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 #491 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 491 Sunday, 3 May 1998 Today's Topics: NEWS: The Wallace/Trainor Conspiracy NEWS: Artist Shop KC related news NEWS: fernandes ad NEWS: Surveys: Favorite Fripp Blow NEWS: BoS issue #16 GIG BIZ: Tickets on sale for P2 in Chicago GIG BIZ: P2 detroit date GIG BIZ: P2 in Columbus Greg Lake's book "Word Sculptures" TAB: Sleepless "Three of a Perfect Pair" Video Concert Can't find Young Person's Guide KC and liberal arts education Sheltering Sky Tom Phillips' *Humament* Reused, Again zabriski re:maybe I'm not a Crimson fan anymore Zabriskie Point; Steve Reich KC unplugged & P2 Re: THRAK and Exposure Live recordings Re: Beat and the Grammys ProjeKct Two And Time For Three The Myth Is Perpetuated USED CDs FOR SALE! DGM purchase suggestions letter Re:TALK: Bringing Down the Light Subject: maybe I'm not a Crimson fan anymore? Fripp's gear Billy come home! Bringing down the light/Battle Lines GIG REVIEW: B.L.U.E at House of Blues, Boston, 4/19 ------------------ 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, 29 Apr 1998 13:59:17 -0600 From: information at finemusic dot com (Ian Wallace) Subject: NEWS: The Wallace/Trainor Conspiracy Hi, this is Ian Wallace writing to you, late of King Crimson plus a few others. I recently recorded my first solo record with my writing partner, pianist Brian Trainor. Not only that, but another friend and I have formed a record company to release it, primarily on the internet, called Artist Road Records. And this, ET reader, is why I am contacting you with a special offer. The name of the project is "The Wallace-Trainor Conspiracy", and the title of the album is "Take A Train" (with apologies to Lawrence Welk!). It is predominantly a jazz instrumental with some rock overtones, and quite a few of the tracks have that Crimson "on-the-edge" feel to them (as well as Monk-ish). Aside from Brian and myself, the other players are Steve Marcus on saxes, the leader of the Buddy Rich Band, Latin jazz bassist, John Belzaguy; and we flew Ian McDonald in from New York to play on a track, an unusual version of "21st. Century Schizoid Man", which is combined with Thelonious Monk's "Evidence" to make up a number I arranged entitled "Evidoid Suite". Truly Schizophrenic! Initial feedback about the CD from reviewers, web sites, and magazines has been enthusiastic. I hope that Crimson fans will appreciate our music just as much, and I'd like to make you a special offer. If you order the CD through our web site, I'll autograph it for you and send along an expanded version of our liner notes, which includes some fond reminisces about my early days with your favorite rock band. Looking back I see that it really was an incredible time, and I feel my experiences during this time come through on my first CD. Thanks....I look forward to hearing from you. To order the CD, please use our secure server or any of the other ordering options at our web site, http://www.finemusic.com. There are sound samples there, too, and when you order be sure to mention ET. Ian Wallace Artist Road Records www.finemusic.com ------------------------------ Date: Thu, 30 Apr 1998 22:41:28 -0400 From: Gary Davis Subject: NEWS: Artist Shop KC related news Hello Friends! The latest Artist Shop newsletter is out and you can find it in its entirety at . But here's a little ET edit just for you. First a reminder that we've scheduled an additional IRC Chat with Ian McDonald, founding member of King Crimson. So if you missed the event on April 15, you've gotten a reprieve ;-) Our new chat is scheduled for Sunday, May 3 (that's this coming Sunday!) at 5pm EST/2pm PST. Hopefully this new time will also give a better opportunity for our friends in Europe since it will be 10pm and 11pm there. And even some of you in Japan and Australia may want to join in as it won't be too terribly early on a Monday morning. We did get to chat a little with Ian on April 15. He talked about his time in Crimson, his feelings on the Epitaph boxed set, his desire to remaster the McDonald and Giles CD and even do another album with Michael Giles, the Tokyo Tapes tour and recordings with Steve Hackett and John Wetton, his plans for future recordings with some very special guests and more. For all the details on joining the chat go to our IRC Page at . And speaking of The Tokyo Tapes, both CD and video have finally been released. Wetton and McDonald are in excellent form throughout and their performances of Court of the Crimson King and I Talk to the Wind are right on the money! You'll find this on our Steve Hackett/Camino page at . I've put up two soundbites including I Talk to the Wind. It is especially exciting to welcome Tony Levin and Papa Bear Records to The Artist Shop. I'm sure I needn't explain Tony and his music to this crowd, so I'll just say stop by the page! We also have a copy of a note from Tony on the page regarding a recent performance of BLUE for which he most definitely wants to find an audience tape. This note has been posted on ET before, so I won't repeat it. But if you missed it, you'll find it quoted verbatim at the above URL. We have four new releases on our Cuneiform page . One of these happens to be Colours Fulfilled by Mujician. Mujician is an extremely smart jazz quartet that features keyboardist Keith Tippet whom many of you will recognize from King Crimson's Wake of Poseidon, Lizard and Islands albums. They also happen to have a drummer named Tony Levin, but, alas, not the same fellow mentioned in the previous paragraph. ;-) Robert Fripp's latest release, The Gates of Paradise, is now up on our Discipline page with graphic and soundbite. Following up his last album, That Which Passes, Mr. Fripp now presents us with his latest, The Gates of Paradise. If That Which Passes was meant to be a contemplation of the moment of death, then this next installment would seem to be a continuation of that theme with a reflection on the afterlife. Also on that page we have listed the tourdates for the upcoming ProjeKct Two tour. It's been posted on ET before, so I won't repeat it, but if you missed it, go to the above URL. See you at the Ian McDonald Chat! Gary ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com artshop at artist-shop dot com phone: 330-929-2056 fax:330-945-4923 SUPPORT THE INDEPENDENT ARTIST!!! ************************************************************** Check out the latest Artist Shop newsletter at http://www.artist-shop.com/news.htm ------------------------------ Date: Thu, 30 Apr 1998 11:12:49 -0400 From: "Williamson, Jim" Subject: NEWS: fernandes ad Yo, kids. In case you've missed it you might want to dial up http://www.fernandesguitars.com/Pages/M-KingC.html to see Mr. Belew and Mr. Fripp give their testamonials for the Fernandes Sustainer. I was rolling on the floor laughing at Robert's blurb. Enjoy --jim ------------------------------ From: DanKirkd Date: Thu, 30 Apr 1998 11:42:30 EDT Subject: NEWS: Surveys: Favorite Fripp Blow Crimsoids, I've added a new survey to ET Web. This question asks "Which recording contains your favorite Robert Fripp guitar playing?" I'd like people to indicate the track, release and artist/band. Because this a "write-in" survey, I expect the responses could get very varied, and will be longer to tabulate. Also, by the time you read this we should have the results to the second survey, "Which is your favorite King Crimson track?" Thanks to all who have responded. Finally, if you haven't yet done so, make sure you take a peek and select a CD cover for the ET Tribute CD. 300+ of you already have, thanks. On another note, I will be moving from the Chicago area to Bellevue, WA in mid-May. Please be patient with me if you have sent something in for ET Web during this time, or simply hold off doing so until June if you can. They'll be a period of time when I will not have access to a PC. Hopefully the movers don't destroy it! If anyone has any insights about the Seattle area they'd like to share with me please email me. Cheers, Dan ET Web ------------------------------ Date: Fri, 24 Apr 1998 15:59:47 -0400 From: Barbara Summers <106155 dot 1130 at compuserve dot com> Subject: NEWS: BoS issue #16 BOOK of SATURDAY Independent Journal of King Crimson and Associated Matters Issue #16 now available! Essential reading fror all KC fans. Sample issue U.K. UKP 2.75. E.U. UKP 3.00. Elsewhere UKP 3.75 Four issue subscription U.K. UKP 10.00. E.U. UKP 11.00. Elswhere UKP 14.00 Cheques (checks) on U.K. banks. I.M.O.s. Credit cards (Visa/Mastercard) Contact : BoS Press. P.O. Box 221, Leeds, LS1 5LW. ------------------------------ Date: Wed, 29 Apr 1998 16:10:33 -0500 (CDT) From: flaherty michael w Subject: GIG BIZ: Tickets on sale for P2 in Chicago Tickets for the P2 show on 4 June at Park West in Chicago are now on sale. The tickets are a bit more expensive than in other parts of the country (27.50 + Ticket Master fees). The Friday concert on the Web Page is not listed yet by Park West or Ticket Master. My guess is that they are waiting for Thursday to sell out. For those who don't know, Park West is a very nice venue for this type of event. Leave your cameras at home. Michael Flaherty ------------------------------ Date: Thu, 30 Apr 1998 19:52:45 -0700 From: andrew Subject: GIG BIZ: P2 detroit date i neeeeeed to know if the P2 detroit date is june 6th or 7th. the ET website says its the 6th, but tickemaster says the 7th. i already ordered my tickets, so i am pretty sure that ticketmaster is correct. if anyone knows for sure, please privately email me and let me know...if i take the wrong day off work, i wont be able to go, and that would be very very bad... hope to find out soon...thanks -andrew, 19, ann arbor, MI ps...if anyone else is going to that show at the majestic, please let me know and maybe we can get together...i guess i should say that i would prefer to hang with people that are not middle aged who were teenagers when ITCOTKC came out. no offense...you probably wouldnt want to hang with me, either...anyway, thanks a lot... ------------------------------ Date: Wed, 29 Apr 1998 21:38:02 -0400 (EDT) From: Ashes of Time Subject: GIG BIZ: P2 in Columbus Hi. I am planning on going to the P2 show in columbus on the 31st. Does anyone know where I can get tickets? is the concert under a ticket distributer or only available at the venue... the newport, I believe. Thanks for any info. chien. ------------------------------ Date: Tue, 28 Apr 1998 23:01:36 +0200 From: hecker Subject: Greg Lake's book "Word Sculptures" I've heard there must be a book written by Greg Lake, called "Word Sculptures". Could anybody give me a hint what kind of a book this is, and whether it relates to King Crimson or ELP in any way? Is it worthwhile to purchase? Thanks so much, Ulrich Ulrich von Hecker Haeselerstr. 14 c D-14050 Berlin GERMANY fone: +49 +30 301 4913 Email: hecker at rz dot uni-potsdam dot de hecker at zedat dot fu-berlin dot de fax: +49 +331 977 2795 ------------------------------ Date: Wed, 29 Apr 1998 12:04:41 +0400 From: "Volguine, Maxim" Subject: TAB: Sleepless Opening bass riff ( "s" for slap, "p" for pop ) s s p s s p s s s p p p s |---------------------7---5-------| |-----7-7-----5-5-------------5-5-| |-0-0-------0-----0-0-------------| |---------------------------------| -- Maxim Volgin multimedia programmer ParaGraph, Moscow, Russia e-mail: maxv at paragraph dot com ------------------------------ Date: Wed, 29 Apr 1998 02:29:57 -0400 From: David Todd Subject: "Three of a Perfect Pair" Video Concert So, being of sound mind and snarky heart, I made my happy way to the DGM web site, there to discover and order the "Three of a Perfect Pair" video. Live in Japan, 1984. "What utter coolness," I thought. Mere hours later, I got a reply from PossProd informing me of their receipt of my order, and replied to that, engaging the affable Amy in fishy talk. Very pleasant. I hoped as much from the video, and much of it is. Except... I would like to see the video director and producer WRAPPED IN 3/4 INCH TAPE AND BEATEN for their horrendous treatment of Indiscipline. Folks, I am a drummer. I live to see a good drummer. Bruford is my first choice. Indiscipline, in this video, starts with a solo by Bruford. The video producer and/or director, in a paltry bid to "add something" to the song, picked this point to "ARTFULLY USE VIDEO EFFECTS" during the solo and during all of the high energy bits of the song. Specifically he used (drum roll please... Hey, why do I hear the drums, but Bruford looks like he's moving really slow and jerky?) STROBE effect, thus completely masking Bruford's movements. In addition, since screwing it one way will never suffice, he also posterized it, thus obscuring any remaining detail. This brings me to another point, which I hope will plant seeds. I find that about 9 times out of 10, I like the studio version of a song better than the "live" version. This is usually because the live version is a bit faster, which I find a bit annoying, as it always seems a bit hurried given the baseline of the studio cut. In fact, I would bet I almost always like the one I hear first. This is my own problem, and "ain't nothing Ol' Bob can do for it." One question though, is the one of maturation. You cut an album, and then you tour and play those songs and others a few hundred times in rehearsals and during the show. You get used to the song. The freedom you felt when writing is probably increased ten fold, since now you can almost play the "tight" parts in your sleep, and so your mind and soul are unfettered for the ad libbed parts. Certainly, during this period there are recorded bits that completely eclipse the original recording of the part. Sometimes it's just a bit here and a bit there, but add them up and what could you have? Has it ever been considered that a studio recording "after" the tour would be of great interest? Obviously, there are more issues that just whether it has been considered. Such an album would be a new major undertaking for an already released product. If it's better, what business did we have releasing the first one? Etc. Uh, O.K. Coherancy slipping away rapidly. Goodnight Gracie. mumblemumblemumble@#^@#%^$^VIDEOARTIST^%$^%#mumblemumblemumblesnooooooore. -- Hacksaw ------------------------------ Date: Tue, 28 Apr 1998 16:18:57 -0700 From: "Darren Gozumian" Subject: Can't find Young Person's Guide I've looked all over for the compilation and I can't find it anywhere. I'm particularly looking for the CD. I don't even know if it was released on CD, or if there's a remaster. Can anyone help me out!? ------------------------------ Date: Tue, 28 Apr 1998 18:57:56 EDT From: CURUGROTH Subject: KC and liberal arts education A short acknowledgement of KC's contribution to one person's education: I have learned a lot in my efforts to better understand KC's music over the years because each of their early recordings suggested links to other works of music, art, and literature. After hearing Islands as a teen, I read Homer's Odyssey to figure out what other episodes (besides the obvious one with the sirens) were portrayed in Sailor's Tale. (I think I got it right--anyone want to compare notes?) KC was also my introduction to Dylan Thomas (now my favorite poet) because of that arresting image borrowed from Under Milk Wood ("It is Spring, moonless night in the small town, starless and bible black, the cobblestreets silent . . .") Larks' Tongues in Aspic, though, had the strongest impact because Parts I and II opened my ears to an expressive potential I didn't realize purely instrumental music possessed. They seemed to embody a coherent sequence of psychological states or plot-line in the abstract underlying the musical progression: Part I: (after intro) (a) a double encounter with a terrifying antagonistic force (2:53-4:53); (b) a counteraction or struggle to gain control (4:54-7:40); (c) a hard-won reprieve allowing time for solitary reflection (7:41-9:09); (d) immersion in a dream-world where the earlier terror is altogether forgotten (9:10-11:20)--and then, (e) the catastophe, where an ingeniously varied reprise of (a) brings back the antagonistic force with redoubled fury, laying waste to the mind of the persona (that is, the imaginary being whose experience the music fictionally is) (11:23-end). Part II: A counteraction to Part I in which the antagonistic force is overcome. Does this way of hearing this music make sense to anyone out there? In a search for music with the kind of psychological-dramatic coherence of LTinA, I turned to Beethoven, Mahler, Shostakovich, etc., for whom, I discovered, the kind of abstract story telling described above was a common practice. This was the most rewarding link of all. Best, Greg Karl Newton, MA ------------------------------ Date: Wed, 29 Apr 1998 10:51:38 -0700 From: CBYUN at ucrac1 dot ucr dot edu Subject: Sheltering Sky I found a bootleg entitled "The Sheltering Sky" at CD World in Riverside, CA. It was for a 1995 show at the Wiltern in LA. I was tempted, but I did not buy it, Robert. And besides, the crazy thing was pegged at $58.95. I guess ethics are just a matter of prices for me. Christie ------------------------------ Date: Wed, 29 Apr 1998 16:05:25 EDT From: KnKreutzer Subject: Tom Phillips' *Humament* Reused, Again A pleasant instant of surprise, recently, while browsing the local bookstore: the recent paperbacks table featured a copy of the newly-published second volume of *Poems for the Millennium,* the superb University of California Press anthology edited by Jerome Rothenberg and Pierre Joris. Its cover? The "this night wounds time" page of Tom Phillips' *A Humament,* a fragment of which graces the back of *Starless and Bible Black.* This is a good opportunity for Crimson listeners to get a look at the complete *Humament* page from which the album cover's rectangle is snipped. The book also contains other samples from *A Humament* and a brief note on Phillips, whose credits, in addition to the *Starless and Bible Black* artwork, include the cover of Brian Eno's *Another Green World* and the miniature on Eno's *Thursday Afternoon* CD booklet. Kenneth Kreutzer Kent, Ohio http://members.aol.com/knkreutzer/home.htm ------------------------------ Date: Wed, 29 Apr 1998 16:32:25 -0400 From: Kevin Rowan Subject: zabriski kate dot d at virgin dot net wrote: > a few years ago i viewed a film entitled > "zabrinski point" an excellent film with a brilliant and > unusual soundtrack. Yes, I have the soundtrack and it's phenomenal, too. The director, Michaelangelo Antonioni, wanted a movie that fit the time (1968) and the music to go with it. He originally asked Pink Floyd to do the love scene music but liked nothing they wrote for him. He eventually got Jerry Garcia to do it. Pink Floyd wrote other music that Antonioni thought was good enough for the film. The filmed bombed. Anonioni was honored a few years ago at the Oscars with a lifetime achievement award for films like Blow Up, and they showed a montage of film clips including the house explosion from Zabriski. Pretty cool. The leading lady in the film eventually killed herself. The leading man was shot by police in Boston when he tried to rob a bank. KC was never approached to do any music for it. Kevin J. Rowan Office Manager/Project Associate AIBS - SPARS (703) 834-0812 x100 krowan at aibs dot org When you see beyond yourself Then you may find peace of mind Is waiting there -George Harrison ------------------------------ Date: Wed, 29 Apr 1998 15:45:01 -0500 From: Eric Kirchner Subject: re:maybe I'm not a Crimson fan anymore Wow, I suppose I need to stand next to Dan on this one. I guess I like the structure of previous albums too. It's not the instrumental side of it -- Sheltering Sky and Discipline are my favorites. I bought ProjecKt 2 and was totally disappointed (though I should've know better, I'll grant). I guess if I want a free-form jazz exploration, there are plenty of artists with major jazz pedigrees I could see if I wanted that. Dammit, I want Crimso to "forget the new stuff and play the old way", to paraphrase a quote from the liner notes of Young Person's Guide. Listening to ProjecKt 2 made me think of Spinal Tap after one of their guitar players bolts. I'd disagree with him on whether disappointment over their improv direction makes me consider whether to stop being a fan. I still enjoy their stuff, and hopefully they'll put out a "Thrak-ish" album between ProjecKts. I'd be curious to know if there are other backsliders like me out there -- Toby, how about a poll on free form vs. structured Crimso? Regards, Eric ------------------------------ Date: Wed, 29 Apr 1998 17:27:30 -0400 From: Paul Wagoner Subject: Zabriskie Point; Steve Reich In ET 490 Ashley asked about Zabriskie Point, the old Antonioni movie. There's no King Crimson music in the movie, I'm pretty sure--at least, there's definitely none on the soundtrack. A new, remastered and expanded double disc edition of the soundtrack has recently come out in the states, and it has a number of Floyd tracks, maybe the John Fahey Ashley mentioned (though I don't actually recall that), and a large bunch of jams by the Grateful Dead and/or Jerry Garcia. Haven't heard it, but read a five-star review of it in a local publication which usually has good sense. Also, I have to second John O'Connor's raves about Steve Reich's 'Music for 18 Musicians'. It's long been one of my half dozen favorite albums, and I almost killed myself trying to find it on CD (ECM released it originally but it had been deleted for quite a while), finally finding a used copy and buying it about 3 days before Nonesuch's re-release. Does anyone happen to know if the re-release has drastically improved sound quality or anything? Thanks P2 for coming to Detroit in June, especially the Majestic, which is a 10 minute walk from my home! Bye, Paul ------------------------------ Date: Thu, 30 Apr 1998 09:37:08 +1200 From: David MacLennan Subject: KC unplugged & P2 In ET490, Tim Meadowcroft opined that the "lounge" version of VROOOM that P2 play is the closest thing yet to a KC unplugged. Not true! I suggest he listens to "Islands". Most of this album is acoustic (except for the likes of Sailor's Tale and Ladies of the Road, obviously). I continue to be blown away by P2's "Space Groove" CD. "Escape From Sagittarius A" (I think that's the title - I don't have it here) sounds like '74 KC updated to the 90s, and is possibly the best track on the album. I look forward to hearing more from P2 -- I'm sure by the next album Belew will have further explored the possibilities of the V-Drums: he does a pretty neat job here considering he'd barely got them before they started. Only wish I could see them live here in New Zealand :-( David Maclennan ------------------------------ Date: Wed, 29 Apr 1998 18:20:45 -0400 From: Dave Anastasi Subject: Re: THRAK and Exposure Hmmmm... I'm listening to this again, and now I can't help but hear the similarity between North Star from exposure and Matte Kudasi... maybe my mind is playing tricks on me... or maybe it's the style of Darryl Hall's singing.... Hmmmmm..... Best Regards, DAve ------------------------------ Date: Thu, 30 Apr 1998 09:14:35 EST From: "Chris Norton" Subject: Live recordings As another Australian ETer, and hence one not particularly likely to hear KC live unless I pay several thousand dollars for a plane ticket, Peter's post about the benefit of extensive KC live recording releases got me thinking... Often, at concerts featuring improvised music, everything just "clicks". A new take on an old fave, or a completely improvised piece, can sometimes work absolutely brilliantly. One of my favourite bands here in Australia is the Necks - a 3-piece minimalist jazz band who never play the same piece twice and each piece is a brand-new impro that goes for about an hour. (Needless to say, they don't do encores!). After being blown away by a marvellous impro, I'm always left a bit depressed that what happened has passed, and will never be heard again in quite the same way. For this reason, I generally enjoy bootlegs and/or live recordings (good, purposive live recordings - not the live recordings that so many bands put out which are just note-for-note rehashes of studio stuff). I often feel guilty about this. Paradoxically, one of the things that makes live impro work so special is that transient quality - notes form, hang in the air for a few moments and dissolve, never to be heard again. If someone captures them so that the piece can be listened to over and over, that quality is destroyed. Mr Fripp does not like bootleggers. His notes in "B'Boom" make that plain. But they also indicate his dislike is not because they destroy the integrity of the impro, but because they interfere with the control he and the band would otherwise have over the music - the quality is bad, and the bootleg infringes his rights. The fact that albums such as "B'Boom", "Starless...", "THRaKaTTaK" and "Night Watch" get released indicates, I think, that he does not share my qualms. Tony Levin's recent request for a tape of the BLUE gig is interesting in this regard - the impro was so good, he wants to learn it as a regular piece. This is perhaps the complete opposite to any argument about the "sanctity" of impro work - if it's recorded, listened to, learnt and played back many times by the band there's no way it can be considered an impro any more! Of course, this is the way many pieces evolve in some bands, from impromptu jams between the players rather than a composer sitting down and scribbling the notes... but the jams generally aren't in a live gig situation. So - who cares about high-minded philosophy? I'll go on listening to live recordings (yes, even bootlegs) for that wonderful edge-of-the-seat feeling, knowing they've captured something special. At least they save me several thousand dollars in airfares. Crimsonically yours, Chris ------------------------------ Date: Wed, 29 Apr 1998 21:08:35 -0400 From: Kenneth Lacouture Subject: Re: Beat and the Grammys >Does >anyone remember what category it (Beat) was nominated for a Grammy >for? The song "Requiem" was nominated for best instrumental. I don't think it won though. 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, 30 Apr 1998 05:15:10 -0400 From: Ellwod Irish Subject: ProjeKct Two And Time For Three The soundtrack to Zabrinski Point has been reissued, though I havent picked it up as of yet. There are more tracks by the Floyd, and some more Jerry Garcia meanderings. I havent seen the film in a month of years, but I dont think Crimson was involved. The film was done in 1970, so this would have been about the time of Wake of Poseidon. Pink Floyd felt the director, Michaelangelo Antonioni, really wanted them on the soundtrack for a reworking of "Careful With That Axe, Eugene" (titled here as "Come in Number 51 Your Time is Up") for the explosion sequence. According to Roger Waters, no mater what mood was brought out in playing, Antonioni felt it was too strong, or too sad, or too much, and ended up adding numbers by Grateful Dead, the Stones, Youngbloods, Kaleidoscope, John Fahey, Roscoe Holcombe, Patti Page. Ill be seeing ProjeKct Two on the sixth of June. I havent seen King Crimson since highschool, 1973, when the band was touring for Starless and Bible Black. This was one of the first concerts I attended. During Larks Tongues Part II, a great wash of feedback from Robert spread out through the audience, the person to the left of me putting his fingers in his ears. Crimson put most other bands I've seen back to school after that concert So, ProjeKct Two will be playing at the Majestic (last saw Richard Thompson there), just north of Orchestra Hall, where the Detroit Symphony plays. The DSO and conductor Neeme Jarvi are playing tonight in Manchester, the first concert on their European tour. Mike ------------------------------ Date: Thu, 30 Apr 1998 06:07:36 EDT From: ASchulberg Subject: The Myth Is Perpetuated Friends- I know we've dealt with this question in both the King Crimson newsletter, Elephant Talk, and the Roxy Music/Bryan Ferry mailing list AVALON but here's what I found at the official Greg Lake website as part of a trivia contest: >From the Greg Lake website's Trivia Contest: 23. Name the band that Greg Lake, Jon Anderson and Bryan Ferry all sang for? A: King Crimson. Both Anderson and Ferry did guest vocals on 1971's LIZARD album. Totally untrue, right? So why would Greg make suffer such an egregious (like the pun?) mistake to appear on his website?. If it's not a mistake does someone want to identify the track on which Ferry is guest vocalist? I know Fripp has mentioned the Bryan auditioned for the band but is reported to have stated that no tapes of the audition exist and that Bryan was not hired. So, wassup??? Arnie ASchulberg at aol dot com ------------------------------ Date: Thu, 30 Apr 1998 09:55:50 -0400 (EDT) From: Karl Myers Subject: USED CDs FOR SALE! Hi There! I have some CDs, in great condition, that I just don't listen to much anymore, so I am going to offer them to you guys! All are excellent listens, I just have too many CDs to possibly listen to! [ Please email Karl privately for his list -- Toby ] Thanks- Karl Myers mophead at udel dot edu ------------------------------ Date: Thu, 30 Apr 1998 09:14:32 -0700 (PDT) From: Ryan S Subject: DGM purchase suggestions Hi all, I recently bought God save the king and Intergalactic boogie express from possible prod. I was very pleased with both of them. I was wondering what to buy next. If some of you could email me privately and give me some suggestions (and specific descriptions/criticisms) on what else is worth the $$, I would apprechiate it greatly. RS ------------------------------ Date: Fri, 1 May 1998 03:44:35 -0700 (PDT) From: george sikharulidze Subject: letter Hi, We are very interested in the "league of the crafty guitarists."Can you send us information concerning this league.IS it a school or college.If it so how can one apply there?We are great funs of Robert Fripp, King Crimson, we are interested in all the things they do.Unfortunately we have no possibilities to have some good training and education at our country.So we will be very thankful if you will help us to contact these people or show us some ways.We would like to send some our recordings to Robert Fripp and all the persons who are interested with such things. Thank you in advance, Sincerely yours Zura and George ------------------------------ Date: Fri, 1 May 1998 22:47:07 +1000 From: "Eric Best" Subject: Re:TALK: Bringing Down the Light The piece at the end of the Jean the Birdman single is called Dark Water and it is one of my favourite Soundscapes. Like Peter, I long for the day when KC or one of its variants or derivatives visits Australia. Bands with a much smaller fan base continue to do so. Finally, to those that replied personally to my question of who plays what on the P2 disk: thanks for your replies. I apologise for not returning your messages. The other week I stuffed up the computer and had to reinstall the OS, losing your messages in the process! Yours, Eric. ------------------------------ Date: Thu, 30 Apr 1998 17:15:19 -0400 From: Tom Barrett Subject: 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've had a very similar experience. I continue to love all my old favorites, but when it comes to the "new releases" of old live music - I've got enough. I've been a fan since 1969 and I've been disappointed many times. There was a concert in Buffalo, NY on the Lizard tour when KC stopped after 3 songs due to technical difficulties. There was a concert in Rochester, NY that was canceled completely - after I sat through an extremely loud Robin Trower set and watched KC's equipment set up on stage. There was all the taped conversation on the League of Gentleman release. (Even way back to the long diddling on Moonchild - RF decided to leave that on of Frame by Frame). I didn't appreciate all of RF's talk about artist's earnings, etc. and I think that he is milking his fans for whatever he can get. On the other hand, I have had such extreme pleasure over the years that I can't just stop being a fan. As an idealistic and impassioned youth, I was overwhelmed with the fact that the fate of all mankind, my friend, was in the hands of fools. Later, as a college grad with a new stereo, I was thrilled by the 70's KC. The first time I heard "LTIA - part II" I was shaken. In the late 70's I got a chance to hear the small mobile RF at a local radio station's studio ("Frippertronics" is much more interesting live - with a Fripp guitar solo over the repetitions) I also saw the League of Gentleman at a local club and actually danced (a very moving experience.) More recently, I enjoyed two concerts on the Thrak tour - although the one on the HORDE tour seemed a little canned. At any rate, I find that I'm starting to skim ET rather than read every message. I haven't pursued the Projeckt II stuff and I decided to stop buying the live re-releases after my great disappointment with the quality of Epitaph. I can't help thinking that this is just a phase, however, and that I'll be back into KC (and their extrapolations) again soon. I feel that KC, etc. are "old friends" and I know I'll be checking in with them from time to time. I'm looking forward to the time when, once again, we're on the same wavelength. Then - it's incredible. Tom ------------------------------ Date: Thu, 30 Apr 1998 19:51:06 -0700 (PDT) From: apiffer at mail dot bulkley dot net Subject: Fripp's gear Hi all... I'd like to know where I can find a comprehensive list of the guitar equipment Fripp either uses or has used... I couldn't really find anything while searching through the Elephant Talk website. I'm more curious about the "straight" guitar sounds he gets rather than his soundscaping/Frippertronics setup... In particular I'd like to know what he used to get the tone from the guitar lead on "Distributed Being" from Brian Eno's 1992 "Nerve Net" album- what kind of effects/amp/preamp/recording method.... you know. All the nerdy technical info. =) Anyway, thanks in advance to anyone who can give me information about this... you can reply to me directly via e-mail. Alan P ------------------------------ Date: Fri, 1 May 1998 15:58:29 +0100 From: "Williams, Paul" Subject: Billy come home! I caught the P2 gig at the Jazz Cafe In London, and for days after, I just couldn't shake the rhythms and feel from my headspace; excellent night out and thanks again to Brian Thompson for organising the table for 11 out of 12 ET ers. I wore all black too, including the shadows under my eyes! The view was great and I almost felt as if I was on stage with them sometimes; too much beer I fear! Loved the way AB linked the bass progressions to the drum pedal; you can't get tighter than that. The CD is okay, but doesn't entirely reflect the pulsating textures from the live event. Sounds more like a jam with expensive toys, though there are some soaring moments of true inspiration and I am working on absorbing it into my psyche a little more in the hope that It will grow on me. The main reason for this posting however is in reference to B.L.U.E. I am unable to acquire a copy of the CD here in good old Blighty and the reviews I read are driving me wild with desire. When will it be released in the UK? I could import it but that's a bit of a drag! More importantly, will they be doing any shows here? All these scorching reviews being submitted are really frustrating for me! PW Bacchus: A convenient deity invented by the ancients as an excuse for getting drunk. ------------------------------ Date: Fri, 1 May 1998 11:48:19 -0500 From: "Ott, John" Subject: Bringing down the light/Battle Lines Kirk DeGrasse wrote: >> quote >>> 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. << end quote <<< Fripp pulls off a similar trick on two tracks on the John Wetton album "Battle Lines" One track is the title track and the name of the other eludes me at the moment. This (and the first day stuff) is clearly some of the best applied Frippertronics/soundscapes as emotional enhancement of a song. Battlelines is a must listen for Wetton/Fripp fans. (if only for those two tracks) later John ------------------------------ Date: Thu, 30 Apr 1998 10:03:05 -0400 From: Tom Evans Subject: GIG REVIEW: B.L.U.E at House of Blues, Boston, 4/19 Greetings all, I must start with thanks to Toby and the gang for a great job on the newsletter in general and the April Fool's issue in particular....brilliant! I went to see Bill, Tony, David, and Chris at the House of Blues last night in Cambridge, Ma. It was my first trip to the HOB, and I was not very impressed by its suitability as a venue for this type of performance. Made me long for Nightstage, where I saw Earthworks twice and Bruford/Moraz twice. The HOB was crowded (over-crowded?), and visibility was poor due to the large number of very tall Bruford/Levin fans. I'm 6 foot tall, and I could see no more than Bruford's head and one of his cymbals. I felt bad for those in the crowd who were less vertical. I liked 3/4ths of the performance. Bruford and Levin were solid as always. Tony produces some great tones on his variety of instruments. Bill weaves in and around the beat, deliberately trying to knock Tony off, but Tony never falters. Chris Botti was very effective, his trumpet soaring at times, perfect counterpoint to the playing of Tony. A great reference to Chet Baker in ET 486. I figured that this music would be similar to Torn's Cloud About Mercury, some of which I like very much. I think it is a stretch to call David a guitarist, though, and I certainly wouldn't call him a "guitar player." Sure he held a guitar, but I wouldn't say he played it. Maybe we should call him a multi-machinist? Some of his lines were wonderful, but too much of his playing was noise to my ears. I tended to focus on the other three musicians, getting more than a thrill at hearing Bill and Tony setting up and playing around the rhythm, while Chris added some color. So there I was, packed in like a sardine, not able to applaud because I couldn't get my hands up to do so. Oh well, it was still worth it. Hopefully if they come back, or if Earthworks tours the east coast, they'll find a better venue. I was hoping to get to New Haven to see Projekct 2, but, alas, I'll be in Vegas. Now imagine any KC related performance in Vegas! tom -- * ------------------------------------------------ Tom Evans | Lightbridge, Inc. Network Manager | 67 S. Bedford St. evans at lightbridge dot com | Burlington, Ma 01803 * ------------------------------------------------ Yeah, we can do that. * ------------------------------------------------ ------------------------------ End of Elephant-Talk Digest #491 ********************************