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 #497 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 497 Thursday, 14 May 1998 Today's Topics: GIG BIZ: Carpool from Toronto(my car) to P2? Fripp/Sylvian Alchemy - An Index of Possibilities Tape/Minidisc traders What is ET? Re: My post last issue Space Groove reviewTo: "toby" Re: Young Person's Guide lecture, violence (the lack of, please) Flashing Fripp Don't go to P2 Fripp photography and the meaning of life P2 stuff, photos and tense geezers. replying to an old Fripp meeting comment KC/P2, & that dude who wants Fripp to apologize Something to the Heisenberg idea KING CRIMSON DISBANDS Fripp interview in BEST photos? photos. Re: Thrakattak Fripp's Actions (flash photo incident) a question about copyright Islands re-issue, Flashing Opinions make the KC world go round Re: "Lighten Up" P2 - Space Grooves IMO Re: Gates of Paradise TEST PRESSING Improvs; P2; Concert behavior William Blake Disheartened By ETer's Reaction to P2 Informal Survey Sampled soundscapes (from Robert Phan) Guitar Craft Seminars P2 at the Cannery! Open The Pod Bay Door HAL GIG REVIEW: P2, Terra, SZone:CONN, CZone:New Haven Startdate 1998.05.05 GIG REVIEW: Philadelphia ------------------ 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: Mon, 11 May 1998 14:49:56 -0400 (EDT) From: gut at echo-on dot net (Michael W.) Subject: GIG BIZ: Carpool from Toronto(my car) to P2? Hi, Would any Torontonians be into heading down to Pittsburgh or Detriot for the Projekct Two gigs? Mike gut at echo-on dot net ------------------------------ Date: Mon, 11 May 1998 14:49:36 -0400 (EDT) From: gut at echo-on dot net (Michael W.) Subject: Fripp/Sylvian Alchemy - An Index of Possibilities Over the discussions of the Fripp/Sylvian works I don't remember seeing the "Alchemy - An Index of Possibilities" mentioned. I recently picked it up on cassette at a used shop. Fripp is on one side only. This album pre-dates the others because it was released in 1985. I went to Music Blvd. to see whether it's available on CD, but no luck. Anyone have any more info? thanks, Mike gut at echo-on dot net ------------------------------ Date: Mon, 11 May 1998 14:49:47 -0400 (EDT) From: gut at echo-on dot net (Michael W.) Subject: Tape/Minidisc traders Hi, Does anyone know of a web site or ng for KC/Fripp trading? Feel free to contact me directly. Mike gut at echo-on dot net ------------------------------ Date: Mon, 11 May 1998 16:42:55 +0000 From: Martin Bradburn Subject: What is ET? Visiting the ET website and seeing Dave Dowling's decription of ET started me thinking. Not that Dave's description is not true but maybe someone has already written a decription of ET we just need to review it again: Talk, it's only talk Arguments, agreements, advice, answers, Articulate announcements It's only talk Talk, it's only talk Babble, burble, banter, bicker bicker bicker Brouhaha, boulderdash, ballyhoo It's only talk Back talk Talk talk talk, it's only talk Comments, cliches, commentary, controversy Chatter, chit-chat, chit-chat, chit-chat, Conversation, contradiction, criticism It's only talk Cheap talk Talk, talk, it's only talk Debates, discussions These are words with a D this time Dialogue, dualogue, diatribe, Dissention, declamation Double talk, double talk Talk, talk, it's all talk Too much talk Small talk Talk that trash Expressions, editorials, explanations, exclamations, exaggerations It's all talk Elephant talk, elephant talk, elephant talk! Words by Adrian Belew The insight is mind boggling! - Martin B. ------------------------------ Date: Mon, 11 May 1998 17:48:23 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Re: My post last issue I must be getting old: Last issue I wrote: >Also, someone mentioned seeing _USA_ on CD with extra >tracks. That is also a CD. If you see this CD anywhere, do >NOT buy it if you expect Fripp to see on dime for it. What should have been written was: "Also, someone mentioned seeing _USA_ on CD with extra tracks. That is a pirated CD, dubbed from vinyl I would assume. If you see this CD anywhere, do NOT buy it if you expect Fripp to see on dime for it." Sorry about that, folks. --Jeremy ------------------------------ Date: Mon, 11 May 1998 23:29:38 +0100 From: gomez Subject: Space Groove reviewTo: "toby" the following is a review of Project Two's Space Groove CD by a scholar, genltleman and devout Fripp fan living somewhere North of NYC...a literary offering for ET: "Space Groove, or Exhausting the Minutiae" Space Groove fails nobly. It fails as homeric heroes fall, both showing the highest that man can be and also making evident that that height is finally insufficient. Displaying, in fact, that the moment the hero hits the dirt and his blood mixes with the earth and he looks on high for mercy--that that moment is the axial truth of our struggle, and, pitifully, beautifully, our highest aim. The Muse has been kissed and we have come away with maggots on our tongue: holy maggots, to be sure, but disease-bringing nonetheless. Let the unwary not think this is an unfavorable review. Let the children be shut up in their rooms; let the prophets eat for free tonight. Selah. At last Jazz and Rock have met on the playing field; they have dismissed their idiot cousin Jazz Fusion (that sad progeny of in-breeding); they have crossed their sticks in ritual challenge; there has been bloodshed. The great saxophone avatars have been reborn in the sacred, complex whore, the guitar. The great Jazz drummers have gone insane in the grave and channeled their mute fury into the slapped metal of the electric bass. The Beatles prowl the graveyard holding digital effect-pedals aloft. Their microphones have been castrasted and wound up within wicker voodoo dolls. A crowd of thick-spectacled nerds worship at the foot of these dolls and pretend they have been granted autographs. The moon has refused to rise. Temperature: 34 fahrenheit. No wind. Time: somewhere between the death of Delta Blues, the British Invasion, and the rise of the ten-horned power. Miles Davis looks on dressed as a Canadian mounty, his horn held limply at his side. He will never smile. His improvisation, as you well know, is his silence. Out of the dust cloud thrown up where a mighty xylophone-tickler fell with the force of city losing its meaning, rises--or at least you believe you can see rising....but horror locks your tongue, you cannot speak its consonant-filled name. We have been left alone, weaned from the sonant breast. We tap our feet, but realize we have been had: we no longer know the way. In other words, "Space Groove" announces a new moment in music. A new mark has been carved in the bench and the children cry because they have never seen this before: shock, not displeasure. May the goats, at long last, consent to learn of the lambs. Steven Shurtleff sds12 at cornell dot edu ------------------------------ Date: Mon, 11 May 1998 06:43:47 -0400 From: "jmhuebne" Subject: Re: Young Person's Guide I hope that this information will prove useful. I have what is, to the best of my knowledge, a U.S. release of the Young Person's Guide (Cat No. DGM9605). The disc contains 23 tracks and was purchased retail (Circuit City of all places...) for around 6 bucks. Jim ------------------------------ Date: Mon, 11 May 1998 18:40:27 -0400 From: David Steimling Subject: lecture, violence (the lack of, please) Hello all, (Dave bows to Toby) The problem with some KC fans is we view the concert like a lecture. Hmmmm, interesting. Well, I doubt you'd hear people at a classical performance screaming at the violinist or flutist. I guess I consider KC, and related materials, as kclassical. I want to hear whats going on. I want to "take notes" on the "prof's teachings". You compare the difference between a KC concert and other rock shows with a basketball game compared to golf (I mustve missed that)? All those sports are strictly visual. KCs sport is aural. Huge difference. Some people believe in the audient/performer relationship. ("Music so wishes to be heard that it calls on some to give it voice and some to give it ears." -fripperism) Go play ball & let us listen. To some of us, its not "only a concert" Kenandsueb. It has expression, meaning. Its high, wide and oblique. Its some of the best musicians in our chosen listening realm doing what they love, loving what they do. Its not every day you get the chance to witness that. These guys have musical merit. Something rare in modern music. Myself, and many others, wish to hear whats going on. Not screaming "fan"atics. "Oooooh, if I wouldve been at Philly I wouldve freaked on whoever snapped that pic. Anyone not involved with the lynching should be ashamed!" was my submission. It was not intented to condone violence. Lynching is a strong term. It was not meant to be a serious suggestion. I definitely wouldve had a few things to say to the person, had security not handled the problem. Violence solves nothing. I dont believe the audience, nor the venues that are chosen, lend themself to that kind of behaviour. I certainly hope that violence would never erupt at a KC, or related, or any show. Thanx Toby Dave ------------------------------ Date: Tue, 12 May 1998 11:28:15 +1200 From: David MacLennan Subject: Flashing Fripp Up till now I've refrained from commenting on the Fripp vs. Flashers thread because I confess I'm not quite sure where I stand on this. On the one hand if a venue says "no photos" that should be the end of it, but I can't help feeling Fripp is being a bit precious and primadonna-ish by walking off and denying the rest of the audience its pleasures just because some cretin can't read. But then in the course of 30+ years in the business I guess he's had to put up with enough dickheads such that, now that he's in his 50s, he just can't be bothered any more and who could blame him? But at the end of the day, he's working in the rock world, not the classical world (though I'm sure that world has its share of less than ideal audients too), so I think he needs to resign himself to such behaviour and lighten up a little, and be more secure in the knowledge that the majority of audients at his gigs appreciate what he and the other musicians are trying to do -- either that, or find more appropriate venues than boozy clubs. Or give up live gigs altogether. Artistic temperament is fine and I think most people accept, even expect, some odd behaviour from great artists, but it can be taken too far. But then it's all a bit academic to us down here in this Fripp/KC-starved corner of the globe called New Zealand! At the end of the day it makes no difference to me personally how Fripp treats his audiences. All we have is the records (not that you can find many of them in the shops here either....) David Maclennan (currently much enamoured of "Space Groove" and "BLUE") ------------------------------ Date: 11 May 98 18:37:21 -0500 From: John Klemets Subject: Don't go to P2 This message is for those of you out there who are thinking about ever attending a Project Two show. Don't go. Call me a reactionary but I happen to object to the kind of musical nonesense currently being peddelled by Robert Fripp and his acolytes Belew and Gunn on the ProjeCKt Two tour. And what amazes me is that none of you apes who have attended this ridiculous event have had the nerve to tell the rest of us that this King is wearing no clothes. Well I will. ProjeCKt Two isn't the scary avante-garde beast described by mindless Crimsoid fans in this tabloid (although Adrian's drumming is frighteningly bad), it's just tasteless and boring. Whatever it may be it is not music. Here's the facts kids. If you're gonna to stand there and goggle at Fripp until the drool runs down your face and cheer for this crap, and pretend that you're smarter than me and UNDERSTAND something profound that nobody in their right mind could possibly understand, he's gonna keep playing it. I feel, as a person who truly appreciates the kind of music these guys are capable of, I have an obligation to say when something sucks - especially when they've gypped me out of $27 to see it. The Sylvian/Fripp collaberation The First Day is a remarkable and daring work of popular art, it has an edge no one else besides Bob Fripp ever could (or would) create. That to me is the true Fripp, the real Fripp, the best Fripp, let's hope in the future we see more of that and less of this. John Klemets ------------------------------ Date: Tue, 12 May 1998 10:26:54 +1000 From: Jamie Lack Subject: Fripp photography and the meaning of life More to add to the flash photography chazagga. In response to "kenansueb" 's post about photographing Fripp,.... Isn't Fripp only really opposed to Flash Photography, not photography in itself? Think about what Robert might be trying to do here, he no doubt wants to play the best he can, and possibly tap something deeper within himself than "the concert experience". I think that saying it's "part of the concert experience" is fast approaching an excuse for not having a disciplined and empathetic mind. This brings me to something I have observed from reading ET for a few years now. Many of the people on this list who react strongly in emotion and/or opinion against something Fripp has said or done, do so only through their own weakness. I observe it as plainly as yellow against black. Mostly this is predictable. After all, Fripp has said things along the lines that he is trying to effect change in the music industry, and change the role of the audient, among other things. What this means is that he is trying to overcome a collective mass of social conditioning, prejudices and infrastructures. Not an easy task, and one that I certainly would not be ready for yet. Just thinking about this I realise that Robert is perhaps not doing this for himself, (since we have read his views on his "self"), but acting on a very high level impulse that he has discovered and/or resolved somewhere in the past 25 years. And most of us, even though we may all enjoy the music of one band or one man, surely cannot be expected to all be perfectly disciplined self-sacrificing beings with clear and open mind? Who can at all times. Very few. But we should try, for I can think of no good reason not to. If any body on this list can, please feel free to respond. Jamie Lack jlack at auran dot com ------------------------------ Date: Mon, 11 May 1998 20:06:22 PDT From: "Kathryn Ottersten" Subject: P2 stuff, photos and tense geezers. Hi Crimpersons, I am trying out hotmail because i am still in NYC after seeing the 5/7 and 5/9 P2 shows. If anyone wants to respond about my comments, please adress all flamemail to my regular adress: otter at nfx dot net. Now, on to business. Firstly, the shows twisted my head to a sideways position from which it has not yet sprung back. The music was fantastic, and, yes, there is structure, and even hints of melody. I really loved seeing Trey Gunn so much at the fore, even if Fripp was still calling the cues (or at least that is what I perceived from the 2nd row at the IMAC show). After listening to (over many replays) "The Third Star" I was looking foreward to seeing Gunn on the Warr Guitar and more at the front of the crew, but still with Fripp's direction. Somebody suggested in the last couple of issues that leaving Belew on v-drums to play with Bill and Pat would be cool. I like the idea, but on those songs, put Gunn on his Warr guitar at the fore like he was in P2. The interplay between him and Fripp was a knockout. The 5/9 show at Huntington was my favorite of the two. Fripp used less of his vibraphone and more of the piano effects. Also the music seemed to be more varied at the show, with the color and tonal shapings being more daring. After the show, my sister said to Trey Gunn that she had seen both shows, to which he asked which she liked better. She replied that this one (Huntington) had really struck her as being more musically black and white, pain and pleasure. He said that they always had to try harder at shows where the audience is seated because they can't guage the mood as well. He thought this was responsible for a better show. I propose seating be installed at all future venues. As to all the discussion over photography; at the shows in NY there was an announcement that photography was prohibited. It came about 15 minutes before the first set. I don't know if a similar announcement was made in Philly, but it would be hard to miss. As to whether or not Fripp is wrong to walk off after flash photographs, I support him. I have a few things in life that I am an absolutist about, and on a couple of occasions I have pissed off a few people because of them. He has a right to make his stand. For the person who asked what is the "aim" that it accomplishes to leave the stage, I think the answer is self evident. He plays music in a public setting, with a few ground rules. Don't follow the rules, don't get any music. It seems obvious to me that the other warnings are not working, so he goes to the next step. And of the 18 year old who said he was going to pass on the music to his kids but us tense oldsters need to loosen up while he behaves the same at a P2 show as he does at Phish shows by hooting, yelling, and taking pictures. I know one thing that his parents did not pass on and that is consideration for the people around him. Kid, being tense (or old) has nothing to do with it. This is music matters to some of us, and I go to a show to hear and see the performers on the stage, not you. If you can talk Fripp, Belew and Gunn into a private show with cameras and full audience participation, be my guest, but try to restrain yourself when us geezers are present. I suppose this all makes me an "arrogant asshole". Oh well. Nevertheless, after a weekend of P2, with good post show conversations and drinking at local bars, I believe I am not close to saturation. Kathryn Ottersten "They come better looking, but they don't come mannered." ------------------------------ Date: Tue, 12 May 1998 15:16:57 +1200 From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan) Subject: replying to an old Fripp meeting comment this from a digest a few weeks back: >Fripp: "Have you seen enough? I mean, if you haven't seen >enough then I'll just go backstage and as soon as you've >seen enough, I'll come back and play some more. Does that >sound good?" >Now while he was speaking, I thought nothing of this >conversation...Fripp spoke to me. Cool, right? But then >throughout the course of the evening I kept thinking about >the whole audient/performer relationship. About all the >people on ET who have tried to talk to Fripp but instead >have the Schizoid Man dart for the nearest door backstage. >About Adrian loving the attention and Robert hating it. So >I came to the conclusion that Robert (a) is civil to his >colleagues, (b) respectful to his audience as a whole [as >one reads his liner notes], and (c) a complete @#$%&! to >the singular audient. more to the point: Fripp initiated the dialogue (duologue, blah blah blah). Perhaps he is one of those people who needs to prepare himself before he speaks to people: starting a conversation is fine, and he is perfectly civil and maybe even garrulous in such circumstances. But if a conversation suddenly 'pounces on him', then the mental defences go up. Hence the need to avoid people rushing up to him. If that's so, you did the right thing - you kept your distance, giving him time to initiate any potential dialogue. Perhaps those wishing to speak with the man should take note. Don't approach him looking like you're wanting to ask questions! James ------------------------------ Date: Mon, 11 May 1998 20:36:33 -0700 (PDT) From: Joe Brancaleone Subject: KC/P2, & that dude who wants Fripp to apologize PART UNO ======== from ET #494, Dave Steimling wroteth: "I see someone saying that they dont care for the P2, cuz KC arent "free-form jazz musicians". No KC are not. P2 are. From what I understand, a fan shouted "King Crimson" at a show & Belew replied "they are not here". I think thats something some people may be missing (still). This is a King Crimson related band, not King Crimson." Sounds reasonable, but this under-informed KC fan found the Space Groove CD firmly planted in the "King Crimson" section of the record store. So I bought a new King Crimson release. I thought. I saw from the sticker that only Fripp, Belew, and Gunn play on it. And I had read/heard somewhere that this was a project recorded in a short amount of time. But I was not aware that there's no coherent composition on either of the CDs! It should have had a warning label like that Thrakattack album. Now I know maybe I'm violating rule number 1 about listening to KC/RF music: don't bring certain expectations or you'll cheat yourself out of the thrust of the musical statements. True. But I felt I was allowed ONE expectation that I earned from buying enough KC albums before. That is, that I had come to acknowledge that KC and I have a common understanding of what good music is, good enough to exchange money to listen to it. This one threw me for a loop. I do think it has some interesting sections on both CDs, but after all was said and done I had no desire for a second listen anytime soon. After returning Space Groove to the store (sorry), I came across Belew's description of the making of this album on his web site. I don't understand how that little jam got Fripp excited enough to immediately decide the recorded material is worthy to be a double-CD release! To me its just a memorable jam session to be intimately shared among the three of them as an important first stage in their new direction... I got the impression that Fripp was giving away too much of himself on this recording. There's nothing left to mystery and the imagination, he seems to cover all the grounds of his guitar playing in one recording, which isn't typical Fripp. I usually enjoy more the method of only giving the listener a little bit here and there, referential statements that require us to finish the forms in our own imaginations. But I did get a kick out of Adrian on this. I don't know if he's a drummer who plays guitar or a guitarist who plays drums, or a singer who likes to bang and twang. Nevertheless, his style of attack on the drums sounds like a talented musician (in something besides drums) who's playing the drums. He really sounds like a great non-drummer playing drums. This is not an insult or criticism in any way. I can see he lacks in the chops dept., but his attack and the lyrical approach to the drums I admire. I have noticed before how musical non-drummers sound when they play drums, much more musical than us drummers who are so concerned with technical things. I envy him for this. It's a purer outlook. PART DOS: AN OPEN LETTER TO THE AUTHOR OF AN OPEN LETTER TO ROBERT FRIPP ======== What's up with that? You want Bob to apologize to you for the consequences of your own deliberate rule-breaking? What's up with that? You made a big mistake in saying your behavior was only appreciation for what he does. You gave your true motivation away when you said you couldn't pass up the opportunity to make you and your friend happy with the candid photo of your idol. To think this while Fripp is performing for you right then and there, at least to me, is NOT appreciating him and his music. You were thinking about yourself and your friend, unfortunately at the expense of Fripp's concentration and who knows what else. Sorry to sound so harsh, but that's the way I see it. Joe Brancaleone josephb at pwa dot acusd dot edu http://www.acusd.edu/~josephb/music194.html ------------------------------ Date: Mon, 11 May 1998 21:46:18 -0700 From: Robert Mayer Subject: Something to the Heisenberg idea In ET #495, Brian Thomson wrote >If Heisenberg's Uncertainty Principle is anything to go by, >these two desires may be truly contradictory. The Principle >states that it is impossible to determine anything's exact >true state, and, by extension, that attempts to measure >something affect whatever you're measuring. So, for example, >trying to measure something's temperature requires the >removal of a little heat to drive the sensor, which reduces >its temperature. In electronics, trying to measure a >circuit's voltage means introducing a voltmeter, which >affects the voltage. At our macroscopic level, such effects >can usually be ignored, but in state-critical systems and at >the subatomic level, they can't be ignored. >How does this apply to Mr. Fripp? Well, if Mr. Fripp is a >state-critical system (think about it), it means that every >attempt we make to find out something about Mr. Fripp >affects him and may "contaminate" the very property we would >be trying to measure by our enquiries. I don't normally like getting too technical, for I get worried doing so becomes something similar to arguing how many angels there are on the head of a pin. However, I believe Brian Thomson may have hit a key thought on the discussions on why Fripp reacts as he does to the public. There is actually a theory in psychology to that is quite similar to Heisenberg's theory for physics. A man named Jacques Lacan in the 1950s-1960s argued that objective psychoanalysis was impossible, because the analyst would eventually learn that it was impossible to avoid projecting his/her own personality into the analysis. I believe this is something called Lacan's Theory of the Subject or something like that. That is, we're just as likely to learn as much as about our own personality when we attempt to study someone else as we would about the other person. SO, those people attempting to describe Fripp are actually telling us much more about themselves than they are about Fripp. Of course, I believe Salvador Dali made this much simpler (and if anyone remembers the quote better, chip in): "The worst possible thing a person can do is meet their artistic idol/hero in person." Probably because some of us have heroic/unrealistic expectations (like he doesn't go to the bathroom or something). What's the possibility of that Dali quote weighing on his mind when he thinks about dealing with the audience? Well, enough of the psychobabble. Time to go back and hide in the woodwork. R.A. MAYER P.S. How many other Crimson fans are there in Idaho? Please tell me I'm not the only one.... ------------------------------ Date: Mon, 11 May 1998 21:07:16 -0700 From: "Heilbronner, Mike (I)" Subject: KING CRIMSON DISBANDS Now that we have that settled, please stop complaining that "King Crimson" has not released a new album. Recently, however, I picked up Space Groove by Fripp, Belew and Gunn. In some respects, it's very different than anything I've heard previously by the artists. In others, it draws on some of the strength and power of previous releases. I quite like it. BLUE, by other former Crimson members is also a nice piece of work. I'm very pleased that the former members of Crimson are spreading their wings. I've also read about (and can't wait to hear) other groupings of former members of KC. Here's the point, folks: why would you want Crimson to release a new album if Crimson is not prepared to release a new album? Isn't that the kind of deplorable commercialism we're accustomed to seeing (and bitching about) from traditional rock bands? The last thing I want Crimson to do is release something just for the sake of releasing it, based on a preconceived timetable or expectation about what a band should do. Dear KC: Please don't release a new album until you're good and ready to do so. If the time never arrives, please refrain from releasing an album. That's a clear route to bad art. In the meantime, I'll continue to make independent purchasing decisions about, and evaluations of, other releases by DGM. Mike Heilbronner PS: The recent complaint that Epitaph was released is absolutely ridiculous. Even if you don't like Epitaph, a live release from that period was a long-awaited "archival" recording that's nothing like anything else released recently or previously (thereby distinguishing it from some of the other DGM/KC releases that are the subjects of criticism for being poor substitutes for a new album). ------------------------------ Date: Tue, 12 May 1998 00:26:57 EDT From: DanKirkd Subject: Fripp interview in BEST A while back I sent four or five ETers photocopies of a 1978 article and interview with Fripp in the French magazine BEST. Francois Bussiere had volunteered to translate this for ET Web. Unfortunately, 3 months later I haven't heard a thing from Francois, so I was wondering if any of the other recipients of the article could step up to the plate and do so? Please contact me to let me know. Thanks! Dan ET Web P.S. Any email received after May 13th may not be answered until later in the month after I've completed my move to Bellevue, WA. ------------------------------ Date: Tue, 12 May 1998 10:07:12 +0200 From: "Raivo Hool" Subject: photos? photos. > From: "Bill Knispel" > rules. It's a well-documented fact that Fripp doesn not > allow photographs, recording, etc., during a performance. As far as I've gathered, it's the flashing that bothers him about taking pics. Correct me if I'm wrong. Now, if you know what you're doing - and assuming you're not a professional photographer, you probably don't very well - you can take very good pics without a flash. Go for a decent camera and an ISO 1000 film and I doubt Fripp will ever know you were there and caught him in the act. :-) Of course, I may be way off and a crew of well-armed troops are on their way to Estonia... :-) Back I wander. Raivo Hool NT administrator, Estonian Card Center of Banks e-mail: raitz at estcard dot ee Office: (+372) 6 711 416 GSM: (+372) 51 43 567 ------------------------------ Date: Tue, 12 May 1998 04:32:58, -0500 From: Funky_Bass at prodigy dot com (MR JAMES D SHORT) Subject: Re: Thrakattak I am replying to the post about KC fan's negative responses to Thrakattak. In my opinion Thrakattak the the perfect album to be released after Thrak. The more song-oriented Thrak and the "too dissonant" Thrakattak are the perfect compliments to each other. Bringing to mind the color wheel, opposites enhance their opposites. Besides, Thrakattak is probably one of my favorite albums of all time. ____ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J.D Short ROOT Minus7Records Funky_Bass at Prodigy dot com ------------------------------ Date: Tue, 12 May 1998 05:01:30, -0500 From: Funky_Bass at prodigy dot com (MR JAMES D SHORT) Subject: Fripp's Actions (flash photo incident) I'm sorry to write again but this is starting to get my gourd. While I believe that most bands and "musicians" have to put on a show for their fans (this is entertainment you know) There IS a line that can be crossed. There are very few true musicians in the world today, those who live, eat, breathe, think about, dream about, and obsess about music twenty-five hours a day. In my mind Mr. Fripp is one of these people. One who loves music all the way to the deep depths of one's soul. (do you think that the soundscapes are a lesson in musical wankery, I didn't think so) To some of these people (love:music) a concert is not a performance but a chance to share their ideas and thoughts through a medium the a relative few can understand (much like jargon) When lesser scientists would hear Einstein speak, would they scream and shout like a man who had just masturbated with a cheese-grater? Then is it equally disrespectful to do the same to Mr. Fripp? "Maybe he did not know he wasn't supposed to take pictures" Well then, "Ignorance is no excuse for the law" >The pictures in the boxed set came from somewhere........ This can also be answered by comparing this situation to bootlegs, B'Boom was released as the official bootleg so KC could have the rights to their work etc... Did it occur to you that just as there was an official sound medium that there could be an official visual medium? this way KC and the photographrs (or should I say artists for both) could have the rights to their work. 'Nuff said jd ____ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ J.D Short ROOT Minus7Records Funky_Bass at Prodigy dot com ------------------------------ Date: Tue, 12 May 1998 10:05:10 +0100 From: kate dot d at virgin dot net Subject: a question about copyright G'day all, first off, I'll mention that I recieved issue #493 the other day, I tried to view it twice and both times my computer froze/crashed (the second time I lost all the work I'd done on my upcoming website, a real bummer...anyone else have a prob with that issue? (I assume it was down to a bug or something...(my own silly fault for trying it again with the html prog open I guess). Secondly, I feel I should say SOMETHING to the guy from Adelaide who flashed fripp and expects an apology, it made me really REALLY angry until I realised that he has no valid opinion on anything at all, so why get uptight about it? so I won't waste any more bandwidth on that topic...I'm sure someone else will jump on him. (I never thought I'd be ashamed to be an aussie...). Further to the no doubt soon-to-be shot-in-the-head flashing/walking off topic ( thank god), a concert is NOT a democracy, if anything, it's an autocracy with the performer as the despot. There are rules and laws that are unique in every state, you abide by them, or, like any reactionary in such an enviroment, ya get squished. (and personally, I would rather be squished by a tank than by one of Mr Fripps glares). Anyway, the real point of this post is this (I do rave on don't I?) does anyone know if it's at all possible to use the net to establish copyright on original material? That's it...geez that WAS a short one! bye bye...ta ta...seeeeee ya later ashley Q: how many ETer's does it take to change a lightbulb? A: 4, 1 to change the lightbulb & 3 to rave on about how good the old one was. ------------------------------ Date: Tue, 12 May 1998 10:35 +0100 (BST) From: "COUGHLAN, GERARD" Subject: Islands re-issue, Flashing Hello all Crimson faithful Two posts in a week - I'm going to get a very bad reputation. I have a query about Islands and the fact that it was just been re-issued by Virgin. How come it wasn't issued along with the rest of the catalogue? I read there was some engineering error in mastering it ?!? Also, I have a copy of Islands from Caroline Records (US Import) which I noticed has a few minutes of studio talking/rehearsal at the end of side two. Has this something to do with the error? Does anyone know how different this version might be to the newly re-released version? (Private email is fine.) Flashing (photography that is!!) Most Fripp fans should know by this stage his aversion to flash photography. I'm not going to argue whether he's right or wrong but I can say that I'm constantly afraid that a flash will go off and Fripp will simply walk off stage and that's it, finito. I can safely say that no-one likes any concert being cut short for any reason. Therefore I'm going to do my bit to ensure the concert lasts for it's full duration. I remember seeing Fripp in Virgin Megastore in Dublin (Ireland) in November 1996. It was a lunch time soundscapes appearance and there was about 30-40 people there. There was one guy in particular with an Anorak on and a satchel full of LPs he wanted signed who was running about with a camera trying to take a picture. I was going "shit, shit - don't do it, don't do it" - so eventually I tapped him on the shoulder and explained what might happen if he clicked. He put his camera away. Then two minutes later - FLASH - from the other side of the room and Fripp looked up (and if looks could kill....) seeking out who took the picture but he didn't leave. I wonder why??? This has probably been mentioned before but what's the story with non-flash photography? Is that allowed? Tony Levin has said on his web site in relation to B.L.U.E. that as long as it's not flash it's fine. Does this apply to Fripp/Fripp related gigs as well? That's all for now. Regards Gerard P.S. Quote from a fan at ProjeKct One gig in the Jazz Cafe, London, Thursday December 4th 1997 - "Don't take it all so seriously folks!!!" ------------------------------ Date: Tue, 12 May 1998 05:07:58 -0700 (PDT) From: noel swasta Subject: Opinions make the KC world go round Dear ET readers, I have been receiving many pro and con letters from my last post #493. Thank you all for all of your responses. No, I don't think that we should support KC blindly. If you don't like what you hear, express it. I am glad to know that we are using our God given right, freedom of expression. I don't know what I would do if I, or anyone, couldn't express their thoughts. As humans, however, we also find that we must respond if one feels threatened, or if one agrees. Readers, I am a guy who usually sits back a just reads what you good people have to say. On occasion I may add a few sentences into the mix of what's going on. This subject, however, bothered me. Not the fact that you are expressing your opinions about old and new KC, but the fact that in the past issues, three (at least three!) people in each said that they had given up on the band that was "their favorite band in all of the world!) As I stated in the first paragraph, don't stop your opinions. Opinions, in this matter, make the KC world go round. The band reads these letters. They know what is going on inside the minds of the public that loves them. To say that your giving up on a band this great, because of one project, is silly. You express, I expressed back. In return I receive the good and the bad, and again here I am, with my opinion. And here it is, why give up? I am still holding that kleenex for you who are crying about P2. And for Tom, who totally expressed his opinion at me, thank you for doing so. But you didn't take under consideration the fact that I like opinions, they matter, but giving up on something that everyone says they "LOVE", isn't that extreme? Stop crying! For you the ones that have given up, express, don't whimper. Unlike Tom, I have heard (seen) allot of crying and I have also read allot of interesting opinions. But I still stand my ground, if you don't like P2, great! Tell us why you really don't like it, but don't give up on the band for trying to make a creative difference not just in our lives, but theirs too! For you who back me up, keep those Emails coming, I love to hear from you. And for you who don't, do the same, maybe someone will change my view. Opinions, aren't they wonderful? Noel Swasta Cloneme at rocketmail dot com ------------------------------ Date: 12 May 98 10:49:00 -0400 From: christopher dot anderson at gsa dot gov Subject: Re: "Lighten Up" Chris Calabrese wrote: "And when I go to the concert, I let the excitement out as most other people would do, whether that be me dancing, headbanging, screaming, taking pictures, recording the show, moshing, or crowd surfing." I will take the risk of sounding like an old fart and say that I go to concerts TO HEAR MUSIC, not to vent emotional or hormonal overload. If Chris, or anyone else, wants to see an Iron Maiden show and scream their lungs out, that's fine. That sort of audience behavior is also the reason I rarely go to "ROCK" concerts anymore: people seem more concerned with having a great time than with HEARING MUSIC. When I do go to a rock show, such as David Bowie's recent show in Philadelphia, or one of George Clinton's P-Funk marathons, I do in fact stand up for hours gladly, dance around like a fool, and sing along to favorite lyrics. I have fun. However, if I go to a small venue to hear intricate improvised (or composed) music I sit and listen intently. The music is the entire point of such shows; if you are screaming the names of the musicians, or photographing them, or talking to the person next to you, you are missing the point. I've been listening to the 1973-74 recordings of the Keith Jarrett Quartet lately, and on one live disk there is a little speech from Jarrett to the audience, telling them that there is no need to clap, that they are only doing what they think is expected. Of course, Jarrett has a reputation for artistic hauteur even greater than Fripp's own, but the writer of the liner notes points out that he did try to elevate jazz from being background to a night on the town to something to be listened to for its own merits. It's your money, folks, and if what you are buying is a certain amount of time during which master musicians are creating "air sculptures" (a Frank Zappa term") then it might be best to focus on that creation. People taking flash snapshots are looking for souvenirs, they are being selfish. I do realize that they may idolize the musicians, but they are not considering the implications of their acts. They are being rude, if not intentionally. They are not even getting a good picture, since only the back of the next person will be illuminated (just use fast film, and be discreet with the camera; maybe Fripp won't notice.) Christopher Anderson ------------------------------ Date: Tue, 12 May 1998 08:56:16 PDT From: "Alfred Dodson" Subject: P2 - Space Grooves IMO I recently purchased ProjeKct Two - Space Grooves (2 cd's) at Best Buy in South County, St.Louis, Mo. for $9.99 + tax. IMO this cd is an excellent example of what professional musicians need to do to remain experimental. If one does the same thing for too long one gets stuck in a rut. The members of KC have prided themselves on being able to re-invent themselves time after time and thus, giving us, as an audience, something new, invigorating, and refreshing to listen to. All KC members have a wide plethera of musical backgrounds and never stay rooted to one spot for very long. As a musician I too find myself always looking for new audible stimulus that will enhance my playing and KC is one of those bands that has fulfilled that need. Of course for me it would be a treat just to sit down with Adrian, Robert, Bill, and Tony and record an album of total improv (but alas, I know that dream will probably never come true - Still I can dream can't I). Anyway, this recording shows the (possible) new path that KC is embarking upon as well as testing the limits of there listeners. For those who have and will experience this CD and don't like it ask yourself this question : Are You A True Crimson Fan ? sincerely Alfred (the Waiting Man) ------------------------------ Date: Tue, 12 May 1998 15:01:06 -0400 From: Dave Lane Subject: Re: Gates of Paradise TEST PRESSING A few issues back, Andrew Dietrick Miller was looking for the Gates of Paradise "Test Pressing". I have it, and it doesn't have anything not included in the actual release. In fact, it is *missing* a track, "Sometimes God Hides". The sleeve is a simple cardboard sleeve with the artwork on the front and the names of the tracks on the back, no booklet, no anti-record industry diatribes from Fripp. --Dave ------------------------------ Date: Tue, 12 May 1998 14:48:33 -0500 (CDT) From: flaherty michael w Subject: Improvs; P2; Concert behavior For what it's worth, some comments on recent threads that I have been following (as so many posts are now essay length, I find that I need to read ET selectively): I have avoided the structure v. improv debate because I think it's basically a non-issue (did you think the note on Thrackattack was a misprint? Then why did you buy it?), but I would like to point out that many of the most beloved KC tracks started as improvs. (Note that Tony Levin is looking for a tape of a Blue improv so that the band can "learn" it.) If these albums were bootlegs, I would suspect that many (I didn't say all) of those complaining would pay three times what DGM is charging for these releases. Since my first listen of P2 (at a Soundscape show) I have felt much like "ET Web" Dan has about these sessions. I could WELL be wrong, but I don't hear much research and development. They're nice disks, but nothing new. Undoubtably, some of this is a matter of taste: I suspect P1 will be more interesting for me. Finally, I agree with Eb that comparing rock performers and college instructors (of which I am one) is problematic. I am going to a P2 show next month, and I expect the crowd to be enthusiastic. (I also will sympathise with the disappointed: the concert is being advertised as a "King Crimson Project", and the ad features a photo of Mr Belew--singing.) However, I would add that Soundscape performances are not rock concerts .... Michael Flaherty ------------------------------ Date: Tue, 12 May 1998 13:33:50 PDT From: "Douglas Robillard" Subject: William Blake Dear Elephant Talk, In ET 494, Gruesse R. mentioned what a pleasure it was to hear Robert Fripp quoting from William Blake's poem "Eternity," and adding his own lyrical statements like "music is the cup that holds the wine of silence." Gruesse's juxtaposition of Blake and Fripp seems apt to me. I've known that Mr. Fripp is a Blake enthusiast at least as far back as the Blake quotation he used to conclude his article on bootlegging. I think his enthusiasm for William Blake shows in his own writings. The aphorisms available at the DGM website sound Blakeian; in particular, they remind me of the compact style of "The Marriage of Heaven and Hell," particularly the "Proverbs of Hell" section. It is not so much their content, but the style of expression in Mr. Fripp's epigrams that reminds me most of Blake. Unfortunately I don't have my edition of Blake here at work, but I may forward some choice tidbits later. All the best, Doug ------------------------------ Date: Tue, 12 May 1998 17:03:10 EDT From: Jazzin12 Subject: Disheartened By ETer's Reaction to P2 I had the pleasure of seeing the ProjeKct Two trio perform in Philly and I have the Space Grooves CD. I am tickled and pleased that they are stretching out. The double trio concept of the full band KC has great potential, but I feel strongly that they have not even begun to scratch the surface. The ProjeKcts concept is brillant if it fulfills the goals of providing new material, create revenue which can be allocated to support the ProjeKcts and/or the full band rehearsals, and give the members of the full band a chance to grow and experiment in new environments. I have detcted a thread throughout many of the posts in ET where people are grumbling about the fact that the ProjecKt music is not Prog rock or that it is more like free-jazz or that they just can't accept it because it is not what they have done in the past and are comfortable listening to. I hate classifying music into genres. It is a sad state of circumstances when artists are forced into boxes where they are only expected to produce a recognizable, cliche type of music. KC fans should not accept this band or these musicians to produce traditional sounding "prog rock", but should demand that these artist follow their inspiration with the hope of discovering something new. I hope someday KC is performing with John Zorn or Bill Frisell or Pat Metheny. Heck, Nine Inch Nails and the Ensemble Modern for that matter. Let the boundries of genre bleed. Most music is a bore - just a recapitulation (variations of a theme) of the same forms, melodies, rhythms and chord progressions. Some of it is inventive but most of it fails miserably. There are two important elements that make ProjeKect Two work. One is obvious. The improvisation. The second is that the loops with the bass and drums are cycled in time signatures that are random. You can not simply expect what is going to happen. You can only react to what is happening. Any musician that fails to constantly challenge themselves, and ultimately the listener, will most certainly become a dinosaur - a relic of unfulfilled potential and promise. I would rather KC be about the future of music than the past. I beg many of you to take the time to learn to listen to music that is difficult for you to hear and understand. We all must also grow and learn. Don't be so quick to judge. It is very possible you are missing something. Discover something new. Let go of the safety of familiarity. Before I go, I would like to add a another personal idea on the chopping block. There are many similarities between Robert Fripp and the guitarist/composer/arranger, Pat Metheny. One, which is most appropriate, is the controversy similar to the ProjeKct Two vs. KC. Metheny has released several CDs, namely Zero Tolerence for Silence and Sign of Four, which are, on the surface, completely different than many of his Group releases and caused some of the same reaction as P2. I find these realeases to be quite exhilerating. Another similarity between Fripp and Metheny is that they both use cutting edge technology but with their own signature. Strong personalities. I could go on about several other similarities, but I will suffice to say that they both need to work together. They would certainly create something new. And if you are not familiar with Metheny, please seek him out. I trust my inveigling will be fruitful. Thanks for reading. Jay Jones (Mantra Man) jazzin12 at aol dot com ------------------------------ Date: Tue, 12 May 1998 21:07:00 -0700 From: "Mr. Sparkle" Subject: Informal Survey Well, this has been a rather fecund time for side project music from King Crimson. But I'm curious- I have all of the below mentioned, and I am wondering which one of these is the favorite among Crimson fans. Email me privately with your answer and I'll tabulate and report. What is your favorite of the following King Crimson side project albums? 1) ProjekKCt Two: Space Groove 2) Liquid Tension Experiment: Liquid Tension Experiment 3) Bruford Levin Upper Extremities: BLUE 4) Bozzio Stevens Levin: Black Light Syndrome 5) Negativland: Happy Heroes Results will follow in 30 days. My favorite? Liquid Tension Experiment. Duh. How about you? Mr. Sparkle ------------------------------ Date: Tue, 12 May 1998 21:15:18 EDT From: ROBERTP81E Subject: Sampled soundscapes (from Robert Phan) Hi to all, I've just received the latest solo project by Steven Wilson (.... of No-Man and Porcupine Tree ....). It's an ambient album called "Bass Communion" that was recently released by Third Stone Records (.... with catalog number Stone 036 cd ....). In my opinion, this is a wonderfully ethereal album. The track listing is as follows: 1. shopping 01:24 2. drugged 13:32 with Theo Travis on soprano sax 3. sleep etc 13:28 4. orphan coal 10:04 5. drugged 24:55 with sample of soundscapes .... by Robert Fripp!!!! Per the liner notes, the above sample was taken from a tape of soundscapes that were improvised by Robert Fripp in no-man's land studio in 1993 (.... probably during the recording sessions for the "Flowermouth" album by No-Man ....) . On the "Bass Communion" album, this seven second sample was looped, transposed, filtered and processed into infinity. The "Drugged" track is simply beautiful and for comparison's sake, I would say that it brings to mind the closing instrumental track "Bringing Down The Light " from the "First Day". I strongly recommend that you give this wonderful album a spin. Aloha, Robert. P.S. I sure would like to hear the rest of the soundscapes that were improvised in no-man's land! ------------------------------ Date: Tue, 12 May 1998 19:45:22 -0700 From: "Fran O'Connor" Subject: Guitar Craft Seminars Greetings, I am very interested in finding out any information about Guitar Craft Seminars. Where they are held, what is the cost, do they exist anymore. Please - Somebody help me. Thanks in advance...............Andy Delgado ------------------------------ Date: Wed, 13 May 1998 15:41:01 +1000 From: Gordon Subject: P2 at the Cannery! Hi there, Being a lucky person who owns a bootleg cd of the Cannery show(and yes I've had it for nearly 2 months!)I just wanted to comment on the voice that emits from Trey's guitar synth. Somebody asked whose voice it was and after repeated listenings I would venture that is Mr Bennet.I could be completely wrong but at least I am in a position to have a repeated listen! Cheers,Gordy "I'll give you Bud Lights for one dollar-you hear that Johnny Ray(?)!" ------------------------------ Date: Wed, 13 May 1998 03:49:45 -0400 From: Ellwod Irish Subject: Open The Pod Bay Door HAL I've enjoyed listening to Space Groove, a muscial landscape removed from the guitar-driven chops of prime-time Crimson. The only criticism I have is that I find Adrian more affecting as a guitarist, vocalist, and songwriter than I do as percussionist. Upon first hearings there is a uniformity to the Roland V Drums that weighs a bit heavy in the progression of the music from first to last track. This may be the result of Adrian first exploring the potential of the V Drum set at his studio during recording, of his gaining familiarty with the set; it may also be my own preconceptions, of having in mind Bill Bruford's "drums knocking down the gates of heaven" percussion. In anycase, I prefer Adrian banging on a can brightly to the uninvolving precision of a machine. Don't you agree HAL? "I'm sorry Dave. Your statement is in error. The time elements of the HAL 9000 series have been, and will continue to be without failure. Any wavering from the beat is the result of human intervention." Mike ------------------------------ Date: Mon, 11 May 1998 14:41:33 +0000 From: Martin Bradburn Subject: GIG REVIEW: P2, Terra, SZone:CONN, CZone:New Haven Startdate 1998.05.05 ==========START OF MESSAGE: To ET Members via ET Central Command================ ========================== EARTHSHIP ASTROVA2 ================================== ======================= FRIPPENCRIP: zylothraak ================================ ======================= GUNNENCRIPP: growlattack =============================== ====================== BELEWENCRIPP: thwaakbooom =============================== ================== Log of P2 Voyage 1998.05.05 ================================= The ASTROVAN2 left West Greenwich Central Traffic (East of Asteroid) .5 earth hours later than planned, the strange Mr StOnge (Galactic Trucking Command) had been late arriving at Mishnock base. With Commander Laurie at the helm, myself Captain Bradburn on sound modulation, Lt's Jubb & Sophie on lounge detail, Commander Brad at the Science Station, Mr StOnge on Navigation Commander Vars in the Galley and Mr Belanger (we really don't know what he's on), onboard we set course to rendezvous with the P2 ship at the Toad's Place Spaceport/Rec Facility. The course would take us through the SCONN Quadrant and the renovations to the Space Nav beacons and pathways cause our arrival time to be close to the 17:00 hrs the schedules P2 liftoff. I was distressed, and felt sure we would miss the liftoff but after receiving clearance from New Haven Control we cut the hyperdrive and impulsed into New Haven Spaceport. Never have I seen such a hive of scum and villiany (an that was aboard our own ship), but we searched out a dock around the York St Launcher. I glanced out of the starboard port and who spotted a familiar, dark space suited long haired gentleman crossing a hoverway. Even from behind I recognized Commander Belew from the command staff P2, and activating the external comm system yelled "Yo Adrian" much to the amusement of our Terran crew members (I think it's an old vid joke). At this juncture I new that P2 had yet to liftoff and we had arrived in time. Locking down the Astro we made the sort walk to Toad's Place. The security was heavy (probably due to the P2's secret cargo) and my joke about visual capture devices elicited the gruff response that Commander Fribble would not tolerate such mutinous behavior (tell me something I didn't know) and would end the flight. Fair enough. Toad's is a pleasant enough Rec Fac as Terran facilities go, the lifeforms seemed quite cordial and repectful, and no over consumption of stims was present before or during the insuing voyage. The sound modulators and translators were adequate although later I would realize not up to the strain that Captain Fribble, and Commanders Gunn and Belew would expose them to. The spaceport address system announced the eminent departure of P2 and we all boarded for the flight. The flight was divided into 3 segments the first with 4 legs, the second with 3 and the final return encore, or the lounge leg as it came to be called. The view of the command deck was spectacular. It seemed that each of the 3 command staff members took charge to direct of various portions of each segment. Commander Belew was obviously expanding his V-System capabilities and some of his patches must have been from the outer rim of the galaxy. His foot controllers would trigger presampled bass riffs and these seemed to modulate in start tone depending on the timing of the activation. Mr Belew seemed pleased with the flight and his foundation impulse drive position was solid and inventive. Commander Gunn at the Warr System controller was as brilliant as I've ever experienced, even more than on the TGB flight I had been on. He closeness to Captain Fribble's style was evident but the differences in thier approach was obvious. He soared, growled and spared with Captain Fribble and pushed the sound transducers into the overload zone on more than one occasion. The sonic transmission equipment responded to his and Captain Fribble's over loads's by sounding like a Versuvian Mud Belcher with a bad case of indigestion. Captain Fribble was focused and relaxed his direction slicing the space with funkingruven sensibility. His command style gave both of the other officers room to maneuver, at time he held down the low spectral sonics or V-System capabilities on his Fernandes controller while at other time utilizing a Burtonish xylosonic patch in a style that was incredibly melodic and percussive simultaneously. He shredded whole systems from light years away! As the P2 crew eased into the "Vrooom Lounge" modulation, the flight was over and we arrived back at Toad's. We loaded our new "Space Groove" cargo, Commander Belew's belewprints for his new acoustic death star and I replaced my "SGHaYPGtD" that had been damaged during the Disk Wars of 96. I spoke briefly to Commander Denis of the Earthship "Oracular" who had also been on the flight and we agreed that this was a command crew of inestimable talent and one of the most spectacular flights in recent memory. We received clearance from New haven Control and arrived home, a very happy and exhausted bunch of "Space Groovers". ============= CAPTAIN BRADBURN:COMMANDING:EARTHSHIP-ASTROVAN2 ================= =================== END OF MESSAGE===== LONG LIVE THE KING ==================== ======================= (nothing follows - all is ahead) ====================== ------------------------------ Date: Mon, 11 May 1998 15:32:44 -0400 (EDT) From: John Toothman Subject: GIG REVIEW: Philadelphia Sorry if this is late, which it is by one week, but I've been off-line. I won't go into the details about the Ballroom show because other ET'ers have done an adequate job of that already. I'll just mention that the highlight of the show was the first song (not the first SET)... Belew's V-drumming instantly captivated our inner rythym, and his facial expressions were amusing as well, though he probably didn't mean them to be. "Commander Gunn" simply man-handled the Warr guitar, and I enjoyed hearing him in an equal role in the music's structure as I did Robert, aka "Mr. Fribble"! And Robert made me the happiest guitarist when in the first sing, he rips open my eardrums with his vintage distortion, or it at least sounded really close to the type used in parts of "Fallen Angel", or some of the 1974 shows. As for the flasher...well, I feel deeply embarrassed to have been part of the same audience. Although I can understand the fan's desire, I cannot understand his/her logic; was that single photo worth the price of Fripp's dialogue and an extended performance? As for those who think the audience was childish...I agree partly. SOME of the comments were immature (e.g. "What are you drinking?!"-aimed towards the band). But audience members show their appreciation of different ways...Some want to shake hands, some want to capture the moment with a photograph, others cheer loudly and call to the band members. And the type of appreciation that is appropriate could change; an audient brings brings preconceived notions about what type of appreciation is appropriate, but if the music and performance exceed one's expectations, then notions of appreciation might change. ------------------------------ End of Elephant-Talk Digest #497 ********************************