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 #530 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 530 Friday, 7 August 1998 Today's Topics: NEWS: ESC-Member Markus Reuter solo-release "Taster" NEWS: Seattle Guitar Circle Web Update NEWS: CGT Radio Interview Now On-line RE: Texas 1973 KC bootleg; USA Revisited Space Groove trade Surabaya-Johnny Overdubs on USA 2 Re: David Cross from Red Hot Records The Games People Play wish list Re: The Best Lyricist, and His Effect on the Greater Crim Re: Elephant Talk Digest #529 comparisons DGM club releases AMAZING SOUNDS Review 21st Century Anti-Social Personality Disorder Man? 24 bit /96KHz summary other artists on ET - what is prog? - the Fripp Game TapTalk Mailing List USA etc Misc.; Belew and KC pop ELP On Tour Labelling Music / DGM Collector's Club Re: We need referendum! Re:OT :Schoenberg Looking for Yes Thread iron man USA II Odds and Ends LTIA Graphics Belew Gear cosmic children of love mellotrons DGM vinyl Cans and worms JDK 1.2 Old Make Me Walk Funny - Old Milwaukee? Six Strings Bent By Stress And Weather Re: pattern Re: pattern Islands Schoenberg No lyricist competition please I think a public apology would be good RE: Roches on Tiny Toons Re: NEWS: BLUE archived ------------------ 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: Thu, 6 Aug 1998 09:22:26 +2000 From: "Sal Pichireddu" <21st dot century dot schizoid dot man at pop dot gmx dot net> Subject: NEWS: ESC-Member Markus Reuter solo-release "Taster" Hi there, while we are waiting for the new release of the ESC <...check out their new site at http://www.dscplne.demon.co.uk for further informations, samples of rough mixes etc...> the first solo-release of their new member, the young german Warr-guitarist Markus Reuter is already available. It offers the spirit of a very special live performance, recorded on Sep., 13th 1997 at Cologne, Germany. "Taster" is a full length CD album with 7 distinct tracks. It features almost 74 minutes of music played live with warr guitars and looping devices...or as Markus explains in his own words: "The music is the outcome of an approach i used to have to looping: 'orchestral soundscaping'" The CD is available via mailorder from the following source: Peter Wassong Lindenstr. 1 50674 Cologne Germany Tel. (221) 23 71 71 email: a2463105 at smail dot uni-koeln dot de or pw at uni dot de Prices: germany 25 DM incl. postage & packaging europe $17 incl. postage & packaging overseas $21 incl. postage & packaging payment by cheque, money order or cash is accepted. Please visit the "taster" pages on the internet, on which you'll find more info, reviews and sound snippets: http://ourworld.compuserve.com/homepages/mpeters/taster.htm Sal --- Misero poeta della solitudine / io / un niente non ho null'altro da offrirti / che un sogno / e tu? La tua risposta? Un'immensita': / un sorriso. (Sal, May 1998) ------------------------------ From: Curtgolden at aol dot com Date: Tue, 21 Jul 1998 14:23:18 EDT Subject: NEWS: Seattle Guitar Circle Web Update ================================================= Seattle Guitar Circle Web Announcement ================================================= The Seattle Guitar Circle is pleased to announce the launch of the updated website, www.seattlecircle.com Since it's first appearance in May there has been a significant change in the look and navigation of the site, and a number of additions including 1) A "What's Happening" comet for quick access to the latest information 2) An expanded Secret Cafe section, including set lists and photographs 3) The Performance planet, which includes photos and biographical information 4) The Courses planet, with updates on special projects and ongoing courses such as the Seattle and Bay Area Beginner's Circles 5) An expanded Services planet 6) The Merchandise planet, for access to CD's from Seattle Circle and related artists. The Circles planet should be operational shortly, offering access to other Guitar Circles worldwide as well as related sites, friends and family. It is our intention to keep this site timely, topical and evolutionary, so please stop by often. And, feel free to contact us with comments and observations. For the Seattle Guitar Circle Curt Golden curtgolden at aol dot com PO Box 70270 Seattle, WA 98107 ------------------------------ Date: Thu, 06 Aug 1998 23:48:43 -0600 From: Jon Lybrook Subject: NEWS: CGT Radio Interview Now On-line Hi ET-totalers, There is currently a radio interview with the California Guitar Trio on the CGT Website! The interview at WNYC in July included LIVE performances, and even a new arrangement of a piece never recorded in the studio by the CGT. Check it out at: http://www.cgtrio.com/realroom.htm Note: RealAudio 5.0 is required. Problems have been reported trying to access the files using the new RealAudio G2 Beta player. For convenience, a link to download RealAudio 5.0 can be found in the CGT RealAudio Sound Booth. In other news, the CGT West Coast Fall Tour is shaping up for September. The latest additions and changes can be found on the CGT's Yamanashi News page: http://www.cgtrio.com/yamanews.htm Best wishes, Jon ------------------------------ Date: Tue, 04 Aug 1998 14:52:10 PDT From: "Michel Champagne" Subject: RE: Texas 1973 KC bootleg; USA Revisited I remember a friend having a bootleg with the same Frippishness that our Russian list-lurker transcribed; it was "marketed" as having been recorded in 1973 in Arlington, TX, which would put it on October 6, 1973, at the University of Texas at Arlington (UTA), according to the lists of KC live dates in the YPG2KC as well as in "frame by frame". I recall this recording having a rather spirited inprovisation that revolved, at least in its beginning, around BB's use of tuned wood cups, or something sounding like this. Of course, the bootleg titled it "Arlington" (what else?!) in the spirit of "Peoria" and "Asbury Park", but I'm sure Uncle Bob has put another name to it, if he's gotten around to listening to it lately, that is. I think the 2-CD idea for USA Revisited with the "original" lp playlist tacked on the end as a "bonus" makes the most sense. To me, at least. But then, I like the Roches, so . . . Thank you Toby & the rest of the crew for all your hard work. ------------------------------ Date: Tue, 4 Aug 1998 19:18:41 -0400 From: "Michael J. Bennett" Subject: Space Groove trade OK, I'll confess. I bought Space Groove, and even saw Project Two live, but I just can't get into it. I'm willing to trade for any old KC albums on cd that I don't already have. Private e-mails, please. Thanks. ------------------------------ Date: Tue, 04 Aug 1998 18:24:06 PDT From: "Michael Irish" Subject: Surabaya-Johnny Michael Garnice's review of "Dinosaur" in ET #528 was excellent! I sent a letter to DGM a few days ago regarding the collector's club; but as I haven't had a reply, I'm going to channel the $96 I had marked in my September budget for a Fender Squier Stratocastor, a low-end model which was given high recommendation in the August 1996 issue of "Guitar School" magazine. Sometime God Hides I: "Caligula was madder than ever. He came into my room one day and said without any introductory remark: 'I shall have three imperial cities, and Rome won't be one of them.' 'Yes God,' I said humbly." --Robert Graves, "I Claudius," pg. 421 Sometime God Hides II: Richard Thompson (a Sufi Muslim ) when asked if Salman Rushdie should be executed: "If they handed me the gun - I wouldn't shoot him." --Patrick Humphries, "Richard Thompson: The Biography," pg. 270 Hypothetical King Crimson pianist: How about Carla Bley? Mike I ------------------------------ Date: Wed, 5 Aug 1998 16:16:18 +1200 From: David MacLennan Subject: Overdubs on USA 2 Re the impending release of USA 2, surely this time around the overdubs should be done by David Cross, not Eddie Jobson? I'm sure Cross and Fripp have buried the hatchet by now, else Cross wouldn't have taken part in the Night Watch playbacks. David Maclennan ------------------------------ Date: Tue, 04 Aug 1998 22:33:08 PDT From: "George Khouroshvili" Subject: Re: David Cross from Red Hot Records Hello, fellow Crimson community! For those who are interested in purchasing David Cross's albums - I've just received "The Big Picture" (1992) from Red Hot Records. Album is excellent (I suppose all his work is!). They also have "Memos from Purgatory" (vinyl only), "Testing to Destruction" & "Exiles" (both on CDs). You can contact Brian Leafe at redhotrecs at aol dot com or send a letter to Red Hot Records, 6 Shaftesbury Centre, 85 Barlby Road, London W10 6 BN, UK. Service is good and Brian is very concerning and nice guy. (I hope you won't consider this message as commercial advertisement, Toby. After all, I won't be paid for that - only wanted to help those who felt interest to David's work after his latest "Exiles" as I did). All best wishes, George ------------------------------ Date: Wed, 5 Aug 1998 12:01:40 +0100 (BST) From: Richard Beck Subject: The Games People Play Hello, Following the Grauniad article with Bill Bruford, there follows an article from last Saturday's Independent which you may find of interest - it highlights a different side of our seemingly shy and retiring favourite guitarist: Independent on Saturday, 1 August 1998 The Games People Play Toyah Willcox, Actress and Singer I am married to a man called Robert Fripp. We live in Salisbury and we have a croquet lawn. Croquet is a game that got banned in Edwardian times. People were literally killing themselves over it, because it's such a dirty game to play. The whole aim is to knock out the other contenders, and when my husband and I play, we always fall out. The thing is, my husband wins every time and I get into this Rottweiler rage. Sometimes we don't talk for hours after a game. And if we invite friends round, we all end up falling out, because my husband just zips round the course, knocking us all out of the game. There's no point to a game if you don't have a chance of winning. I suppose we keep playing because it starts off socially, and we all have Pimms or champagne, and it's a giggle. And when we get to losing the game, we all want to kill him. He's clever but there's a game at which I can beat him - Jenga. It requires no intellectual ability, just nerve. It's a stack made of woodblocks and each person has to remove a block and place it on top of the stack, so that you're creating a tumbling spire. I win that every time because I've got a rock-steady hand and I'll always put him in a situation where he will lose. And if I can't win at croquet and Jenga, I'll frighten the wits out of him by hiding in a cupboard for hours on end, so that when he opens it I can jump out at him. We do have a very competitive relationship when it comes to fun and games, even though I love him madly. (Toyah Willcox is currently on tour with Arthur Smith's "The Live Bedshow", a two-handed comedy which, according to the blurb: "all takes place in a bedroom but spans nine years of marriage". The play opens at The Queen's Theatre, Hornchurch, Essex on 19 August. Box office: 01708 443333. Details of other venues: 0171-935 5756) ==== That's all - any spelling mistakes are mine. Cheers rb * ---------------------------------------------------------------------------- Dr. Richard Beck Department of Pharmacology r dot beck at umds dot ac dot uk UMDS, St. Thomas's Hospital BHF Research Fellow London SE1 7EH, U.K. 0171-928 9292 x1567 ============================================================================ ------------------------------ Date: Wed, 05 Aug 1998 10:37:05 -0700 From: rspeak <"rspeak"@erols.com> Subject: wish list All I want for Christmas is......... "Exposure Anthology" with the recorded but unreleased tracks of D.Hall and Blondie singing. There are probably other gems from those sessions. "Discipline Band Live" from the period before they were Crimson. I don't care about the sonic quality. "Early LTiA rehearsals" there was a period when it was only Fripp, Muir, and Cross jamming. But I don't if this was ever recorded. My first choice would be the Exposure out takes, an outstanding album that is doing well against the test of time. I would hope that reasons Blondie 's and Hall's management objected to their contributions have passed. ps a possible title for the double trio "a pair of a perfect three" ------------------------------ Date: Wed, 5 Aug 1998 09:37:40 -0500 (CDT) From: Ethan Taylor Sellers Subject: Re: The Best Lyricist, and His Effect on the Greater Crim Elephant Talkers- Interesting points about Fripp the composer and Adrian the songwriter. I don't know if it's really a power struggle as the original poster paints it to be, but I have noticed what you're saying about Fripp compositions being quite similar. As you note, this isn't a bad thing, and they aren't bad compositions by far. My feeling has been that Fripp is a bit like Miles Davis - a musician/bandleader/composer who has a very distinct voice on his instrument and who requires collaborators to bring new settings to his style. Miles' band kept changing, so Miles' music kept changing - and the world benefitted for this. Every composer has his/her limitations - these are often what define their style. When Beethoven wrote music, you could tell it was Beethoven, etc. etc. Some composers have larger bags of tricks than others - and in our postmodern age, I think a lot of us perhaps expect a single composer to be able to reflect the breadth of the music available to us on recorded media. As a composer myself, I certainly feel that pressure - albeit more internally than externally - to be able to write a symphony, a salsa dance number, a burning rock tune, a smoky jazz number, etc. all in the same sitting. The truth of the matter is that no matter how good I get at pastiche or how much I study lots of different kinds of musics or how big my bag of tricks gets, I will still probably retain my own compositional voice and that's maybe not such a bad thing. Likewise, Fripp will in the end only sound like Fripp. And, though ol' Bob may find this a rather vulgar thing to say, having a well-defined style is rather good for the purposes of bringing your product to the market. Ethan PS. Any Chicago area bass players or guitarists on the list? There's an opening in my band... ------------------------------ Date: Wed, 5 Aug 1998 09:46:43 -0400 From: ganderso at notes dot cc dot bellcore dot com Subject: Re: Elephant Talk Digest #529 Eb: (Is that short for E-flat?) Don't be too suprised about Schonberg. The world's only now beginning to catch up to him. My favorite Schonberg piece (and one of my favorite pieces, period) is the opera "Moses and Aron" (I like the Solti recording quite a bit). The scene where Moses comes down the mountain kickin' ass and takin' names (and getting into a heated argument with Aron) has some true KC-level intensity (well, sort of!). Another way it's kind of like some KC and Fripp is that much of the opera is clearly about Schonberg (and the musical process) himself, where Moses and Aron are two battling internal voices...."where we're going is how we get there". You're in luck, too- the Metropolitan opera show be tackling Moses and Aron in the 1999 season (for its first time ever, by the way), so it might be worth checking out in person. -Emory ------------------------------ Date: Wed, 05 Aug 1998 07:14:04 -0600 From: John Smallwood Subject: comparisons Dear fellow KC fans, I just had lunch with Ian Wallace, and we discussed a recent posting on ET by "nicotine-free Jim", in which he proposed that "the two guys from Greenslade" who "both worked with Ian Wallace, an old KC drummer, who, though admittedly was no Bruford, shows they are of Crimson caliber." Apparently in a recent post Jim also commented on Keith Tippet's playing in a similar manner. This have moved me to write with a few comments, and not because Ian Wallace and I own a record company together, Artist Road Records - I'm writing more because we have been close friends for more than ten years, and I've learned a lot in that time - things one cannot learn by reading the album cover. First, Ian Wallace has no idea who these "two guys from Greenslade" are. He thinks Jim is confusing him with Andy McCullough, who played on Lizard. Second, I want to come to Ian's defense in regard to the comparison with Bill Bruford. Ian does not want to drum and sound like Bill Bruford. They are different drummers. I have had the opportunity to meet and spent time with many musicians who have played with Ian, and in its own way, and perhaps in a swinging jazz-feel way, Ian's playing is every bit as respected as Bill Bruford's playing is. I have not formed this opinion by listening over and over to the "Lark's" version of KC and old Yes albums and comparing them with Islands and Earthbound, I have formed the opinion by asking open-ended questions of artists such as Roger Chapman, Ian Carr, Doane Perry, Ian McDonald, and Steven Stills. Answers have indicated that every drummer of Bill Bruford and Ian Wallace's caliber is great in his own way, and I urge readers of ET to resist blanket statements like the one nicotine-free Jim made. Frankly, he's way out of this depth making observations like this. Finally, same goes for Keith Tippet. Ian Carr just stayed with me this summer for two weeks (I own a hotel in Santa Fe, NM), and we made plans for Artist Road Records to record Nucleus, which will be playing three concerts in the London area March 26, 27, and 28 1999, sponsored by the British Arts Council. For the second half of each show Nucleus will be augmented by jazzers like Tony Coe and Barbara Thompson to play Neil Ardley's "A Kaleidoscope of Rainbows." Interestingly, Ian and I discussed Keith Tippet while he was here. Ian Carr is Miles Davis' biographer and an important jazz-rock bandleader, and Ian Carr absolutely loves Keith Tippet's playing. We have never discussed Rick Wakeman or Keith Emerson, but I've known Ian Carr for ten years and I know that he would not compare diverse talents and rank one above the other. They're different, and just as good as each other in their own way. Thanks. John Smallwood ------------------------------ Date: Wed, 5 Aug 1998 15:33:00 +0000 From: steve dot dinsdale dot 01 at bbc dot co dot uk Subject: DGM club releases A few remarks having just joined said scheme: 1. Projeckt One: A CD representing each night at the Jazz Cafe, thus eliminating the least successful pieces but retaining the overall sense of adventure. I am amused to read Robert Fripp's diary on the DGM site , when he expresses the tedium of wading through the P1 gig from the Thurday night that plainly isn't working. That was the night I was there (Friday also) and to me a it was a revelation to hear such invention, there were some real moments of magic, although I guess this is subjective, but then isn't it also subjective that Fripp thinks it's terrible . Once `out- there' doesn't the collective improv become open to everyone's opinion ? My guess is that if `Billy B' makes it round to Fripp HQ to aid the selection process he may have a more positive opinion of it. To me , most of that Thursday night ranked alongside some of the 1973-4 improvs. I wasn't drugged and I have not had the benefit of bootleg hindsight but I know brilliance when I hear it. Fripp admits to having just travelled back from Germany, and to not having had his cake, surely not ideal circumstances to give the gig a fair hearing ? I'm a member of an electronic improv band myself (Radio Massacre International :not similar to KC at all but we do share a common love/use of the mighty Mellotron) , most of our work is recorded live in the studio and SADiE edited later, but my point here is that there are certain pieces that sound annoying when listened to on one occasion and yet are a revelation at others. It depends on your predilection for crtically hearing a new piece......So perhaps a pot of earl grey and a generous slice of blueberry and apple cake is in order here Robert ! 2. The Jamie Muir line-up: A generous selection from this era would be essential, particularly as it is so far unrepresented apart from the Larks album.The Beat Club piece perhaps ? From the Frankfurt Zoom Club boots I've heard it seems that at this stage it was 80% improvised, and therefore a very attractive prospect ! 3. The `Starless rehearsals ? Yes please ! 4. An improvs only Cd from 73-74 ? Good idea ,and also Thrakattak 2 would be great. I think leaning toward the more experimental side of the group is appropriate to the nature of the scheme. My own group RMI has being doing a small scale bi-annual subscription series (on top of our regular distributed releases) since Feb 1997 and we've certainly found that the followers of the group are grateful for the opportunity to buy more music that would otherwise not see the light..... If this ain't the correct proceedure for contributing to the ET newsletter please let me know... Cheers Steve Dinsdale ------------------------------ Date: Wed, 5 Aug 1998 10:16:00 -0500 From: Bob Mellon Subject: AMAZING SOUNDS Review "AMAZING SOUNDS is a professional electronic magazine free for the readers." In AMAZING SOUNDS, No. 57, July 20, 1998 there is the following review of "THE GATES OF PARADISE". (Re-printed by permission of Amazing Sounds). (FYI: I am not associated with AM in any manner; just a most appreciative lurker, errrr, reader, of ET for years.) Bob C. Mellon bob at ccszone dot com ROBERT FRIPP: "THE GATES OF PARADISE" Discipline Global Mobile This album by the famous guitarist Robert Fripp is a enigmatic work, nocturnal, oneiric, entering electronic Ambient and Dark Space Music. Much of the music is icy, ghostly, radically electronic. The topic that has inspired the release is the voyage beyond the borders that separate the life from the death, paradise from hell. The record is divided into four parts, each one of them also divided into several pieces. Some of the titles are charismatic indeed as for instance "The Outer Darkness", "In Fear and Trembling of the Lord", "A wailing and gnashing of teeth", and "Abandonment to Divine Providence". The music is in tune with them, offering a markedly unearthly character. J. MUNNSHE If you wish to purchase this recording you only have to use this link: http://cdu2.cduniverse.com/asp/albuminfo.asp?lc=82284+9608&frm=lk_amazin gs ROBERT FRIPP Robert Fripp is internationally known as the guitarist of the band King Crimson. In his solo career, he develops a very innovative electronic style. His music has reached a great success both among the experts and the audience. Essential works: EXPOSURE 1979 TOUR COLLECTION GOD SAVE THE KING LET THE POWER FALL THE LEAGUE OF GENTELMEN COAST TO COAST NETWORK NOVEMBER SUITE: SOUNDSCAPES - LIVE AT GREEN PARK STATION RADIOPHONICS: 1995 SOUNDSCAPES VOLUME I A BLESSING OF TEARS: 1995 SOUNDSCAPES VOLUME II THAT WHICH PASSES: 1995 SOUNDSCAPES VOLUME III PIE JESU INTERGALACTIC BOOGIE EXPRESS (& The League of Crafty Guitarists) THE BRIDGE BETWEEN (The Robert Fripp String Quintet) NO PUSSYFOOTING (& Brian Eno) EVENING STAR (& Brian Eno) BEWITCHE (& Andy Summers) THE GATES OF PARADISE If you wish to purchase any recordings by this artist you only have to use this link: http://cdu2.cduniverse.com/asp/exactartist.asp?search=Fripp%2C+Robert&fr m=lk_amazings You can subscribe to AMAZING SOUNDS by sending a message to amaze-request at amazings dot com with the following command in the text (not the subject) of your message: SUBSCRIBE AMAZE AS email where "email" is the electronic address where you wish to receive the newsletter. For further information and back issues: http://www.amazings.com/amaze.html ------------------------------ Date: Tue, 4 Aug 1998 16:43:44 +0000 From: "Vinny C" Subject: 21st Century Anti-Social Personality Disorder Man? As my Abnormal Psychology class progressed through the semester, we reached the chapter on personality disorders. Cluster One, a.k.a. Odd or Eccentric Disorders, contains Schiziod Disorder (as well as Paranoid personality disorder). It seems that Schizoid personality disorders are characterized by lack of interest in socity or social situations, the desire to be alone, and infrequent interactions with people. These people typically show very little emotion and feel like observers rather than participants in the world. This would be in direct contrast to the Schizoid Man of Crimson fame, who seems to delight more in death and torture than anyting else. This would be closer to an anti-social personality disorder than anything resembling a schizoid condition. Just a bit of unnecessary information :-) Peace, V.C. Lest the mirror stop turning - King Crimson, Cirkus ------------------------------ Date: Tue, 4 Aug 1998 12:47:45 -0700 From: "Gorry, Bob (Exchange)" Subject: 24 bit /96KHz summary Hey fellow crimheads. A short summary on these formats because it's something I know. At this point there are a few formats/proposals out there 1) DVD-video. The DVD video spec is complete and includes provisions for audio at 96KHz sampling, 24-bits. A few companies have released titles in this format (Chesky and Classic Records). I have heard this format and it sounds great. I'd love to hear some KC in this format. So far, most of the material is not up my alley. All DVD players should accept this format but may downsample to 48KHz. 2) Super-Audio CD. A completely new disc format based on sony direct stream digital (1-bit high oversampling). Purported to sound much better than normal CD. This is the format that includes the second layer for normal CDs. No commercial players yet. 3) DVD-audio. This is a spec that is not finished yet for audio-only DVDs. The final format is unclear, but will probably have multichannel PCM and/or Sony DSD, perhaps some lossless compression. Certainly 96/24 will be an option. No commercial players yet. --------------------------- Bob Gorry Madrigal Audio Labs ------------------------------ Date: Wed, 5 Aug 1998 09:01:44 -0700 (PDT) From: David McMillan Subject: other artists on ET - what is prog? - the Fripp Game Prattling Pachyderms, Hi my name is Dave and I like Tool. This post has been festering for a while. So bear with me, this is all going somewhere, and believe it or not I will attempt to connect the above items. There has been some recent discussion regarding other artists on ET in two veins. First, there is often dialogue about other artists connected to RF (eg. recent lively exchange about Roches!). Some of the artists I will comment on are Tool, Bill Nelson and Stomu Yamash'ta. Second, ETers frequently post recommendations of artists whom they think will appeal to KC fans. I have discovered a wealth of music by this means and hope to lead some of you to new sounds, too. I don't think I will try to spell out a definition of Prog Rock because apparently many ETers have different ideas, however I will say what I think is prog (or not). Tool was mentioned quite some time ago, shortly after the release of their most recent CD, Aenima and again recently, although I don't recall the context. An interesting bit of trivia is that David Botrill produced Aenima. I think his influence is most noticeable in the drumming. It has evolved beyond percussion, and has become an integral part of the tonal quality of the music, much like what we have been treated to on Beat, THRaK, etc. This is a role of the percussionist that I really like to hear, but is rare. As an additional note, I read a review of Aenima some time last year and the author reckoned that Tool is the progressive rock of the new millenium. Hmmm, maybe... Another percussionist that I've listened to for a long time, whose playing fits this bill is Stomu Yamash'ta. This guy is definitely progressive. I have about 8 vinyl LPs by Yamash'ta and have never seen any CDs by him. He was releasing new stuff into the 80s. If you like mid-70s style prog rock with great percussion and a heavy classical influence I would recommend Raindog or Freedom is Frightening by Stomu Yamash'ta's East Wind. The former contains a lengthy B'boom like percussion track. He also has an entirely percussion album called Red Buddha and later band called Go, which included Steve Winwood and Al DiMeola. The connection to RF... see the Fripp game below. I was very happy to hear that Bill Nelson will be included in DGM soon. Of course, Bill played on Gone to Earth and is on at least two tracks with the Master. I wouldn't call Be Bop Deluxe prog rock... maybe art rock! Another recommendation for those who like their music a little out there is Rice Music by Masami Tsuchiya, the guitarist who played on Oil on Canvas by Japan. I have Rice Music on vinyl and have never seen a CD version. Bill Nelson plays some great Ebow on this one. The overall feel of this record is very much like Lone Rhino or Twang Bar King, with very aggressive, twitchy numbers and beautiful melodic ballads. It is laced with heavy traditional Japanese influence. This is not prog, just kinda weird! Finally, what is the connection of Yamash'ta to RF? Well, in order to establish the connection, I propose the Fripp Game, which can be played for any musician. Some of you may have already played a similar game involving the actor Kevin Bacon, where one tries to connect a given person to him through five or fewer other people (I think this has something to do with the idea of six degrees of separation). Anyway, given RF's illustrious and diverse career, it shouldn't be too difficult to connect him with most other contemporary musicians. The links between Bill Nelson, Tool and Masami Tsuchiya are obvious, but what about Yamash'ta? Steve Winwood was in Yamash'ta's Go and played in David Gilmour's solo album About Face. Gilmour was involved in Kate Bush's early career and she sang with Peter Gabriel on So. That also included TL on bass and the connection is made. Even better, slicker and more trivially interesting is the following. Some of Yamash'ta's music is part of the music in the film The Man Who Fell to Earth, starring David Bowie whose connection to our man is well known. OK, let's try... Bootsy Collins! Dave ------------------------------ Date: Wed, 5 Aug 1998 12:55:57 -0400 (EDT) From: Adam Levin Subject: TapTalk Mailing List The TapTalk mailing list has been created in an effort to provide an open forum for players of multi-stringed two handed tap instruments. Members are encouraged to exchange ideas and information about technique, gear, lesson & seminar announcements, concerts and musical repertoire regardless of whether they play one instrument manufacturers instrument or another. To join TapTalk send an email to: majordomo at ari dot net In the body of the message, type: subscribe taptalk or if you'd prefer daily digests: subscribe taptalk-digest -Adam --- "...if one strives at hearing for the sake of constant virtue, out of seeking liberation from cyclic existence, gradually one becomes a Hearer." - Chandrakirti T h e D a r k A e t h e r P r o j e c t http://www.darkaether.net/ ------------------------------ Date: Wed, 05 Aug 1998 11:17:23 -0700 From: "James Henry Dusewicz" Subject: USA etc Well, here we go ...first post. I rather like the 2cd USA11 concept. I have USA on tape and hate when "Easy Money" fades; would love to have a complete "Asbury Park"; and would like to have non-doctored versions of "Fracture" and "Starless". Don't forget "Fracture" on the '73 archive release was overdubbed and some of those overdubs still remain. C'mon Robert, how can it be a historic concert with studio overdubs? I loved "The Great Deciever", still have my copy. King Crimson is still evolving(in fact, it always was as I recall); I like the idea of projeKcts but I see it as another way for Mr. Fripp to infuse capital into a growing organization. How about this for double think, Mr. Fripp is trying to convince us that these projekcts are in fact King Crimson(though actually they are a chip off the 'ole block?!) I haven't tried one yet(still waiting for the release of the other one). Where is "Earthbound"!!! I know Fripp dislikes that record, but as I recall he hated "USA" also. As for lyricists, I'm partial to Sinfield, myself. I like his overblown pomposity. It fits the manic monster sound of the band. He is more picturesque that is true, but that was a different era and he was younger then. I think the so called demonic references in KC's lyrics are wholly irrelevant. What about the "Stairway to Heaven" controversy years ago. A true piece of crap I say. Nobody cares anyway. I also think that now that Adrian Belew is in the band KC has shown some marked Frank Zappa influences. With time those FZ influences have become institutionalized and are not readily apparent. Anybody have an opinion on this? Sincerely, P.S. sorry for the undue length.. --- James H. Dusewicz ------------------------------ Date: Wed, 5 Aug 1998 15:45:08 -0500 (CDT) From: flaherty michael w Subject: Misc.; Belew and KC pop Just some very quick comments on the recent discussions: I. If Robert Fripp does not release Asbury Park in its complete form he will have done little to hurt bootleggers, who primarily sell their goods to those who want "everything". While I'm on the subject, the improvs are what will be the most different about this release (compared to GD and NW), and therefore should be released in their complete form. II. The last thing that the double trio needs is new members. The reason KC moves so slowly is that it has more members than can easily be accomodated. III. That being said, it doesn't matter whether the six reform again or not. What matters is that they continue to create when, where, and how they choose to do so. IV. Anyone who believes that Adrian is "taking over" KC needs to listen more carefully. It is indeed obvious that the more "pop" songs are Adrian's. It is more obvious that these songs continue to make-up a minority of the KC canon. Furthermore, to say that a majority of those who answered the ET poll prefer "structure" means that they prefer Belew's pop to Fripp's writing is a great misrepresentation of what can be learned from the poll. That Fripp's writing originates from improvs is not to say it is, in its final form, unstructured. If you want to discuss ET polls, here's a fact for you: the '73-'74 KC consistantly out-polls Belew era KCs by a huge margin. And they do so with less pop, and with more improvs. So there. Note: The above is not an attack on Adrian, but a defence of Fripp who WAS attacked in this post (the author's denials do not change that). Michael Flaherty ------------------------------ Date: Wed, 5 Aug 1998 12:31:39 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: ELP On Tour I have it on good authority that ELP are playing 'Schizoid Man' (or part of it, anyway) as part of their encore during their current tour. Keith Emerson is reputed to be singing backing vocals! Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-271-1551 crimson at blackcat dot demon dot co dot uk : ET Administrator : Columnated Ruins Domino ------------------------------ Date: Wed, 5 Aug 1998 22:49:33 +0100 From: Lee Fletcher Subject: Labelling Music / DGM Collector's Club Dear ET Readers, I have studied these pages with interest since first connecting to the web two months ago, and I would like to share my thoughts on a couple of recent threads. (I apologise in advance for the length of my rambling.) 1. In ET #529 Ced writes:- > I've been reading with bemusement the ongoing debate > over what is prog and what is not, which women belong in > prog and which don't, what is Christian rock and what is not > (and is it good music), and who knows what else. > This is just a small symptom of the greater disease... > Here's a novel concept -- why not just let music be > music, and let the cards fall where they will? I found these comments to be a refreshing break from the bleak 'Prog' vs 'Not-Prog' style debates that seem to flourish on these pages. I do not wish to offend, although I accept that I inevitably will. I appreciate that this is a reader's forum, and views will differ. But this is my point - musical tastes differ, and the use of 'labelling' makes too many assumptions about listeners. For example, I take slight exception to the (apparent) assumption amongst many people that Fripp / Crimson fans will have a natural affiliation with typically 'labelled' Prog artists, (i.e. Genesis, Yes, etc.) This will no doubt be true for some, yet equally untrue for others like myself who see no real musical connection. I might add that I have no 'problem' with the above mentioned bands. The music is there to be accepted, or not. 2. DGM Collector's Club As a newly recruited Club Collector I am eagerly awaiting the first full club selections to be announced. Clearly all subscribers will have their own 'wish list' (myself included,) and given the nature of the club these views should be considered by DGM. Archive King Crimson recordings will naturally play an important part in the output, and it is true to say that these have so far dominated clubber's comments within the pages of ET and Discipline's guest book. I do feel though that we shouldn't loose sight of the club's main aim. I quote from the DGM Site:- > 1. To facilitate the entry of (primarily DGM family) music into the > world: past, present and future. My point is that this is a 'Discipline' Club, and not 'King Crimson Archives Bi-monthly'. I personally would like to hear material from several non Crimson artists, (i.e. Guitar Craft) in addition to the rich and varied works of Robert Fripp. I am sure that the continuing development of Soundscapes can be better represented via the club route as opposed to general releases. Let's hope that there will be something for all. I suspect that this will be the case, as Discipline are a such forward thinking (dare I say it, 'progressive') team. Regards, Lee lee at waterleat dot demon dot uk -- Lee Fletcher ------------------------------ Date: Wed, 05 Aug 1998 18:05:25 -0500 From: Rich Williams Subject: Re: We need referendum! Steve Arnold wrote, Howdy Folks: I agree with someone (I don't know with who) that Mireille Bauer would make a great female addition to crim-folk. So would some of the other ex-Gong/Steve Hillage players: Lindsay Cooper (snip) Sadly, Lindsay is very sick with a terminal illness. There are efforts underway to help pay her medical bills. You can find out more about it through "Whats Rattlin" web site. ------------------------------ Date: Tue, 07 Jul 1998 04:41:03 -0400 From: Denis Robitaille Subject: Re:OT :Schoenberg Hi ! I privately responded to Eb about Schoenberg but others might be interested by the work of this 'heretical' composer so here it goes ... Interesting works include the 'Variations for orchestra '(1928) ; Karajan's recording is great . Also , James Levine conducts brilliantly the 'Five pieces for orchestra'(1909) along with Webern's 'Six pieces...' on Deutsche Grammophon (419 781-2). I think some of Webern's work ( such as the String quartets , the Symphony and the Pieces for string orchestra ) are a must . Some of these pieces are quite hysterical in mood ( a la 'Fracture' ) ; in fact , before listening to the first of Schoenberg's 'Five pieces...' and the fourth of Webern's ' Six...' I had never imagined that a symphony orchestra could make such a deafening ( if very musical) noise ! Watch out for the deceptively soft intro of Levine's recording of Webern's 'Funeral march' ! Might blow your speakers to tiny bits ... Denis R , who is available for discussion on the Vienna school , Bartok , Stravinsky and good beer in the Quebec City area ! ------------------------------ Date: Wed, 05 Aug 1998 19:29:41 -0400 From: "Michael D. Jeter" Subject: Looking for Yes Thread > Hi, Folks:-) > Could any one tell me what issues contained the "Yes has no soul" thread? Please send to mdjpax at earthlink dot net dot dot dot dot dot Thanks ------------------------------ Date: Wed, 5 Aug 1998 15:55:31 -0700 (PDT) From: J Anderson Subject: iron man Sorry if I'm repeating something that someone else has mentioned, but I've been away from my computer for about a week. I was on my lunch break from work trying to ignore the ironman competition on the tv in the resturant. (In this Texas heat, the last thing I want to see is hot, sweaty people running.) Then I heard a familar sound above all the talking around me... a sweeping guitar synth. I looked up at the tv and to my surprise realized that "The Sheltering Sky" was playing as the sky grew dark above the runners. It lasted about 3 or 4 minutes than the Verve started playing. ------------------------------ Date: Thu, 6 Aug 1998 13:20:43 +1000 From: "Alan Todhunter" Subject: USA II After reading many of the posts about an edited version of USA I can only agree that the full performance is warranted. Ashbury Park is, to me, a powerful expression of 70's electric music, and personally influenced my attitude as a musician. It is quintessential to the flow of the music. I have heard many versions of 21CSM but would be disappointed if it is edited out of USA II removal. After listening to USA for over 20 years, I still find it stimulating and musically rewarding. Alan (Trying his best not to start another KC in Australia thread) Todhunter ------------------------------ Date: Wed, 5 Aug 1998 21:13:03 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Odds and Ends >Date: Sun, 05 Jul 1998 00:41:20 -0400 >From: Denis Robitaille > >1-The Texas bootleg was taped in Arlington but I don't know >the exact date . That would be (from _The Great Deceiver_ calendar) October 6, 1973. >3-There are so many live versions of Schizoid Man available >that I don't think we need another one on USA 2 . Let's go >for Asbury Park ! It wasn't until it was mentioned that 21stCSM is on the single that I realized that that could be dropped. The more I think about it, the more sense this makes to me. >Date: Sun, 02 Aug 1998 14:22:56 -0500 >From: Stephen Drake >Subject: A Post Sans Consequence > >I thought we had been through this before - Un Reve Sans >Consequence Speciale is a completely different show than the >one on The Night Watch. Different year even. There are >similarities of course, but none of the music is the same >except in overall structure. Not exactly obselete! I don't recall this. Or was there another boot under this same name? >Date: Mon, 3 Aug 1998 04:39:27 -0400 >From: Christian Vaughan >Subject: Upper Extremities > >Just a thought. > >I remember reading in a previous edition of ET that Bruford >and Levin were mentioned on MTV US as having cribbed heavily >from 'Kashmir' for 'Cracking the Midnight Glass' - a part I >seem to remember Levin playing on upright bass at the >September 13th Playback in London. Ah yes, I remember that bit. They were doing a comparison of Pearl Jam's "Learning To Fly" with Led Zep's "Going to California." Levin's response, which was along the lines of "I didn't think they'd notice, but if they really want the percentage of the minisculse sales, they're more than welcome to it," was priceless. --Jeremy ------------------------------ Date: Thu, 06 Aug 98 10:20:42 PST From: Mark_Jordan at roadshow dot com dot au Subject: LTIA Graphics G'day All A big thank you to all who responded to my request for the LTIA Graphic. I've now forwarded it to a friend of mine who is having it tattooed onto her back at the base of her spine. I sort of get a perverse pleasure out of the fact that someone who listens primarily to vacuous dance pop and Madonna etc. will have a King Crimson derived symbol indelibly stamped on her body. I also showed her the Discipline cover and she really liked the symbol on that and it's tribal appearance. I wouldn't be at all surprised if that is her next tattoo. Regards to all Mark ------------------------------ Date: Wed, 5 Aug 1998 16:46:57 -0700 From: "Joey Aguilera" Subject: Belew Gear Hello, does anyone know what guitars and pickups Adrian Belew was using during the 84' tour? Joey ------------------------------ Date: Wed, 05 Aug 1998 18:57:37 -0700 From: Bill N Subject: cosmic children of love HI: QUESTION, In the distogs, you have an album listed "cosmic children of love" from 1972 that never got put out. Fripp, in the Absent Lover's booklet, says he plans to put stuff out from the BOZ/COLLENS/WALLACE/FRIPP band. Is this it? Do you have any inside info? [ In a letter, I once asked Robert if we would ever see this recording released. He subsequently told me, in a message on my answering machine, "no". -- Toby ] BiLL ------------------------------ Date: Wed, 5 Aug 1998 22:43:04 -0600 (MDT) From: Jim Bauer Subject: mellotrons Dear Mr. Elephant: Most people writing in on the Crimson/keyboards issue seem pretty much hung up on keeping the band a bunch of guitars. However, in every incarnation of the band, a mellotron has played a role, usually played by RF, except for the first album, where it was Ian McDonald. And the liner notes on Beat credit Fripp with organ. Excuse my ignorance, but aren't mellotrons _keyboard_ instruments? And doesn't this apply to organ as well? The main reason I suggested a keyboard in the first place was that mellotrons mostly drone, and I think some more complicated playing may be in order. Perhaps Fripp should simply pick up a keyboardist for one of the ProjeKcts, just to see if it's a worthwhile experiment. I still think the band could benefit from adding a bit of keyboard sound, no matter that opinion on ET seems to be running against it. Nicotine-free Jim ------------------------------ Date: Thu, 06 Aug 1998 08:50:47 PDT From: "Todd Hanssen" Subject: DGM vinyl Regarding the post on DGM pressing virgin vinyl. It should be noted that this is definitely possible. I don't have a copy of the Page/Plant album noted for Direct Metal Mastering, but I would wager this was done on virgin vinyl, as Steve Albini did the recording & he is somewhat of a stickler when it comes to vinyl. Albini's own band Shellac releases ONLY on 180 gram virgin vinyl & the record is available for the same price as the CD. So, yes, virgin vinyl is out there & financially competitive. ------------------------------ Date: Thu, 6 Aug 1998 18:46:22 +0200 (CETDST) From: Markus Hollaender Subject: Cans and worms Edgar Kausel wrote: ->PD:I'm glad to hear that USA II will be available soon. I'd ->love to hear the complete version of Easy Money, cutted ->mercyless from the original LP. On TGD there is one version of EM where the band plays an extended instrumental (9+ minutes) after the second verse and "forgets" about the third verse; I guess the same happened on the USA version. Does anyone have a bootleg of the show to verify this? Anyway, when the rerelease comes out, we'll see. arcanexotica at earthling dot net wrote: (The lyrics are ->specific enough in places to make one wonder if it's about a ->real-life entity...one of the guys at EG, p'haps?) Well, ->it's a thought anyway. Since Palmer-James wrote the lyrics, who wasn't much involved with EG, this is rather unlikely. Although the line "Cigarettes..." is by Fripp; but that doesn't seem to refer to a real-life entity. John wrote: [...] since we ->ETer's seem to have the ear of Mr. Fripp these days, i ->though i'd give it a shot and take the opportunity to ->promote my own agenda of seeing vinyl releases from DGM. Fripp wrote in "News from World Central" (July 29th): "[...] Radical Dance may be DGM's first vinyl release. [...]" So for those who prefer vinyl there is maybe some hope of seeing other DGM releases on vinyl, too. (THRAK was released on Virgin, though.) "Ced" wrote: -> I have a question for the general populace -- why ->are we so hung up on labels? Because it makes life much easier. It's very convenient just to look at a label and decide whether it fits into the "like" or "don't like" drawer without bothering to examine it more closely. Isn't that great? (sarcasm) -> I think it's high time that record stores removed ->the labels from their bins, and just started putting music ->in alphabetical order by artist. A pain to do? Absolutely. Especially since each record store has different measures. A band that is filed under "alternative" in one store can be found under "pop/rock" in another and maybe under "heavy metal" in yet another store. (I was quite surprised to find Marillion filed under "heavy metal" in one store...) -> Listen to Fripp's compositions. Really listen to ->them. I'll bet you find a pattern. An incredibly complex ->lick, designed for cross picking between one or two guitars, ->that goes on for a bit, and then moves up a third, fourth, ->or fifth before repeating itself. This is followed by a dark ->and droning bridge, a repeat of the theme, and the finale. ->Just go back and listen to them. I haven't looked at it so closely, but I have noticed before that lots of Fripp compositions from 73 or 74 on sound quite similar (eg Red, Haaden Two, VROOOM and VROOOM VROOOM as the most obvious examples). So you certainly have a point there. Who wants to be second banana in his ->own band? Fripp states again and again that he is not KC; but he has very firm ideas what KC should sound like, and if the other players would rebel against those ideas he would probably break it up. So he IS KC in a way. -> Bill bruford said that KC had all but finished a ->follow-up to "Thrak." But it was shelved, as it sounded like ->"more of the same." I have to wonder. He didn't say why it sounded like more of the same, did he? So it might be more of AB's "pop" tunes (in this case I would say: release it!!!) or more of Fripp's compositions (VROOOM VROOOM VROOOM, LTIA Part 4 & 5... :-). Fripp certainly has noticed that he repeats himself (since he puts more and more emphasis on improvisations), so if the new album had sounded like a copy of THRAK, he would surely have shelved it. Let's hope he finds some new inspirations from the ProjeKCts! ->The surveys in this very site have ->indicated that most of us like the structured tunes. I think a lot of people didn't answer this question (I'm one of them) because it's hard to choose; I like both. And of course there are those structured improvisations (Talking Drum) and structured tunes with improv sections (Easy Money...). So the best thing is a healthy mixture. Sorry for the long post... BTW, I was surprised that my last post appeared in both ET 528 and 529. I hope that wasn't my mistake; I surely posted it only once. [ No, it was my mistake. Sorry. -- Toby ] Markus --------------- "One thing is for sure: a sheep is not a creature of the air. Baaaaahh!" ------------------------------ Date: Thu, 06 Aug 98 22:31:16 +0100 ( + ) From: Tony Douglas Subject: JDK 1.2 Dear all, I don't know if this has been mentioned before - apologies if it has. At work, I downloaded the Java Developers Kit version 1.2, beta 3. The same thing might happen with beta 4 and with the JFC/Swing download. Run through one of the demos (SwingSet). In the Menus example, take the Letters menu, folowed by B, followed by B is for Band, and King Crimson is there (with a tick mark, too). Alice in Chains, Meat Puppets and Rush are the other bands, mind, but at least *someone* at Sun is showing signs of good taste ! - Tony ------------------------------ Date: Thu, 06 Aug 1998 18:08:15 -0400 From: leslabb at ptd dot net Subject: Old Make Me Walk Funny - Old Milwaukee? Toby; >Hi all, >(John hands Toby an Old Milwaukee) >[ What's one of those? Something nice I hope! -- Toby ] Since you live overseas you probably would not recognize an Old Milwaukee (A.K.A Old Make Me Walk Funny) as one of our great nation's worst beers. Imagine something similar to Budweiser, or a Warsteiner light. Now, if he handed you a Yuengling Lager, that would be another story :) Les B. Labbauf http://home.ptd.net/~leslabb ------------------------------ Date: Thu, 06 Aug 1998 19:51:14 -0400 From: Ellwood Irish Subject: Six Strings Bent By Stress And Weather I have yet to purshase a recording by the California Guitar Trio, whose "Sleepwalk" and "Train To Lamy Suite" from the DMG sampler knocked me off my feet and then left me walking on air. How do they differ from earlier ensembles, such as the Amsterdam Guitar Trio, and the L.A. Guitar Quartet, whose "Evening in Granada" features a twenty-one minute redition of Falla's "El Amor Bruja." Heavy Arnold Schoenberg Recommendations I very much recommend what is probably still his favorite work, "Verklarte Nacht" (Transfigured Night) arranged for string orchestra, the original verson having been written for string sextet. Then go to his powerful, relentless "A Suvivor from Warsaw." Hearing this work brings the horror of WWII back again in its horror, as if were were assaulted by all the ghosts hovering over the dead fields and cities of Europe. Also recommended is Schoenberg's great short expressionist opera, "Erwartung," for soprano; also, his monumental 1st String Quartet. From there we move to the opera Schoenberg was working on till his death, "Moses und Aron," which features one of the best orgy scenes in opera. The Metropolitan Opera is producing "Moses und Aron" next season (better late than never...) Mike I www.oeonline.com/~eirish/ ------------------------------ Date: Thu, 6 Aug 1998 18:30:50 -0700 From: Eb Subject: Re: pattern >From: "Ced" > >Can we really put a label on what the Dave Matthews Band does? Does "tedious yuppie rock" count as a label? > Listen to Fripp's compositions. Really listen to >them. I'll bet you find a pattern. An incredibly complex >lick, designed for cross picking between one or two guitars, >that goes on for a bit, and then moves up a third, fourth, >or fifth before repeating itself. This is followed by a dark >and droning bridge, a repeat of the theme, and the finale. > I'm not saying these are bad tunes. They're not. I >think they're great. But there is definitely a pattern >there. I was always kinda cynical about another "pattern" in earlier King Crimson material, which I'll call the "two-note verse" pattern. Think "Cirkus." ------------------------------ Date: Thu, 6 Aug 1998 18:37:37 -0700 From: Eb Subject: Re: pattern Me wrote: >I was always kinda cynical about another "pattern" in earlier King Crimson >material, which I'll call the "two-note verse" pattern. Think "Cirkus." Oops, I accidentally sent this mail unfinished. I was planning to go and look up the other "two-note" songs, but I didn't get around to it. I know there are two or three others...um, too late now. "The Night Watch" is a bit like that. You know, where the verse is sort of two alternating notes, and then the chords change behind this...Crimson used this device too many times, I think. Eb ------------------------------ Date: Fri, 07 Aug 1998 08:25:13 +0200 From: "A. Winkler" Subject: Islands I started listening to KC years ago as a Tony Levin fan. The 1980 KC is one of the best (and unique) band of the '80, as the technology hasn't killed music and player ability. I now consider 1971 Islands one of the most poetic pieces of music ever written, with its incredible atmosphere and melancholic sweetness. Is DGM releasing any live album from the period? Or is there anybody owing live tapes and wanting to make me happy? I can't wait to listen to a live Formentera lady... Aldo Winkler Rome, Italy ------------------------------ Date: Fri, 7 Aug 1998 01:59:27 -0400 From: "Louis Courteau" Subject: Schoenberg Hi Eb. I have no Schoenberg to listen to at home, but I have heard and liked very much what is dubbed La Nuit Transfiguree (Somethingische Nacht in Deutsch). What hit me like Pierrot lunaire hit you was Boulez's Marteau Sans Maitre. Give them all a spin. louis ------------------------------ Date: Fri, 7 Aug 1998 00:18:07 -0400 From: "Louis Courteau" Subject: No lyricist competition please (Une bonne petite Fin du monde ben frette, Toby?) [ Thanks, I'll have a pint of that and a pork pie, please -- Toby ] Instead of vain arguments burble, et cetera, about who is the best, why not cite your three favourite KC poems? By three different authors, of course. I would say Cirkus, Exiles, Elephant Talk. In these three poems (and a few others; which?) is the essence of KC mythology. Send in your answers to loco at caractera dot com [ OK, but please do send by private email, not to ET. -- Toby ] ------------------------------ Date: Thu, 6 Aug 1998 20:40:47 +0800 From: "Stephen L Arnold" Subject: I think a public apology would be good Howdy: I ardently apologize to all for my bloated bombastic blast of burble. Now we start with the C words... Thank you. And now, back to your regular programming. ************************************************************* Steve Arnold sarnold at earthling dot net Conserving bandwidth (and belly-button lint...) ------------------------------ Date: Thu, 06 Aug 1998 19:36:07 PDT From: "Michel Champagne" Subject: RE: Roches on Tiny Toons About three years ago my son, then twelve, recounted the same appearance of the Roche sisters as singing six-legged housegests on the Tiny Toons program. If my recollection is correct, their names were Baggy (Maggie), Hairy (Terre), and Scuzzy (Suzy). He didn't recall seiing Bob the Stink-Bug, either, which he probably would have because "The Devil's Triangle" was his favorite song for a while back when he was eight or nine (Train 'em young, I always say!). He begged me for a copy of it on cassette so he could play it when his Ninja Turtle action figures did battle (Honest!) Of course, he now listens to what he like to refer to as "alternative," but I still give him a heavy dose of KC whenever I get the chance - he'll thank me one day! ------------------------------ Date: Fri, 07 Aug 1998 11:03:46 EDT From: "Dave Lane" Subject: Re: NEWS: BLUE archived I attended the Upper Extremities show at the House Of Blues in Cambridge, and I've listened to the realaudio archive several times since it was put up on the net. I was wondering... There are a few pieces that they played that I can't identify, and I was wondering if anyone had a setlist. I'm unable to identify the opening piece (an improv, perhaps?), the solo Torn oud piece, and the final piece that they played. Anyone? It'd be great if there was a live album taken from this tour, as Levin hinted there might be. --Dave ------------------------------ End of Elephant-Talk Digest #530 ********************************