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 #490 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 490 Tuesday, 28 April 1998 Today's Topics: NEWS: ProjeKct 2 dates NEWS: Who's on Tour? NEWS: Absence Lovers & Play back. re: A few crazy business ideas for DGM... what is thatKCT two thing? Earthbound Fripp & Eno/Heldon soundtracks and thrak Binaural Re:ThraK and Exposure More Torn... Music for 18 musicians (steve Reich) TALK: Bringing Down the Light Re: Again, Speakers, Headphones, Lou Reed Slipping back into existence Re: Will Australia ever see KC 1. Space Groove; 2. Binaural recordings Shirt Pocket Notes:Frontmen,Beat ,Fripp fainting,Bruford Quoat Space Groove & B.L.U.E. Thank You! maybe I'm not a Crimson fan anymore? Soon to be extinct LPs for sale GIG REVIEW: P2 @Jazz Cafe + Andy Summers @ PizzaExpress GIG REVIEW: Belated BLUE Bits from Boston house of Blues ------------------ 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, 28 Apr 1998 2159 GMT From: Toby Howard (ET Moderator) Subject: NEWS: ProjeKct 2 dates Here are some new P2 dates, courtesy of the Adrian Belew fan newsletter Big Electric Chat (http://web.dbtech.net/~rhino/beca.htm). *New ProjeKct 2 show dates-- They're beginning their 2nd US tour this Friday (May 1st, 1998) If you haven't visited the web site in some time, here are the dates: 01 May 930 Club Washington, DC 02 May Bohagers Baltimore, MD 03 May Ballroom @ Bellvue Philadelphia, PA 04 May Toad's Place New Haven, CT 06 May Irving Plaza New York, NY 07 May Irving Plaza New York, NY 08 May Valentines Albany, NY 09 May Inter-media Arts Ctr Huntington, NY 30 May Bogarts Cincinnati, OH 31 May Newport Music Hall Columbus, OH 01 June IC Light Music Tent Pittsburgh, PA 02 June The Odeon Cleveland, OH 04 June Park West Chicago, IL 05 June Park West Chicago, IL 06 June Majestic Theatre Detroit, MI 27 June In - Store Boston, MA 28 June - July 11 Boston/Montreal TBA ------------------------------ Date: Mon, 27 Apr 1998 14:34:32 EDT From: ASchulberg Subject: NEWS: Who's on Tour? Just called the local promoter to confirm the ProjeKCt Two date at Pittsburgh's I.C. Light Music Tent on June 1st. The girl on the phone told me they didn't have that but they did have King Crimson listed for that date. Don't suppose the boys are planning a surprise reunion, do ya? I corrected her and explained the sub-group concept to her. After I hung up I thought, "What if she's right and I'm wrong and it is the six man band???" Any folks planning on attending the P2 Pittsburgh date, give me a holler and we can get together beforehand. Arnie ASchulberg at aol dot com ------------------------------ Date: Tue, 28 Apr 1998 10:20:06 -0400 (EDT) From: Yuki Yamaguchi Subject: NEWS: Absence Lovers & Play back. On Sat, 25 Apr 1998, I wrote: > Hello Amy, > > I have just looked a KC new album play back on June 28 in Boston at Web > site. I'd like to pre-order it so that I can take part in it if > possible. > Please let me know any information about it. > > Thank you. > > Yuki Then, On Mon, 27 Apr 1998, PossProd wrote: > Yuki, > > We will release Absent Lovers in June, and should have it > mail order by the end of May. Please check back with us in mid May to > place an order. It is a bit premature to begin taking orders as we > have not yet pressed the CD locally. > > Amy > Possible Productions ------------------------------ Date: Sat, 25 Apr 1998 15:16:06 +0100 From: Tim Meadowcroft Subject: re: A few crazy business ideas for DGM... Brian Thomson wrote... >> 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: Yeah, the Futures Bond is to be avoided, but I've thought about Subscription and Masterclass ideas before (didn't one of the ex-Yes blokes announce that he'd play private gigs for a not-outrageous fee). The problem I think is that we're all keen, until it's made available, when we're suddenly "too busy". I believe the Web Site On-line store is the same, before it was launched everyone was wild about it (me included), but once it was released, well, I'll get it at the gig, or some other time. The Bespoke music and Soundtracks, well yeah, but surely this is just more session work, and look how TL instantly becomes "the bass-tart" for doing this. Imagine if he did it for Big Business (yeah, I know record labels are Big Business too, but there is a distinction).... So I think "varied works" is their best bet, the P2 mini-gigs and "niche albums" are a perfect example, pamper the needs of those who can afford every gig and every album. Those who "know what they like" can pick and choose the appropriate items. The important rule is not just more of the same, keep mixing it up (segmented marketing from KC, whatever next ?). So here's my plea, the lounge-lizard version of Vroom was about as close as we'll get to KC unplugged (excluding the Crafty Guitarists work). A gig and live album of best-of's like that would blow me away (A Young Swinger's Guide to King Crimson). Now, this could just be tongue-in-cheek laughs for the committed colector wanting to prove he has every version, or it could be an interesting way to re-visit classics in a new way, avoiding the anal-retentive "but the tone of the new guitar is subtlely affected by the interference from the air-conditioning unit" type of navel gazing that must annoy the artist so much. A great Australian band Hunters and Collectors did something very similar with a double live album ("Living in large rooms and lounges"), one CD was the "traditional large venue" versions, the other was "small-venue" completely new takes on H+C classics, guess which of the 2 CD's I listen to the most. Go on Hugh, print this out and show Robert, please, ... Tim ------------------------------ Date: Fri, 24 Apr 1998 21:03:59 EDT From: CPayne3921 Subject: what is thatKCT two thing? Can you please give me some info about this thing, and what kind of music they play, do they play and KC, or what, there coming to my town and im going but i want to know more, please devoted fan Caylen ------------------------------ Date: Fri, 24 Apr 1998 22:09:06 EDT From: Pierron3 Subject: Earthbound I'm looking for a copy of Earthbound, I have several shows to trade..respond by private e-mail only. Thanks! Mike- Appleton ETer's ------------------------------ Date: Fri, 24 Apr 1998 23:29:36 EDT From: DonLaw Subject: Fripp & Eno/Heldon I recently rediscovered in my record collection a disc by group call Heldon. This disc from the 70s is titled "Heldon 2 Allez-Teia". The first cut on side one is entitled "In The Wake of King Fripp" the third cut on that side is dedicated to Fripp & Eno. The overall sound is very Fripp & Enoish with the added touch of a mellotron. The record was recorded and pressed in France by Georges Grunblatt: Mellotron, Guitar, A.R.P., & something called Rahat Louckhoum & Richard Pinhas on Guitars, A.R.P., VCS 3, Mellotron and Tapes. I seem to remember hearing other records by Heldon but it was a long time ago. Anyone else know about these guys? ------------------------------ Date: Sun, 26 Apr 1998 11:23:13 +0100 From: kate dot d at virgin dot net Subject: soundtracks and thrak g'day all, a few years ago i viewed a film entitled "zabrinski point" an excellent film with a brilliant and unusual soundtrack. among the artists were John Fahey and Pink Floyd, a sequence with a house exploding to the strains of "careful with that axe, Eugene" was particularly memorable. I am wondering if anyone has seen this film, and whether they know if KC music was used in it, it's some time since i've seen it, and from memory i saw it before i was infected with the crimson virus. Lastly, has anyone else noticed that the main riff from Thrak seems to be a direct rip off/homage to that Vivaldi classical guitar piece that seems to permeate John Williams records like a fart in a shower?- if ya don't know which one...i don't know the name of it...it was played by a young lad in a John Wayne movie about a man taking a bunch of kids on a cattle run to somewhere or other, there's a scene around a campfire where a young boy plays it on guitar (obviously). just thought i'd mention it. see ya round like a rissole, Ashley ------------------------------ Date: Sun, 26 Apr 1998 04:26:12 -0600 From: daniel farris Subject: Binaural Jim Bauer wrote: > The albume he has must > be one such, as it is a fact that binaural sounds like mono > on speakers. If binaural sounds like mono, then it must BE mono, because only mono sounds like mono. Again, get a better pair of speakers. If you already have good speakers, then you can start telling people: "Phase coherence sounds like mono to me." > 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. It is the "pinpoint" sound that I find so unnatural about it. Nothing you hear acoustically with your ears (i.e. not on record) occupies an infinitely narrow space in the way that the individual instruments in such recordings often tend to. Daniel Farris, officially done with this thread. ------------------------------ Date: Sun, 26 Apr 1998 07:08:02 EDT From: JesseMacDC Subject: Re:ThraK and Exposure Hey everyone. In response to the fellow who mentioned the similarities between the Guitar/bass parts in the beginning of Vrooom and in Exposure- Yes, I noticed that too. Aside from a metrical difference in the riffs (the Exposure version is in some impossibly weird, more off-kilter meter, just like Fripp likes it), they seem pretty much the same to my ears. It seems to me that Robert often develops riffs over various songs through the years. Ever notice the striking similarities between the middle, drumless section of Red and the also drumless creamy center of Vrooom Vrooom? Think about. It's a little R&D, like the ProjecKts (is the capital in the right place? Does it Matter?). See ya latter folks. Jesse ------------------------------ Date: Sun, 26 Apr 1998 09:23:20 -0400 (EDT) From: mgard at charm dot net (Michael Gardiner) Subject: More 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. David Torn was asked about this during a recent irc chat and seemed pleased that the topic came up, so I don't consider it of-bounds for discussion. You can get the full details in Anil Prasid's INNERVIEWS (http://www.carleton.ca/~aprasad/, I think); there's a great interview convering Torn's career and methods, but here's the short version: David did have a brain tumor which has left him completely deaf in one ear. Most who saw the B.L.U.E. show (I did, baltimore, yikes!) would tend to agree that he's managing quite nicely. I first caught Torn live on David Sylvian's "Secrets of the Beehive" tour, and although I love "Cloud about Mercury", I thought the Sylvian show was awful and thought that Torn's live peformance had a lot to do with that...I never really felt he played _with_ the rest of his bandmates, didn't respect the space between the notes, etc. All the more reason I was thrilled to hear Torn with BLUE last week. It'll be a long time before I see a group of musicians play with such intelligence, grace, intensity and enjoyment of the music they shared. David Torn was an equal partner in that occasion. Michael (who last night caught a live performance of a certain Ninth Symphony written by a totally deaf Beethoven!) ------------------------------ Date: Sun, 26 Apr 1998 19:41:24 +0100 From: "John O'Connor" Subject: Music for 18 musicians (steve Reich) Dear fellow Crimheads We are by and large a fairly eclectic bunch (musically anyhow). I feel duty bound to extol the virtues of Steve Reich's ' Music for 18 musicians'. This piece originally conceived in a period spanning May 1974 to March 1976 it was released on vinyl at that time but now available on CD from Nonesuch music. Hard to describe, but phrases like beautiful harmonic motion, mesmerising chordal symmetry spring to mind, the polyphonic progressions leave the audient awestruck. Here are so many facets to this piece its hard to know where to start but Crimheads will appreciate the Gamelan like timbres and unceasing pulse, the phased loop effects giving the whole piece a soundscaping quality. I can't help but feel the influence of this composition in 80's KC offerings as 'Waiting Man' as well as Trey Gun's work particularly Kuma from the Third Star. For those of you who like the darker side of Crimson. The Kronos Quartet offering Early Music (Lachryma Antiqua) may be of interest (Definitely not for the fainthearted however). All the best John O'Connor ------------------------------ Date: Sun, 26 Apr 1998 23:45:58 -0700 From: Kirk DeGrasse Subject: TALK: Bringing Down the Light This is in response to the post last issue regarding the track "Bringing Down the Light" off the Sylvian/Fripp Last Day release. I too was blown away by that track the first time I heard it. I loved the whole CD, but when that last track came on I sat there mesmerized by the wonderfully beautiful, elegiac sounds Fripp was drawing from his guitar. I had been aware of his previous experiments in Frippertronics from the Fripp/Eno releases and Let the Power Fall; while I liked the Fripp/Eno works, especially Evening Star, I was less than thrilled with the sharp sounds of Let the Power Fall. But this track was beyond anything like it I had heard before. Each time I listen to it I am transfixed, moved almost to tears. Naturally I was thrilled when Fripp began releasing whole CD's of the stuff. However, as earlier in his career, Fripp has used the medium of Frippertronics (now known as Soundscapes) to convey and reflect a wide range of emotions and the resulting music has much variety. I was somewhat disappointed by 1999; it has a harshness to much of it that I find disquieting. Also, given that the Soundscapes releases have been live performances, there is a bit of polish missing from the sound heard on "Bringing Down the Light". That being said, the release that is closest in spirit and sound (IMHO) is A Blessing of Tears. Some really beautiful stuff on this disk. Radiophonics, like 1999, is a harsher collection of Soundscapes. If you are feeling light on $, I suggest A Blessing of Tears. I would also recommend, if you can find it, the CD single for "Jean the Birdman"; the last track on that disk is another Soundscape in a similar vein to "Bringing Down the Light". Also recommended is the Discipline Records sampler A Young Person's Guide to Discipline. It contains a number of Soundscapes, including one from A Blessing of Tears, as well as a previously unreleased track from the 1999 era shows that also fits into the beautiful soundscape vein, as well as tracks from other Soundscapes records. It is worth noting that music, like any other artform, is subject to interpretation in its response; that is, its value is a quality bestowed upon it by its listener, and is not an inherent value. I point this out because this particular brand of Soundscapes, which I find so moving, peaceful and beautiful, was described by a former girlfriend as "scary". ------------------------------ Date: Sun, 26 Apr 1998 17:18:40 +0100 From: Russell Whitworth Subject: Re: Again, Speakers, Headphones, Lou Reed In message , Jim Bauer writes >as it is a fact that binaural sounds like mono >on speakers. No, not at all. Binaural can be very convincing on speakers, particularly if they are spaced slightly wider than normal, and angled inwards. But even if they're not, it certainly doesn't sound like mono! Gorn, Levin & Marotta's "From the Caves of the Iron Mountain" is a most excellent binaural recording, recorded by Tchad Blake. An even more stunning recording by Tchad Blake is "Pindateras: Made in Sardinia", by Gesuino Deiana. This is an album of acoustic guitar music, mostly based on traditional Sardinian folk tunes. The music is recorded in binaural, and it is mixed in with background sounds from Sardinia, also fully binaural. This is so convincing on speakers, that my youngest son (aged three) keeps going to the window to look for the source of the birds, motorbike, people, or other background sounds! Clearly not mono! There is a website dedicated to binaural recordings, and featuring more of Tchad Blake's work, at http://www.binau.com/ Pindateras is on "Womad Select", and can be ordered via the Real World website (I seem to have mislaid the URL, but it shouldn't be hard to find). p.s. I just played "Space Groove" for the first time. Others have already reviewed it better than I could... I like it! As I was listening, my other son came in, turned on the TV, and then ran off to do something else. Of course, I muted the TV sound. Rather strangely, I then found myself watching The Jetsons, with an episode involving some futuristic disco dancing. Wow, what an excellent video to go with this album! -- Russell Whitworth http://www.anchorag.demon.co.uk/ ------------------------------ Date: Mon, 27 Apr 1998 10:59:39 -0500 From: "Pinke, Brian" Subject: Slipping back into existence Reading Andrew Miller's enthusiastic "review" of the RFSQ video, I had to agree whole-heartedly. It really is excellent, both in sound and picture quality and the show they put on. I had it before I got the CD or realized there was such a thing and had to have that, too, after seeing and hearing this group in action. The CD "The Bridge Between" has been one of my favorites since I got it. There was some talk of a re-release a while back. Will something come of this someday? My only request would be for more, rather than just repackaging, though I could stand to have "Threnody for Souls in Torment" replaced with something more palatable. This is the only track I don't like on the CD or the video. I realize all the participants are extremely busy with new albums (Pathways) and ProjeKcts, but if possible, I would certainly love to see the Quintet slip quietly back into existence... Brian ------------------------------ Date: Tue, 28 Apr 1998 09:43:10 +1000 From: "Peter Allen" Subject: Re: Will Australia ever see KC Hi Alan, I'm in Melbourne if you're keeping a count! One of my biggest musical frustrations is that there is little apparent prospect of ever experiencing KC live, let alone on any sort of regular basis. No-one will know whether a KC tour of Australia and New Zealand (tied in with Japan perhaps) is viable until they try it, assuming they have any wish to do so. But I'm sure an audience would develop here; with a band of this strength, the word would get out. Regardless, all thanks to Mr Fripp & Co for their current attitude to the comprehensive release of live recordings, both contemporary and archival, as well as studio work-in-progress (eg VROOM). So few artists document their concert performances with official releases. Whatever the reasons given, one raw fact is that many people with a vital interest in those artists' music have NO chance for the live experience in any form, other than bootlegs. The work being done by DGM is exemplorary in involving the audience with the process of musical exploration, to whatever degree they wish to participate. Cheers, Peter * -------------------------------------- Peter Allen (pda at melbpc dot org dot au) Melbourne PC User Group * -------------------------------------- ------------------------------ Date: Mon, 27 Apr 1998 17:55:58 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: 1. Space Groove; 2. Binaural recordings Just got Space Groove the other day. Prior to buying it i thought...."Belew on the drums. Well, he's pretty good, but no Bruford, and he's not playing guitar. Ok, I'll bite." I had my doubts. But contrary to some of my expectations, I now feel that Belew's drumming is a vital component in the exploration of new sounds. Belew's rythmic approach seems to have allowed the three of them to break out of old patterns, and it's really refreshing. One thing that is new is the humor--not just in the tune names but in the music. There is a liteness that has never been part of KCs' music before. I CAN see how some ETers might think they were getting "ripped off". There is clearly a fairly raw performance, sounding like rehearsal tapes in parts, and once in a while nearly falling apart entirely. But the ideas are good, and very fresh, and at times the music is excellent. It IS different from the studio-fabricated polished creations we may be used to, but somehow I by no means feel my money was wasted. And I like it much better than ThrakAttak. As for binaural recordings sounding being mono when played over speakers, this is demonstrably untrue. First of all, a mono recording when played over a stereo setup means both channels have the same information, and thus appear collapsed in the center of the soundstage (Portishead's "Dummy" is recorded in mono). For a binaural recording this is clearly not the case: consider a sound generated directly to the left of one of the ears of the binaural dummy head. This sound will clearly be louder in that left ear than the right, and will be recorded as such. During playback, one speaker will play a loud version of the sound, the other a quiet version. The sound will appear to the left of the sound stage. Other sounds emanating from other points in space around the dummy head will likewise have spatial information encoded in the recording. this is clearly not a mono sound on speakers (though exatly WHAT it is I can't say). -Emory ------------------------------ Date: Mon, 27 Apr 1998 18:50:07 -0700 (PDT) From: Joseph Basile Subject: Shirt Pocket Notes:Frontmen,Beat ,Fripp fainting,Bruford Quoat Hi,Oh, Ced and some other Eters were on a disscusion of Crimson front men. I feel Wetton can't be used in comparison. Though Wetton was the best rock basses at the time,and still a major thundering force. And though I love his emotional voice,he was not the front man of this band .Fripp was!. I'm not complaining. Just want to thank those of you that trashed BEAT.It caused me to go back and fall in love with it all over again. SARTORIE IN TANGIER, NEROTICA, WAITINGT MAN , NEAL, JACK & ME, REQUIEM, HEART BEAT, and Margret's lyrics on TWO HANDS...need I say more? OK, Fripp solo's on every song, He seems into it. Beat no, TIMING YES! WOW! WHAT TIMING! Does anyone remember what category it was nominated for a Grammy for? Now that the 1980's LIVE IN JAPAN is out, what are Eters, thoughts on RF fainting(in coils) at the end of LTIA Pt3. Just curious. No, CATFOOD killed the cat. Dave Brideau, ya STARLESS is pretty commercial, so is PROVIDENCE,and FRACTURED too. Right there with HEAT OF THE MOMENT.Was this another April Fools joke that suckered me ...again? "Soft Machine an inspiration to Crimson"? What?"Fripp didn't have the Edge"? Listen, Activiley Listen!!!!!!!!!!!!!! In the early early 80's my wife(Elissa) and I went to an autograph signing for BRUFORD. I told Bill that he was my favorite percusionist, but Fripp was my favorite member of King Crimson. Bill's repley," Mine too." I liked this. Bought Trowers, BRIDGE OF SIGHS for Robert's liner notes. Didn't have them . If anyone has this and will send me a copy, I'll make it worth your while.(email thing) Thank you all Eters and especially the staff. Time? Hay, I'm busy too. But you MAKE TIME,for ET.Like 6:00am,ect. Many intellectuals on this form, myself not included.But I recognize em when I read em. Warmly, Basile By The Three Rivers ------------------------------ Date: Mon, 27 Apr 1998 22:27:27 EDT From: Pierron3 Subject: Space Groove & B.L.U.E. Hey there- I just received my copy of Space Groove today...love it! I bought a Japanese copy of B.L.U.E. at a record show last week....love it! For anyone wondering..well worth the cash! I'm still waiting for something from ProjeKCt one..hope it happens. Mike- Appleton ETers ------------------------------ Date: Tue, 28 Apr 1998 02:00:43 -0400 From: Ellwod Irish Subject: Thank You! I've been spending a lot of time at Elephant Talk the past few days, much more time than any other site with the exception of Opera News. It's like a home, a place where this unique music, this endlessly inventive, this daring and enlivening music can be discussed, where I can meet people with whom Crimson has been a great factor in playing and listening to music. An example from the Interview section: I learned so much about playing and the nature of music from Robert's interview with John McLaughlin. Robert asks John about what he'd tell young players, and that has really been in my mind the last few days, of applying that to my life. Well, I didn't mean to ramble on so long. Thanks! Mike dhalgren at hotmail dot com www.oeonline.com/~eirish ------------------------------ Date: Tue, 28 Apr 1998 09:05:40 -0400 From: "Dan Wasser" Subject: maybe I'm not a Crimson fan anymore? I first got into Crimson in the early '70s with ITCOTCK. Then through the rest of the '70s I bought In The Wake, Larks' Toungues, SABB, Young Persons Guide and loved it all. I also loved all three of the '80s discs. (Sorry, I happen to love Beat.) In the '90s, I bought Frame By Frame boxed. And, VROOM and THRAK. I enjoyed those, too, but found SOME of it, well, boring. (Though I love Dinosaur, B'Boom, and SSEDD, and others). However, I heard THRaKaTTaCK and found it boring. I thought Live in Argentina was recorded too early in their double-trio formation and the result was less than impressive. I heard ProjeKct II (well, the first CD, not the second) and found that boring. The reviews from the P-II gigs seem to indicate that the music is improvisation, which I also find boring. Soundscapes doesn't impress me. I guess I'm more into the structured songs, with lyrics and a melody. (I've enjoyed some of the members' side projects: Sunday All Over The World, Adrian's Op Zop Too Wah, and Trey's Third Star.) I'm not really interested, either, in the live recordings from past formations. I like the studio versions better. (I get the feeling that Mr. Fripp is just recycling the old music, to milk it for all it's worth. But, I'm a firm believer in "supply and demand." I just don't happen to "demand.") So, maybe I'm not a Crimson fan anymore. (Beatles aren't together [Lennon's dead]; Queen's not together [Freddie's dead]; no more Zappa; Bowie hasn't done anything great since Scary Monsters; where's XTC? And when is Kate Bush gonna give us something?!?!?!) Waiting for the next Crimson studio disc, Dan ------------------------------ Date: Tue, 28 Apr 1998 09:14:55 +0100 From: pdowling at mail dot dreamcom dot net (Paul Dowling) Subject: Soon to be extinct LPs for sale I have a number of LPs which may be described as: rare, unofficial, and out-of-print among other things. Primarily featuring Yes and its various members, KC and Peter Gabriel. Please reply by private email for the detailed list. Use a heading of "to Jim regarding LPs" as I am using my brother's account. Jim Dowling Cheers! Paul Dowling Liber Antiquus, Early Imprinted Books http://www.liberantiquus.com E-mail: paul at liberantiquus dot com ------------------------------ Date: Sat, 25 Apr 1998 14:31:05 +0100 From: Tim Meadowcroft Subject: GIG REVIEW: P2 @Jazz Cafe + Andy Summers @ PizzaExpress Geez, 2 gigs in "Jazz" venues in less than a week (and I've just got rid of the goatee!!). Everyone at work thinks I'm the bloke off The Fast Show ("hmm, eclectic"). So, after Project 2 (sp.) at the Jazz Cafe (excellent gig, but Adrian, hey, relax a bit), I saw that Andy Summers was playing all week at the Pizza Express Jazz Club in Soho with our favourite bass-tart TL !! Well, it turns out it's not TL playing live, he's on the album (The Last Dance of Mr. X) but I presume he's playing this BLUE thing in the US. So, the replacement bass bloke was good, and Mr Summers was amusing (but looking very aged) and, well, after P2, the entire gig was a bit limp. The food was good and the music well-played, but a bit too much of the J word for me: I was hoping for a bit more of the Fripp/Summers feel ("What Kind of Man Reads Playboy" sort of stuff). I didn't hang around for the second set (it _was_ a work night) which may have been more interesting, but I bought the accompanying CD, which so far sounds like more of the same, sort of unengaging twiddling. Of course Your Mileage May Vary. Irrelevant (Irreverent) Side Issues from P2 - Lots of women at this gig, couples and singles. It helps that the venue isn't quite so nerdy I suppose (maybe it's those shiny shirts TG seems to like... maybe somebody should send him to Ted Baker's shop instead). - Black is definitely the new Black !! OK, I was wearing a black shirt and a black suit too, but I'd been at work - I thought you guys (crowd and performers) had more imagination than me. - Noone took any photos !! No flashes, and no cries of "Starless" and "Hey Bobby", just polite banter when Adrian couldn't get the boys to organise. Is the crowd improving, was it the higher proportion of women ? - (and yes, there was a new scrolling message from TG, but I'll refrain from starting that thread again) Later Tim ------------------------------ Date: Sun, 26 Apr 1998 13:25:01 -0400 From: Michael Kelly Subject: GIG REVIEW: Belated BLUE Bits from Boston house of Blues I apologize that this post is somewhat tardy, only a week but in digital time it's obscene I know.... reality intrudes. I thought I could add a couple things to previous reviews of the Boston Show like the set list;. Improv?/Untitled Etude Revisited Original Sin Cerulean Sea Palace of Pearls "Master of the Oud" (featuring Torn with the band rejoining at the end) Cracking the midnight Glass Fin de Siecle 3 Minutes of Pure Entertainment ENCORES Deeper Blue Cobalt Canyons My partner who did not attend the show, recorded the internet broadcast for me so I am sure about the set list! I am also sure, after repeated listenings that this was one hell of a show. As my concert companion and I were leaving the House of Blues we commented on how it was difficult to point to a weak spot in the performance - it was amazing. Lets hope that the "fall gigs" Tony referred to work out. I will travel to catch another one or more of these gigs!! Regarding previous reviews: In response to Ursic Caesar, ET Digest #489 - I would say that the nasty glances by Bruford, Botti and Levin were actually made towards a member of the crew who was scurrying around the front of the stage repeatedly, snapping flash pictures from one of those little disposable camera's, and not towards David Torn. Through highly classified, ninja like maneuvers, my companion and I were able to get right up front, against the stage (only after we could snatch the pebble from our Master's hand were we allowed to attend the show). We had to move repeatedly so this guy could scurry about. Botti seemed quite miffed at one point and Levin actually spoke to him at another, seemingly about the picture taking but I am not certain. In ET Digest #488 Peter Shindler wrote about the amazing sounds from Torn via gadgets and hand held cassette recordings of middle eastern singers played through guitar pick ups! I agree with his review - Torn was amazing. It was so good to see/hear him live again. The last time for me was the Isham tour and that was what??? 10 years ago! I was entranced by his solo piece and would pay to see him do solo/loop stuff for an evening - no hesitation. Bruford introduced Torn as one of his "favorite guitarists" and Levin agreed with the crowds response to the "Cloud About Mercury" album saying "lets find a label and re-release it!". Being virtually unfamiliar with Botti I was pleasantly surprised. He held his own with 3 guys who can take up a lot of space! I will definitely check out his solo albums. I won't ramble about Levin and Bruford - what new is there to say - fantastic. I think it was the first time I have heard/seen Bruford live without pads - never missed em! OK - an old and tired bitch here but I feel I must. Hopefully there is some value to such feedback even if it has been stated a hundred times before. The House of Blues just plain SUCKS as a live venue. Please oh please, no more DGM/Papa Bear artists at this venue. The Paradise has been remodeled and has less obstructed views than HOB. Mama Kin has a couple stage options and seems open to "less than mainstream" acts. Even Avalon, (previously called the Metro) where KC played on the Discipline Tour would be better. I really really miss Nightstage which closed a couple years ago. If the HOB closed tomorrow, I would not mourn the loss of that performance space. >end bitch mode< ------------------------------ End of Elephant-Talk Digest #490 ********************************