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 #487 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 487 Tuesday, 21 April 1998 Today's Topics: NEWS: PROJEkCT TWO CD now available from DGM in Europe GIG BIZ: freebie - Projekct Two @ 9:30, 5/1 Re: Levin the morphmaster sunday times P2 review and the usual ashley crapulousnesslessness(menum) Any U.K. Updates TAB/MID: Eye of the Needle CHORDS: Burned by the Fire We Make Where we are going is how we get there Fripp n' Gunn, SiameseTwins? June Midwest Tour RE: Space Groove Chapman,Levin,ET,top crim,sndchk,knots,mellotrons,covers,4 parts/3guys/P2 king gabrial Space Groove sounds a momentary lapse of PT No Dinosaurs A few crazy business ideas for DGM... League of Gentlemen possible illicit borrowing of theme from Lark's Tongues in Aspic Re to Michael Bennet GIG REVIEW: Playing with fire GIG REVIEW: My review of BLUE at the Knitting Factory, 4/18/1998: GIG REVIEW: BLUE @ Knitting Factory GIG REVIEW: B.L.U.E. @ Knitting Factory ------------------ 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: Tue, 21 Apr 1998 9.15pm BST From: Toby Howard Subject: NEWS: PROJEkcCT TWO CD now available from DGM in Europe Hi everyone. Just to tell you that I was delighted to receive a postcard mailing from DGM this morning, announcing that the P2 double CD is now available from them. It's UKP 13 + UKP 2 p&p. Order by: phone: (44) 01722 780146 fax: (44) 01722 780142 email: DGM at disciplinegm dot demon dot co dot uk snail: PO Box 1533, Salisbury, Wiltshire SP5 5ER Haven't had a chance to see if it's available via www.discipline.co.uk yet. Cheers Toby ------------------------------ Date: Sun, 19 Apr 1998 12:52:36 -0400 From: Jake Quinn Subject: GIG BIZ: freebie - Projekct Two @ 9:30, 5/1 ETers: The fine folks at the Nightclub 9:30 in DC selected my free-tix entry for the upcoming Projekct Two performance. I had planned on going solo, but here I am with a free pair. I'm using one, but the other is up for grabs. Anyone interested in sharing my good fortune should e-mail privately; and please tell me why you haven't bought a ticket already. I'll be picking up the passes at 9:00 p.m. on May 1st, so you'd have to be there then. I look forward to hearing from y'all. Jake ------------------------------ Date: Sun, 19 Apr 1998 11:26:16 -0700 From: Eb Subject: Re: Levin the morphmaster >From: noel swasta >Subject: Tony Levin (the morph master) > >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 no one did. A couple of months ago, I pointed out that Levin played on the new *Kenny Loggins* album, but the comment seemed to go unnoticed.... Eb ------------------------------ Date: Mon, 20 Apr 1998 09:45:34 +0100 From: kate dot d at virgin dot net Subject: sunday times P2 review and the usual ashley crapulousnesslessness(menum) G'day all, Here's a review of space groove that appeared in the times (19/4). (BQ) These days, grumpy guitarist Robert Fripp's King Crimson, avant-godfathers tarnished by the progressive rock era, function as two smaller "research and development units". Projekct One are the UK wing, while four days of jams last November are distilled into the stateside Projekct Two's debut double album. Disc one incorporates a tease or two of top flight frippertronics, though Trey Gunn's "touch guitar" tones sound a little anodyne within a trio format. Disc two's 14 shorter pieces invoke improbably virtuoso incidental music, or else Steve Hillage's ambient house hippies System 7 staffed by free-jazz maestros, but Escape From Sagittarius, 11 minutes of techno-psychedelia, remains inspired. Subjected to the harsh and unforgiving Steve Albini production job recently endured by Page and Plant, either mini-Crimson could be emboldened into an essential proposition. But Projekct Two's improvisational invention still impresses, even if it doesn't always involve. -SL (EQ) *shrug* Really kicking myself that i missed P2 at the jazz cafe, i just hope they play again before july 1st when i return to australia (yeah right), for some reason Fripp and co don't tour there ( it IS kinda near japan and they go there a fair bit). I guess it must be REAAALLY expensive to get em all out there with their gear and what with TL's trace elliot valet it must be positively outrageously expesive. Sorry to hear about Brian Thompson's theft hassals, it's a bummer- i know, i had about $4000 worth of uninsured cd's (including my entire KC collection) stolen TWICE! the second time the bastards waited till i'd just replaced them all, hope that makes you feel a bit better about it. With a bit of luck the culprits will get brain cancer... and live. there was something else....um...bugger it's gone.OH that's it! anyone in the London area interested in playing some music in whatever format happens? not ness KC but whatever grabs whoever is interested. email me. I don't wanna be famous, i just wanna be allowed to live in the same country as my lovely kate. (oh the pathos!) best to all, ashley ------------------------------ Date: Mon, 20 Apr 1998 00:59:25 -0700 From: Michael Adashefski Subject: Any U.K. Updates Hi Crimsonites, I'm writing an open question to anyone who might have any new information about the forthcoming U.K. cd "Legacy". Having visited their website several times, I've noticed that it hasn't been updated since 12/97 and I'm curious as to the current status of this project. Those of us who were lucky enough to have seen U.K. during their tours know how special and powerful a band it was, a monster with incredible force! I was fortunate to have seen them a total of 5 times and am looking forward to their new release with great anticipation, so an update on this eagerly awaited release would be really helpful. Sincerely, Michael A. Adashefski ------------------------------ Date: Mon, 20 Apr 1998 11:24:18 +0400 From: "Volguine, Maxim" Subject: TAB/MID: Eye of the Needle "Eye Of The Needle" from RF&LCG: Intergalactic Boogie Express - live in Europe 1991 The piece goes in G-dur, time signature is 13/8. I've transcribed the main theme for tapping playing technique on a guitar with a common tuning. Every 2 dashes linger for an eigth note. >4 2 1 3 2 1 4 2 1 4 3 4 3<- right hand fingering E|17----15----17----19171715|17----15----17----19171715|17----15----17----19 171715| B|--13----13----13----------|--13----13----13----------|--13----13----13---- ------| G|*---12----12----12-------*|----12----12----12--------|----12----12----12-- ------| D|*------------------------*|7-----5-----4-----2-------|-------------------- ------| A|--------------------------|----------------------3---|2------------------- ------| E|--------------------------|--------------------------|------5-----3-----0- ------| S P It would be great if someone continued the transription. <> [ Please contact Maxim directly if you want this -- Toby ] -- Maxim Volgin multimedia programmer ParaGraph, Moscow, Russia e-mail: maxv at paragraph dot com ------------------------------ Date: Mon, 20 Apr 1998 11:26:54 +0400 From: "Volguine, Maxim" Subject: CHORDS: Burned by the Fire We Make "Burned By The Fire We Make" by Adrian Belew G D And when Man gained dominion G D over land and the ocean G Bm he began to harm the planet Em A with his asphalts and his toxins <...> G A Burned by the fire we make Bm E Burned by the fire we make G A Burned by the fire we make D what a shame <...> -- Maxim Volgin multimedia programmer ParaGraph, Moscow, Russia e-mail: maxv at paragraph dot com ------------------------------ Date: Mon, 20 Apr 1998 02:11:38 EDT From: Close2Edge Subject: Where we are going is how we get there In issue 484 Ryan S. wrote: >>"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 have lately considered the possibility that King Crimson could never reform. and that the entirety of the work we will see from them will be in fractal form. What if the projekcts were not just a means to an end, but the end itself? I appreciate Robert's concerns that audience expectations place restrictions on what Crimson may be permitted to do. I am actually more interested in the freedom that the projekcts offer. There is no King Crimson name to live up to, no expectation that "finished product" be delivered to the rabid masses, just the possibility of following the muse. That, to me, was what King Crimson always stood for, but when you have fans screaming "Starless" and "Schizoid Man" to a group that left those pieces behind decades ago, I imagine one begins to feel the gravity that history exerts on a band. Lucky non-Minnesotan concertgoers have been commenting on the joy and inspiration they observe in Fripp and the others in Projekct 2. This is a good thing. If King Crimson were the threat to this joy and inspiration, I would say, leave it behind. The names Fripp, Gunn, Levin, Bruford, Belew, and Mastellotto are all I need to assure me that the music will be incredible. Of course, you are reading the words of a man who has not heard any of the projekcts yet. Do I speak too soon? Perish the thought! Eric J. Thorson ------------------------------ Date: Mon, 20 Apr 1998 00:50:45 -0500 From: GRANTCO at webtv dot net (Grant Colburn) Subject: Fripp n' Gunn, SiameseTwins? In response to Damon in 486, Just a couple comments: I guess to me, even though it contains non-Crimson members, B.L.U.E. is really almost an unofficial ProjeKct too. It is a good example of Crimsoid development and experimentation without Fripp and Gunn. And even though not purely Crimson in personel I would imagine that it will be seen in much the same light as the ProjeKcts. As much as anything it could be due to the album getting released on Papa Bear that it isn't considered more related the official ProjeKcts. The other part of your post about a Fripp, Gunn, Mastelotto trio: I remember reading about this way before the current ProjeKct 2 existed. When I read it originally, Gunn described a trio almost exactly like ProjeKct 2 so I can't really imagine them forming a group just like the one that now exists only with a different drummer. ( but what would be really interesting maybe would be Gunn, and Mastelotto with Belew on guitar!) One other comment regarding the "Siamese" factor of Gunn/Fripp. Just a different angle to think of: The configurations of ProjeKcts may have to do with where the various musicians' primary focus lies. Like Fripp has said, its hard making a living playing Crimson full time. For a younger guy like Mastelotto I bet he has to take well paying gigs when they come around and probably can't easily work on extremely uncommercial music for which there will be limited income from sales. I know this sounds harsh and unartistic but its probably the truth. Same with Levin, though I guess he's extremely in demand and can be more selective on his studio work, and having Gabriel doesn't hurt either. Adrian has a complete and separate thing as a solo singer songwriter and Bruford has jazz along with studio sessions for both of them. To be blunt, for these 4 Crimson is the artistic experiment, the creative freedom, but in some ways "secondary" to their making a living from music. But for Fripp (and also pretty true for Gunn) Crimson and Fripp related music IS the "primary" musical interest. Though it sounds funny, Fripp only makes a living doing "Fripp" things, most of which are ecclectic, uncommercial and experimental with limited mass appeal. (not that that's a bad thing!) So this could be another basic reason of why both ProjeKcts contain Gunn and Fripp. They have much more of a vested interest in producing the results needed for the next Crimson. The others, though I'm sure just as interested and proud of Crimson have more non Crimson situations to deal with in order to keep afloat as professional musicians. Like I said, just a thought to think about. Bye, eh? ------------------------------ Date: Mon, 20 Apr 1998 00:15:28 -0500 From: chaos at mn dot uswest dot net Subject: June Midwest Tour Hello to all fellow King Crimson-fractal fans, I've been reading the newsletters for more than a month now and I have to say to the editors Thank you for this newsletter. It provides current information in a concise format. I had a chance to catch Projekct Two in San Fransisco on the 22 of March. What an unbelievable experience! A.R.&T. blew my mind with their improvisational excursions into the unknown. The real reason I'm posting today is to request a stop in Minneapolis,MN on the Mid West leg of the P2 tour. I've noticed a gap of about twenty days in the Mid West tour schedule on Trey Gunn's Firepower web site. On that schedule he marks these twenty days with a ? mark. Hopefully the band will be alerted to this request and appear in the fine city of Minneapolis. We sure don't have a lack of halls in which the band could play. Or a lack of fans that would be eager to attend. Thank you, ATB There is no mistake save one: the failure to learn from a mistake. (anyone quess where this came from?) ------------------------------ Date: Mon, 20 Apr 1998 01:04:35 -0400 From: jackog at juno dot com (Drew Goldstein) Subject: RE: Space Groove In ET 486, Eric Best wrote: ... Listening to Space Groove, there appears to be four instruments playing at the same time in many places... 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? Trey, on touch guitar, plays bass, midrange, and high notes throughout the disk. In fact, some of what you may think is Fripp playing lead may well be Trey. Check out either of Trey's solo albums and this will be clear. They can do this without overdubs, because the touch guitar (or Stick) allows the player to play both "bass" and "lead" simultaneously. The intro to "Elephant Talk" is a good example of this technique (thats just Tony playing until the first "SHHHHH" is "sung" by Adrian.) BTW, I just saw the BLUE show at the Knitting Factory, NYC on Saturday. Severely Mental! Bill and Tony never cease to amaze, Torn was, well, Torn (though not as effective as he was with PolyTown), but Chris Botti really blew me away. I had heard one of his tunes about 3 weeks ago on the local "lite jazz" station. I thought it was OK, kind of like how Larry Carlton's recent albums have been OK. With BLUE, Botti was spectacular, at worst. My only complaint was the length of the show - 80 minutes. Then again, for $15.00, I should just shut up and be thankful for the opportunity to see these artists in such an intimate setting (though the Bottom Line would have been a nicer venue.) Jacko Golstyne jackog at juno dot com ------------------------------ Date: Sun, 19 Apr 1998 20:12:33 -0400 From: David Steimling Subject: Chapman,Levin,ET,top crim,sndchk,knots,mellotrons,covers,4 parts/3guys/P2 Hey crims: (Dave bows to Toby) Wow!! These readers/contibutors must be psychic. Thanx for the info on the Chapman case (before my letter was even printed). Very interesting. ( dave is :-( for traktor, though ). And how bout Noel Swasta. He seems quite happy Mr Levin is a bass slut. I love the diversity of opinion in here. Im kinda new to the KC scene and have found some valuable infomation in this newsletter, as well as contributing some pieces occassionally. Ive even purchased some of the other music some contributors have recommended (IMHO, save your $ on Liquid Tension, get BLUE instead & SEE THE SHOW - WOW!!!) Keeping with topic - there is alot of helpful info in here for the new crimmers. Thanx to all for opening my eyes, not only to certain albums, but to specific pieces (and parts of pieces) on them. As for "arguing" which crim is the best crim, I have yet to hear an album from any era (I only own about 15 directly related discs, NOT including my Yes, Gabriel, Genesis, etc) that there is not something absolutely wonderful on. I guess its a matter of how wide your taste ranges. I am under the full conviction that if Fripp & Co did not want people in during the sound check, that it should have been known to the owners/bouncers of the clubs & the audients should not have been allowed to enter. It is not surprising that Fripp was not happy with people checking it out for numerous reasons. Maybe they werent ticket holders for later that night. Maybe they were distracting the band or the Fripp from completing the task at hand, which is what makes for good sound when the band plays for the full audience. All the same, if they dont tell the clubs, or the clubs wont honor that request, its my belief that the problem (maybe it was an isolated incident, I dont know) should be dealt with at that level. Mr Fripp should realize that the opportunity to observe someone preparing for a show where so much electronic Fripperry is to be activated, can be quite informative. Anyone with more than a rudimentary interest in the music would probably take advantage of that if possible. I also agree that the audients should realize his uncomfortableness, if obvious, & reply with the aforementioned "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." or something similar. Now for something knotty- I am unclear on the line "The number of lines generated in designing a celtic knot depends on the number of spaces used to start the design...". What is meant by "the number of spaces"? hmmmmm I hate to obviate my ignorance, but feel I may not find out any other way, so here goes......._EXACTLY_ what is a mellotron. [ Private email replies only -- PLEASE! -- Toby ] I am under the impression that its a keyboard/synthesizer type of instrument (which I feel I cant be too far off), but on "The Nightwatch", I hear Fripp saying that they are going to "tune" them. Also on the liner notes it says "tuning a mellotron doesnt". I am not familiar with tuning a keyboard. A piano, yes (a fish, no). Please someone explain to me, in not too layman terms, what exactly this instrument (effects rack?) consists of. Whats with the cover tune thread? Jeeesh. Think they'll do Freebird? What do they want to do other bands music for? I think they probably have thier plate full as it is without bothering with copying others stuff. Eric Best offers the query of four parts of music (on Spacegroove) with three musicians. Lest we not forget Trey plays TouchStyle(r). ((r)=bad joke, see http://www.traktor.com/lawsuit/dismissed/) Fripp plays loops. Belew is using triggers (so I hear) to fire bass lines. Heck, there could be six parts (or more, depending on loop limitations) playing at once. As for Fripp not being in a projekct, thats a very interesting perspective. Maybe Belew, Bruford, Levin? (as Bruford/Levin seem inseperable) Or Mestalotto (Ill never learn how to spell that), Gunn, Belew? Hmmm, guess we'll see. Thanx again Toby, Dave Steimling delta at netrax dot net ------------------------------ Date: Sun, 19 Apr 1998 18:14:30 -0500 From: ENTRERI121 at webtv dot net Subject: king gabrial Did crimson evercut a c.d. with peter gabrial.....bootleg? ------------------------------ Date: Sun, 19 Apr 1998 14:39:09 -0700 From: "Scott T. Anderson" Subject: Space Groove sounds >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? I am assuming I won't be the only person who replies on this issue, but having both purchased the album and seen them in concert, I can help. Adrian Belew's electronic drum set has a bass trigger in it... he hits a pedal and it advances the pre-programmed bass line by a note. In the places where you hear four instruments, the "bass" is actually an electric bass sound on the drum set trigger... Trey is probably at that moment playing a searing distorted line on the Warr "touch" guitar, while Robert is probably soloing with a vibraphone patch on his guitar synth setup. Scott Anderson scott at uia dot net ------------------------------ Date: Sun, 19 Apr 1998 13:49:38 PDT From: "Abhi Bungale" Subject: a momentary lapse of PT Ok, ETers. This sort of response to my encounter with Fripp was wholly inevitable... On Fri, 17 Apr 1998, PT : >>I was thought it was funny that someone was shocked that they had been kicked out of a soundcheck by Fripp.<< First of all, I'm not shocked that I had been kicked out of Fripp's soundcheck. I only wished he took a different approach rather than saying what he did, then storming off stage. >>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.<< As a touring musician myself, I agree. (Admit it, ETers, this newsletter is just one big ego trip for all of us "touring musicians"!) >>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.<< Come again? "Jerk"? And once again, I didn't say I had the right to see his soundcheck. >>No, you don't have the right to see it.<< Wonderful. I'm glad we have established this. >>The only thing Fripp owes you is a good show when you pay your money to see it.<< And this he provided! >>He doesn't owe you a friendly chat before or after the show or a special soundcheck performance just for you.<< Look, PT. Did you even read my post? I never said a thing about wanting to chat with Fripp. You are stereotyping me as some sort of deity of Fripp, with these expectations that I surely do not possess! >>I don't know what kind of work you do [freelance televangelist - Abhi] 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.<< Finally...a second point! >>Does anyone else feel they have a right to watch soundchecks because they arrived early?<< Because if you do, you're sure to get a beating from PT !!! (And I thought you rested your case?) >>thanks, PT<< People of ET: I have nothing against our Guitarist. I have nothing against a worthwhile response to my initial posting, either. If I had known that you would have misinterpreted my post and resorted to calling me a "jerk", I would never have posted in the first place. And PT , any responses to this can be taken to private e-mail. I would much rather read the postings of others regarding other topics than add fuel to this wasteful burning. on the turning away, Abhi ------------------------------ Date: Mon, 20 Apr 1998 10:02:04 -0500 From: Eric Kirchner Subject: No Dinosaurs I've been reading the newsletter now for months, and haven't seen anyone bring up the issue of King Crimson's age versus that of other bands in the Prog and general rock genres. I think they deserve credit for being a band that has something new to say with every album, instead of rehashing the past (like Yes, ELP, etc.). I wonder if anyone can honestly say that King Crimson's best years are behind them -- I still find them to be in a creative phase, and see no end in sight. I'm also looking for some recommendations -- I've really enjoyed King Crimson instrumentals and Fripp's work with Andy Summers, and am looking for recommendations from his solo work (and Tony Levin too) or Crafty Guitar offerings with that in mind. I like listening to such at the office, and am looking for more. Thanks, Eric Kirchner Chicago, IL ------------------------------ Date: Mon, 20 Apr 1998 18:55:59 +0100 From: "Brian Thomson, London UK" Subject: A few crazy business ideas for DGM... I've been reading a book by Esther Dyson entitled "Release 2.0: A design for living in the digital age", which looks at the changes wrought by the Internet and their long-term effect on society. One of the chapters deals with Intellectual Property, both how to protect it and how to "exploit" it. The ideas in the book deal mainly with such examples as magazine writers and consultants, but open up some interesting possibilities for artists and other content* producers. So, here are a few not-too-serious ideas of how DGM might go about attracting customers in a different way and "exploiting" the ones they have: - this one's been done before, by David Bowie, but here goes: issue a DGM Futures bond on the Alternative Investment Market (AIM). That way, serious fans can put their money where their mouth is, as long as the marketplace was open to the smaller investor. You could say that by buying an album, I'm investing in DGM anyway, but it's in my interest as a music fan to see DGM survive to support artists who produce genuinely new music. - Subscriptions: I would be happy to pay, say, ?100 (c. $170) to DGM in advance, if it meant that the next 10 new DGM releases would be sent to me immediately. It would be an expression of my confidence in DGM's artists to release great music in the future, as well as an incentive for them to do so, so that I might renew my subscription. - Associate Membership of DGM: pretty self-explanatory. You might think this idea would be limited to not-for-profit organisations, but it isn't. I'm not sure I would want to attend the DGM AGM, but Members might be entitled to small perks such as up-to-the-minute news, studio involvement of some kind, album liner thank-yous, launch party attendance, etc. - Advertising / Sponsorship: OK, a bit unrealistic, this idea, but imagine if "Walking On Air" were sponsored by Dr. Martens, "VROOOM" by Ferrari, and "Marine 475" by Lloyds of London? (Didn't think so...) Or how about the other way around? We have (Paul) Newman's Own salad dressing, and actress Chloe Sevigny's perfume, so why not King Crimson Chilli Sauce or the reissued Electro-Harmonix Fripp-In-A-Box? (Only the very biggest bands can attract corporate sponsorship - Pink Floyd by VW, Aerosmith by IBM, Oasis by the Medellin Cartel...) - I'm sure a higher proportion of DGM's followers are Musos than, say, Oasis fans, so how about limited-numbers Masterclasses with DGM artists? In my case, I might pay for some bass pointers from Tony Levin or "Audio Necromancy 101" by David Singleton. You might consider this an extension of the launches DGM holds every-so-often, except that the questions asked will be a little more, er, musical! This ties in with idea that DGM's people are its greatest assets. There are many record companies, but only one Robert Fripp. (There's only one Robert Fri-ipp. One Robert Fri-ipp, there's only... sorry - too much football on the radio.) - More Books! I'm still waiting for "Endless Grief: A Brief History of E.G.", and IMHO Trey and Pat have books in there somewhere... Bespoke Music: I'm not sure I like this idea myself, but I ought to mention it. Brian Eno has indulged in this a little, such as "The Microsoft Sound" shipped with every copy of Windows 95. I'm sure a once-off, one play only Soundscape could be created to order for a corporate launch of some kind? Picture the unveiling of the new Jaguar in an aura of dry ice and Soundscapes? No? Royalty-Free Music / Sample CDs: Famous examples include Eno's "Music For Films" series, David Torn's "Tonal Textures" sample CD, and Bill Bruford's work for Keyfax, including Twiddly Bits (MIDI "clip-art") and the current "Packet Of Three" (see http://www.keyfax.com). Let film students use your work in a soundtrack, and they don't forget. Eno has been paid back through "Heat", "Trainspotting", and quite a few others. Speaking of Soundtracks: I've heard Eno and Michael Brook on the soundtrack for the movie "Heat", and I know David Torn does a lot of movie sessions, so why not DGM artists? For example, "VROOOM" would be a perfect opening credits track for "Speed 3"! 8{ Then there's "Neuromancer"... It's even possible to avoid Hollywood - Eno actually puts "Mr. Eno will not be required to visit Los Angeles" in his s/track contracts. Really. Anne Dudley (formerly of The Art of Noise) has just won an Oscar for her original score for "The Full Monty", so, Mr. Fripp, please reconsider! All these possibilities would need to be very carefully managed, obviously, so as not to intrude on the DGM creative environment. Still, if you think Mr. Fripp and DGM are engaging in commercial exploitation now, you ain't seen nuffin' yet! Brian Thomson, London UK bnt at ibm dot net * well, would you rather I said "product"? I'm probably going to get flamed as it is! ------------------------------ Date: Mon, 20 Apr 1998 11:36:15 -0700 (PDT) From: Ryan S Subject: League of Gentlemen I just ordered God save the king from poss. prod. It's incredible! It like Fripp joins a newwave/surf rock band. The Fripp solos and parts are vintage 80s KC. Did he overdub all those guitar parts, and if he did how did he play these songs live? Did he run tape? I had doubts Fripp was a force in Thrak, but he is KC. Does any know the story behind LoG? How did they get together? Who is Sara and Johnny? ect.,ect. RS ------------------------------ Date: Mon, 20 Apr 1998 14:40:57 -0500 From: John Verkuilen Subject: possible illicit borrowing of theme from Lark's Tongues in Aspic I was watching the very silly (but nevertheless entertaining) anime "Slayers" last night. Anyway, several times they use a sequence in action scenes that is suspiciously reminiscent of parts of LTiA2, one of the later themes in the song, stripped of bass and drums. Has anyone ever seen it? If it is a segment of LTiA2 used without permission, Fripp should get his money for it.... Jay -- J. Verkuilen Department of Political Science/IGPA University of Illinois Urbana-Champaign 361 Lincoln Hall, MC452 702 S. Wright St. Urbana, IL 61801 Phone: 217-244-5340 FAX: 217-244-4817 E-mail: jayv at ntx1 dot cso dot uiuc dot edu ------------------------------ Date: Mon, 20 Apr 1998 16:12:39 EDT From: JesseMacDC Subject: Re to Michael Bennet Hey Everyone. This is my first post to ET, so be proud of me. Anyway, I've decided to respond to Micheal Bennett's post in ET #486 with some thoughts of my own on the subject he didcussed. He states - "What seems odd to me is how we make it's (our favorite music's) creators such a part of ouselves. If someone critisizes our favorite musician, we take it personally as if a loved one wre 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." It seems to me that it's perfectly logical that we should react the way we do to insults upon our favorie music - when we "fall in Love" with a group or musician, that enjoyment, that connection that we have with the music becomes literally a part of us, much like an emotional connection to a relative. And to insult out favorite band becomes to violate that part of us - a part of us that reflects our soul (or whatever you wnat to call it) Our choice of music is reflection of our soul(see above) and for another to insult that music is basically for them to insult our very being, more or less. Of course, it's not right to be overly offended by such things, as they are not meant as personal attacks ( a difficult thing to assert, I suppose, after making the "soul" point). But to desire a band or artist to remain in artistc limbo simply for the benefit of our plesure ( a pleasure which, in the end, is relatively unimportant) is in effect to ask the artist to die. The seriuos artist's life depends, I think, on the continuous evolution of their art. They have much more at stake in this situation than we as fans do (despite the strength of the bond we may have to that period of the artist's music in which we wnat them to remain) - whatever responsibilities the artist has to the audience are outweighed be the responsibilites the artist has to themselves to grow and change. Thanks for everyone's time. Enjoy yourselves. -Jesse ------------------------------ Date: Sun, 19 Apr 1998 15:51:25 EDT From: Matekudesy Subject: GIG REVIEW: Playing with fire Last night I had one of the most intense musical experiences in my life when I saw Bill Bruford, Tony Levin Upper Extremities at the Knitting Factory in New York City. I have been lucky to see Mssrs. Bruford and Levin in every gig date the Crimso has played in New York City since the early 80's when the boys re-emerged with the Discipline tour. However, I never had the privilege to watch Bruford and Levin in such close proximity and such an intimate venue. Know this verity: These guys burned the house down. They rocked so hard and so good that the crowd was literally anesthisized. A very civil crowd was on hand for both shows. The strong scent of marihuana and hash filled the air. Of course, we did our best to contribute. Also the staff at the Knitting factory was first class. The lower level (stage level) was packed with people standing shoulder to shoulder and noone moved at all even to get a drink at the bar. There were a few dozen women at the show including couples. David Torn and Chris Botti were also phenomenal. The music had strong funky undertones with a characteristic hard driving reminiscent of the the album "Red". Mr. Torn really impressed with his wailing solos, time delay technique, and tape loops. It's clear Mr. Fripp's influence on Mr. Torn playing. Mr. Botti's trumpet was a nice touch and he used a reverb effect throughout both performances. Mr. Bruford's playing was beyond masterful. He dazzled the crowd with superb time signature changes, intense jazz influenced beats and his inimitable snare shots. He also addressed the crowd and was very appreciative of all the positive vibes from the crowd. Tony Levin was also intense. He broke out the funk fingers and the Chapman stick. He also played a stand up which he played with a bow (one of the pieces sounded just like Led Zeppelin's Kasmir) and even sang in one of the pieces in both shows. These guys were very tight and looked like they had a ball playing with each other. After the second performance, Bruford and Levin graciously signed autographs for anyone who wanted them and openly spoke with fans including myself. Super guys. I bought the Upper Extremities CD which was being sold at the venue for fifteen bucks and had the CD autographed by all the band members. I asked Mr. Botti if he thought he would be somehow integrated into Crimson after all the ProjecKts are done with and he answered a definitive no. David Torn was the least compatible of the four and he seemed to have a small cultish following at the show. The two shows were different. They both featured about four of the same pieces but diverged from each other in that they performed about three diffrent pieces per set. So sticking around for both sets was definitely a good thing to catch them playing all of the material, and of course to get to see Bruford and Levin so close. Both shows were compleatly sold out and I made a fan's night when he asked if I had an extra ticket which I did and sold to him at face value. With me were two other cats, one of which was totally uninitiated in the Crimso scene. He was compleatly blown away and thanked me for turning him onto the good stuff. He also got the CD and obtained all the autographs. He now wants to check out ProjecKt Two which is coming next month; can anyone blame him? In all, these guys definitely had their shit together. Super performance. I hope ProjecKt two is as good. Something tells me it will be. See you at the shows. Keep rockin', Aus ------------------------------ Date: Mon, 20 Apr 1998 10:23:33 -0700 From: Xou Oxno Subject: GIG REVIEW: My review of BLUE at the Knitting Factory, 4/18/1998: My review of BLUE at the Knitting Factory, 4/18/1998: http://www.virtulink.com/immp/jux/j_index.htm#blue -- * D a v i d B e a r d s l e y * xouoxnoREMOVE-THIS at virtulink dot com * * J u x t a p o s i t i o n E z i n e * M E L A v i r t u a l d r e a m house monitor * * http://www.virtulink.com/immp/lookhere.htm ------------------------------ Date: Mon, 20 Apr 1998 11:50:58 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: GIG REVIEW: BLUE @ Knitting Factory Hello Brethren. I was at the 9:00PM Knitting factory gig on Saturday. The place was suprisingly small, with no seats save for a few in a small balcony. But despite the fact that i had to stand for almost an hour and a half, it was worth it (and i have flat feet). Just a few observations...... 1. Playing with bruford must be dangerous. Bruford could fool with the time in suprising ways.....I thought I noticed the other musicians having to concentrate during such changes, just to maintain where they are in the count, keeping them quite awake and on their toes. I would think that this would eliminate a lot of musicians from consideration in this sort of affair. 2. Levin di not wail or extended periods of time like the others, playing the essential role of the bass. Of course, his playing was fantastic, but with bruford running rings around the time i guess someone's got to hold down the fort. 3. Torn tore us all new assholes, even (I think) TL and BB. I haven't listened extensively to Torn, but i detected no guitar cliches, only abstract, electric, middle-eastern 22nd century hybrid alien/human sounds of awe. 4. Botti held his own, with a nice tone and good lines. my only criticism is that sometimes he seemed to feel the need to play more than he had to say. I sometimes grew tired of him, but most of the time he was a nice addition, reminding the others of the more jazz-like possibilities available. As a younger man (or so he looked), I would advise that he not always feel the pressure to keep up with the 3 other, more mature voices up there. In any event, I had the strong impression that this was a gig whereby 4 excellent musicians had arranged an environment whereby they could play exactly what the hell they wanted to, and it really kicked ass. KC is at the center of a larger mini-renaissance of complex, challenging music. -Emory ------------------------------ Date: Mon, 20 Apr 1998 15:47:42 -0400 (EDT) From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: GIG REVIEW: B.L.U.E. @ Knitting Factory Hi all Had 3 tickets for the 8:30 show and arrived at the Knit at 6:00 to pick them up. One of my posse was down with a head cold(wuss!) so I had one ticket to unload. No sooner did I have the ticket in my hands when a boozy stoner approached me asking if I had any extras. Wow, like, ESP, man! So, that was easy. Tripped on down to Odeon for steak frites with the missus. Arrived back at the Knit minutes after 7:30 and entered. This place is tiny. I mean real tiny. Even at the back of the room you couldn't be more than 20-25 feet from the stage. Up at the front of the stage was the usual coterie of folks who can't accept the fact that Bruford isn't in Yes anymore. They were heatedly debating the relative merits of Close to the Edge vs. Relayer, with a smattering of Gentle Giant thrown in for good measure. So we stayed a little behind that. Tony's rack was scrolling: HELLO THERE GREETINGS FROM BRUFORD LEVIN UPPER EXTREMITIES B L U E WWW-PAPABEAR-COM LETS KNIT COZY AINT IT Bill hit the stage at 8:30 sharp(for some reason, there was a clock at the side of the stage which was 10 minutes fast. Call me anal, but that bothers me). He did a magnificent 5 minute solo which always reminds me of a sort of summoning of the gods. Mallets flying everywhere. Tony follows(camcorder in hand) and starts bowing the NS upright like a man possessed to thunderous applause. Torn enters and starts spraying and looping, which continued pretty much non-stop throughout the evening. So much noise for so little movement! Chris Botti hit the stage and made an impressive front man for the quartet, wielding his trumpet over and at--almost into--the audience, making eye contact with each and every audient, or so it seemed to me. A star is born! After the first number, Etude Revisited, and the second, Original Sin, spokesman Bruford addressed the assembly, welcoming the crowd and dubbing B.L.U.E. " a Research and Development projekct(sic)" which brought an amused chuckle from Tony and the audience. He continued, stating that we knew everybody, but introduced the band anyway. When he got to Botti, Bill dubbed him "the finest trumpeter I've ever performed with. Actually, I've only performed with two, and the other one went to work in Hollywood and became a Scientologist!"(feel your ears burning, Mr. Isham?). Bill proceded to chastise Levin to stop filming and get ready for the next song. Before starting "Breaking the Midnight Glass" Bill mentioned "This is the one that they're talking about on MTV." Kashmir, indeed! The set ran 70 minutes plus a five minute encore and covered most of the B.L.U.E. album plus one track from Torn's Cloud About Mercury album. My ears were ringing slightly, but I left with a smile on my face! Always and ever, CV If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Tue-Thurs at 9PM and 1AM EST. -- Lucien LaCroix ------------------------------ End of Elephant-Talk Digest #487 ********************************