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 #525 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 525 Sunday, 26 July 1998 Today's Topics: NEWS: Political rambling in ET and other off-topic matters NEWS: CGT Fall Tour NEWS: Updates at E Tape and DGM Web NEWS: HiFi version of BLUE Live NEWS: Wetton and Levin in Bass Player Where is Peter Sinfield? Audience responses Aarrgghh!! More Elephant Girl Re: Eno opens some windows Re: KC Bug Absent Lovers et al Re: Buy it again Damage Stash Found RE: Bowie Guitarist Question Phish Fripp on Zappa? Sociopolitics... Re: Ladies of the prog (Spike) The Roches' - Keep On Doing Sighted: TGD box in NYC! Irrelevant? Re: Fripp a mercenary? Re: A percussion question Kravitz influenced by KC? CDs, politics CD GYP! A different July 5th, 29 years later Time Be Thine Bill And Tony CNN KC & Trash TV Need Help Identifying 1974 Tape Ian McDonald's IRC log on Artist-Shop Re: USA-Leather-Mussolini Political thread Nothing wrong with money P4 in Denver? No Way! the spice girls here??? The Bull Board Fripp, Eno and Haute Couture Going "Ballistic"! political discussion cont'd Fripp's Gigging In Pittsburgh Cassette Mixups: Mistakes, or Satanic Messages! News: Jean the Birdman Part 2 Released Re: Fripp/DGM/Clubs/Copyrights Re: Spice, ICE, Nice (fwd) For Sale: Chapman Stick (Tony Levin's) Re: TONY LEVIN'S "ROAD PHOTOS" Burned By The Fire We Made Re Doctor D GIG REVIEW: Earthworks on the South Bank, London GIG REVIEW: The Earth Moved ------------------ 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: Sun 26 July, 2000 GMT From: Toby Howard (ET Moderator) Subject: NEWS: Political rambling in ET and other off-topic matters Hi everyone. I need to apologise to you all. I made an error of judgement in allowing the post about politics/republicans/Microsoft to be featured in ET #522. I have since had many complaints about this and the subsequent thread. So, after this issue, the thread is no more. On the general topic of posts not properly relavant in any meaningful or interesting way to the activites of Fripp or his "extended musical family", I'll do my best to ensure that you'll no longer read them in ET. I will do my best to justify to people when their posts are judged to be off-topic, but I can't enter into protracted argument about it, as I hope you'll appreciate. Sorry for the slip-up. Now back to business! Cheers! Toby ------------------------------ Date: Wed, 22 Jul 1998 21:55:08 -0600 From: Jon Lybrook Subject: NEWS: CGT Fall Tour Hi All, The California Guitar Trio have announced a tour of the West Coast, U.S. in September. All dates are *tentative*. Complete details of this and other CGTrivia can be found on the CGT Website: http://www.cgtrio.com Jon Lybrook jon at cgtrio dot com ------------------------------ Date: Thu, 23 Jul 1998 16:58:26 PDT From: "Jeffrey Weinberger" Subject: NEWS: Updates at E Tape and DGM Web Elephant Tape has just added some tracks of Electric Gauchos sent in by Steve Ball. Also recently added are some tracks by guitarist Markus Reuter of the Europa String Choir. Los Gauchos Alemanes member HernBn Nu~ez sent in "Metalambiente" by the ambient-pop-metal duo called Santos Luminosos. Here is a passage from a letter HernBn sent me: "Several pieces on the cd feature Robert Fripp's Soundscapes samples , these Soundscapes were given to Santos by RF in Buenos Aires , the DAT tape was marked "Loops for Wild Boys" and we were told to do whatever we liked with them , so we did. I would like to make very clear that this is NOT a Santos/Fripp album and that Robert is one more of the over 30 guests appearing , certainly the only well known one in the USA..." If any ETers would like to have their music appear on Elephant Tape page, please write for submission information. The "News" page at the DGM site has recently been updated with a letter from Robert Fripp outlining plans for the DGM Collectors' Club. --Jeffrey Weinberger Elephant Tape ------------------------------ From: "Jeffrey Weinberger" Subject: NEWS: HiFi version of BLUE Live Date: Thu, 23 Jul 1998 17:44:26 PDT I've been listening to the excellent archived Bruford Levin Upper Extremities concert at: http://www.liveconcerts.com/listening/concerts/980419/Bruford_Levin_Upper_Extremities/ This site will automatically assses your internet connection speed. If you can access the clip from a connection that is fast enough, you will get a high-fidelity stereo version of the concert that streams at 81.7 Kbps. --Jeffrey Weinberger Elephant Tape ------------------------------ Date: Fri, 24 Jul 1998 01:40:36 -0400 From: Mathias Thallmayer Subject: NEWS: Wetton and Levin in Bass Player The September issue of Bass Player magazine has a short article on John Wetton and a transcription of Tony Levin's bass line from Peter Gabriel's "Don't Give Up." -- Mathias iconoclast at erols dot com ------------------------------ Date: Tue, 21 Jul 98 08:43:58 -0000 From: Ropes That Rescue Subject: Where is Peter Sinfield? Hello. I am new to the ET. I had followed King Crimson from their ITCOTCK through Islands albums. Pretty much after Pete Sinfield left, my musical tastes changed to jazz. Now I listen to another guitarist you all may know: Pat Metheny. I was always fascinated with Pete's lyrical artistry back then. Does anyone know where he is and how he is doing? An email address would be nice so I can officially thank him and say "hello." All the best, Reed Thorne Ropes That Rescue Ltd. eMail: ropes at sedona dot net Web Site: www.sedona.net/ropes " T h e A R T o f C l e a n R i g g i n g " ------------------------------ Date: Tue, 21 Jul 1998 9:03:16 +0000 From: chriss at glass dot co dot uk Subject: Audience responses This is a wee bit off-beam, but what the hell ... [ Ahem ahem -- Toby ] Buddy Guy played the Royal Festival Hall here in London on Sunday night, and a right blinder too. He and his band displayed a heart-stopping control of loud/soft dynamics, rather like KC funnily enough, which had some effect in controlling the attention of a rather distracted and distracting crowd. He ignored all the photographers, which can't have been easy, but when he was trying to explain something about how he felt only part of a long line of talent being passed on, someone in the crowd kept shouting something unintelligible. One could see that Mr G was getting riled. Would he walk off like Fripp, call a halt? He turned to the section of the crowd where the noise was coming from. 'Hey! Shut the FUCK UP!!' He then apologised for the outburst, which was nice of him since no-one in the crowd was apologising for interrupting him, and I thought 'has Fripp ever tried this? Just getting angry?' Probably not, but it was interesting to see the same audience/performer problems that get discussed in this forum taking place in different circumstances. It was also noticeable that Guy rather gave up with trying to talk sense to the mob, presumably sensing that most of them were too daft to take it in, and resorted to battering them with music - another KC trick. I saw the Soweto String Quartet at the same venue only a few weeks ago, and much the same audience problems were in evidence. What has happened to people, that they can't sit still and listen for an hour or two, and that they think it's all right to ignore someone performing on stage and turn and talk to their neighbour? I'm sure if these people were talking to a room, and everyone started talking amongst themselves, they'd react badly. How odd that they think someone on stage is insulated from their behaviour. Sorry to rant, but it's starting to get to me. It's so frustrating to go to an event wanting to take part in it and finding that no-one else is prepared to put the minimal effort in. Is anyone else driven nuts by this, or am I losing it? ------------------------------ Date: Mon, 20 Jul 1998 23:30:01 -0700 From: Jim Allen Subject: Aarrgghh!! Hello. After another tough slog through another music-lite ET, I was wondering: Does the fact that the Greater Crim is basically dormant account for the fact that there is so little discussion of music on ET these days? I'm baffled how something at least somewhat related to music (ie Rush) is cut dead at birth by Our Moderator but long, long, long posts that contain almost nothing about music and a lot about the authors political views are let through. I'm insulted that I log on to a newsletter to read about King Crimson and get treatises on Liberal v. Conservative politics. I would humbly suggest that Toby exercise his editorial powers and cut the politics/Ayn Rand thread immediately. Frustrated in Los Angeles, Jim ------------------------------ Date: Tue, 21 Jul 1998 15:15:16 +1000 From: "Jennifer Gray" Subject: More Elephant Girl When I posted the Girl (elephant) Talk message I was thinking of the very tasty Bass playing of Sara Lee in the League of Gentlemen (ironical eh?). I got several direct replies suggesting that a female vocalist might be possible. Maybe to sing on "Ladies of the Road"? There might be a place for a good writer of poetry in Crimso (sorry I bought albums in the early 70's when that familiar name was used.! Anyhow, think about it and see if there are any possibilities. Could Robert Fripp teach another Boz to play- say Suzi Quatro? ------------------------------ Date: Tue, 21 Jul 1998 15:10:49 +1100 From: "Warwick Allison" Subject: Re: Eno opens some windows Thank you to everyone that replied to my Eno post! I'm still getting them! I'll follow up on some of your suggestions. Thanks again, Stuart ------------------------------ Date: Tue, 21 Jul 1998 15:09:16 +1100 From: "Warwick Allison" Subject: Re: KC Bug I got infected with the bug about a year ago. I had been into Yes for most my life, I had grown up listening to them and was getting a bit bored with just Yes and was hoping to expand my musical spectrum. Anyway, one day I was given a music assignment at school. It was a photocopy out of a rock encyclopedia. The photocopy was of Kraftwerk but alongside that entry was an entry for King Crimson. Reading through the Kraftwerk article my eyes caught sight of that very recognizable name of 'Bill Bruford'. I read the article and realised that it was definitly the Yes drummer. I started to research Crimson in books and on the internet. One day I was in my schools computer lab and was drawing on the whiteboard. I decided to try my hand at drawing the Schizoid Man and seeing as how I am a pretty resonable artist it turned out well. I titled it 'Schizoid Man'. The next day I was in the computer room when I realised some one had written all around my picture. I went up and read it. It was a message from one of my teachers. He had filled in the name so that it read '21st Century Schizoid Man' and had written a note saying it came from Itcotck and I could borrow the album off of him if I wanted. So, hankering to hear this band that I new alot about but had never heard I asked to borrow it. It was excellent and I listened to it all the time. For christmas I asked for LTiA and got it. It took a couple of weeks to get to hear the whole thing because my CD player was stuffing up and wouldn't go further than Muir's thumb-piano solo at the beginning but when I got through all of it I loved it. During late March this year I was on work experience at Velvet studios, a record label in the city. One day I came back from my lunch break 15 minutes late. They didn't really care but asked me where I had been. I told them I had gone all the way up the other end of the city to but THRAK by King Crimson. Paul, my boss said "Robert Fripp hey, thats could that you like him, I think he's a very good, unique guitarist." Then the realization that he was talking to a 15 year old who was into music that originated about 15 years before he was born kicked in. Paul said (or more correctly shouted) "King Crimson, what, have you been on acid since you were born or something?" At the end of the week when he said good bye he told me if I ever started a Robert Fripp covers band he would be happy to manage it! I think I'll go back there at the end of the year for my second work experience week! Stuart ------------------------------ Date: Tue, 21 Jul 98 11:17:17 PST From: Mark_Jordan at roadshow dot com dot au Subject: Absent Lovers et al G'day all I just got a copy of Absent Lovers and I just had to say "F@#$%N EXCELLENT". I've only heard it on my computer system so far but it sounds great. David and Robert have done an excellent job again. They obviously spent a lot of care on this project. The performances by the band are truly outstanding. It is also a thrill to hear live renditions of Discipline and Waiting Man. I'm hoping that there is more in the closet of this era of live stuff. I'd especiall like to hear them do Neal & Jack & Me, Neurotica and The Howler. Especially Neurotica as I love its controled mayhem. (Neurotica will be my next MIDI project). I also liked the DGM catalogue on disk 1. A damn good idea. Anyway just had to write. Regards to all Mark ------------------------------ Date: Mon, 20 Jul 1998 17:50:00 -0400 From: David Todd Subject: Re: Buy it again In some ways the ProjeKcts are a rehearsal, but really they are more of an R&D Lab. The compact between the projekcts and the audience seems to be "The performers will try to produce new and interesting music on the fly, with some aim towards entertaining the audience. The audience accepts that there is risk of failure. The performers won't apologize for the failure, any more than a scientist might apologize for any failed experiment. As to the re-releases, etc. I'll suggest you view them as an attempt to give those of us not lucky enough to make it to some of the concerts a chance to hear the better performances of some of these pieces. I'd be lying if I said Monsieur Fripp were doing it for altruistic reasons; I'm sure he enjoys money as much as the next worker. But I would instead regard it as Fripp trying to make things better as technology and time permit. I doubt he expects us to purchase everything DGM puts out. I would disagree about "It seems like everything Fripp does lately is all about money." On the contrary, touring is expensive, even for just 3 musicians, and can be a real pain unless you love the life style. Hotels can be nice, but they are austere, and often contain people who do annoying things to perfect strangers, much less an internationally known guitar player or three. And you can be assured that Monsieur Fripp has spent a great deal of time touring lately, we have many GIG REVIEWS to show for it. -- Hacksaw = David Charles Todd GTEI-BBNT = Hacksaw's Employer Hacksaw's Opinions != GTEI-BBNT's Opinions Linux understands you. ------------------------------ Date: Mon, 20 Jul 1998 16:05:53 -0500 From: Paul Hubers Subject: Damage Stash Found For anyone still looking for the Damage CD, Silver Moon Music has it for $15.95. Good deal! ------------------------------ Date: Mon, 20 Jul 1998 09:19:40 -0400 From: "Chris Barrett" Subject: RE: Bowie Guitarist Question Robb Leatherwood wrote: >Date: Fri, 10 Jul 1998 17:01:12 -0700 >From: Robb Leatherwood >Subject: Ms. Crimson / Bowie / Other threads > >I'm a new subscriber, so forgive me if someone hit this one >before. Last season on Saturday Night Live, David Bowie >performed with a guitarist who definitely went to >Fripp/Belew guitar school. Anyone know who this was? > >RobbL Reeves Gabrels, a Boston based guitarist who was Bowie's main songwriting foil/partner in Tin Machine (whose 2 studio albums are IMHO fantastic, even though radio and the critics trashed them). Reeves also appears on Bowie's last three solo albums (again co-writing much of the material) and is the guy who Bowie credits with returning passion and a willingness to experiment to his music. Gabrels also has a solo album out (I can't remeber the title of it now) with some pretty crazy guitar work on it and a couple of guest vocals from, of course, Bowie.... -Chris ------------------------------ Date: Mon, 20 Jul 1998 08:42:40 -0400 From: "Hickson, Robert [PRI]" Subject: Phish I read recent Phish setlists which have (what I am assuming to be) a new song called "Brian and Robert". Does anyone know if perhaps this could be making reference to a couple of musicians? As discussed here in the past, the boys in Phish have expressed an appreciation for Crimson in the past and have been known to perform a song called "Crimson Jam" (I think it's based on Discipline - I haven't heard it). ------------------------------ Date: Tue, 21 Jul 1998 13:32:00 -0400 From: "Smith, Bill (R&D)" Subject: Fripp on Zappa? Hello ET'ers, Just curious if anyone knows what Fripp thinks of Zappa and/or his music. I've been a Zappa obsessive for many years, but didn't start listening to Crimson until Discipline was released. My favorite Crimson are the 80's and 90's releases, though Red and Lark's are great also. With the release of Absent Lovers and planned release of more live from '95 Crimson, It seems that Fripp has discovered what Zappa new for a long time, which is that hard core fans will buy different versions of the same material over and over again. Crim heads bought up copies of VROOM which contained songs that later appeared on Thrak with one exception. VROOM was recorded in a different studio and many tunes contained subtle differences in relation to the same ones on Thrak, but only hardcores are going to own both. Of course Thrak contained more songs making it a necessity. None of this commentary is intended to be taken as criticism, but merely an observation. Ryko Disc needs to realize that Zappa fans don't mind "NEW" versions of songs previously released, but enough with the "Greatest Hits" releases they have been dishing out since Franks death. This last statement can be taken as criticism. Bill Smith ------------------------------ Date: Tue, 21 Jul 1998 11:30:06 -0700 From: "Stephen P. Goodman" Subject: Sociopolitics... ..has never been an influential force in my life, except perhaps to make it more difficult, as one has to navigate between the elements spouting or practicing it, so as to not soil one's OWN path-process, which, of course, such folks never have respect for anyway. Sort of the dark side of the "lilies of the field" parable, IMNSHO. And one of the reasons why The Loop Of The Week will never be dedicated to a political figure of any kind, as I decided very early on. This week's dedicatee is A. Sterl Artley, who passed July 7, and was a main creator of the "Dick and Jane" books. Now, if you'll excuse me, Teletubbies is on. :) Stephen Goodman * It's... The Loop Of The Week! EarthLight Studios * http://www.earthlight.net/Studios ------------------------------ Date: Tue, 21 Jul 1998 15:50:55 EDT From: Camzone at aol dot com Subject: Re: Ladies of the prog (Spike) >> I do have a question though, how do you get your >> husband/boyfriend to like Earthworks? I love Earthworks & so do many guys. Also, many women like KC... so what's the big deal? ------------------------------ Date: Tue, 21 Jul 1998 15:57:52 EDT From: Camzone at aol dot com Subject: The Roches' - Keep On Doing It is listed in the discography on Robert Fripp, but I just had to warn you people. Although it has Robert Fripp, Bill Bruford & Tony Levin on it... DO NOT BUY THIS EXPECTING GOOD MUSIC. It's Christian pop . The first song is "The Hallelujah Chorus". Yes, it's just these three strange women singing "Hallelujah, Hallelujah". ARGH!!!! STAY AWAY FROM THIS HIDEOUS INSULT TO VINYL. [ Funny old world, isn't it? "Keep on Doing" is one of my favourite albums of all time. There's some lovely Fripp playing on it, too. -- Toby ] This public service announcement was brought to you by Cameron Devlin ------------------------------ Date: Tue, 21 Jul 1998 17:03:31 -0400 (EDT) From: crv1 at is2 dot nyu dot edu (Chris Van Valen) Subject: Sighted: TGD box in NYC! Hi EYMs Today(7/21) I saw a copy of The Great Deceiver box in a West Village store. Please e-mail me privately for details and to the first person who gets there, it's theirs. Or, as an alternative, for a big, big incentive, I'll pick it up for someone and mail it. May the offers roll in! CV If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Tue-Thurs at 9PM and 1AM EDT. -- Lucien LaCroix ------------------------------ Date: Wed, 22 Jul 1998 09:19:32 +1200 From: David MacLennan Subject: Irrelevant? This from the latest ET: Date: Tue, 14 Jul 1998 20:33:00 +1100 From: "Warwick Allison" Subject: Re: TGD owners My cousin bought his trumpet playing brother a tape of some famous trumpet player. On the cassette it says the name of the guy but when you listen to the tape it turns out to ZZ Top! Stuart And what, pray tell me, has this got to do with KC or Fripp? Toby, you're slipping! :-) [ I am indeed slipping, but I just got some high-friction sneakers, so things should improve. -- Toby ] Also, to whoever it was who posted about the John Wetton mag, thanks for the info -- but some details on where it can be obtained might have helped! David Maclennan ------------------------------ Date: Wed, 22 Jul 1998 00:22:18 +0100 From: Steve Wood Subject: Re: Fripp a mercenary? Hi Mike (and all) Forgive me as a lurker who usually only sees the digest announcements (and as such isn't sure whether this has been mentioned yet) but I had to comment on this posting: >Fripp, in the business just for the money? Get real: if that >were the case he'd be strictly doing session work for the >likes of Bowie and Gabriel, instead of messing around with >Soundscapes, which is hardly what you'd call top-40 >material, and is unlikely to ever earn Mr. Fripp a spot on >any MTV music awards shows (a showcase for mercenaries if >there ever was one). I happened to see a quote from Toyah in a British magazine a couple of days ago in which she said that she and MF lost all their savings in a dodgy bank deal (can't recall the details) but the relevant point is that apparently both she and RF were now working as much as possible to dig themselves out of the resulting financial hole. I'll try to dig out the magazine and get the exact quote... Regards, Steve W. P.S. Whatever the reason, who's complaining even if the wallet struggles to keep up with the frequency of releases at times?! ------------------------------ Date: Sun, 21 Jun 1998 18:18:20 -0400 From: Denis Robitaille Subject: Re: A percussion question Now this could start an interesting survey ..."Name an odd object that Muir hits in Easy Money" !! I always thought that he was slapping his hands in a bowl of water in the intro . Ideas anyone ? D.R. ------------------------------ Date: Tue, 21 Jul 1998 18:50:33 -0700 From: "Andy Gower" Subject: Kravitz influenced by KC? I seem to remember someone mentioning that some of Lenny Kravitz's new album sound like KC. I just picked up the Kravitz album and I don't really hear it (yet). Could the person who suggested this email me privately about what exactly is Crimsonesque about the album. Thanks, Andy Gower http://www.geocities.com/SunsetStrip/Arena/2763/index.html ------------------------------ Date: Tue, 21 Jul 1998 22:12:38 -0700 From: Richard Begley Subject: CDs, politics In the wake of the discussion about FFWD, I pulled my copy out and listened to it again for the first time in a while. I discovered that I don't really like it. So, I'm looking to part with it in trade for something else - I don't know what. I also have Toyah's "Ophelia's Shadow" for trade, and a vinyl copy of "Unpronounceable" - live in Japan '84. Private e-mails please. And Toby, could we stop the political thread now? Or sooner than now? Many of us don't live in the US, and I for one don't give a rat's ass what anybody on this list believes in politically. Thanks. Richard Begley rbegley at interlog dot com ------------------------------ Date: Tue, 21 Jul 1998 20:33:35 PDT From: "Bill Chachkes" Subject: CD GYP! Maybe i'm crazy....But I bought a Copy of Absent lovers..got it home oand opened the packaging only to find that Disc two was MISSING! as i had lost my bill of sale...I had to buy another copy! From now on i open all PaCKAGES AT THE CASHIER BEFORE I LEAVE THE STORE!!! ------------------------------ Date: Tue, 21 Jul 1998 20:48:18 PDT From: "Rich Malitz" Subject: A different July 5th, 29 years later The 5th of July has become an anniversay for myself as well as a certain Hyde Park show some 29 years ago. Here is a little story I would like to share. My drummer Randy, my brother Marc, my friend Frank, and myself played our first "concert" together, which was also in a park. We had decided a few months ago to get together to play some Crimson songs as it is not common to find a complete band able to pull of a bunch of Crim. At least among your friends. To add to the fun, both Frank and I had purchased Roland GR30 synthesisers for our G & L Legacy's (strats). So the plan was to do around an hour set of mostly Crimson and a couple of other progressive type songs. The sad part was because of the distance between the four of us, we had only ONE full band rehearsal! The orders to all were to learn your part to the note! (And pray for no train wrecks) Another burden on myself was that I, for the first tme in my life, would have to sing vocals on a few songs! I have finally come out of a shell and have begun to sing a little, but in front of a crowd?? Oh well, I said I'd do it. The event was a whole day thing in a wooden pavillion with a handfull of bands playing. There was a guy who played before us and was doing Frippertronics type stuff, singing a little and had preprogramed everything. He did a cool version of In The Court Of The Crimson King. That got us in the mood. Then we were up. We decided to open with Red. Then I was up for my singing and guitar synth stuff. As I turned into Belew, we did Dinosaur complete with the clarinet/string section in the middle which I transcribed from Belewprints. So far, so good! The next song I switched to my Les Paul and we launched into 21rst Century Schizoid Man with Frank playing all the sax parts on his guitar. On the 2nd verse my D string broke!!! I was singing and thinking what to do next. After the first fast part with sax and guitar, I told Frank to do the first solo while I switched back to my G&L. So he ended up with 2 sax solos around my guitar solo. The song had survived disaster! We even did the unison part right! Next up was a Crimson treat - I Talk To The Wind. I did Fripp's parts while I sang, Frank did the flute and clarinets. I wished I had sung it a bit better, but the vocal mix was low. Then, featuring Randy the drummer on vocals, we did Frame By Frame. After that we took a Crimson break, and did some Yes. We did the Bruford 35 second long composition Five Percent For Nothing into Long Distance Runaround into The Fish (bass solo). For Long Distance I sang (Jon Anderson-gulp!) and played the piano parts once again with the wonderful GR-30. After those songs, Frank did a version of Clap, the Steve Howe solo. Then Frank and I did two duets. First an instrumental version of Moonchild, which Frank did the flute and clarinet/oboe on, and a real suprise... we did Hope by the Fripp Quintet with Frank playing in the New Standard Tuning and I was doing Trey Gunn lines using a lot of echo and only two hand tapping. The band then did Vrooom and the Marine 475 Coda, followed by a medley of Rush's YYZ and La Villa Strangiato. Our last piece? What else?! Larks' Tounges In Aspic Part II with Frank playing the violin parts. When we finished, we had played an hour and 15 minutes. Not bad for a second time around! If we had more rehearsal time we were going to do: Indiscipline, Three Of A Perfect Pair, Sleepless, Matte Kudesai, Mars, Talking Drum, Trio (!), Larks' Part 1, to name a few. So that is it for now, we'll see what happens the next time! By then Frank and I will have our latest toys - Fernandes Sustainer Guitars! Check them out if you can. Rich Malitz Chicago Suburbs ETer ------------------------------ Date: Wed, 22 Jul 1998 00:11:49 PDT From: "Michael Irish" Subject: Time Be Thine Bill And Tony I just purchased "Bruford Levin Upper Extremities" and Tony Levin's Funk Fingers from Tony's Papa Bear site. The BLUE album is magnificent! I wish I could have seen a performance from this band. David Torn rips it up on guitar, a sheer musical genius. Thank God he is still with us. How would you compare his use of loops with Robert Fripp's? I question whether any rhythm section can match Bruford/Levin for dexterity, imagination, creativity, song-writing, and virtuosity. Funk Fingers: it is inventions such at these, little noted by the media, which forever alter the destiny of humankind. Such was the case with the wheel; such is the case with Funk Fingers: They're really fun to use! (another mark of excellence from Papa Bear.) Repeat The Beat: In the liner notes for "The Nightwatch," Robert Fripp writes "I'm not sure that Bruford/Wetton were a great rhythm section but they were amazing, busy, exciting, mobile, agile, inventive, and terrible to play over." As a listener (the only time I saw Crimson in-concert was the "Starless & Bible Black" band) my feeling is that John Wetton and Bill Bruford remain one of the finest rhythm sections in rock 'n' roll. A short list of other favorites: Bill Bruford and Tony Levin, Michael Giles and Greg Lake, Elvin Jones and Ron Carter, Dave Mattacks and Dave Pegg, Keith Moon and John Entwistle. From ET #522: "Back in 1973, there weren't that many bands doing what KC does. They forged a new frontier, and they did it in a time when technology wasn't so advanced yet." A band I would rank shoulder to shoulder with Crimsky, also from this time, is Mahavishu Orchestra. Robert Fripp's interview with John McLauglin is a fascinating read, as is Adrian Belew's with Steve Vai. Some of the most enjoyable music reading are top-flight artists discussing their craft. No New KC: That the band hasn't released a follow-up to "Thrak" nor been on tour bothers me not a bit, as some of the finest recordings this year have been from KC-related artists. I haven't the slightest doubt that the following albums are shoe-ins for the Rolling Stone Megalith "Year's Best" issue: Trey Gunn's "The Third Star," Adrian Belew's "Belewprints," "Bruford Levin Upper Extremities," and "Space Groove." Some of the finest music in this or any other universe we'd care to imagine. I purchased the "Three of a Perfect Pair" video following DGM's price mark down, though I haven't watched it yet due to the storms that having been rocking on. I wonder how it will match up to the Double Trio "Live in Japan" video, which I've watched about 1,000,000 times to date. I'm selling 16 top-flight complete operas with librettos (the purpose being to add savings for purchase of a new electric guitar) at an utterly cheap price. If anybody on Elephant Talk in interested, please e-mail me. I have also redone the Chamber Music Society of Detroit homepage. All best, Mike I ------------------------------ From: SMcmil6360 at aol dot com Date: Wed, 22 Jul 1998 03:53:01 EDT Subject: CNN See attached. [ I think most people would rather not, actually -- Toby ] In ET #523, Ted White wrote: The story was certainly "controversial," but the question of whether it is "true" is far from clear. It bears out our worst fears, reinforces anti-Nixon feelings, and plays to the anti-war sentiments of both then and now. ...And then there's this conspiracy-theory paranoia: "They were fired only after Henry Kissinger and Colin Powell threatened to cut off CNN's 'access' to military information." Since both Kissinger and Powell are now private citizens no longer working for or a part of either the military establishment or the U.S. government, how in the world could they make such a threat -- and why would they want to? So can I conclude from your response that you are pro-war? (..."plays to the anti-war sentiments of both then and now.") My statements had nothing to do with "conspiracy theory," a "knee-jerk" term used to discredit anyone who criticises the military establishment, present or past. Any good reporter relies on his or her employer to back them up when they break a controversial story. I'd like to respond with an excerpt from the August, 1998 issue of Extra, from FAIR (Fairness and Accuracy in Reporting): Producers Oliver and Smith have defended their work by pointing out that their report needed a full hour for a complete, nuanced presentation (CNN higher-ups refused, according to Oliver, saying the network was "not in the business of doing documentaries anymore"), that even their 18-minute report did include doubters and that it was top CNN executives in the final edit who deleted a comment by a Tailwind pilot that tear gas, not nerve gas, had been deployed. Soon after the report aired, CNN management began retreating in the face of immense pressure--first from the military establishment, including Henry Kissinger, Colin Powell and former CIA chief Richard Helms, and then from a media establishment more inclined to rally around the military than to explore the U.S. government's secret war in Laos. With CNN producers muzzled by management for several weeks, the media "debate" overlooked evidence from journalists and Vietnam veterans that U.S. defectors were indeed targeted during the Vietnam War. Even the comment made by former Defense Secretary Melvin Laird (Associated Press, 6/9/98) that the U.S. had sent nerve gas to Vietnam in 1967 was quickly forgotten. According to Oliver, CNN president Rick Kaplan told a group of producers that the barrage of criticism was "not a journalistic problem, this is a PR problem." (April Oliver, Washington Post op-ed, 7/12/98) Steve M. ------------------------------ Date: Wed, 22 Jul 1998 09:45:57 +0100 From: Peter Clinch

Subject: KC & Trash TV Bernard A. Dardinier wrote in ET 524: > This seems off-topic, but the point was the music of this > show : it was VROOOM (the "VROOOM" version, I guess), > probably chosen for its title! I suppose they've asked > for permission and pay royalties... :-) At least one Crim is aware of the show, as Trey mentions it on his website's "Other Items" page, so that at least increases the possibility of it being legit... Pete. -- Peter Clinch Dundee University & Teaching Hospitals Tel 44 1382 660111 ext. 33637 Medical Physics, Ninewells Hospital Fax 44 1382 640177 Dundee DD1 9SY Scotland UK net p dot j dot clinch at dundee dot ac dot uk http://www.dundee.ac.uk/~pjclinch/ ------------------------------ Date: Wed, 22 Jul 1998 16:11:20 +0100 From: Erik DePoy Subject: Need Help Identifying 1974 Tape I recently received a tape labeled only as "Live 1974". Can anyone help me identify when and where it came from? The source is an LP, and it seems to be taken from a single show. The track list is as follows: Side A: The Night Watch Starless Easy Money Improv Exiles 21st Century Schizoid Man Side B: Lark's Tongue's in Aspic Pt. 1 Ostentatious The Mincer The Talking Drum Lark's Tongues in Aspic Pt. 2 Book of Saturday By the way, is there any database of KC bootlegs out there on the web? Something on the order of the Pink Floyd RoIO (Recording of Illegitimate/Inderminate Origin) Database for KC would be quite a useful resource IMO. Erik DePoy Lyubertsy, Russia ------------------------------ Date: Wed, 22 Jul 1998 14:31:43 +0200 From: tpoisson at atelier dot fr (BQUEDIRECTE Poisson) Subject: Ian McDonald's IRC log on Artist-Shop Greetings to all, I don't know if this has been previously mentionned on ET : check out the link below for a transcript of a May 1998 chat with Ian McDonald at the artist shop. A few words on a forthcoming album, collaborations with Mike Giles, and more http://www.artist-shop.com/irc/mcdonald.htm Thomas ------------------------------ Date: Wed, 22 Jul 1998 09:40:05 -0700 (PDT) From: Dennis Montgomery Subject: Re: USA-Leather-Mussolini >>From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) >>Subject: USA / TGD / Nightwatch >>Following recents posts questioning the value of USA, I >>would like to add my two cents. ...I personnally consider >>it [U.S.A.] much more satisfying that TGD and The Nightwatch... >>I can't believe I am the only one out there. >>Laurent Masse>masse at geocean dot u-bordeaux dot fr > >No, you're not the only one. If nothing else, "USA" is >worthwhile for the drumming on the extended "Exiles" intro >-- so strong! It's been killing me for twenty years. My feelings exactly. The USA version of Exiles is the 1st one I ever heard and my favourite Crimson recording of all time. I'm now proud to say that including USA/LTiA/TGD/my 4 various vinyl boots purchased in the late 70's/and my newly acquired CD of David Cross Exiles I've got about 9 or 10 versions :) And always on the lookout for more... Beatles*Tull*GentleGiant*Cathedral*KingCrimson*Rush*Marillion*Minutemen* * _______ *Rollins Band*Focus*Asgard*DevilDoll*AsiaMinor**BlackSabbatH * / \ a P | (. \ \ "If people are going to call you a lunatic anyway, why w r \ >\ | get the benefit of it? It liberates you from convention"k o-- > |< | w c / >/ |Dennis Richards Montgomery:SE:Sun Microsystems i o | (. / / n l \_______/ Pulsar*ELP*PFM*801*Eno*Eloy*12thNight*Zappa*SexPistols*d Harum***IQ**Anekdoten*VanDerGraaf*SadLovers&Giants*KateBush*OLDGenesis** [ And this is the last time we'll be seeing *that* .sig -- Toby ] ------------------------------ Date: Wed, 22 Jul 1998 13:49:30 -0400 From: Sanjay Krishnaswamy Subject: Political thread Before Toby justly kills all the Republican/Conservative/Microsoft shtick (assuming I even sqeeze under the door) -- 1. We Americans use the word "liberal" in a thoroughly incorrect way which I fully expect will confuse the bejeezus out of the poor stupid UK subsrcibers, so, try to use it as often as possible, and 2. I rather think (from my limited knowledge) Frank Zappa's political beliefs might best be described as "libertarian" rather than "republican" or "democrat." (Frank Zappa would be a 'liberal.' Now try to guess what I mean.) SK Sanjay Krishnaswamy sanjay_krishnaswamy_ab93 at post dot harvard dot edu ------------------------------ Date: Wed, 22 Jul 1998 13:28:48 -0500 From: gary dot l dot weimer at awo dot com Subject: Nothing wrong with money There seems to a segment of this group that finds the business aspect of music (or do they just resent those that rack up $$$$$ in sales by hitting the mainstream) somehow distasteful, or even sacrilegious. Does this account for some of not-so-nice comments about Yes? Eating & breathing is just as much a part of life for the musician as it is the accountant. In my brief years on the road, nothing was harder about trying to be a working musician than trying to actually make some money. It's a little hard to concentrate on the music when you're worrying about the electricity being shut off. I recall an old interview in which Rick Wakeman stated that musicians write their best music NOT when they are starving, but when they don't have to worry about money. My point is that criticizing Fripp for his approach to his "business" is not fair. When I wrote for a local music publication years ago, I interviewed more than one famous musician (not just flash in the pan types either) who went through financial troubles AFTER becoming successful, only to take control of the reins of their career as a result. I say, good for you Robert, in whatever approach you decide will extend the life and development of King Crimson and all it's incarnations/offshoots. The fact that the music continues to flow after 30+ years justifies the means to that end. Bands like ELO or the Tubes folded, based on what I read, only due to financial distress. Besides, which of us would put heart and soul into something we love day and night with no sustenance provided for our efforts. I don't think that I personally would want to join the DGM club, but I think it's a very cool idea. ------------------------------ Date: Wed, 22 Jul 1998 20:41:45 EDT From: MarkJX at aol dot com Subject: P4 in Denver? No Way! >And for you lucky ETers from Denver/Boulder, you might want to know, >you'll be treated to the first show of ProjeKct 4. Enjoy! When? Where? Now let's see....neither P1, nor P2 played anywhere closer than 1000miles (1600km to metric persons) from Denver. What would posess P4 to play here? Maybe my gentle supplications? Nah! I've still got my finger near the phone, Ticketbastard number in hand...If anyone has more details, please either post to ET or email me directly (or both)! PS: I'd be happy to help with P4 show arrangements and promotion if this unlikely bit of new happens to be true........ Thrak On! Mark J. ------------------------------ Date: Wed, 22 Jul 1998 10:33:56 -0700 From: Peter Shindler Subject: the spice girls here??? > > Date: Mon, 13 Jul 1998 17:04:25 -0600 (MDT) > From: Jim Bauer > Subject: Spice, ICE, Nice > Why does everyone on ET hate the Spice Girls so much? Yeah, > personally, I don't like groups that don't write their own > songs and rely on anonymous studio-type musicians instead of > playing their own instruments (well, I guess that's better > than sampling), but... for what they do do, they do it well. > Their vocal harmonies are complex and elaborate, and they > dance choreographed dance steps very well, albeit they can't > act; I just watched SPICEWORLD last week with an old > girlfriend, and it was dreadful--again, though, not if > you're really into choreographed dance numbers as the film > was full of them, like an elaborate eMpTyV video. > Not sure how this came up on ET, but I do actually like them a lot. Everything everyone says about them is true, but so what? It sounds good, and, as with many performers, the people who don't like them take them much more seriously than they should. Actually, I just finished a mix tape for a musician friend of mine, and as he's not familiar with either Fripp/Crimson or the Spice Girls, I opened it with the "Firescape" from the RFSQ (a very long, dark, and evil Soundscape) and went directly into the Spice Girls' "Wannabe" (the "tell me what you want, what you really really want" song). I thought it was a nice contrast. He didn't like either of them very much, to keep it all in perspective. Peter ------------------------------ Date: Thu, 23 Jul 1998 21:23:20 +1100 From: "Warwick Allison" Subject: The Bull Board Hi, Does the names Bonwar, El Sob v2.0, Jed or Disco Stu mean anything to any ETers? I met you guys at the Primus bull board. Stuart/Astro "The question is: How more blacker can this get? And the answer is...None...None more blacker." - Nigel Tufnel of Spinal Tap (commenting on the cover of Smell the Glove.) ------------------------------ Date: Thu, 23 Jul 1998 07:59:47 -0700 From: Eric Kirchner DDPIL Subject: Fripp, Eno and Haute Couture I don't know if anyone else caught the NPR report on "All Things Considered" for 7/22 on haute couture. In the background of a reporter voice over, a runway show was proceeding to the tune of "Evening Star". As haute couture symbolizes the very highest form of art in dressmaking, it seems appropriate that it is exhibited to the tune one of the highest forms of art in music. Regards, Eric ------------------------------ Date: Thu, 23 Jul 1998 19:37:15 EDT From: ROBERTP81E at aol dot com Subject: Going "Ballistic"! Hi to all, I've just received "Little Beast" by Los Gauchos Alemanes and "Metalambiente" by Santos Luminosos. In the package, the folks at Gaucho Musical Production Services have kindly and graciously included a litlle surprise: it's a test CD-R with 6 tracks from the forthcoming "Ballistic" mini CD by Steve Ball. I was hoping to share my impressions of all three releases in this message. But this will be for another time, since I've quickly played .... just once .... the tracks with Robert Fripp on "Metalambiente". I've been listening non-stop and just enjoying the test CD-R of "Ballistic". For your information, the track listing of this version is: 1. Acoustic Ballistic Boxer (Paul Simon, arranged Steve Ball) 5:31 2. La Casa De Nada (HernBn Nu~ez, Andrs Jankowski, Steve Ball) 3:53 3. Ballistic Boxer (Paul Simon, arranged Steve Ball) 7:10 4. La Casa Acoustica (HernBn Nu~ez, Andrs Jankowski, Steve Ball) 0:44 5. Ballistic (Steve Ball) 7:39 6. De Nada (HernBn Nu~ez, Andrs Jankowski, Steve Ball) 0:29 Yes, tracks 1 and 3 are cover versions of the "Boxer" from the classic album "Bridge Over Troubled Water" by Simon and Garfunkel. They're both great .... and my favorite has to be the electric version with an awesome soundscape by Steve Ball. In my humble opinion, the gem on this test CD-R has to be the fantastic instrumental called "Ballistic". Here, you can hear a scorching soundscape and feel the rhythm section of Steve Ball with Steven Rhodes working overtime. "La Casa Acoustic" and "De Nada" are Satie-like piano vignettes that are based on a theme taken from the acoustic song "La Casa De Nada". These two brief instrumentals are quite charming. I strongly recommend to all to give "Ballastic" a spin. I'm sure that you'll go "Ballistic" as much as I did .... and still do .... over this great mini EP. Aloha, Robert Phan. P.S. The address of the Los Gauchos Alemanes website is "http://www.gauchos.com/". ------------------------------ Date: Fri, 24 Jul 1998 09:38:03 +1000 (EST) From: tps at merlin dot com dot au (The Performance Space) Subject: political discussion cont'd >Another self-proclaimed open-minded person displaying >unfathomable ignorance. Is your understanding so limited >that your definition of a conservative is restricted to some >pre-coneived notion of an anti-artistic philistine >restricting freedom? you sir are the ignorant one here....understanding is far from "limited" when it recognises that the conservative agenda, in whatever form, supports and encourages the development of global capital...it is capital that has undermined and continues to undermine all aspects of both individual "freedom", cultural expression and artistic diversity, it is capital that undermines the progressive and the contemporary in art..much contemporary art questions conservative values....capital is very agressive in asserting its values and often moves swiftly to homogenise culture through commercialisation or squash critical content through censorship or as it has recently in the "home of the brave" through consistant and effective attacks on the national endowment for the arts ....dear sir it is, in fact, impossible to achieve the aim without suffering, and you will have to face the fact that being a nice guy who likes a bit of art and experimental rock music and voting republican is a real cop out...take some responsibility for your beliefs...and don't for one minute think that the democrats aren't conservatives either..they are...global capital has made sure that the entire real politic has shifted well enough to the right to make itself and its continuing atrocity invisible.... * ------------------------------------------------------------------------- Zane Trow - Artistic Director The Performance Space An Australian Centre for Reasearch into and Development of the Contemporary Performative Arts. PO Box 419 Strawberry Hills 2012 tel (612) 9698 7235 fax (612) 96991503 http://www.culture.com.au/scan/tps ------------------------------ Date: Thu, 23 Jul 98 22:34:55 -0400 From: leslabb at ptd dot net Subject: Fripp's Gigging In Pittsburgh In ET 524 Craig Stamm Mentioned: >that happened during P2's recent tour in Pittsburgh at the >I.C. Light Amphitheater. The amphitheater is located >between at least two sets of train tracks running parallel >to the Monongahela River, and when Adrian was just getting >into his acoustic version of "Dinosaur" a big freight train went roaring >past. Unflapped by all of this Adrian simply >smiled and serenaded the passing train while Robert and Trey clapped, >and Robert laughed so hard that I thought he was going to wet his pants >(good thing he was wearing black). I saw the G3 show at the IC Light Ampitheater last summer. During Fripp's soundscapes a barge/tugboat when floating by, blasting it's horn. It kind of melded nicely with the sounds coming from the PA system. Les B. Labbauf http://home.ptd.net/~leslabb ------------------------------ Date: Thu, 23 Jul 98 21:20:03 -0400 From: leslabb at ptd dot net Subject: Cassette Mixups: Mistakes, or Satanic Messages! In ET 523 Stuart Mentioned: >Subject: Re: TGD owners >My cousin bought his trumpet playing brother a tape of some famous >trumpet player. On the cassette it says the name of the guy but when you >listen to the tape it turns out to ZZ >Top! >Stuart Back in the early 80's, 1984 I think, a friend of mine purchased an Iron Maiden cassette. I can't remember the title of it, but it was the one with the Egyptian artwork, and storyline. Well it turned out that the tape was placed in the shell backwards, so the tape played backwards. I told him to keep it because it might turn out to be a collector's item one day, but he returned it for a new one. Les B. Labbauf http://home.ptd.net/~leslabb ------------------------------ Date: Thu, 23 Jul 1998 11:34:43 -0500 (CDT) From: flaherty michael w Subject: News: Jean the Birdman Part 2 Released Lenin Imports in the UK claims to have copies of a newly released "Jean the Birdman Part 2." The disc appears to simply be a single release of the second disc from the original Jean the Birdman ep. There is no mention of volume 1 being re-released. The disc is listed for 8.99 Pounds, but the postage costs will bring your total up considerably (in the US expect to pay close to $20). If all the "new" material from this release were to be found on disc 2, this re-release would make perfect sense. As this is not the case, I have no idea what the logic behind this may be. For details, check www.netcomuk.co.uk/~lenin/INDEX.html Michael Flaherty ------------------------------ Date: Thu, 23 Jul 1998 13:05:33 EDT From: DrumSci at aol dot com Subject: Re: Fripp/DGM/Clubs/Copyrights There has been a great deal of talk and speculation about DGM, archival releases and a possible club. In ET# 524, Mike & Coleen said: >> I feel obliged to de-lurk for a moment and offer a >> response to those confused fans for whom the wealth of >> Crimson archive material presents such a problem. >> Specifically, the idea that Mr. Fripp has become some >> sort of musical mercenary. Am I alone in thinking this is >> one of the wackier notions floated across these pages? "Fripp as mercenary" is a very valid point, but I think it's important to make a distinction here. Fripp/DGM offer these materials on behalf of the members of the Greater Crim, as opposed to a large conglomerate scraping the bottom of their tape barrel in order to rape and plunder whatever artist they purport to represent, solely for their own profit. It's important that note that DGM allows the individual artist/s to keep all rights for themselves. While no "legitimate" record company ever held a gun to an artist's head in order to gain the song writing rights, they do have the power to hold out a very big and promising carrot in front of the artist. Many a young, enthusiastic and naive young musician has traded away their rights for a "chance" to, with any luck, become a star (the Beatles for one example). After years of being misrepresented and ripped off, Fripp and the other former EGers now hold the cards to their own destiny. Who can begrudge them the chance to make a living off of their past & present art? But there is a fine line here, as Fripp also holds a very big carrot (KC archives) that he can wave in front of a willing following (Crimheads) who are all too happy to part with their hard earned cash for a plastic disc full of dreams & memories. A similar situation happened to guitarist Bill Nelson. He was ripped off by his former management, does not own the rights to his Be-Bop Deluxe material, and has at various times been forced to sell his guitars, etc. just to survive. Since taking things into his own hands, God only knows how many recordings (100+) he has released, either on his own Cocteau Records or licensed out (not sold outright) to smaller labels. As a fan, you can either take them or leave them. I welcome releases from the archives (Epitaph, The Night Watch & Absent Lovers are wonderful & important documents), but I reserve the right to cry "foul" if Fripp/DGM decide to use their archival holdings as a "cash cow" to bleed a loyal following of their money. Regards, Michael Bettine ------------------------------ Date: Thu, 23 Jul 1998 11:21:32 -0600 (MDT) From: Jim Bauer Subject: Re: Spice, ICE, Nice (fwd) Dear Mr. Elephant: This is one of the replies I received about my last post, Spice ICE Nice, being forwarded to you as I have a question about it that I'd like answered. > Date: Tue, 21 Jul 1998 22:49:16 -0400 (EDT) > From: Weissenburger - Jeremy S. > To: jbauer at hi-line dot net > Subject: Re: Spice, ICE, Nice > The guy who figures out the allusion to Crimson in the subject line gets > a No-prize. Well, the first letter of each: S - I - N, could allude to the devil/Beelzebub, which is supposedly the inspiration for King Crimson's name. Is this guy right? I'd hate to think a band I've followed assiduously for nearly thirty years derived it's name from the devil. OK, I'm not a conserrvative Christoa or anything like that, and as someone with a degree in History and Philosophy of Science, I'm really disinclined to believe in demons, but Satanists still give me the chills. Can anyone confirm or deny this>? I seem to recall Marvel Comics used to send out an envelope that said it had a No-Prize in it, but the envelope was empty. Oh well. You're right about the no-prize. However, someone else just logged in with the correct answer: the lyrics to "Pictures of a City." Nicotine-free Jim ------------------------------ Date: Thu, 23 Jul 1998 13:54:32 -0700 From: Jason Thornton Subject: For Sale: Chapman Stick (Tony Levin's) Used Chapman Stick for Sale. 10-string. Collector's item. Previously owned by Tony Levin. Used on tour with Peter Gabriel and Yes. Polycarbonate, painted a reflective silver, standard tuning. Asking $1600.* email jthornton at ucsd dot edu for info. * = this is a "collector's" price. If you're just looking for a used Stick, and are not a Tony Levin fan, you can find one somewhat cheaper. --Jason ------------------------------ Subject: Re: TONY LEVIN'S "ROAD PHOTOS" Date: Fri, 24 Jul 1998 10:13:55 -0700 From: jim_bricker at FileMaker dot COM (Jim Bricker) In response to "dwool at yesic dot com" : TONY LEVIN'S "ROAD PHOTOS" is approx 100 pp, black and white, and is out of print. If you read recent Tony's Road notes, he refers to some discussions with Robert about a possible re-print and a new road diary book. The book has an introduction by Robert and includes photos of KC, Gabriel, Paul Simon - essentially anyone TL seems to have toured with since the late 70s. Tony had a small stash of ROAD PHOTOS that he put up for sale thru Papa Bear in '96. Good luck finding one! regards.... Jim Bricker, San Jose CA. ------------------------------ Date: Fri, 24 Jul 1998 20:34:24 PDT From: "Michael Irish" Subject: Burned By The Fire We Made The Bends: There's an interesting article featuring Adrian Belew's pre-concert warm-ups in the September issue of Guitar Player magazine. Among other things, Adrian will restring his "main" guitar, followed by heavy bending and stretching till the strings hold to their tuning. Learning: in the liner notes to "Belewprints," Adrian writes that "When I began as a musician I sat for hours in front of a record player trying to figure out how to play music I like." I put on the Who's "Quadrophenia," and tried to follow Adrian's example; but it was just a few bars into "The Real Me," before Pete Townshend's hand reached out from the loudspeaker and smashed my acoustic to bits. I received the "Three of a Perfect Pair" concert video a few days ago and totally love it, though I think the performance on "Absent Lovers" kicks out a bit more. The picture clarity is far superior to that of the "Live in Japan" video. In his review of this video Bradley Smith ("The Billboard Guide to Progressive Rock") writes that "on the other hand, tracks like 'Man with an Open Heart' and 'Three of a Perfect Pair' veer into Talking Heads-like quirky pop, for which Belew's smooth guy vocals and writing bear the lion's share of the blame." I completely disagree with this assessment (the author did think this was a great concert). Three of a Perfect Pair ranks near the top of my 50-60 favorite King Crimson numbers, and one of many highlights from the ProjeKct Two concert was Adrian playing it on acoustic. "Perfect Pair" is a number I'd love to play: after I posting this, I'm going to look about ET for the tabs to this song. I was really disappointed about the Tori Amos concert last night. Mike I ------------------------------ Date: Sat, 25 Jul 1998 19:09:13 +0100 From: Robert J Lethbridge Subject: Re Doctor D Don't submit very often, but had a few questions. 1/ A few issues back someone commented that they had the Doctor D bootleg recorded in Atlanta 6/23/73 and wanted to know it's value, I didn't have the issue to hand to e-mail directly and would be interested to know myself as I have it as well - bought at a local record fair 15 years ago. Interestingly the track "Doctor D" is a completely different arrangement to the one on the Great Deceiver box set and better! (IMO), whilst the Lark's Tongues in Aspic Part 1 is excellent. Anyway any private e-mail welcome on the subject. 2/ Been watching developments on the DGM club, very interesting, I think I'm in - would like to hear Jamie Muir. 3/ Ordered The Noise today - is it really better than Three of a Perfect Pair? I miss not seeing Red on that whilst the Live in Japan video is poorly filmed, just can't see enough of what's going on. 4/ Absent Lovers - Brilliant!! :-) Never was into the 80's crim until I listened to this, now I hooked. 5/ Any ET'ers in Wales G Britain, or near? ------------------------------ Date: Tue, 21 Jul 1998 17:22:59 +0100 From: "Brian Thomson, London UK" Subject: GIG REVIEW: Earthworks on the South Bank, London The South Bank Centre: that glorious 70's edifice of concrete and... well, concrete. The Queen Elizabeth Hall is the mid-sized of the three concert halls, seating about 1000 people. Fripp was only able to make it as far as the foyer a few years ago, but Bruford made it to the main stage last night, with Earthworks on a double bill with Peter Erskine's ECM Trio. Both Earthworks and the ECM Trio played 70-80 minute sets, as part of the RhythmSticks '98 season, with Earthworks on first at 7:45. Not all the pieces were introduced by Bill, but highlights included two from "If Summer Had Its Ghosts" (the title track and "Forgiveness"), as well as "Bridge of Inhibition" from the first Earthworks album. In Earthworks' current incarnation "Bruford has again picked wisely from the growing pool of exciting young London talent", as the program says. That Bill seems perfectly at home surrounded by musicians half is age is not at all surprising, given how easy the quartet makes this "jazz" business look! On keyboard (singular) was "the impossibly young" Steve Hamilton, who mostly stuck with the Kurzweil PC88's excellent Grand Piano sound, but occasionally filled in the gaps with funky organ stabs, evolving ambient washes, or trumpet for the double brass lead lines found on older material. Steve didn't put a finger wrong the whole night, fluidly playing the right notes for the occasion. In contrast, I thought Patrick Clahar, on saxophones, while an excellent improviser, must have been hitting the espresso before the gig. He's a bit of a virtuoso, who's clearly heard of Charlie Parker, but a wee bit hyper both in his movements on stage and in his playing. On scored parts, he was clean and smooth, but when given his head, too many notes hit the speakers for my taste. A minor quibble, perhaps, and working with Bruford is sure to be a crash course in subtlety, if nothing else. Of course, as a bassist myself, I'd heard the name of Geoff Gascoyne around London, and this was my first chance to hear him in action. He did not disappoint, doubling between an ancient upright (with Fishman bridge pickup and two microphones) and electric (Ken Smith BT-5). Once the sound man had worked on his upright tone a bit, he came through loud and clear. On the "Ghosts" pieces, he flawlessly sight-read the main parts, then broke loose with a wonderful solo on "Forgiveness". On the newer material, some of the parts would be frightening enough on electric, but on upright... you don't want to know. Bruford was clearly happy with him, and with good reason. As for the man himself: his Canary Yellow Tama Starclassic kit was stripped down to little more than basics, with a tiny jazz bass drum and double-mounted cymbals (a little one and a big one on the same stand). Mike-ing was also minimal, but the sound was gorgeous, and he was clearly enjoying the night out. Again, he makes it all look so easy, but that's the difference between a Drummer and a musician who just happens to play the drums. I could spend the same number of words again contrasting the drum styles of Bruford and Erskine, even though I'm not a drummer! If there's one thing that marks Bruford out, it's the understatement and conciseness of Bruford's sound, along with an idiosyncratic approach to the bass drum, at times treating it almost as an effect to be used sparingly. By contrast, Erskine's drums sounded huge and resonant, and would have been too much last night if not for the light touch he nearly always uses. His cymbals annoyed me, though - huge brassy rides and crashes that took forever to decay, drowning out the piano of London veteran John Taylor. You could tell, even without a program, that the ECM Trio has been together for many years, and bassist Palle Daniellsson was called on to take more of a melodic lead than a bassist normally would, and was well up to the task, even taking the lead on a piece written about his cat! All-in-all, a simple and enjoyable night out for both artists and audience*, even though the hall was little more than two-thirds full. Only a couple of flash photos, and no-one shouting for "Schizoid Man"... Brian Thomson, London UK bnt at ibm dot net * no, not "audients"! "Before you play two notes learn how to play one note - and don't play one note unless you've got a reason to play it." - Mark Hollis (1998) ------------------------------ Date: Wed, 22 Jul 1998 20:18:11 +0100 From: "Nick Smith" Subject: GIG REVIEW: The Earth Moved The new all acoustic line-up of Bill Bruford's Earthworks played at Hermit Jazz Club in Brentwood, Essex, UK on Friday 17th July. It was an essentially low-key, warm-up gig prior to their official UK debut at London's South Bank, as part of the RhythmSticks 98 festival. Warm-up was right, they fairly sizzled! Starting with "My Heart Declares at Holiday", one of my all-time favourite tracks (by Earthworks, or anyone else for that matter), they then presented an evening that took in a hefty trawl through Earthworks back-catalogue. This included "Nerve", "Libreville", "Pilgrims Way", and the perennial show-stopper "Bridge of Inhibition". In addition they played "If Summer Had It's Ghosts" and "Forgiveness" from the Bruford/Towner/Gomez CD, and "Original Sin" from B.L.U.E. Saxophonist Patrick Clahar played superbly throughout, acting as an unwitting frontman cueing the rest of the ensemble from the footlights. This included a gentle chiding of Bruford after the return to the structured section at the end of "Nerve", saw it considerably faster than when they'd left it sometime earlier. The leader retorted with "He says it's too fast. It was inspired by the general feeling of North Africa, and it's supposed to speed up", all in good humour. Keyboard player Steve Hamilton toiled away out of the spotlights stage left, largely unsung but the whole ensemble would have faltered & died with out his tireless invention. However star sideman was our own Geoff Gascoyne (? son of Brian), on double and electric basses. His playing was stunning but without ego, and dovetailed with Bruford seamlessly. Needless the say, the leader was on ripping form, seeming to relish the intimate, face-to-face environment of the small club. Anoraks among ET readers (myself included), might like to know Bruford was using a canary yellow Tama Starclassic kit, similar to that last seen with King Crimson. However it was the slightly strange configuration he has been using with B.LU.E., with remote hi-hat just left of the baby 18" bass-drum and all six toms level with the snare drum. Surprisingly enough, the Simmonds kit wasn't missed, even on "Bridge Of Inhibition". It was fascinating to watch Bruford play, obviously concentrating hard on his own playing but also listening and reacting to the rest of the group. At one point he said to Gascoyne mid piece "you play" and let him solo. A starling display of individual virtuosity and group interplay. After an alleged "mutiny in the dressing room", Bruford encored with Max Roach's solo percussion piece "Self Portrait"; a fitting end to a memorable evening. Nick Smith ------------------------------ End of Elephant-Talk Digest #525 ********************************