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 #534 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 534 Thursday, 20 August 1998 Today's Topics: String bass section in Red Mistakes DGM and Intellectual Property Strictly Banks DGM Collectors Club - How Do I Sign Up? Vinyl sightings in Toronto. Mike Hoist's apology Artist communication, observations and a slighlty irrelevant question Yet more Christian references re: dinosaurs stuck in the tar pits of time Re extra musicians DTS & DGM David King's Letter on Fripp Live Eras Electric Gauchos - Bravo! sylvian/fripp laserdisc Pick the Spice link For Sale: Bears LP RE: Ginger Spice link.. sorry it took so long Re: What RF said in Texas Joe Queenan and ELP "Islands" and "Lizard" KC Live re:David Cross ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com, or use the DIY list machine at http://www.elephant-talk.com/list/ to ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ETWeb: http://www.elephant-talk.com/ You can read the most recent seven editions of ET at http://www.elephant-talk.com/cgi-bin/newslet.pl IRC: Regular get-togethers at #ElephantTalk on Undernet Sundays at Noon PST / 3pm EST / 8pm GMT Mondays at 6pm PST / 9pm EST / 2am GMT THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest system v3.5b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Tue, 18 Aug 1998 17:57:59 +0200 From: tpoisson at atelier dot fr (BQUEDIRECTE Poisson) Subject: String bass section in Red Edgar wrote >>Another similar question: who played string bass in the '3"50 of >>"Starless"? Somewhere John Wetton mentionned that this was Mark Charig (otherwise known for his talents at the trumpet) on string bass, uncredited though. Thomas ------------------------------ Date: Tue, 18 Aug 1998 13:39:00 -0300 From: Ronald Miklos Vogel Subject: Mistakes Reading YPG and GD scrapbook we find out tah Mr. Fripp says that some mistakes are accidental and other ones not. Mistakes happen quite often but some of them are quite wierd. Before buying Essential approximately a year ago i read in GD scrapbook a review about the box. It said that the live CD included a 29'40 minute version of "The Talking Drum". The reviewer, with 100% certainty, did not listen the live CD. If he would, he would notice that the version has a little bit more than 8 minutes. Well, i went straight ahead to order it via DGM in USA and after receive the box the first thing i did was oopen it, get the live CD, certify that it was really written that the versin has a length of 29'40 and play it right away. But.....waht happened? The CD player indicated a lot less than 29 minutes. Did my CD player went crazy? Did i buy the wrong Essential box? Was i fooled? Or was it only another joke by Mr. Fripp?. Other mistakes or errors, it does not matter the terminology, happened again. One of them in Essential was noticed by Fripp and pointed in the scapbook (the Islands odd finale) taht was "invisible" through an engineer error. That is something that i myself like. Another mistake, that i found out myself alone, appeared in the 3rd CD (i am not sure about if it is really it) of the GD box. After the last song if you just let it just play you are gifted with a bonus. Robert Fripp himself talking to the audience about 1,5 minutes, before he announces Lament, which of course is not there due to CD time constraints. I was pleased with it. The Night Watch does not have the song's length printed in the scrapbok. Essential's Talking Drum version is said to belong to Amsterdam's ConcertGebouw show, the same recording as The Night Watch. Listening to it you notice the similarity but, due to the different mixings Cross's violin is almost unlistenable, exactly the opposite of the Night Watch. Why was that? Are the versions really the same with different treatments? Or..... One fascinating thing about KC is the possibility of exploring such particularities. I would be very pleased to have the opportunity to write about it more often as well as communicate via email with other Crimheads, discussing such things as well as bootlegs. My email in Brazil is rvogel at synchro dot com dot br Please write me. Ronald Miklos Vogel ------------------------------ Date: Tue, 18 Aug 1998 19:16:59 +0100 From: "Brian Thomson, London UK" Subject: DGM and Intellectual Property Has this been discussed on ET before? I'm sure it has, but the question is IMHO still very relevant... I've been reading another article by Esther Dyson (author of Release 2.0), which deals with the problems and possibilities that the Internet presents to the question of Intellectual Property. She comes to some disturbing conclusions which I think are relevant to ET, given DGM's stated policy on copyright. The article can be found at http://www.eff.org/pub/Publications/Esther_Dyson/ - via the Electronic Frontier Foundation. Take King Crimson's full recorded output to date. A lot of music, eh? In 3 years, or less, you can expect to find it all on the Internet, for free. It won't be me who puts it there. It may not even be someone who's on ET (yet). It probably won't be a bootlegger, since no money would be made from such an exercise. I'm talking more about a kid with his first AOL account who thinks it would be a kewl thing to do on a weekend. All the pieces are in place, already. (Sorry if I'm restating the bleedin' obvious!) Tracks on audio CDs can be copied directly from the CD to a computer file, costing about 10MB per minute. A lot of data, so run it through an MPEG-1 / Layer 3 compressor, which takes it down to about 1/12th the size. Grab the WinAmp player and go. I've done this personally, and I keep a few MP3 tracks of this type, from various artists, on my ThinkPad, for listening to while on the road - the high-tech equivalent of home taping, with better sound quality than any Walkman. It's a short step from there to the World Wide Web. (Not one I'll be taking - so don't ask!) All the software to do this is available for free on the Net today, so why is all KC's work not out there in this form now? - honour and idealism: Believe-it-or-not, never mind the marketing, the Net was built on ideals, and (generally) those at the technological cutting-edge are more interested in making things better than exploitation. Hasn't music had a presence (on newsgroups and fan sites) for far longer than porn? But, look at it now. - logistics: namely that the amount of bandwidth required is still an issue - for now. When everyone has a cable modem... oh dear. Besides, while I keep hearing arguments about how more bandwidth is needed, but these refer to "real-time" operation. So what if an MP3 file takes 3 times as long to download as it does to play? $20 a month for unlimited access, and free local calls, means that someone in the USA can kick off a download and go to bed. Whole websites with hundreds of MP3 files? Get a "web-wacker" like Teleport Pro (http://www.tenmax.com) - no problem. Disk space? Syquest or Iomega - take your pick. - threats of legal action: A big record company keeps enough lawyers on retainer to turn anybody caught redistributing their music into landfill. Expect the balance to shift, and there are thorny jurisdiction issues to be dealt with too. They're a bit short of law and order (and dollars) in Russia right now! How many lawyers can Fripp muster, and would DGM survive? Spit on a Triad bootlegger's foot, see what happens. - so, maybe it is already out there? Already I have come across whole albums e.g. Radiohead's "OK Computer" on FTP sites. (When I did, though, the site in question filled my screen with porn and online gambling advertisements, and I went through something of a "spam storm" for a week afterwards! Grrr..!) I haven't looked for any DGM artists, and I'm not going to. It would probably be too depressing. Needless to say, the record industry is crying out for solutions that will ensure that artists are paid for their work and that it isn't spread around the net willy-nilly. The most visible I know of is A2B (http://www.a2bmusic.com/), which is a key-based music license scheme backed by AT&T, combined with proprietary 20:1 compression codecs. Even if such a scheme were universally adopted, it could only work on new music. What about all those pristine, 16-bit digital, unprotected CDs? Bye, bye, back catalog. In the article mentioned above, Dyson makes a few relevant suggestions that artists may have to consider in the long run: - intellectual property "content" may never be completely freely copied (a worst-case scenario), but businesses may be advised to act as though it is. That is, be prepared to write off costs associated with its production, and accept what comes in as a bonus - a bit like profits from share dealing. A company can't afford to tie up its assets in capital, physical or intellectual, that may be suddenly devalued without warning - just ask the Russian State Bank... - information (yes, even music) has a "half-life"; its value (generally) decreases over time. This may be a very slow decrease (for a classic album), or extremely quick (for a bad album, or one widely pirated). There are strategies for control of this factor detailed in the article, such as redefining the content in new terms. - providing good content (music) isn't enough: there'll be so much of it out there, and you'll need to fight for space in people's attention span just to be heard. Think of the "90% theory" - i.e. 90% of everything is dross. Brian Eno talks about the idea of the Curator - a person who sells their knowledge of music (or whatever) as a service, to weed out the dross. What "value" could DGM add to its music? One possible answer: the DGM Collectors' Club? So, the best defense of intellectual property might just be to give copies of it away as advertising for your services. Sounds crazy, but the article's logic is persuasive. From my personal experience: Microsoft, during the 80s, simply spread its software around, without copy protection of any kind. Windows was extremely widely pirated - with no serious response from the company. The result? MS has not just a huge market share, but a huge "presence" that goes beyond their products. How can DGM take advantage of this concept? How many hours of Soundscapes are in the DAT archives, never to appear on CD? Releasing those on the Net would surely raise the profile of Soundscapes? It is the best thing since Ambient, after all, and deserves a wider audience - even if no money can be retrieved from them. I'm wondering if Robert Fripp has read article or something like this, since DGM is becoming more than just a record company. It's the DGM Experience! Daily diary updates, the Collectors' Club, Playbacks, etc. - all of which serve to make we punters feel that we actually have a stake in DGM's survival. If it's a "marketing strategy", it's a good one, it's working (on me), and I'm not complaining in the slightest! I'm interested in opening a reasoned, sensible debate on this subject. If this reads a little Hyper, maybe I've just been reading too much Bruce Sterling... (http://www.eff.org/pub/Publications/Bruce_Sterling/) Thanks, Brian Thomson, London UK bnt at ibm dot net ------------------------------ Date: Tue, 18 Aug 1998 12:02:15 PDT From: "eraser head" Subject: Strictly Banks Greetings to those in The Court, This is a bit off-topic, but I'm sure some of you will find it of interest, and I'll be quick so that Toby doesn't break a bottle of Guinness over my head. :) On Septmeber 6th, there will be a tribute show to Genesis keyboardist Tony Banks at the Orchard Theatre in Dartford, Kent. The band is called Strictly Banks, and we will be performing 2 1/2 hours of music from Tony's solo carreer, as well as a couple late 70s Genesis songs that he wrote. I'm playing bass in the band, and have the honor of being the sole Amercian in this little crusade. :) Follow the link in my below for more information. Doug Boucher eraserhead667 at hotmail dot com Bassist, Strictly Banks A tribute to the solo work of Genesis keyboardist Tony Banks Live In Concert Sept. 6, The Orchard Theatre, Dartford, Kent http://genesis2.demon.co.uk/strictly.html ------------------------------ Date: Tue, 18 Aug 1998 15:01:14 EDT From: Camzone at aol dot com Subject: DGM Collectors Club - How Do I Sign Up? Hey. Can anyone who has already signed up tell me how to? I want to send them a cheque, but I don't know who to make it out to and what details I need to give. Could you email me (or, if Toby permits, post it here on ET for others) and tell me what I need to write? Thanks [ Can I respectfully suggest that the simplest way to find the answers to such queries is just to consult DGM? Why bother everyone on ET, when you can easily find the answer yourself with a tiny bit of research, and have the additional pleasure of sharing your findings with ET? :-) Anyway, here's the information you want, straight from the DGM Web pages. FYI the latest "News" posting at DGM Web is a discussion by David Singleton on European vs USA pricing for the Club. To join the DGM Collectors' Club payment may be made by Mastercard, Visa, International Money Orders, EuroCheques, Cheques written on U.K. bank in GBP #78.00 Checks written on U.S. bank in U.S. $96.00 For European enrolment please send to: DGM Collectors' Club P.O. Box 1718 Salisbury, Wiltshire SP5 5SW Fax 44 1722 781 042 For U.S. and the Rest of the World enrolment please send to: DGM Collectors' Club P.O. Box 5282 Dept. CC Beverly Hills, CA 90209 Fax 323 937 9102 -- Toby ] Cameron Devlin Camzone at aol dot com The Definitive King Crimson -- http://www.geocities.com/~cambipure/kcrimson/kcrimson.html ------------------------------ Date: Tue, 18 Aug 1998 17:58:22 -0400 From: jmc at sdr dot utias dot utoronto dot ca (James MacKenzie Crawford) Subject: Vinyl sightings in Toronto. This is a horrendously specific posting which is useless to most readers and I apologize all over the place, but I found a couple vinyl gems in downtown Toronto that someone out there in ETville might find interesting. There is a copy of The Young Person's Guide to King Crimson, and an album called Peter The Wolf (with appearances by Bill Bruford and Kieth Tippet) at a record store called Black Planet Records, at 494 Queen W. where Penny Lane Records used to be. I saw them there just last week. I got my copy of Earthbound through a tip like this on ET, so I'm trying to return the favour. Chortles, James C. ------------------------------ Date: Tue, 18 Aug 1998 16:14:31 -0700 (PDT) From: David McMillan Subject: Mike Hoist's apology I think Trey Gunn's comments are right on. I have stuck with ET for so long because I have found it to be a good source of new music. I said so in my last post, and commented on other artists whom I think are worthy of discussion on ET and why they are worthy. This is NOT because they can be linked to KC via the connect-the-musicians, but because there is something in the music that is unique or interesting to me. Yes, I am the culprit who started the Fripp Game. Sorry, it was a JOKE. I have tried so many times over the years to get responses to more cerebral subjects or interesting observations, but to no avail. When the main subject of my post was the role of percussion in KC, Tool and Yamashta, the responses were entirely focussed on the game. And as we've seen, they vary from taking it very seriously to just saying it sucks. It time for me to say goodbye, too. ------------------------------ Date: Wed, 19 Aug 1998 00:37:25 +0100 From: "mark" Subject: Artist communication, observations and a slighlty irrelevant question In the great debate about communication with artist (nameley Mr Fripp in this context) one thing I feel has been left out and that is most artists are artists because that is how they choose to communicate. A musican's communication comes directly from their music and perhaps in the measured context of sleve notes and more recently web postings. I am a writer and while happy to talk with fellow writers (or similar people on the same level) because it generates new ideas I am very uncomfortable with the "oh your writing is wonderful/inspiring etc. " stuff because it puts me in the awkward position of not really knowing how to responsd (very english I know). These conversations GIVE nothing to the writer/musician/artist. While once in a while it is nice to be told - famous musicians must already know (given that they sell records). We should be grateful (from the point of view of a thirst for background information) that KC members are so willing to share their thoughts on the web (were they control the communication) and at the end of the day respect their private space as people. While I am making this post I must mention my excitment at the DGM club - given the brilliance of the Absent Lovers and Nightwatch releases it strikes me that the club selections will be a goldmine of rich and inspiring music. Lastly an irrelevant question. While channel surfing with a hangover I caught the end of "Bill and Teds Bogus adventure" (sad I know) At the end before Bill and Ted play there is a performer with a shaved head playing what looks like a Warr guitar - who is this? mark ------------------------------ Date: Wed, 19 Aug 1998 00:41:44 +0100 From: Subject: Yet more Christian references In ET 533 Kevin Beaulieu wrote: >There is some connection from KC to current Christian music. >Besides Adrian Belew producing Jars Of Clay, Tony Levin >appeared on Michael W. Smith's "The Big Picture", and Robert >Fripp plays on Iona's "Beyond These Shores" and "Journey >Into The Morn". Smith's album is a straight ahead pop >album, but Iona is a band worth checking out. Very creative >in the progressive vein with Irish influences. Let us not forget, of course (although some of us may want to), that Pat Mastelotto was in Mister Mister in the '80s. And who knows, maybe Bruford thought about joining Stryper. Tim ------------------------------ Date: Tue, 18 Aug 1998 16:37:19 -0700 From: Eb Subject: re: dinosaurs stuck in the tar pits of time >From: Camzone at aol dot com > > The reason why the Moody Blues haven't released their new >album recently is because the Spice Girls have been using >the studio they are booked for. See? The Spice Girls ARE good for something! Eb ------------------------------ Date: Wed, 19 Aug 1998 01:02:25 +0100 From: Robert J Lethbridge Subject: Re extra musicians "I assume some of you don't have much to do out there considering all of the recent inane posts regarding augmenting the Double Trio with keyboardists and sax players. [etc]" Yes well Ok for your opinion, but I am a keen KC fan, member of dgm club etc and I think that these extra qualities count. I agree that the current lineup is fairly un-explored and can achieve much more, but there has always been the lack of real "emotion" since 1974 crim, David Cross is doing fantastic things now on his latest cd's - possibly over comings the problems that plagued the 74 crim re violin. I apologise to all if I don't conform, I love KC now and past, but think that the current line-up depend too much on technology for their sound & don't bring in diversity I.e other types of instrument ( these can be simulated but Can anyone do Mel Collins/David Cross on a Guitar?). I accept that at the end of the day, it's up to them, and I accept whatever thay wnat to do is best, but it's nice to moan. ------------------------------ Date: Tue, 18 Aug 1998 17:12:28 -0700 (PDT) From: johnx at wrs dot com (John Fabiani) Subject: DTS & DGM Hi, Has anyone out at DGM ever heard of DTS? ( http://www.dtstech.com ) It is a 5.1 sound format that will make audiophiles drool. It is worth a listen. I have a few CD's in this format, it is amazing. So the obvious question is when are DTS DGM CD's going to become a reality? John ------------------------------ Date: Wed, 19 Aug 1998 01:16:12 +0100 From: Robert J Lethbridge Subject: David King's Letter on Fripp Excellent! could'nt have put it better Never met him, but I have been around numerous bands and it is hard to know when you are being a pain, you always want to ask more + more! I, with age, now respect bands (even local bands in town) to control their space, and respectfully withdraw when I feel they would rather just relax or pack up & go home. Which brings me on to the point of how much this is a job for artists as in any job or how much a real passion - I imagine it must be, and am jealous! Never mind I look forward to the first DGM release. When working I tend to only play music on "nights", and often get comments about the "Weird Crap" I play - too bad, just had the soundscapes collection & love it, not sure what the ops will think, never mind! ------------------------------ Date: Tue, 18 Aug 1998 20:44:09 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Live Eras >Date: Fri, 14 Aug 1998 11:18:57 -0700 >From: "James Henry Dusewicz" >Subject: Re: Earthbound era stuff. > >I agree with the person who requested more Earthbound era >stuff. That era is so sadly missing in the DGM output. How >about an expanded Earthbound Robert? My understanding was that a 1972 show WAS in the works. However, with one being supposedly one of the first shows on the DGM Collectible Club, I wonder if this still going to be released officially or not. > Islands has some real classic KC on it. >The whole first side is phenomal. But to defend RF. Dick's Picks (GD), >started out very slowly at first---now it is up to volume >eleven!! How about releasing 3cd formats? The Grateful >Dead seem to be surviving at doing just that. The only problem with that, I think, is that for the GD, they could easily put 3 CDs from the same venue (different shows) because they'll play very different setlists. Crimso, improvs aside, only had a limited number of songs to do. I don't think Fripp could do a 4 CD boxed set a la _The Great Deceiver_, which really could only be done for the Wetton era because the band had a good deal of improvs and studio material to play or choose from. Live, they performed: Cirkus, Pictures of a City, Ladies of the Road, The Letters, Formentera Lady, The Sailor's Tale, 21st CSM, The Devil's Triangle, Groon, Cadence & Cascade, In the Court of the Crimson King (a few times) and a one or maybe two jams. I think it'd be best to try to keep it to two CDs. >Date: Sun, 16 Aug 1998 00:39:56 -0400 (EDT) >From: david vella >Subject: Wetton-era KC: Rants/antirants/question > >Greetings, E-Talkers, > >First, in ET #532 (?) someone complains about the number of >Wetton-era KC archive releases from DGM recently, followed >by a plea for a recording from the Lizard - Islands period. >I agree (enthusiastically!) about the request from the >Lizard era and (slightly less enthusuastically) from the >Islands era, I really don't know how much material is out there from the _Lizard_-era, aside from some outtakes, maybe? Correct me if I'm wrong, but I don't think that there was even a tour for that album. > but I take particular issue with the complaint >about the Wetton-era releases. At the risk of repeating a >point which has been OFTEN made in this newsletter, if you >don't wish to hear a particular release, then vote with your >wallet and DON'T BUY IT! But in my opinion it is >unjustifiably selfish and arrogant to expect the artist to >avoid releasing it simply because one person (or a hundred >people) has heard enough of that particular incarnation of >the band. I agree. I have enjoyed all of the material that has been released from the 70s Wetton era, and will probably pick up _USA_. However, I don't think I'll pick up any more concerts from that era. Howeever, I won't complain about the number of those releases. Heck, we're luck he's releasing any of this stuff _at all_, as opposed to so many other bands that could benefit from doing this. --Jeremy ------------------------------ Date: Tue, 18 Aug 1998 21:57:07 -0500 From: jessica & blaine Subject: Electric Gauchos - Bravo! Dear Crims, A small note of support for great new release!! "Blue Orb" by Electric Gauchos is a fine offering filled with inspired playing, challenging compositions, mercurial sounds, and excellent packaging. If someone is interested in purchasing a first-class release, you could do a lot worse than "Blue Orb". Blaine D. Arnold ------------------------------ Date: Tue, 18 Aug 1998 23:11:10 EDT From: Psny96 at aol dot com Subject: sylvian/fripp laserdisc Hey all you laserdisc owners! I ordered the laserdisc copy of Sylvian/Fripp Live In Japan 1993 from an online record shop. When I recieved it, side two was defective in that there was extreme noticable static, or spots, all through. Also, the sound was like listening to it through a fan. I have never heard of anyone else with this problem, so before I send it back, could you all let me know could you let me know if your copy is all right, or if I got a dud. Thanks, and please respond privately. I appreciate it. ------------------------------ Date: Wed, 19 Aug 1998 00:27:31 -0400 From: "Ashley Collins" Subject: Pick the Spice link Okay, in reference to this "link Ginger Spice to RF" thread that's already gone on too long, here's a legitmate link and a complete fabrication. I leave it to you to decide which is which: 1) Milton McDonald, the backup guitarist on the Anderson Bruford Wakeman Howe album, also played on at least one of the Spice Girls albums, at least if reports from a certain somebody on alt.music.yes are to be believed (he writes while waving across cyberspace to Henry Potts), or 2) Toyah is, in fact, Scary Spice, ergo Robert's seemingly flippant comment at the New York HMV Nightwatch signing back in January (show me a picture of Toyah and Mel B. together and I'll eat my words). Ashley Collins Frasier2 at email dot msn dot com ~ Frame by Frame: A Critical Tribute to Martin Scorsese http://www.geocities.com/Hollywood/Boulevard/2108/ ~ An Indeterminate Page of Musical Appreciation/Adulation http://www.geocities.com/SunsetStrip/Mezzanine/5836/ ------------------------------ Date: Wed, 19 Aug 1998 01:43:46 EDT From: MongoBoy at aol dot com Subject: For Sale: Bears LP I have a copy of The Bears 1st album (vinyl) for sale. Please contact me by private mail if interested. Matt ------------------------------ Date: Wed, 19 Aug 1998 13:28:24 +0100 (BST) From: Toby van de Peer Subject: RE: Ginger Spice link.. sorry it took so long Dear All, I REALLY apologise for this, but I have actually got a real link between Fripp and the Spice Girls. Milton McDonald plays guitar for the Spice Girls, (before that it was Take That, Doh!) Before this he was the session guitarist on the Anderson Bruford Wakeman Howe album, and he also went on tour with them. Bill Bruford and Tony Levin played on this album and tour and they sometimes jam around a bit with that bloke who's married to Toyah Wilcox. Toby van de Peer P.S. I also read Trey's comments about ET in Innerviews, and in light of this I have to say again that I am embarrassed A) that I actually knew this information, and B) that I have nothing better to say about Crimson at the moment. Please forgive me (and let us finally kill this thread, please, Toby!) ------------------------------ Date: Wed, 19 Aug 1998 12:10:31 -0400 From: "Barry Rogoff" Subject: Re: What RF said in Texas >Barry Rogoff quoted Fripp in Arlington: >>I should think that the American meaning of 'get on >>going' and the English one, they're probably completely >>different... the English one is rather rude!" >Fripp's Dorset twang must be more impenetrable than I >thought. Both contributors who have quoted this >announcement got it wrong. The expression Fripp is >referring to is "Get on down." >Biffy the Elephant Shrew @}-`--}---- Biffy, I'm sorry to belabor such a small point but I have to disagree with you. I've listened to the recording dozens of times now and I'm positive that the phrase is "get on going." If you listen very carefully the second time he says it, i.e., "...the American meaning of 'get on going'...," I'm sure you will hear that the word has two distinct syllables: "go-ing." On the odd chance that Mr. RF should happen to be listening in, your elucidation would be greatly appreciated. By the way, I also would enjoy a collection of stage announcements, hopefully including those made by other members of the band. The antics at Summit Sound Studio in Denver, '72 are hilarious, particularly "My Hobby by Ian Wallace" and RF denigrating Pepsi, the sponsor of the broadcast. Barry ------------------------------ Date: Wed, 19 Aug 1998 15:37:50 -0400 From: Sanjay Krishnaswamy Subject: Joe Queenan and ELP Just finished reading a book by a Mr. Joe Queenan, _Red Lobster, White Trash, and the Blue Lagoon_, which ranks among the funniest things (in my opinion) I've ever read, and is guaranteed to be enjoyed by other elitist New England pricks like myself: one man's twelve months in a cultural bathysphere. I mention it because it contains a description of an Emerson, Lake and Palmer concert which I think a lot of the under-30's out there will find dead on and riotous. (I suggest the die hard Greg Lake fans avoid this one though). SK ____________________________________________________________________________ Sanjay Krishnaswamy sanjay_krishnaswamy_ab93 at post dot harvard dot edu ------------------------------ Date: Wed, 19 Aug 1998 15:43:41 -0500 (CDT) From: flaherty michael w Subject: "Islands" and "Lizard" KC Live This won't be news for anyone who has been paying attention, but as there have been a great deal of posts on this subject: I. There will be a live album by the Islands era KC released through regular channels at the end of the year. II. The second DGM Club release will be from this group (December 1998). III. Fripp plans to release even more material by this group via the club. (If your not planning to join the club, one might assume that the official release will be enough for you anyway. If not, join the club.) IV. There will not be any live recordings by the Lizard era KC because none exist. V. All of this information could easily be found on ET Web, still the best, and incredibly under-used, source of KC and all things Fripp available. Michael Flaherty ------------------------------ Date: Thu, 20 Aug 1998 00:17:39 EDT From: Eban3 at aol dot com Subject: re:David Cross i am trying to find an alleged solo album by David Cross which was i beleive originally on the discipline label .....any ideas where i can get it? ------------------------------ End of Elephant-Talk Digest #534 ********************************