" Hello There, Fellow ET Readers: Browsing (as is my habit) through one of the many record shops I frequent in my neighborhood, I happened to come across Peter Sinfield's album "Stillusion" on CD in the shop's "progressive rock" section. Needless to say, I bought it without hesitation. As I understand, "Stillusion" is the re-release of Sinfield's 1973 solo album "Still" with some extra tracks originally intended for a second album that didn't pan out. Sinfield plays 12-string guitar, synthesizer, and sings lead vocals (and, of course, writes all the lyrics) on all tracks except the closing selection "Still," in which vocals are shared with fellow King Crimson alumnus Greg Lake (who also plays electric guitar on "A House of Hopes and Dreams" and sings background vocals on "Wholefood Boogie"). His (Sinfield's) voice falls somewhere between Boz's histrionics on "Islands" and Gordon Haskell's hushed voice on "Lizard". It's not very strong, but it has its moments, such as his hushed delivery of "The Piper" and his appropriately cynical vocalizing on "Wholefood Boogie". Of the album's tracks, the music presents Sinfield attempting to stretch beyond the boundaries of his former band. Stylistic diversity is evident on tracks such as the jazz-rock "Night People" (on which another Crimson alumnus, Mel Collins, delivers some wailing sax work), the boogie-woogie "Wholefood Boogie" and the Moody Blues-esque "Under the Sky" (which, I understand, also appears on Giles, Giles and Fripp's album "The Cheerful Insanity of Giles, Giles and Fripp"). Only on tracks such as "Song of the Sea Goat" and "Still" hearken back to the grandiosity of Crimson, with elegant use of the synthesizer substituting the mellotron as the backdrop of both pieces and Lake's strong, dignified vocals on "Still". And, of course, Sinfield's lyrics, which are alliterate, mystical, surrealistic, romantic and imagistic, lend their aura of grandeur to this album. This is a wonderful album to own, as well as yet another indication of my craving for any Crimson-related material. I encourage all of you Crimson fanatics to search this one out. You won't regret it. Sincerely, Nate Olmos ------------------------------ Date: Fri, 17 Apr 1998 16:16:12 -0700 (PDT) From: noel swasta Subject: MR. Tony Levin (the morph master) Did you ever notice that in most recordings that you know Mr. Levin plays on, you really don't know its him. You find out because someone mentions it to you, like me for instance. My friend Pete told me, while listning to Pink Floyds "Momentary Lapse of..." that he in fact was the bassist on that album. And did you ever wonder, when in fact that person tells you that it is Tony on a song or album, how that person found out. It might be an endless chain of people telling people that, hey theres Tony playing on that song. I personally think its CRAZY that he can morph his style to meet the needs of those around him. He has a destinctive sound,but can change that sound to in fact help the artist that hes playing with out. The greatest example is this. Who in Gods name realized that he was on Paula Cole's "This Fire" album, before they read the inside of the cover? I bet know one did. His playing dates back a long time, and he's played with a countless number of people along the way. But, do you know when you are hearing Tony? You could be hearing him on the radio right now. You could be listning to a album with him on it and because a lot of us are firmiliar with him a "THE BASSIST/STICK ARTIST OF KING CRIMSON, and we train our ears to hear him like that, we fail to get the real deal. Listening to some of these recent deal's hes done, like BLACK LIGHT SYNDROM and Liquid Tension Experiment, just listen to the man morph his styles. I know im not the only one that sees that, but just thought i'd add my two cents to this newsletter. AGREE or DISAGREE, Tony is the morph master. ------------------------------ Date: Fri, 17 Apr 1998 15:58:07 -0700 From: Rob MacCoun Subject: The Discipline Era From time to time, I see disparaging remarks about the 1980s Discipline era of Crimson. As an enthusiast, I thought I'd speak out in its defense. I'm not trying to argue tastes, but I do think anyone approaching that era retrospectively might better appreciate it in context. In the late 1970s, I finally accepted the fact that Lark's era KC wasn't coming back. But there was so much excitement in music that I couldn't mourn KC for long. A slew of new albums were merging flavors of new wave, dub, African and gamelan music, and Steve Reich (especially Music for Eighteen Musicians) with fresh new studio sounds and methods of approaching recording. I'm thinking of Jon Hassell's EG albums; Peter Gabriel's 3rd and 4th albums and "Music and Rhythm" WOMAD compilation; Kate Bush's "Dreaming"; the D Bryne trilogy of My Life in the Bush of Ghosts, Remain in Light, and Catherine Wheel; and Bill Laswell's work with Material and his New Africa compilations. Around the same time, an exciting scene was developing at the Kitchen (a performance and music space) in New York, which included Laurie Anderson, Glenn Branca's thrashing guitar symponies, and Frippertronics. The Discipline album (and to a lesser extent, Beat and Three of a Perfect Pair) is very much a product of this era. It wasn't startlingly new to anyone who'd followed those developments, or Fripp's Drive to 1981 (from Exposure/PG2/Sacred Songs to God Save the Queen/Under Heavy Manners, the League of Gentlemen; and maybe I Advance Masked with Andy Summers). But Fripp, Belew, Levin, and Bruford developed some of those ideas in a remarkable and distinctive fashion. When approaching the 1980s KC albums, my first suggestion is to ignore the dated 1980s instrument sounds--Thrak will soon sound dated too, and a decade ago the sound of Red made me wince. Second, like gamelan or minimalist music (but decidely unlike 1970s or 1990s rock), 1980s KC is best approached from the background foreward, rather than the foreground back. In other words, most of the action is in the complex interplay and undulating textures of the guitar, stick, and drum patterns; the guitar solos and Belew's elephant talking are fun but secondary to the real action in the background. Granted, this isn't the only way to approach 80s KC, or even the most popular way; e.g., from this perspective it's hard to explain the enduring popularity of the gimmicky Indiscipline, or the relative neglect of the piece Discipline. But if you don't care for 80s KC as a collection of "songs," you might reapproach it as a dense sonic undergrowth of spreading vines and crawling insects. Discipline era KC is an acquired taste, but for those of us who acquired it, the 1980s Crimson was surely the most remarkable unit in popular music at the time, and I for one prefer it to the overcongested and repetitive Thrak era. It wasn't a progression beyond Lark/Starless/Red KC (which I adore), so much as a bold lateral move into fresh new territory. ProjeKct Two and BLUE suggest that a similar move is afoot today. ------------------------------ Date: Fri, 17 Apr 1998 12:15:37 -0500 From: @callisto dot si dot usherb dot ca at callisto dot si dot usherb dot ca Subject: Thanks to all of you Greetings fellows Crimheads! This short post is just to thanks all of you who have responsed to my question regarding the meaning of "No pussyfooting". Due to the number of messages i've received, i can't send properly a private e-mail to all of you. So please accept this post as a "BIG THANK YOU". Now I know the REAL meaning of this expression. Thanks also to the ELEPHANT TALK MANAGER for his great work. Until my english language being greater please consider this message. David Laureti Quebec, Canada ------------------------------ Date: Fri, 17 Apr 1998 09:26:33 -0700 (PDT) From: Ryan S Subject: space groove comments Just a few quick observations on the new album. I'm not sure if I like it yet, so I'll let other's speculate on the connent. I would hve like to seen more structure, though. Anyway, I'm intrigued by that statement about the goal of the projekcts. It's seems Fripp is overwhelmed by the expectations of the new album? Why? They should just practice, write some songs and go with it. KC never felt the need to please the people, but I still think Fripp is concern with the criticism of others( see the Great Deciver booklet) and the immediate crimhead audience. It is a lot of pressure to write music for six people at one and to reinvent one's self, but growth comes from challenges. I liked Thrak and the concept of the double trio, but it did fail in some ways to fully intergrate all the members. Why don't they write music for the band like a symphony. Have one half say belew,levin, and pat play rythm and let fripp,gunn, and bruford harmonize or solo over it. Secondly, the projects are research for the greater crim. How are they going to do that exactly. Is fripp going to listen to hours of performances and pull out some riffs or is he going to take a feel ( a groove) and use that as a theme for writing. Will the new KC be all improv? Lastly, I'm not sure I'm going to buy all the projects. I love KC, but am in college and can't afford to be buying all this phase of the music. I'd like the finished product please. I'm genuinely interested in the creation process, but $$. Some mention fripp doing this to rip off the loyal followers, I don't thinks so. You don't HAVE to buy it. If we stop buying he'll eventually quit putting it out. After buying the great deciever box set, I didn't feel the need to but USA or Nightwatch, and I won't buy USA 2. Cheers RS ------------------------------ Date: Fri, 17 Apr 1998 10:40:01 -0800 From: PT Subject: not surpising I was thought it was funny that someone was shocked that they had been kicked out of a soundcheck by Fripp. As a touring musician myself, I can tell you that I don't enjoy it when the club or venue let's people in to watch a soundcheck either... I'm sure other musicians would agree. the only jerk I see in this story is the fan wanting to see the soundcheck and feeling he has the right to see it. No, you don't have the right to see it. The only thing Fripp owes you is a good show when you pay your money to see it. He doesn't owe you a friendly chat before or after the show or a special soundcheck performance just for you. I don't know what kind of work you do - but let's say you have a desk job, would you like Fripp or someone else standing above you and watching you work ? I think not. A soundcheck is work - not a performance. I rest my case. Does anyone else feel they have a right to watch soundchecks because they arrived early? thanks, PT ------------------------------ Date: Fri, 17 Apr 1998 14:46:59 -0400 From: David Todd Subject: Re: gig review - P2, house of blues, 3/24 in ET#484 I won't suggest that I could do any better in the circumstances, but when considering such things we can try to work up to it. First, we can assume that Fripp is human. This gives us a small amount of common ground. Second, we can assume that he was not completely opposed to your being in the venue preshow, as no aforementioned technicians or venue personnel came to kick you out. But given your quote: 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?" the question is, can we assume anything? At this point I will add that, of course, we don't know the tone of voice he was using, but assuming (probably incorrectly) a flat tone of voice that implies neither humor or anger, what can this statement of his mean? Thus we have confusion. And the best way to end confusion is communication. So, my suggestion is that you might have asked something like: "If it's all the same to you, I am enjoying hearing you play. If you would rather practice in privacy, I'll be happy to honor that request." It could be that Fripp was annoyed that you were there, or it could be that he was annoyed your lack of attention (if, in fact, you were inattentive), or he decided to test your mettle by asking a seemingly pertinent but crafty question. But, because he started it, it's fully within reason to ask him to clarify his desires. -- Hacksaw = David Charles Todd GTE* = Hacksaw's Employer Hacksaw's Opinions != GTE*'s Opinions It's hard to (rec'' (e) ni'ze bee''ch) ------------------------------ Date: Fri, 17 Apr 1998 11:11:14 EDT From: Camzone Subject: Re: Earthbound (BARB & LARRY) >>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. "SCHIZOID MAN and GROON were recorded at Willmington, Delaware on 11 February 1972; PEORIA at Peoria on 10 March 1972; THE SAILORS TALE at Jacksonville, Florida 26 February 1972; EARTHBOUND at Orlando, Florida 27 February 1972. The recordings were captured live on an ampex stereo cassette fed from a Kelsey Morris custom built mixer operated by John Robson and Hunter Macdonald on Schizoid Man and Groon and Hunter Macdonald on the other titles; at Jacksonville in the rain from the back of a Volkswagon truck. VCS3 operated by Hunter. This is the fifth in the occasional series. The preceding albums were:- In The Court Of The Crimson King In The Wake Of Poseidon Lizard Islands Personnel: Robert Fripp Electric Guitar Mel Collins Alto, Tenor & Baritone Saxes; Mellotron Boz Bass Guitar & Vocals Ian Wallace Drums" I hope that clears it up for you ------------------------------ Date: Fri, 17 Apr 1998 21:59:13 -0700 From: Eb Subject: those troublesome ET demographics >From: "Dave Didur" > >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! Oooof. Eb ------------------------------ Date: Fri, 17 Apr 1998 22:00:43 -0700 From: Peter Shindler Subject: Levin in the Boston Globe, Space Groove Hi. In anticipation of BLUE's performance at the House of Blues in Cambridge on the 19th, there was a nice article in the Boston Globe today (4/17) on BLUE and particularly on Tony Levin. I don't have the article in front of me and don't remember most of the specifics, but he comes off as a super-nice guy with a genuine "I just love what I do for a living" attitude. There were some fun quotes about Bruford (by the writer, not by Levin) about his body's rare ability to feel four or five different meters at once. The HOB show is going to be special to Tony because his parents are going to be in the audience (they're coming up from Cape Cod); there was a touching bit about how his mother always said she wanted to someday see him playing and singing for her, and now it's going to happen. Incidentally, I purchased P2's "Space Groove" last week and after repeated listenings, I have to say it's surprisingly good. If nothing else, it sounds NOTHING like Crimson! Fripp and Gunn trade cool solos throughout, but there's a jazzy, almost laid-back quality to most of their playing. The Fripp laser- beam fuzz is used sparingly. Adrian's drumming is tight and in the pocket, but in several places his reach exceeds his grasp, which I think actually adds something to these performances. No, it's not Discipline or Thrak, and you won't hear any brilliant new Fripp musical ideas being toyed with here, but if you keep it in context, that doesn't matter. And, as some other ETers noted, some of this stuff is downright danceable! This, combined with the talk of Pat Mastellotto's techno take on "Pie Jesu" (did someone, somehow, get a copy of this?), is one of many developments making me VERY curious about what the next full Crimson project will sound like. I agree with whoever said last time that this Crimson has the potential to be the greatest one ever, and that the boys are still working it out and trying to decide what to do with all the resources at their disposal. Peter ------------------------------ Date: Sat, 18 Apr 1998 01:11:13 +0100 From: Vince Millett Subject: Re: Elephant Talk Digest #484 >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. The number of lines generated in designing a celtic knot depends on the number of spaces used to start the design... >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? "Celtic Art" by Goerge Bain,published by Constable is the standard text on designing knotwork. He figured out the methods of construction back in the 1940s and it remains the best book available. There are others but they are usually derivative and nearly always crap. Vince Millett Secret Archives of the Vatican ------------------------------ Date: Thu, 16 Apr 1998 07:08:49 PDT From: "Michael Loebenstein" Subject: A Few Remarks Fellow Frippsters and Crimheads, I really enjoy the newsletter and its pluralism of voices and opinions. My brother, Christian, also an avid reader, urged me to post his remarks on a few of the topics discussed in the last few newsletters. Hope you enjoy it, Michael Hello ETers! I have been reading ET for a few weeks, and I think it's about time to contribute some thoughts... 1) I really like this site - It is interesting (sometimes amusing), what all you people out there think / like / dislike. 2) My Crimson - Connection. I got In the Court of The Crimson King for my 15th birthday (from my mother actually). I came to Crimson through Greg Lake and ELP who were recommended by one of my music teachers, when I once mentioned that I listened to Colosseum. I bought my first Greenslade (here they are again) record before my 15th birthday and half an hour before I bought ELPs Welcome back my friends... (my fourth ELP record). That was seven years ago. 3) My new passion turned out to be the Mellotron sound - since then I have collected loads of records and CDs with Mellotrons on them (not on the cover). Off course there are various recordings with really ugly sounding Mellotrons, eg. listen to the beginning of GenesisE Watcher of the skies - ugh! (a fantastic song by the way) For me the best keyboarder concerning Mellotroning can be no other than Dave Greenslade (listen to the wonderful passages on Bedside manners are extra, Pilgrim's Progress, Spirit of the Dance or various others), followed by Rick Wakeman. The best Mellotron in a song context remains Starless. 4) Did anybody out there attend the King Crimson concert in Budapest / Hungary (nearest show to Vienna, where I live) June 18th 1996? We waited for more than one hour in a terrible rainstorm, the set lasted for more than two hours, and they played 21st Century Shizoid Man!!! Was that a thank you present for the fans who had waited in the rain or did they play the song on the whole (if I remmber right) Thrakattak - Tour? 5) Comments on recent ET topics: a) Greenslade : At first I didnEt like Dave Lawson's voice, but I began to like it because I found it's the suitable voice to the music. They had a guitar player for one Album Spyglass Guest, though he only played on two songs on the Album - Dave ClemE Clempson, who played in Bakerloo, Colosseum, Humble Pie, Rough Diamond, Champion and in Jack Bruce's Band. For their last record as a band, Time and Tide they had a guy called Martin Briley, who replaced Tony Reeves, and played bass guitar and electric guitar. He released three solo Albums in the early 80ies, on the second of which (One Night With a Stranger, the worst of the three) Pat Mastelotto played drums! b) I think I spotted some soul in Fripp's backwards guitar passages (is that possible???) and in Peace - a theme. c) I attended the Yes Gig in Vienna on April 2nd, and they were great. d) IEm looking forward to get the Projeckt 2 and B.L.U.E. releases, by the way - how do I get Disc 3 and Disc 4 of Epitaph? Do they exist? Laissiez les bons temps rouler! CL ...the music is all for you, it's really all we've got to share (Magnum Opus / Kansas) ------------------------------ Date: Thu, 16 Apr 1998 10:45:37 -0400 (EDT) From: Pooh Head Bucket? Subject: O come, o come... Hey all, After years of hunting, I finally found a reasonably priced ($20) vinyl copy of the "Emanuelle" soundtrack last week at an NYC record swap. I'd always wondered what it was all about, and finally understand why Robert got so bent out of shape about it. Wow, stolen. Does anybody know a more complete version of the story- ie, how did it end up, was it removed from stores after the suit, did Robert ever get to face the two "composers" and smack 'em around for a while? For some odd reason I find this kind of stuff endlessly interesting... (but if Toby wants replies kept to private mail I certainly won't be offended. :) Cheers, -tom soriano (anyone gathering before/after the two Irving Plaza P2 gigs?) ------------------------------ Date: Sat, 18 Apr 1998 06:51:32 EDT From: JRHARTLEY1 Subject: Space Groove & Islands Hello, I have recenetly purchased Space Groove from DGM and although it is a good listen, I cannot see it as being a 'Classic' as such, but maybe after a few more months, my opinion may change. For those who havn't heard it, do not expect it to relate to any thing Crimsony (yes I know, that's why it's called Project TWO and not King Crimson) but it really is somthing quite different and fun in places mainly due to Bob's different synth patches which include piano, xylophone and some horrid 80's sounding belches which really did 'bum me out' half way through the first disc. The second disc is more varied and for the most part, I enjoyed. Sorry, if I sounded like a sad journalist. Lastley, I remember at the end of last year, Virgin still hadn't 'got it together' with the release of Isalnds. It is now April and according to the DGM web site, they still havn't 'got it together'. Will virgin ever 'get together'? Simon of the South. ------------------------------ Date: Sat, 18 Apr 1998 20:05:19 +0900 From: Masaki KUROKAWA Subject: Re: Ian Wallace Hmmmm... Is it forbidden to mention that Ian Wallace played the drums on QUIREBOYS' first album "A BIT OF WHAT YOU FANCY"? [ Yes, that's forbidden. Sorry. -- Toby ] ------------------------------ Date: Sat, 18 Apr 1998 16:02:14 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: Exiles and Covers ]> From: "Robert Miyares" > Subject: David Cross "Exiles" > > It opens with a bizarre version of "Exiles" sung by John Wetton. This might sound like Big Time Heresy but the new Cross version of that song lays bare a rather obvious debt to the King Of Keyboards itself, the Mellotron. The new version sounds positively empty without That Sound swelling in the background. The ghastly plastic synth sound is...er....ghastly and the omission of the Frippesque guitar sound is almost as hollow,. I tried to like this album - I really did - but it lacks the real appeal that I thought it might hold. 'Purchase with caution' is my earnest opinion. > From: "Larry D'Ambrosa" > Subject: Cover Tunes > > What if the idea for King Crimson to play a couple of > cover tunes also "came to him". What do you think they > would be? 'Sugar Sugar' by the Archies. No question. Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-271-1551 crimson at blackcat dot demon dot co dot uk : ET Administrator : Columnated Ruins Domino ------------------------------ Date: Sat, 18 Apr 1998 09:32:37 -0600 (MDT) From: Jim Bauer Subject: Speakers, headphones, and Lou Reed Joining my voice to the speakers-vs-headphones debate, the person who wrote in saying that binaural recordings are the ultimate headphone trip, correctly diagnosed that situation correctly. To those who've just joined the debate this issue, "binaural" refers to a recording done with a dummy head with mikes in the ears. Unfortunately, the main reason it hasn't caught on is that, on a pair of speakers, it sounds like mono. Also there are very few binaural recordings available. Lou Reed's STREET HASSLE was recorded in "stereo binaural" sound, which involves mixing some signals from discrete mikes in with thoe from the dummy head. The best loudspeakers I've ever heard were a pair of full-range electrostatics which my brother Joe owns, save for a rather skimpy bass, which can, however, be fixed with a sub-woofer. Nicotine-free Jim PS: I suppose I really should explain my moniker. A long-time friend of Timothy Leary, once he began threatening to publish my letters, I adopted a symbolic code for transforming my mundane reality in the interest of not being sued for libel by all these people, just cuz I said what I thought about them; for example, I live in Invisible City, just north of the Cat's Foot Hills and Iron Claw Mountains, and spend a good deal of time every day at the Perky Pam Layout. Thus, I also adopted a number of pen-names, "Nicotine Jim" was one, after SISTER RAY by the Velvet Underground; they're saying "whip it on me, Jim," but I thought it was "Nicotine Jim." After the famous cigarette-in-the-airport routine, he became "Nicotine Tim." One of my three autographed copies of SURFING THE CONSCIOUS NETS even has Tim signing that way. Included on my web page is a very rare collaboration between Tim and I, under the file names DEAD 1-10. http://www.hi-line.net/~jbauer/ ------------------------------ Date: Sat, 18 Apr 1998 15:45:48 -0400 From: David Steimling Subject: Re: BLUE review, Fripp/Cross, pussyfooting explained, Warr/Chapman suit? Hey all, (Dave bows to Toby) Just saw BLUE last night at Orion Sound Studios in Baltimore. And all I can say is WOW! I hadnt previously heard any of the music except for a few sound bites via the web and was I astounded. Bolinhed wrote in ET # 484 about Bruford wandering in & out of timing and he couldnt have been more correct. Whats truly amazing is that it actually follows the album to a point and is not strictly improvised syncopation. Botti was raising the roof with his trumpet wailing away, strolling about the stage. Levin (who tossed me from the dressing room at P1-London after a waitress said I could go back for an autograph) was as amazing as ever. His graceful (almost elegant) relationship with the stick will never cease to amaze me. Im not sure what the heck all the things were that Torn was playing with. A no-head type guitar (no apparent tuning keys where you'd expect to see them), some completely hollow balalaika (sp?) looking thing (had an outline of a body, but you could see him right through it) and other guitars. The thing on a string(wire) was that he was shaking around was the cord that went into his guitar with some kind of attachment (microphone of some design) that he was swinging in front of the speakers to get some circular(?) sounding feedback. Interesting to say the least. And what can I say about Bruford? I mean I could say alot, but why bother. Besides the previous statement about him falling in & out of timing & going from 4/4 to 9/8 (OR WHATEVER) what can you say. He is the single most creative, free-minded percussionist Ive ever had the privilege to listen to (not to mention shake his hand & get his autograph after the show). He also did an interesting drum loop. Hes definitely an all-time fav. (And for Sanjay Krishnaswamy, if you think "If Summer had its Ghosts" was pretty poor, Id say you werent listening very closely or got the wrong disc in the right case) I see that Adam Levin (from Orion Studios) posts some events in here occasionally, latest being Tony Geballe (can someone let me know how this is pronounced?). Trey was not there, but Tony's scoll read: "B L U E Bruford Levin Upper Extremities Welcome to Orion Studios Cozy ain't it" and I want to let everyone know that Orion is the place!!! When I saw Trey/CGT at Orion, there were about 85 people there. Yeah, 85. Last night they were sold out at 150 tix per show, 2 shows. What an intimate setting. Incredible. You can actually see the performer's faces, reactions, expressions, etc. I would also like to kill a little more bandwidth with a comment on what "Ced" had to say, being: Guitar, bass, drums, and violin couldn't capture what Fripp was after. "Frippertronics" was a step in the right direction. I wonder if after Cross left, Fripp turned more to electronics to capture some of the sounds ands nuances that the violin previously provided. I wonder if this may be what led Mr Fripp deeper into the realm of unclassifiable aural structures and eventually into soundscaping. Just a thought. Maybe completely off base with that one, but thought Id throw it out for fodder. More fodder - sometimes I think Fripp would be better classified as a scientist than an artist. But thats just psychobabble. I took notice to Mike Peters response as to what "No Pussyfooting" means. I believe David Laureti, our french speaking neighbor, is having trouble deciphering what no pussyfooting means in & of itself, not why they chose it for their title. He mentions that he understands the words seperately (I suppose he means "no", "pussy" and "footing"), but doesnt get the meaning of "No Pussyfooting". I believe the explanation he requires deals with the phrase itself. Which sort of means: Lets not f**k about. Lets get down to business. Something to that effect. Pussyfooting refers to not dealing directly with a person or problem. They skirt the issue. They are "pussyfooting" around it. No Pussyfooting would then refer to dealing directly with the issue, being straight forward about things, or something along those lines. In ET #485 Brian Thomson mentions that the Warr/Chapman lawsuit is over. Is it? Of this I was not aware & would like to know where I can find info on the outcome (website, etc?) as I was a contributer to the fund. ------------------------------ Date: Sat, 18 Apr 1998 17:38:50 EDT From: Price499 Subject: Tokyo Tapes Crimson fans, you must rush out and get Steve Hackett's _The Tokyo Tapes_. The two-CD live set showcases John Wetton on lead vocals and bass, and Ian McDonald playing his vast collection of woodwind and backing vocals on a tour de force of progressive rock tunes, including...."In the Court of the Crimson King" and "I Talk to the Wind"!!! I had never heard Wetton sing these songs and they are tremendous with him singing lead, singing them with fluidity and (almost) making them his own (with due respect to Greg Lake). Wetton's bass is reminiscent of his Crimson days offering melodies and counter melodies to the rest of the band. McDonald sounds wonderful contributing flute, sax, keyboards, guitar, and vocals. Steve Hackett, of course, is playing lead guitar and harmonica while singing lead, with Chester Thompson on drums and Julian Colbeck on keyboards. There is also a laser disc and VHS video to this concert and it is filmed where the viewer feels as if he's on stage with the band. Here's the track listing, a veritable collection of progrock memories: Disc 1: Watcher of the Skies, Riding the Collossus, Firth of Fifth, Battlelines, Camino Royale, The Court of the Crimson King, Horizons, Walking Away from Rainbows, Heat of the Moment Disc 2: In that Quiet Earth, Vampyre with a Healthy Appetite, I Talk to the Wind, Shadow of the Hierophant, Los Endos, Black Light, The Steppes, I Know What I Like, *Firewall, *The Dealer, *Los Endos. (*denotes Japanese version studio tracks, does not include Wetton or McDonald). This is just a fantastic concert... Steve Price ------------------------------ Date: Sat, 18 Apr 1998 06:37:14 +0000 From: Michael Bennett Subject: Musings... I recently bought the latest "Projekct Two" album, and think it's amazing! I'm just wondering exactly who did what, and which guitar solos are Robert's. My main posting is more of a pondering. I realize music is spiritual in nature. What seems odd to me, is how we make it's creators such a part of ourselves. If someone criticises our favorite musician we take it personal as if a loved one were attacked. We also, unfairly I would say, put ramifications upon our favorite musicians. Some of us want KC to stay in it's mid 70's phase and not change. We want Robert to give a damn about the fact that we give a damn about him and his art. Why? What benefit is derived from all of this? ------------------------------ Date: Sat, 18 Apr 1998 17:32:11 -0700 From: odsplut at ix dot netcom dot com Subject: Re: about mr. fripp & mr eno puss y foot (pus'i fut'), v.,n., pl. -foots. Slang. -v. U.S. 1. move softly and cautiously to avoid being seen. 2. be cautious and timid about reveal- ing one's opinions or committing oneself. -n. person who pussyfoots. ------------------------------ Date: Sun, 19 Apr 1998 13:23:39 +1000 From: "Eric Best" Subject: Space Groove Greetings all. Listening to Space Groove, there appears to be four instruments playing at the same time in many places: -drums -bass -a mid range instrument -a higher register instrument I know that the drums are Adrian and the high instrument is Fripp's guitar and I assume that the bass is Trey. Who is doing the midrange and how are they doing it without overdub? Eric. ------------------------------ Date: Sun, 19 Apr 1998 00:39:28 -0500 From: "Damon C Capehart" Subject: ET "Favorite Track" Survey Well, it was tough, but I finally settled on a "favorite" song by KC. Yeesh... There are just SO many great ones out there. Hey, ET web guys: On a subject such as "favorite song", do you think you might get better sample data asking for "favorite 5 songs" instead? I mean, there are soooo many to choose from, and I have to sit there with that list and think to myself, "OK, so 21CSM is sentimentally my favorite because it's one of the first KC songs I ever heard when I bought their first album way-back-when (had to be 90 or 91, whenever the definitive editions came out), and it just blew me away. Then again, LTIA1 is great, too... I've spent hours at a time listening and relistening to Fracture and its more subtle elements... Ditto with Starless... The Sheltering Sky is just so hauntingly beautiful! (Fripp has no soul?!?) So I was lost in the depths of my fandom. Anyway, just an idea for next-survey, perhaps. Thanks, Damon P.S.: I settled for Fracture. P.P.S.: Maybe we could revive the "The current Crim should play Fracture live" thread... :-) ------------------------------ Date: Sun, 19 Apr 1998 00:51:59 -0500 From: "Damon C Capehart" Subject: RE : Pat Mastelotto - What's he been up to? Massimo Bracco wrote: > 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. Ah... so it's becoming clear once again! Fripp and Gunn are both inseparable from any and all Crimsoid proje(k)cts. ... Perhaps even "necessary" in either one or both of their minds. Then, to any present crim who finds the time to read the newsletter: Not that the presently active ProjeKcts aren't wonderful (they really are, at least from what little I've heard), but for variety's sake, might any of you consider a ProjeKct 4 with the absence of either Fripp or Gunn? Not just for variety's sake either, but don't they need a break? [Maybe Fripp would like the time to further bond with his and Toyah's rabbit? :-P ] Anyway... Damon ------------------------------ From: alstew at juno dot com Date: Sat, 18 Apr 1998 10:36:33 -0400 Subject: Trade I have a 2 for 1 c.d. trade. I have Thrackattack & Marillion, 6 of 1 half dozen of the other ( they're sort of prog. rock ) & will trade it for anything Crimson, David Cross especially. Just e-mail me back at: alstew at juno dot com ------------------------------ End of Elephant-Talk Digest #486 ********************************