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 #489 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 489 Saturday, 25 April 1998 Today's Topics: NEWS: A request I just found on Tony's website NEWS: New E Tapes/An Unusual Request GIG BIZ: D.C. freebie is TAKEN GIG BIZ: P2 in cleveland P2 comparison. Scary KC. VROOOM I saw the Holy Grail ! June of 44/The Boom re: Where we are going is how we get there UK "Legacy" status Re: No Dinosaurs Chris Botti hello everybody Soft Machine an inspiration for King Crimson Re: Ticket Sales, Difficult Listening, Cybercasts Thanx!, Fripp/Gunn Twins Re: Torn P2 in the midwest RE: The Madonna/Whore complex THRAK & Exposure Minneapolis gig! Fripp and the Sound Check KC covers? Again, Speakers, Headphones, Lou Reed Re:Levin zaniness 2 cents Tony Leven sighting (again) instruments on space groove P2: Columbus, Ohio Tix ordering and stuff Will Australia ever see KC "Puking one's insides out . . ." Tracklist for P2 - Space Groove: GIG REVIEW: B.L.U.E. at The Knitting Factory GIG REVIEW: Boston B.L.U.E.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: Wed, 22 Apr 1998 17:38:04 -0400 From: jmooney at bigyellow dot com Subject: NEWS: A request I just found on Tony's website I saw this on Tony Levin's site and figured I'd post it up here: "An unusual request: Last Saturday night, at the Knitting Factory in NYC, the second show started with a band improv that went GREAT. Sometimes things just click like that, and it comes out like a finished piece. After the show, I ran to Robert, our sound mixer, to assure that the ADAT's had been working. They hadn't! Neither had the DAT player. In other words, we not only have no good recording of the piece, we don't even have a tape to remind us how it went! We tried the same thing on Sunday, at the Boston House of Blues -- completely different. So... to get to the point, my practical nature tells me that SOMEONE in the audience MUST have taped that performance. And I'd like to ask if, as a favor, anyone who has a tape of that first piece in the second set could mail us a copy of it, so we can learn the piece for our next album. Address: Papabear Records, PO Box 498, Woodstock, NY 12498. thanks." ------------------------------ Date: Thu, 23 Apr 1998 01:14:56 PDT From: "Jeffrey Weinberger" Subject: NEWS: New E Tapes/An Unusual Request Elephant Tape received an advance copy of Steve Hackett's "Tokyo Tapes" which features John Wetton and Ian McDonald performing versions of some early Crimson material. You can hear some clips at: http://www.geocities.com/ResearchTriangle/Lab/3112/etape/index.html William Janssen sent in his CD "Solo, Duet, Trio", which features guest appearances by Trey Gunn, and also Paul Richards of the CGT. Some of you may have perviously encountered Bill playing saxophone with Adrian Belew, The Bears, Robert Fripp, Trey Gunn, or The California Guitar Trio. If any ETers or Crafties would like to send in their own music to appear on E Tape, write for submission information. I'd like to pass on an item that Tony Levin has just posted on his Papa Bear page: [ Please see the previous post -- and thanks to all the other ETers who sent this item in -- Toby ] Jeffrey Weinberger http://www.geocities.com/ResearchTriangle/Lab/3112/etape/index.html ------------------------------ Date: Wed, 22 Apr 1998 22:55:49 -0400 From: Jake Quinn Subject: GIG BIZ: D.C. freebie is TAKEN Thank you for the response to my ticket offer. The one extra I had was quickly dispatched to a list member. It's heartening to see so many ETers primed for the P2 show at the 9:30. I wish I had more tix to give away. See you May Day night! Jake ------------------------------ Date: Fri, 24 Apr 1998 09:11:37 -0700 (PDT) From: Ryan S Subject: GIG BIZ: P2 in cleveland Fripp's coming to my town! and I have tickets! Any Eters want to meet before the show? RS ------------------------------ Date: Tue, 21 Apr 1998 07:37:29 -0400 From: Tom Law Subject: P2 comparison. Scary KC. >I am currently debating buying the Space Grooves CD by >PROJEkCT TWO and also (more enthusiastically) Bruford Levin >Upper Extremities. I'd really value the comments from >anyone who has these CDs, as I want to know what the music >is like before parting with my cash. After hearing this CD set once, I'd say the closest comparison might be Eno (and Fripp's) "Nerve Net", with some similarities to Jon Hassell, "Mwandishi"-era Herbie Hancock, and some Henry Cow. Yikes! What I'm hearing now reminds me somewhat of GONG! YOW! [There are a few less-inspired moments, but I can live through them.] Plus, Agent Blue has some nifty liner notes about the sessions. Anyone who criticizes this effort has doughnuts for ears. IMHO. >I was hoping that the P2 2CD set was fairly 'chilled-out' >and groovy, as >opposed to frantic and scary! -- Which brings to mind a debate my friend and I had regarding the "scariest KC ever". We began at the beginning (ITCOTKC), and considered each album briefly, until we came to "Earthbound". Remembering Boz's "scat" singing on this album, we immediately declared, "Truly, this is the scariest King Crimson of all time." Anyway, my proposal to Agent Blue is that he sample some of that BozScat, and play THAT on his geetar, maybe with a power drill. [Or on his Mighty Wonder Tubs.] Fun! ====================================================== = http://www.concentric.net/~tomlaw ====================================== ------------------------------ Date: Wed, 22 Apr 1998 05:57:40 -0600 From: John Smallwood Subject: VROOOM Brian Thompson's recent posting about the commercial possibilities was very interesting, especially these items: > 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. What a great way for DGM to finance future releases or to market existing ones. > "VROOOM" by Ferrari, > example, "VROOOM" would be a perfect opening credits track > for "Speed 3"! In 1995 I competed in the 25th anniversary running of the London-Mexico Rally (30 days -10,000 miles from London to Acapulco), and beforehand I asked Robert Fripp if I could customize my Alfa-Romeo with the word VROOOM along the tops of both fenders. He gave his permission and reminded me that the word had three O's. So, Brian, it wasn't a Ferrari but it was an Italian car, and I also liken the opening of VROOOM to someone shifting up through the gears at speed! John Smallwood ------------------------------ Date: Wed, 22 Apr 1998 10:16:21 -0400 From: Claude Girard Subject: I saw the Holy Grail ! Last week, I saw 2 KC boots and one of them was the July 1st, 1974 Central Park show.....Yes, it does exist....praise the (enter whatever deity here)! It was a Highland release from 1997. The set seemed to be complete (72 min. or so) with the usual tracks from that period but it also included a one 8 min. track titled, you guessed it, "Central Park". Unfortunately, I did not have time enough to listen to those boots. Is "Central Park" a modified version of "Ashbury Park"???? The second boot was a double CD from 1971 (from a English town with a funny name!!!). The setlist included Cirkus, most of Islands, Get thy bearing, ITCOTCK and others. Hope the official DGM will arrive soon. My 1.42 canadian cent's worth! Claude ------------------------------ Date: Wed, 22 Apr 1998 07:28:30 -0700 From: Chris McGrath Subject: June of 44/The Boom Last night I saw June of 44, and I will say that subscribers to this list will definitely find them enjoyable. However, the opening act, The Boom, who contain the bass player from June of 44, were perhaps even more impressive. This was probably because I had never heard them before, but they were the closest thing I have ever heard to the original '69 KC lineup. They didn't do all of the stop time riffing, but the horn/guitar interplay was definitely there over top some serious grooves. Notable time signatures were 10/8 and 7/4, and yes, they made them almost danceable. I felt I was seeing something important. The new record is worth owning although the live experience provides more of the full impact of this outfit. As always, June of 44 blew me away. They are on 1/4 Stick Records and are engineered by the amazing Bob Weston. A rhythm section that will smash your face in and then put the band-aids on afterward. As you were, Chris -- ________________________________________________________________ | Chris McGrath | | | | H: (602) 755-4563 | | W: (602) 925-7829 | | | | email: christopher dot a dot mcgrath at lmco dot com | |----------------------------------------------------------------| | "TV- Chewing gum for the eyes." | | -Frank Lloyd Wright | |________________________________________________________________| ------------------------------ Date: Wed, 22 Apr 1998 09:56:17 -0700 From: Tom Ace Subject: re: Where we are going is how we get there Eric J. Thorson wrote in ET 487: >I appreciate Robert's concerns that audience expectations >place restrictions on what Crimson may be permitted to do. Yes. But it's not like someone held a gun to their head and told them to change the name of the '80s band from the working name (Discipline) to KC. Considering how little the '80s and '90s music had in common with previous KC, they may well have been better off without the Crimson name. Tom Ace crux at best dot com ------------------------------ Date: Wed, 22 Apr 1998 12:03:52 -0500 From: "Ott, John" Subject: UK "Legacy" status > 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". The last news I heard was from John Wettons web site, he and Eddie Jobson are supposed to get together late spring/early summer to try and complete the record. Tony Levin and Bill Bruford have laid down some tracks. (Tony's page said he added some stick and NS bass parts.) One report has John frustrated, He said something like "One track completed in a year and a half" Eddie is very busy with commercial, TV show and movie soundtrack work. This spring/summer was Eddie's next available time slot to work with John. Any news of John's "Arkangel" being released in the US? Why not release it on DGM? later John ------------------------------ Date: Wed, 22 Apr 1998 13:04:03 -0400 From: Kenneth Lacouture Subject: Re: No Dinosaurs Eric Kirchner in ET 487 commented: > 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.). Well, okay, I'll use up a little bandwidth and second that, because it's a thought that's been in the back of my mind for months (ever since I finally came around to realizing what an achivement THRACK was). Allow me to throws some other observations onto this heap: - First off, how many groups of any kind working under the same banner have covered the years the way Crimso has (personel changes and non-exsistent periods not withstanding...) - Of those groups, how many have been as relentlessly inventive as KC? As examples of longevity, off the top of my head I can think of The Rolling Stones and The Greatful Dead. Both those groups have been together on a constant basis, and haven't decended into a novelty or retro-act status, but the music they made at the beginning of their career was not fundamentaly different from the music they've made recently. With KC, on the other hand, it's a light-years trip from "Epitath" to "Thrack", with a few detours for "Elephant Talk" and "Starless and Bible Black" along the way. This is a group that constantly pushes their music forward -- indeed, it's difficult to imagine that they would bother with the arduous task of keeping KC in existence unless progress were the goal and reward (puts the "prog" back into "prog rock", eh?) - On top of that, consider the astonishing number of side projects the individual members of the current KC partake in; they're not hiding away in the shelter of their official band structure (and associated marketing image). They're all musicians in the truest sense in that they are more interested in making music than making music industry product (please, no nasty comments about DGM releases here). Bill might work with Fripp one month, Earthworks another, Levin on another day, Eddie Gomez for a disc, Patrick Moraz for a couple of tours, etc. Try to image Keith Richards or Bob Wier doing that. And I've got to believe that for an average rock A&R person, this must be the ultimate form of schizophrenic commercial suicide ("What do you MEAN you're going to work in six other acts with other names! How are we going to build a marketing identity on THAT?") - From a working perspective (as opposed to a musical one), I think it's more appropriate to compare the members of Crimso not to their 70's prog rock peers, but to the jazz greats and their spirit and approach. The only other artist I can think of who (a) was as relentless about reinventing his music and (b) had a carrer that spanned a comperable period of time was Miles Davis. (No, please, no... don't let that comment start another thread that Toby will have to kill in four weeks time!) And when you think about how willingly jazz musicians mix and match personel, for both discs and tours, it's easy to see that KC's members working attitudes towards music making are much closer to the jazz model than the rock model. Okay, out of hot air now... Ken Lacouture Head and Leg Spoken Word - Sound Collage - Musical and Ambient Noise - Puppies Debut album "In Your Dreams" available on Seeland Records (504 CD) ------------------------------ Date: Wed, 22 Apr 98 13:57:46 -0500 From: suzanne_cerquone at stercomm dot com Subject: Chris Botti There have been a lot of good reviews of the BLUE shows here, so I won't waste my time. I saw three shows and found them all to be superb. It seems most of us were impressed with trumpeter Chris Botti, too. If you want to learn more about his career, check out his own site, www.cbotti.com. There are some good reviews there, and more information about his two solo CDs. One amusing news blurb is how he was a guest actor on the American soap opera, "One Life to Live." I can picture the BLUE boys having a good joke on Chris over that one.... ------------------------------ Date: Wed, 22 Apr 1998 12:37:10 PDT From: "Dave Brideau" Subject: hello everybody hi my name is Dave Brideau,i'm 18 and i'm a quebecer so there mihgt have some mistakes in this letter so pardon me for all that!!!! i've been reading the elephant talk news since about tree month and i really appreciate it!!! first of all i'd like to tanks M. Fripp for doing this special site! i think it's very unusual to be able to talk about a commun kind of music! this music is not easy to listen and you realy gotta be an open mind to fisrt listen to it and don't put it away on the first listen. i'm a young and new kc listener, the only four cds i know are: IN THE COURT OF THE CRIMSON KING, IN THE WAKE OF POSEIDON, THE COMPACT KING CRIMSON, AND STARLESS AND BIBLE BLACK. personnaly my favorites are the first two and the last i mentionned. in fact there's only the compact kc that i realy do not apreciate! i've listen to some "extraits"( i don't know how to say it in english...sorry) of the other cds and i've notice that there's mabye a similarity in style between those cds: from "IN THE COURT OF THE CRIMSON KING" to "RED" and the cds which were made in the 90s. between these two generation i don't know why but it seems to me that the style was completely different!! much more commercial!! i realy don't want to insulte anybody but am i right? i don't know mabye i'm realy stupid and i realy didn't understand the meaning of this diffrent style!! mabye i didn't listen to it enough?? i don't know but it realy souds diferent!! what do you think about it??? i've listen to some Vroom and Thrak "extraits" and the style seem to be much more similar to the first 6 or 7 album!!! mabye i'm not in time and everybody knows the answer to this question but i'd like to know why does Greg Lake did only the first to album in the line up of king crimson? and why there was so many changes in the kc line up?? thanks a lot for reading this full of mistakes letter!!! once again i'm sorry for all these error!! bye bye everybody Dave Brideau from rimouski!! ------------------------------ Date: Wed, 22 Apr 1998 16:36:06 -0400 From: "earthblind, starbound" Subject: Soft Machine an inspiration for King Crimson Every time I listen to the last suite on Soft Machine II, I am struck by the similarities to Red-era King Crimson. Of course, there's the fuzz bass tone made popular by Wetton. There's the Crimson-ish harmonies, very Frippian guitar sound (if not necessarily a guitar) and melodies and , a very crisp Bruford-esque sound (if not as inventive). It could be the King with different vocals. I'd call it a Crimson influence, except that in 1969 King Crimson didn't sound like this. COURT is a completely different bag, and Fripp's playing didn't quite have quite this edge. Soft Machine II is almost a look a few years into the future. -=- I know a monster when I see one in the mirror. --------------------==== Broken via True Love ====------------------- http://www.afn.org/~afn39111 Butcher, Rape, Smash to Pieces ------------------------------ Date: Wed, 22 Apr 1998 17:40:54 -0400 From: Bayard Brewin Subject: Re: Ticket Sales, Difficult Listening, Cybercasts In ET#488 Jon Swinghammer wrote: > I haven't seen them live...this is almost as good but > that's not the point. I need to know how to acquire > tickets. Is ticketmaster handling them? I doubt it > considering who we're discussing but still. I know I > should contact King Crimson management but that isn't > really a good thing for me since I want to have this taken > care of sometime in advance Yeah, why isn't DGM out in front on this issue? The Dead had a great system for facilitating ticket sales in advance. Not that DGM has the same market size with which to work, but presales over the Internet can't be that much more of a drudge than their existing on-site store. Off the top of my head, I can think of at least two low-overhead methods for doing this, and I'm certainly no retail rocket scientist. And shouldn't DGM be able to tell local promoters how many of the house seats they'll guarantee from their own sales? And aren't organizations like TicketMafia as much a part of the monopoly problem as BMG or Time Warner? Seems a little hypocritical to me. Later, tanigawa at cadence dot com (Michael Tanigawa) wrote: > I can't stand to listen to the song on which Peter Hammill > sings. I like his singing even less than Dave Lawson's > (of Greenslade). Puking one's insides out is NOT an > acceptable substitute for singing! Suggest you avoid Joan LaBarbara, Diamanda Galas, Dagmar Krause, Lydia Lunch ... hell, *any* innovative singer of the past 20 years. :-) And DanKirkd wrote: > This leads me to a request from DGM: could you please > arrange more of these cybercast for upcoming ProjeKct > shows or for shows of other DGM artists? I imagine there > would be a lot of people around the world that would love > to hear a gig or two, even if they can't always attend one > because the shows aren't in their neck of the woods. > > Anyone wish to second that request? Done, done, done, and done. [That's four seconds, actually. Bill Forth need only add six more. :-) ] A cyberconcert is just about the best way to introduce somebody else far away to an artist; just stick an URL in your email, and it's there. Fripp already is aware how "wired" his audience is -- he asked the audience at several US Sounscapes this winter about ET. And given how pathetically few radio stations play DGM content, I would think Fripp et al would leap at the opportunity to make new connections in a favorable environment (smoke-free, booze-free, agoraphobia-free). Absolutely pain-free technically from DGM's perspective as well (some of these clubs already have cybercasts) -- but even given all this, they still say no. Like, somebody's going to bother to bootleg a 11KHz bandwidth Internet concert! Oy, what are they thinking? :-( Bayard Brewin ------------------------------ Date: Wed, 22 Apr 1998 18:35:02 -0400 From: David Steimling Subject: Thanx!, Fripp/Gunn Twins Hello again all, (Dave bows to Toby) Thanx to everyone's response on the mellotron question. Id never be able to write so many emails, so I thank you here. And you, and you, and you. (Especially Mike, of whom Im sure his time is valuable.) Fripp & Gunn as siamese twins? What about Bruford/Levin? That goes from ABW&H, KC, TL solostuff, P1, BLUE, etc. But anyway, is it just me, or do people that think they "know" what these guys are actually thinking annoying? Whats Projekct 2? I thought April Fools was over. Thanx Toby Dave ------------------------------ Date: Wed, 22 Apr 1998 16:25:48 -0700 From: Eb Subject: Re: Torn Lotsa talk about David Torn...didn't he have a brain tumor a few years ago? Is he 100% healthy now? Perhaps this is one of those "private replies only"-type questions. Eb PS Bought the "League of Gentlemen" record recently, after wondering if I had unjustly ignored it all these years. Nope, I was right the first time. ------------------------------ Date: Wed, 22 Apr 1998 19:19:22 CDT From: Jared M Rodecker Subject: P2 in the midwest I have had trouble finding the "midwest" dates for P2 on the internet. I am unfortunatley a resident of central Iowa and I would love to see KC (in any incarnation) in a more condusive environment than when I last saw them opening up at the HORDE fest. I would appreciate it if someone could email me privately (jroe at iastate dot edu) with the dates or an internet address where I could find the dates. Jared ------------------------------ Date: Wed, 22 Apr 1998 20:58:41 -0400 From: Kenneth Lacouture Subject: RE: The Madonna/Whore complex > As to the recent comments as to Tonys' being a "bass > whore". I think this is an insulting term that is extremely > disrespectful. Somebody called TL a "bass whore"? (Where have I been?). Someone here don't know their bass from their treble... Just think: a talented musician is in high demand by a wide variety of artists and actually receives money for it -- heavens, what is the world coming to? Tony, you really ought to just stay locked in your little marketing-niche box like all those nice young angst-riddled alt-rock wankers who have such an admirable ability to display their artistic "purity" with two chords or less, and would never dream of lowering themselves to the level of being good enough to play with other musicians. Lord knows a guy like Ron Carter wouldn't do it. Has the original poster of this comment been pummeled enough yet, Toby? I've missed a few episodes... Ken Lacouture Head and Leg Spoken Word - Sound Collage - Musical and Ambient Noise - Puppies Debut album "In Your Dreams" available on Seeland Records (504 CD) ------------------------------ Date: Thu, 23 Apr 1998 01:06:28 -0400 From: Dave Anastasi Subject: THRAK & Exposure I'm not sure if anyone has posted about this recently, but I was just listening to Exposure, and I couldn't help but notice a distinct similarity between "Disengage" and "VROOOM", particularly in the bass and guitar parts. I also couldn't help but notice a similarity between the vocal styles of Daryl Hall and Adrian Belew... hmmmm.... Comments? Best Regards, DAve ------------------------------ Date: Thu, 23 Apr 1998 08:05:28 -0500 From: wviland at thin-film dot com Subject: Minneapolis gig! Please Stop in Minneapolis! I'll pich in and buy a few tickets. >The real reason I'm posting today is to request a stop >in Minneapolis "One thing is for sure the Sheik is not a creature of heir." ------------------------------ Date: Thu, 23 Apr 1998 09:51:57 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: Fripp and the Sound Check A lot has been bantered around about the guy who attended Fripp's soundcheck. They all seem to miss the point of Fripp's comments. Here's an example: < BQ > But in defence of the "ernest young man" at the P2 sound check, we must remember that he was invited by the staff at the venue. < EQ > If you look at that gentleman's original post, Fripp's words were true to fripp, and pedagogical. Fripp said something to the effect that "If you haven't seen enough, then I'll leave. If you have seen enough, then I'll continue playing." In this case Fripp wasn't berating the guy for being there. Though i had thought it obvious to most readers of ET, Fripp was annoyed at being gawked at...."Look, it's Fripp the rock God up there: see him in all his glory!" Fripp was telling the guy to stop trying to get an eyeful of his idol, but chill out and just listen if he's going to stay there. -Emory ------------------------------ Date: Thu, 23 Apr 1998 10:59:20 -0400 From: "Louis Courteau" Subject: KC covers? While it might be kind of useless to ponder which songs KC might cover in a parallel universe, maybe we could suggest an old KC tune or two (pre-90s) to be reprised by KC 1999 (let's stay optimistic). How about Cadence and Cascade and Fracture? Also, I'm interested in knowing your opinion about what the various illuminations on the Lizard cover depict. While some may be quite obvious (the second I, for instance), others may be more open to diverse interpretations. Send your ideas to loco at caractera dot com and I'll see what I can make of them. Another project is well on its way: I have gathered about 80 artist descriptions and recommendations from ETers. A pal of mine plans to distill that stuff into web pages using Frontier. To be continued. Keep on, louis courteau ------------------------------ Date: Thu, 23 Apr 1998 09:50:16 -0600 (MDT) From: Jim Bauer Subject: Again, Speakers, Headphones, Lou Reed As for the person who stated that he owns a binaural disc, and it doesn't sound like mono, he apparently didn't read the second paragraph of my post, or didn't understand it: Lou Reed recorded an album called STREET HASSLLE in "stereo binaural," which involves mixing signals from discrete mikes in with those from the dummy head. The albume he has must be one such, as it is a fact that binaural sounds like mono on speakers. As for myself, when I really want to hear something, I do like the guy who started this thread and listen on phones. The reason is that, although they produce sounds that seem to be coming from inside your head (due to your not hearing with both ears), these sounds are very highly spatially localized, so you can isolate all the different instruments. Loudspeakers, because there's so much reflected sound, generally lack this pinpoint directionality. Nicotine-free Jim http://www.hi-line.net/~jbauer/ ------------------------------ Date: Thu, 23 Apr 1998 11:15:16 -0500 (CDT) From: Bradley Stewart Cook Subject: Re:Levin zaniness >>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 Just call it selective screening. DigMe ------------------------------ Date: Thu, 23 Apr 1998 15:23:36 -0400 From: Darren Franck Subject: 2 cents Someone brought up the fact that Fripp and Gunn are in all of the ProjeKts (unless you count B.L.U.E. as a projeKt, which I do). I imagine that Fripp just wants to make sure each incarnation is headed in a worthwhile direction. As for Gunn's presence, I think Fripp is grooming him as the next bandleader. I don't know if this is an obvious statement, but it makes sense. Who better to pass the torch to than someone who's been under your tutelage? As for the non-Fripp/Gunn projeKt, B.L.U.E. is one hell of an album. I love how Levin and Bruford play off of each other while letting Torn and Botti wail. The clashing styles of Torn's guitar from hell and Botti's cool trumpet make the album truly unique. One drawback may be that I liked it too much too quick...in other words, the best albums tend to be the one's that take a while to get in to. By this rationale, the relatively negative responses to ProjeKt 2 could mean its more of a step in the right direction. Whatever the case, I'm sure the new KC will rip the pants off of the radio shit I'm forced to listen to. My vote for the song Crimson should cover would have to be "Can You Get to That" by Funkadelic...either that or Adam Sandler's classic "Medium Pace". D.Franck Blacksburg VA ------------------------------ Date: Thu, 23 Apr 1998 15:36:06 -0400 From: dschippe at ford dot com (David Schipper (R)) Subject: Tony Leven sighting (again) I got one for ya all. This recording goes back in time abit. How many out there remember Richard Harris? You know, he sang the original MacArther's Park back in the 70's. Well, Tony Leven plays on MacArther's Park.....NOT!!! But he does appear on one of Richard Harris's recordings. Back in 1974 Harris did a record on Atlantic called _The Prophet_. It's basically readings of Kahlil Gibran's _The Prophet_ with a musical background composed by Arif Mardin. Right there in the credits it lists: TONY LEVIN - BASS. I doubt that it made it to cd, but for all you collectors out there, it was released in the states on Altantic Records - SD18120. Later Folks. Dave Schipper NP: Camel - I Can See Your House From Here - Ice ...................................................................... The trouble with normal is it always gets worse. - B. Cockburn - ...................................................................... ------------------------------ Date: Thu, 23 Apr 1998 13:26:30 -0700 From: "Eric Harris" Subject: instruments on 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 think it's apparent that the kick drum is triggering a pre-programmed series of bass notes in a pre-programmed sequence. There's no way that two musicians could truly improvise music and have the bass notes and kick drum in such perfect unison throughout the song. ------------------------------ Date: Thu, 23 Apr 1998 16:36:09 -0500 From: John Barnas Subject: P2: Columbus, Ohio Tix ordering and stuff Hi Everybody, Tickets for P2 at Columbus, Ohio - Newport Music Hall can be bought thru Ticketmaster online. To search you have to enter Adrian Belew. You could choose the state of Ohio and it might get there faster. Remember it's listed in the search under Adrian Belew, not ProjeKct 2 at this time. 3 shows in Ohio. And one in Pittsburgh. All less than 3 hours from home. Does Robert love me or what? I was sorry to hear about Abhi's freaky encounter and then that lard-head calling him a you-know-what. Maybe RF was in a bad mood, maybe it was a crafty trick question, who knows? Let's all move on and be friends. Sorry for calling that guy a lard-head. Since I live near Columbus I will initiate an ET group fest before the show. I think at Hoster's Brew Pub. Anyone in the area second that notion? Private Email please. Lastly I recently- finally -purchased The First Day. I can't get over Track 7 called Bringing Down the Light, I think that's the title. I've heard That Which Passes and it was fine but not as astounding to me as Bringing Down... Here's the question: Do any other of the Soundscapes have the same type of fuller soundscape sound/production as Bringing Down the Light? Am I making sense? Please help me on this if possible. I also am spending all my $ on ProjeKct 2 Tour. So I can't afford to buy all Soundscapes at this time. Live large, John ------------------------------ Date: Fri, 24 Apr 1998 09:22:46 +1000 From: "Alan Todhunter" Subject: Will Australia ever see KC Hi, Ashley's comments in ET487 about Fripp and Co never touring Australia rekindled an old emotion. I guess the harshness of economics must come into it. Apart from a few friends I am not sure of where fellow followers of KC are in Australia. I would be interested in any comments. At least ET keeps me informed. A few issues ago someone commented on sections of LTiA being copied in a movie. I recall this too. Alan ------------------------------ Date: Thu, 23 Apr 1998 20:08:01 -0500 From: Carl F Rudorf Subject: "Puking one's insides out . . ." Michael Tanigawa writes re: "Exiles" > I can't stand to listen to the song on which Peter Hammill > sings. I like his singing even less than Dave Lawson's (of > Greenslade). Puking one's insides out is NOT an acceptable > substitute for singing! > I wouldn't characterize Hammill's singing as "puking one's insides out." Rather I liken it to an operatic styling -- expressionistic, of course, but full-throated and full-bodied. A listen to the whole of his work will reveal an incredibly dynamic range and gift. Obviously Fripp has use for his gift. Can you deny the potency of Hammill's voice when he croon "I smile like Chicago."? salaam cfr [Attachment omitted, unknown MIME type or encoding (text/html)] ------------------------------ Date: Fri, 24 Apr 1998 00:26:52 -0500 From: "Damon C Capehart" Subject: Tracklist for P2 - Space Groove: I've noticed plenty of reviews of Space Groove, but no track list given. So I provide one here: CD1: Space Groove: 1. Space Groove II (19:03) 2. Space Groove III (2:39) 3. Space Groove I (17:13) CD2 (Vector Patrol): The Planet Zarg Quartet: 1. Happy Hour On Planet Zarg (4:55) 2. Is There Life On Zarg? (2:25) 3. Low Life In Sector Q-3 (1:32) 4. Sector Shift (:45) 5. Laura In Space (3:17) 6. Sector Drift (:54) 7. Sector Patrol (3:40) Lost In Space: 8. In Space There Is No North, I.S.T.I.N. South, I.S.T.I.N. East, I.S.T.I.N. West (2:52) 9. Vector Patrol (3:39) 10. Deserts of Arcadia (North) (8:55) 11. Deserts of Arcadia (South) (4:10) 12. Snake Drummers of Sector Q-3 (:25) 13. Escape From Sagittarius A (10:48) 14. Return To Station B (3:03) S'There. Damon ------------------------------ Date: Wed, 22 Apr 1998 17:03:19 -0400 From: "Robert Parducci" Subject: GIG REVIEW: B.L.U.E. at The Knitting Factory I had a great time at the 8:30 show and bought the CD immediately afterwards - a real kick in the head! The band started with "Etude Revisited," "Original Sin" and "Cerulean Sea." I had an obstructed view of the stage from the balcony. I could see Torn and Botti, but not Bill or Tony. The show was a great opportunity to hear some excellent new music. A bit more outside than Bill's Earthworks albums, but I'm not complaining! It's great to see Tony and Bill play together in just about any setting. David Torn and Chris Botti are the icing on the cake. This was my first time seeing Torn or Botti. For some reason, David reminded me of a prop comic because he kept fiddling with the knobs on his rack, manipulating the sounds. However, when he placed his hands on the guitar it's apparent he knows what to do. Chris fit right in with the other musicians. Although he is not as well known as the rest of the group Botti plays trumpet with a mature style and phrasing. He is not intimidated by the rough and tumble music coming off the stage. The only time things got a little uncomfortable was when the band settled into a ballad, "Deeper Blue." Since it was standing-room only (no place to sit!) the high energy tunes kept things interesting. Still, it was great to hear Bill use the brushes on this number. The band played a full set and one encore. If I wasn't travelling that night via MTA I would have been tempted to stick around for the second show. After stopping by Tony Levin's web page, I'm sorry I didn't. Here's why: [ Tony's request for the gig tape snipped -- Toby ] Non-musical Highlights: Bill's chat between songs and meeting Chris Botti after the show. A genuinely nice fellow. He came out to meet and greet some guests between sets and signed my copy of "When In Doubt, Roll!" He'll be back in NYC with his band on May 17 at The Fez. Robert C. Parducci ICQ# 11375362 LEGEND: In Our Own Time http://ourworld.compuserve.com/homepages/rcp/ Papa Bear Records - Tony Levin Chris Botti ------------------------------ Date: Thu, 23 Apr 98 14:17:00 ESD From: "Ursic, Caesar" Subject: GIG REVIEW: Boston B.L.U.E.s Re. B.L.U.E. at House of Blues (Cambridge, Mass., 4/19/98). As others have expressed in previous postings, the artistic merits of the performers on that evening (with possible exception of D. Torn) are beyond reproach. Although Bruford looked like he hadn't slept for days and even appeared a bit bored for the first few minutes, he was beyond amazing (can't begin to express in type, so I won't try). Torn, however, seemed out of place and a bit lost. His "noise" was derivative, boring and out of context to the remaining three musicians' contributions. I detected looks of exasperation directed towards him from both Bruford and Levin's on more than one occasion. But what I really want to say is that the venue was completely inappropriate to the performance and the audience it attracted. The room was dangerously overcrowded (how HOB can get away with this in a public ordinance-riddled city such as Cambridge is beyond belief). I took my girlfriend, who measures 5'5", and she swears she got only intermittent glimpses of only Botti, Torn and Levin's heads. She never saw Bruford play (at 6'0", I didn't do much better, despite being no more than a third of the way back from the stage). There was literally no room to move in that sardine- can of a night-club. I couldn't help but get angry at HOB for showing such blatant disregard for the audience despite charging $21 a ticket (more than the $15-$17 charged in NYC, it appears). Ultimately, the blame must be placed squarely on B.L.U.E. and their management for not researching the venue and preemptively determining how inadequate and unfair the accomodations would turn out to be to their fans. Although the sound quality was exquisite, by not being able to SEE these guys play I felt RIPPED OFF. Really, Bill & Tony, you should have known better. ------------------------------ End of Elephant-Talk Digest #489 ********************************