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 #556 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 556 Friday, 20 November 1998 Today's Topics: NEWS: Papa Bear book, Bruford article NEWS: Re: Bruford article NEWS: Final Survey #8 Results NEWS: Earthbound Webpage still under construction GIG BIZ: Fripp in Philly MIX mixed the facts ET comments Re: Fripp & Sinfield Fripp at the World Financial Center ET and DGM Guestbook What does an audient want? Re: Elephant Talk in peril? Re: Regurgitus Pop-starus Brief mention- what Iain Ballamy's up to Noel and the Red Wedge Tribute A Proposal for the KC Tribute travellin' the USA on $8 a day Subway Riders Re: Flutes in Providence and Exiles? Bill Reiflin KC video trade in VHS-PAL system, anyone? 1973 Atlantic Promo film (re-Post) RF in Boston Re: Bruford And Gong In The Wake of Poseidon re: flutes on prov. exiles Fripping and request Correction of the MIX's article about ITCOTCK's recording. Sudden bursts of sonic brilliance? Review of Sometimes God Smiles 10 Late Night Thoughts on Listening to "Sometimes God Smiles" Sliding Mystified for sale! GIG REVIEW: Frippy Aura in Bull & Bear arena GIG REVIEW: Soundscapes @ Northhampton GIG REVIEW: of sorts -- Fripp -- Alone in Northampton, MA & Bjork GIG REVIEW: Soundscapes @ World Financial Center 11/18 GIG REVIEW: of 11/19/98 show at World Financial Center, NY, NY GIG REVIEW: World Financial Center NYC 7pm 11/19/98 GIG REVIEW: Frippery at the Winter Garden ------------------ 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 ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.htm You can read the most recent seven editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) 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: Fri, 13 Nov 1998 18:37:20 PST From: "Andy Dean" Subject: NEWS: Papa Bear book, Bruford article Hi all! I just received my copy of Tony Levin's "Beyond the Bass Clef" in the mail yesterday and have already devoured it. Needless to say, it's required reading for all those who enjoy the Road Diary on the Papa Bear web site. I'm sure many ETers would love it--you need not be a bass player, or even a musician (I'm not) to appreciate it. It does contain some instruction, but it's mostly anecdotes from life on the road--sometimes philosophical, often hilarious, as only T-Lev could tell it. One story deals with the day a young Tony nearly shot President Kennedy. (Read the book.) Also, I noticed that this month's Modern Drummer (that's right, I read these kinds of magazines though I'm not a musician) has an article on our esteemed Bill Bruford. I didn't have time to read the whole thing--it's 4 pgs. long and seems to be pretty much an account of his career--but I thought it was something ETers might want to check out. --Andy ------------------------------ Date: Sun, 15 Nov 1998 11:52:39 -0500 From: Chelsea Snelgrove Subject: NEWS: Re: Bruford article Greetings All: FYI, I just noticed that there is an article about Bill Bruford in the current issue of AVANT magazine. Cheers, C. Snelgrove ------------------------------ Date: Sun, 15 Nov 1998 23:27:27 EST From: DanKirkd at aol dot com Subject: NEWS: Final Survey #8 Results For the past month at ET Web we've been asking survey questions that germinated from discussions about the constraints of the expectations of King Crimson audiences on Fripp's efforts to take the next incarnation into the future, rather than rehash the past. The final results are in: Question #1. If you went to a future King Crimson concert, would you want to hear predominantly new music, unlike anything they've done before, or would you rather hear them play more of the classic old tunes? Total Responses: 605 New music: 49.75% Older classics: 11.74% Don't care either way: 38.51% Question #2. Would you attend a show if they only played brand new material you'd never heard? Total Responses: 607 Yes: 89.62% No: 3.29% Don't care either way: 7.08% Question #3. Would you be disappointed if they didn't play any material from the 70's? Total Responses: 606 Yes: 29.37% No: 54.46% Don't care either way: 16.17% Question #4. Would you embrace a King Crimson that didn't include Bill Bruford? Total Responses: 604 Yes: 55.79% No: 15.40% Don't know: 21.69% Don't care either way: 7.12% Question #5. Would you embrace a King Crimson that didn't include Robert Fripp? Total Responses: 605 Yes: 24.79% No: 50.58% Don't know: 21.65% Don't care either way: 7.11% No margins of error calculations were made here, but visitors to the site, who checked in from time to time on the available interim results, will have noticed that the final results vary little from the percentages recorded after just 100 responses were in. Without analyzing the results too much here (I'll leave that to you the reader), I believe the numbers indicate that there is indeed a silent majority of ETers who are more open to a forward thinking King Crimson playing all new material. I would like to think that Robert will take this as a positive sign, and that ETers won't so easily be classified as having expectations that deminish or weigh down the future of King Crimson. Thanks to all that participated in the survey. Dan ET Web ------------------------------ Date: Tue, 17 Nov 1998 17:40:20 -0400 From: Selinsky Subject: NEWS: Earthbound Webpage still under construction Hi Folks! The Earthbound webpage is still under construction. Unfortunately, I've had very little time to finish it, but the basic elements are ready. The only thing left to do is encode the Real Audio/MP3 files from the recording I have. After that's done, it will be ready for viewing. My apologies to those who contributed and are still waiting to see results. Hopefully it will be ready soon, I'll post the news here when it is. - George Selinsky. ------------------------------ Date: Sat, 14 Nov 1998 17:08:43 -0500 From: Peter McClymont Subject: GIG BIZ: Fripp in Philly The phone number for the Painted Bride Arts Center listed in the gig guide has the WRONG area code. It should be 215. Anyone else going up from D.C.? ------------------------------ Date: Sat, 14 Nov 1998 10:02:40 -0800 From: Rob Cervero Subject: MIX mixed the facts In ET #555, Jim Bailey touted the MIX article on production of In the Court of the Crimson King, first brought to our attention by my cyber-pal Claude Girard in ET#553. Jim then notes: "This is a great article, which we should try to get for the site if copyright allows." Please don't. Two of the original Crimson members who I faxed this article to responded to me -- one via e-mail, one by directly telephoning me -- that three-quarters of this article if simply false. Evidently, Geoff Workman -- who was interviewed for the article -- barely worked on the first album, attested by the fact, as one of the original members point out to me, he's not even credited on the album. The article's discussions of how the mellotron was recorded is totally wrong -- e.g., McDonald and Fripp did not play the 'tron in tandem, as Workman suggested. Much of the characterization of how they recorded tracks separately and painstakingly did multiple takes is also, I'm told, totally off base. File much of this article away as bogus. ------------------------------ Date: Sat, 14 Nov 1998 13:45:43 -0600 From: "Michael Sheehan" Subject: ET comments >> If the above makes you shout "Wally", or "Toby's a wanker!" then that's probably healthy. << Healthier still: if Toby's parameters for operation of the list don't tickle your fancy, then by all means, start, modertae, find a home for your own. ------------------------------ Date: Sat, 14 Nov 1998 15:09:40 -0500 From: Ted White Subject: Re: Fripp & Sinfield Rafael Di Liumbard asks "does anyone know how Mr Fripp and Mr. Sinfield came to meet. It's a very interesting idea to have a textwriter as a permanent member." I think he means "lyricist" rather than "textwriter." My impression is that Ian McDonald introduced Peter Sinfield to the band when he joined it, Sinfield being a friend of his. Thus Fripp and Sinfield "came to meet." Although Sinfield wrote all the band's recorded lyrics for the first four albums, he did not write the lyrics for several of the pieces the band played in its first year, such as "Get Thy Bearings" (written by Donovan), "Travel Weary Capricorn" or "Drop In" (which, with different lyrics by Sinfield, became "The Letters" on ISLANDS). --TW (Dr.P) ------------------------------ Date: Sat, 14 Nov 1998 17:10:13 EST From: Frippless2 at aol dot com Subject: Fripp at the World Financial Center Hey Crimsoids: Haven't posted in a while since leaving Seattle, but finally maybe I can change the screenname! Us lucky New Yorkers have four (count 'em 4) FREE Soundscapes shows coming up this week at The World Financial Center! I saw RF's first stint there in the early 90's, and if my memory is correct I read in one of the Soundscapes CD leaflets that this was the first place Soundscapes was performed, at the encouragement of the woman curator (maybe not the curator, but I am not gonna look for the disc now). Later in the month, he plays the IMAC Theater on LI with the usual admission fee. Last show I saw of Soundscapes was in Seattle last year, so again a reason to change the screenname. I just am not sure if the start time is correct, as last year the shows started way earlier than advertised. Thought the WFC shows should be addressed, because I read a lot of trash talking towards RF in recent issues, as if he has ice running in his veins and doesn't ever GIVE anything! Also in NYC, we've got Mr. BB at the Bottom Line in early December, so winter looks good music wise in New York this year. And one plug for those in the area: the eve following Rf's last gig, the Bang On A Can Orchestra is playing the WFC, and I'll be there to... for free of course!! Keep up the good work Toby & Dan! ------------------------------ Date: Sat, 14 Nov 1998 15:19:34 PST From: "Michael Irish" Subject: ET and DGM Guestbook Thinking about Toby's comments from the opening of ET #555: I have no interest in writing text on the DGM site. I love the record company, the collector's club, and have become very much interested in all the artists whose music is released via DGM; but I prefer Elephant Talk to guestbooks. I have never had any encounters with Robert Fripp, save the most important one: via his recordings, and the two times I was fortunate enough to see him in-concert: with the Bill Bruford/John Wetton/David Cross King Crimson in 1973 and the recent Projekct Two concert. I stopped at the local record store after work and picked up a new disc by soprano Ruth Ann Swenson, "Endless Pleasure," where she sings top numbers by Mozart and Handel; also, the Portishead live recording, "Roseland NYC" (both the CD and VHS releases); and I was wearing the "Red" King Crimson t-shirt while filing through recordings, looking for more numbers. There was a person in the store who said he also had that shirt, and we talked briefly about the California Guitar Trio; but to my regret, I didn't strike up a conversation regarding matters Robert Fripp and KC. If you're reading this mailing, could you e-mail me? I'm always disappointed in the complete lack of interest in most people I meet regarding King Crimson, and here was a first opportunity to talk with somebody with similar interest. I think I've gotten into the habit of doing most of my talking via the PC! I saw Garbage thursday, who put on a great concert. Mike ------------------------------ Date: Sun, 15 Nov 1998 01:51:42 EST From: Hocow at aol dot com Subject: What does an audient want? Howdy, Anybody ever see the word audient away from this context? I'm afraid I am even more at home being a fan than an enthusiast although enthusiast does have a certain ring to it. But enough of this. It's not what this post is about. Over the past year there has been a lot of comment from KC (mainly Robert) about how the band is constrained by audience expectations. They are hesitant to do a show without all the baggage from previous eras and feel restricted by this. This would be one of many reasons to do the ProjeKCts so they can perform without being expected to play old favorites. In my own case this is misjudging the audience. I may be wrong but I beleive most Crimheads would feel similar. I am much more excited about hearing absolutely new material than a rehash of the old repertoire. In the 70's it was a thrill to go to a concert and hear Doctor D. It blew me away because it was a first time experience live. Hearing the song years later on the Great Deceiver set I was surprised at what a mediocre tune it was compared to the way I remembered it. Similarly, and more appropriately, KC thrilled audiences the following year with the not yet released Starless. Its rarely done anymore but many bands used to throw in one or two "from our next album." Anyway the following is what I would like to hear if Crimson put out a new album and then went on tour next year. Better yet would be a tour followed by an album because everything from the new album would be new. 1. Unreleased material. Maybe have a number or two kept in reserve for the next album. Maybe these pieces might only make the next live recording. Don't be afraid to surprise me. 2. Those famous improvs. Technically this could also fall under number one since they are new in the moment, but in category one I meant written material. 3.Material from the latest release. This is pretty much expected because the band wants to promote cd sales and the audience gets to hear material it hasn't yet heard live even though they have probably spent the previous month studying every nuance on the stereo. From the band's point of view you could probably stop here and if there is sufficient quantity for a well rounded set then I would be happy here too. Assuming more material would be necessary then this is how I would like to see the archives raided. 4. With the possible exception of showstoppers like Elephant Talk and Indiscipline, drop all the oldies that have been in recent tours. Take a very selective view of all post Discipline material unless the double trio can really bring something new to it. I didn't get to hear Sheltering Sky on the last tour but I imagine it could really be dressed up by the 6 piece treatment. 5.Material from the first four albums. Anything from the horny King would require a massive rearrangement and would therefore become new. I would love to hear Circus, Happy Family or Indoor Games just because they they would be totally different being played on sticks, vdrums and soundscapes. I don't know if the first 2 albums have any material that would translate (besides Schizoid). Pictures or Cat Food perhaps? Ladies of the Road if the lyrics weren't so embarassingly hedonistic from the Islands band. 6.Love Red, Larks II, and Talking Drum but now we've done that. Pick another visitor from the 70's. Larks I, Fracture, Starless, Great Deceiver, Easy Money. Easy Money is a model piece because it is so fluid. Every version I have of it live is different because of how flexible the instrumental passage is. Its always both recognizable and yet totally new. This is a quality that would be nice in future material. Once again if the band doesn't want to play any oldies this "audient" is ok with that. The above are listed in order of priority for my taste. I justed wanted to get it out that if they feel locked into their set list because of the tyranny of the mob they might be surprised to find out what the mob wants. Does anyone else feel they could do without their old favorites on the next tour. Frame by Frame is my favorite studio cut but there is not much new that can be injected into it live. I'll listen to it in the car on the way home. I don't mean to tell the band what to play. Mostly I'm saying they shouldn't be afraid to go where they want because most of us aren't afraid to go there either. Sorry if this was to long, snip as you like, Toby. Brad Wilmot ------------------------------ Date: Sun, 15 Nov 1998 02:32:21 EST From: DrumSci at aol dot com Subject: Re: Elephant Talk in peril? It's a shame that Elephant Talk seems to have turned into Elephant Whine. There's far too much Fripp bashing going on (no Bruford, no new Crimson, no audient contact, blah, blah, blah. . .). It seems that far too many Crimheads need to just stop complaining and get a life. Fripp will do what he wants (as he always has) and we can either take it or leave it. No wonder Fripp seems cranky lately, he's been attacked in ET for every move he makes. Let's lighten up and enjoy the music. After all, if you want things nice & easy & predictable, listen to the Spice Girls. . . [ Hey -- you *can* like both the Spice Girls *and* Crim, you know. I do! Robert's better looking though. -- Toby ] Michael Bettine ------------------------------ Date: Sun, 15 Nov 1998 14:43:41 -0500 From: Bayard Brewin Subject: Re: Regurgitus Pop-starus In ET#555, Eb furiously scribbled: > These comments make me want to vomit, frankly. I can't > imagine who would even WANT to speak to Fripp, after > reading garbage like this. Maybe you're right. Maybe that's the intention. I wonder if Fripp now regrets his original cranky diary posting. I do like his running monologue -- it's a satisfying read, the stories are funny and illuminative, his observations are (usually) keen and concise, his discipline in its maintenance admirable. But this media's immediacy makes it too easy to let casual prattiness slip (take it from a practitioner). This may be especially bad news for the musician in question. These are, of course, his statements, not his company's. But they appear at that site. And the cotermination is unavoidable. While Eb's response may be reverse peristalisys, the balance of us may simply feel, *fuck 'em* and walk. This is bad news for any business or movement. An artist/businessperson who demonstrates such ready acrimony in response to comparatively mild negative stimuli may also not be particularly interested in anything I or anyone else have to say, either, so why bother? ... especially if what we have to respectfully offer is constructive peer feedback, or an extension of interest in business practices. Aren't my energies best directed to life's other work and pleasures (concerts, artists, recordings, movements) than an individual who regards my mere presence with hostility? I should think a businessperson with significant employment, supply, and purchasing responsibilities to others might engage more restraint in matters of public comfort, given the likely negative effects to that business and its dependents from such demeanor. But, that's me. Bill Gates, Larry Ellison, and Donald Trump redefine crassness on a daily basis -- and they're fabulously rich, respected, and feared. On the other hand, they also strike me as textbook sociopaths, and I heartily hope bright, informed, dedicated and compassionate people would not aspire to such low company. Bayard Brewin ------------------------------ Date: Mon, 16 Nov 1998 10:04:58 +1100 From: "STUDER, Andrew" Subject: Brief mention- what Iain Ballamy's up to While enjoying a long holiday, I managed to see Iain Ballamy's current band "Acme" in London. At the risk of this being old news, possibly already mentioned in E.T. (I saw them in September!), or slightly irrelevant (Ballamy's solo stuff is after all 2 degrees of separaion from K.C.) I thought it'd be worth mentioning what this fine muso is up to. "Acme" is a quartet. There's an album out with the same name. There's a guitarist (whose name I've foolishly forgotten- a Loose Tubes alumnus apparently?) who reminded me slightly of Frisell at times (but not that much). Bass and drums are covered by the Mondesir brothers, who I'm reliably informed were a support band for Earthworks when they toured the U.K. These two players have that wonderful ability to play incredibly hard and fast, and the even more wonderful ability to not do so all the time. Indeed, the band's performance had all the interplay and "light and shade" that you could ask for in a jazz gig. The band's material seemed to be largely form the "Acme" album, and Ballamy's writing skills are as good as ever: there were heaps of interesting metrical changes, great melodies, excellent arrangements. And Ballamy even threw in a version of "It needn't end in tears", which was slightly more pacey than the Earthworks version (but still a ballad). The night I saw them the room was half empty. Don't Londoners listen to good jazz anymore? Anyway, I think any Earthworks fan would find the material intruiging. Andrew Andrew Studer Old telephone directories make ajs at ansto dot gov dot au ideal personal address books. Neutron Scattering Simply cross out the names of ANSTO, Menai 2234 people you don't know. - Viz Top Tip! ------------------------------ Date: Sun, 15 Nov 1998 17:19:28 +0000 From: kbrown1 at lsumc dot edu (Brown, Kevin) Subject: Noel and the Red Wedge I have this 80's album that R. Fripp produced, and perhaps performed on called "NOEL AND THE RED WEDGE". Know anything about this? Kevin Brown ------------------------------ Date: Mon, 16 Nov 1998 00:48:21 -0500 From: Matt Walsh Subject: Tribute Hello, It's been ages since I have written, and I sincerely apologize. I got word that the tribute and my lack of updates has been brought up in recent issues of ET. Rather than waste a bunch of space with a lot of non-news, I was hoping to wait with good news before sending out my next e-mail. My life has gotten way to busy for me to even manage, and in being that way meant that I had to give up a lot of things that I wanted to do, and as much as I didn't, I realized that it was in the best interests of myself, and more importantly the ET community, that I hand the tribute project over to someone else. I was hoping to have someone to take over the ET project and announce that person by now, but so far I have not found anyone who is willing to put in the necessary time and effort (or has had the interest) to do so. I'll make this brief. If someone is seriously interested in taking over the ET KC Tribute project, please let me (or Toby, or Dan) know. I regrettfully am no longer a member of, or have read a copy of ET since April or so, so I don't know who the "trustful contributors" are anymore, so I will leave it up to those who I know are still in that category as to who should take over the project. If there is no longer interest in the project, I will simply send all DAT/Cassette tapes back to their rightful owners. I will help out if needed when I can, but remember that I am handing this project over because I really don't have the time to dedicate to it. I still hope that this project will see it's conclusion in the future, and hope someone is able to take the baton and finish with what we started. I don't wish give a laundry list of excuses for this delay, so I will just say that I'm sorry to the members of ET, especially those who have sent submissions or have helped out in any way. I'm quite certain I've let a ton of people down. Anyway, it's almost 1am on a Sunday, and I'm still at work, so I better get going before I pass out. Matt Walsh ------------------------------ Date: Sun, 15 Nov 1998 22:53:53 -0500 From: "future perfect" Subject: A Proposal for the KC Tribute It has been about 2 years since we all started down this KC Tribute road, and it appears that Matt cannot complete the project. Here is my proposal: I'm guessing everyone who recorded a track for the project retained a copy of the song. If this is the case, I'd like each band involved to encode their track in Real Audio (both streaming and downloadable), put those 2 files up on an FTP server of their choice, send me the link and I will construct a page consisting of links to their KC song and to their homepages. It's ok if there are several renditions of the same tune. There will be no selection process and everyone will get a chance to hear everyone else's work. If this flies, I plan to ask the webmaster of the Elephant Talk page to post a link to the Tribute site. The deadline for submitting the first group of KC songs will be January 1st. ok, let's see where this goes... :) Misha ********************************************************************* 'Future Perfect' - art music guitars-loops-flutes-devices-voices the NEW IMPROVED site: http://home1.gte.net/artmusic/ ------------------------------ Date: Mon, 16 Nov 1998 22:03:21 +1100 From: "Warwick Allison" Subject: travellin' the USA on $8 a day I picked up USA on vinyl yesteraday for $8 (That's Australian dollars cause that's were I live). I reckon it's a pretty good buy and I heard it's pretty rare, is this so (better make that private email or Tobes will go bonkers) Stuart P.s got a YOUNG GUIDE TO... for $10 with booklet : ) ------------------------------ Date: Mon, 16 Nov 1998 17:49:50 GMT From: "Peter Wiseman" Subject: Subway Riders I just found a listing for a 1981 film called Subway Riders. The soundtrack is credited thusly: Music ROBERT FRIPP, IVAN KRAL, JOHN LURIE and THE LOUNGE LIZARDS Can anyone at or through ET add any details? Cheers, . p e t e . pete_wiseman at hotmail dot com>> p.s. apologies to Dan K, to whom this was originally sent. ------------------------------ Date: Mon, 16 Nov 1998 12:59:47 -0800 (PST) From: Michael Tanigawa Subject: Re: Flutes in Providence and Exiles? When my brother had my cds signed at HMV, I wanted him to ask about the flute and piano in "Exiles". However he was already irritated enough that I did not press the issue. I think that the flute and piano on "Exiles" (I don't remember what "Providence" sounded like) are too much like acoustic instruments to have come from a mellotron. You cannot get that kind of expression from a mellotron. Possibly you could from a physical-modeling synthesizer that is equipped with a breath controller. Now the flute in "Trio" is definitely a mellotron. I think it may be the same effect used in "Stairway to Heaven" and Greenslade's "Pilgrims Progress". While "Trio" is one of my favorite songs from S&BB, the flute sounds like a child's toy and is not as satisfying as an acoustic instrument. Mike ------------------------------ Date: Mon, 16 Nov 1998 17:24:37 -0600 From: "Justin A. Kolodziej" <4wg7kolodzie at vmsb dot csd dot mu dot edu> Subject: Bill Reiflin Yikes, now I'm really confused... >From the post about the Seattle Guitar Circle: "The weekend activities will be primarily directed by Seattle Guitar Circle Instructors Frank Sheldon, Curt Golden, Steve Ball, Trey Gunn, and Bill Rieflin. Additional support will be provided by the Seattle Guitar Circle." So, this Bill Rieflin plays guitar? The only Bill Rieflin I've ever heard of was the drummer for Ministry... same spelling even. Neatly explains why the Frippster would talk to Bill Rieflin about stuff if this is true. So is there one Bill Rieflin or two? Waiting to get booted... Justin K. -- DU DU HAST DU HAST MICH... -Rammstein ------------------------------ Date: Tue, 17 Nov 1998 12:49:03 +1100 From: "Craig" Subject: KC video trade in VHS-PAL system, anyone? Hi all, I'm trying to set up a King Crimson video trade in VHS-PAL system (UK, Europe, Australia) with someone in any of these countries. I have a a reasonable amount of KC on video, & lots of Frank Zappa. If interested, please e-mail me at: good_king_zog at msn dot com regards Craig Jones Melbourne, Australia ------------------------------ Date: Tue, 17 Nov 1998 12:54:10 +1100 From: "Craig" Subject: 1973 Atlantic Promo film (re-Post) This has been posted before but... I was wondering if anyone had any info on the location of the gig that was used to film the 1973 promo film of KC, from which the common footage of `Easy Money' is derived from. Any help is much appreciated. regards Craig Jones Ketchup Is A Vegetable! good_king_zog at msn dot com ------------------------------ Date: Tue, 17 Nov 1998 11:14:59 -0500 From: "Andrew Fignar Jr." Subject: RF in Boston I have not brought up the subject of Mike Keneally and Beer For Dolphins here in a long time. But it's nice to see RF agrees with my feelings. A post was in the Keneally mailing list that said Robert made positive comments on Keneally in Boston, both nights! I'm sorry I didn't bug you guys more when Mike was touring. I should have made more posts as the shows were fantastic! Mike at times covered a few Crimson tunes! My feeling is you have to see him perform, it helps digest the music, you may listen to the CD's and not be taken in. But seeing him live would change your minds, and open up the CD's to you. ...Drew ------------------------------ Date: Tue, 17 Nov 1998 13:10:32 -0500 From: Peter Geddes Subject: Re: Bruford And Gong There was an interview a few years back in the Voice Print newsletter that came out before Gong's 25th Anniversary gigs in 1994 wherein Daevid Allen talked briefly about playing with Bruford. He said that Bruford was great at picking up all the intricacies of Gong's music, but that he played it the same way every night(?!). Daevid went on to say that Steve Hillage, Gong's lead guitar guy, was really into playing with Bruford becasue he liked to play the same thing the same way all the time (this is probably borne out by Steve'e System 7 electronica/ambient house/canned beat project). Whether or not Bruford was the "right guy" for this band is up to your own personal opinion, but he certainly put his own stamp on things, including possibly the slowest version ever of "You Can't Kill Me"! ------------------------------ Date: Wed, 18 Nov 1998 01:41:39 -0500 (EST) From: deafjim at webtv dot net (James Crary) Subject: In The Wake of Poseidon In the Wake of Poseidon is the most sacred song in the History of the World. It should live in a castle, surrounded by a moat of water and protected by 10,000 archers from so much as a breath of common opinion. None of the nonsense concerning the band past or future is even remotely worthy of this sigh from archangels. It is proof not of King Crimson, but of King Arthur. James Crary Website: www.inergy.com/crary ------------------------------ Date: Sun, 15 Nov 1998 15:36:11 -0800 (PST) From: keith adams Subject: re: flutes on prov. exiles hey, as to a writers question about who played the futes, on exiles it had to jaime muir. his title was all sorts player and i think theat was kind of to say everything you hear that wasnt written on the credits already. and on providence its a mellotron im pretty sure about that it doesnt sound too real. keith elliot adams ------------------------------ Date: Wed, 18 Nov 1998 07:48:59 -0800 From: Eric Kirchner DDPIL Subject: Fripping and request Coupla things: 1. Picked up That Which Passes - IMHO only a small step below Blessing of Tears. A truly fine effort that will keep me purchasing Soundscapes. 2. Are any other ProjeKCts being planned in the near future? 3. If you haven't checked out the DGM guestbook, it veers from frightening to hilarious on a dime. Check it out! Finally, I'm looking to get in touch with ETer Erik Vargas - Erik, if you're out there, drop me an e-mail (lost your address). Sorry for the personal note Toby. Cheers, Eric ------------------------------ Date: Wed, 18 Nov 1998 14:30:53 -0500 From: Claude Girard Subject: Correction of the MIX's article about ITCOTCK's recording. This is a joint "American-Canadian!" post from Robert Cervero (resident-expert and frequent-flyer-show-reunion-attendee!) and myself. This is serious stuff : the article is wrong! Robert C. read it and checked with 2 sources (who were present during the recording of ITCOTCK, so they should know!). Verdict : virtually all of the article is wrong. Either Geoff Workman made that up or he was on illegal substances in 1969! First, Geoff Workman was barely present during the weeks of recording and was not involved in any technical or musical aspects of the album! Secondly, most of the musical-technical stuff is wrong. "They (KC) were not as compulsive as Workman suggests in getting it "perfect" through many takes, nor did they lay down all these separate tracks and splice them together. Virtually everything was played by all the band members playing together in one or two sittings and that the most "complicated" song (21st CSM) was, amazingly, recorded on the first take". The use of the Mellotron is all wrong too : there are no notes sustained for more than 7 seconds on the album...so only one Mellotron was used. You cannot get two of these beasts tuned together anyway (even I knew that!). So, I don't know about the other technical details but "it makes you wonder"! A magazine such as MIX should doublecheck before going out with such a story! Too bad, it was a nice story. Perhaps one day, we will learn what really happened in the studio during that glorious summer of 69. Sadly yours, Robert C. et Claude G. ------------------------------ Date: Wed, 18 Nov 1998 23:09:16 -0500 From: David Beardsley Subject: Sudden bursts of sonic brilliance? at http://www.wnyc.org/music/index.html they write: >On Wednesday and Thursday, November 18 >and 19, at 12:15p.m. and 7pm: Robert Fripp is best >known as a founder and member of the avant-rock >band King Crimson and an inspiration for art >rockers. His Robert Fripp Alone-Space Music >(Solo Soundscapes) is a performance not to be >missed. Fripp's Soundscapes are an extension >and development of Frippertonics, which involves >tape loops, meditative drones, and sudden bursts > of sonic brilliance. Sudden bursts of sonic brilliance? So the rest of the time Fripp's just mediocre? Ooops! -- * D a v i d B e a r d s l e y * xouoxno at virtulink dot com * * J u x t a p o s i t i o n E z i n e * M E L A v i r t u a l d r e a m house monitor * * http://www.virtulink.com/immp/lookhere.htm ------------------------------ Date: Wed, 18 Nov 1998 22:21:31 -0600 From: James Hines Subject: Review of Sometimes God Smiles I was hoping that someone would post a song-by-song review of the latest DGM sampler (Volume II in the series), but since there have only been general reviews, I'll give the full thing a go. I was lucky to have found the disc (normal CD packaging) at a local Circiut City for only $5.99. Yes, it's a dollar or two more than if ordered from DGM, but I don't have to pay S & H and I get it now. Fine with me. 30 tracks that somehow fit onto a CD. 1.King Crimson-Three of a Perfect Pair (from Absent Lovers): if you haven't bought this yet, go get it NOW! Excellent. Great version of the track and a wonderful taster. 2.Adrian Belew-Never Enough (from Belewprints): an average song, but I'm sure it'll grow on me. That's the good thing about Belew's solo stuff, lots to listen for and it gets better by each listen. 3.ProjeKct Two-Heavy ConstruKction (from Live Groove): Damn, these guys kick ass! A HUGE improvement over the material from Space Groove. Fierce. Belew provides a psychotic jungle-esque rhythm and Gunn and Fripp just rage throughout. A great composition and very exciting. Thrak for the next century. 4.Mr. McFall's Chamber-Shipbuilding (from Like the Milk): Vocalist backed by a string ensemble doing an Elvis Costello song. The singer reminds me of Roger Waters and this is a good thing. Good track; one more reason that this CD is an excellent sampler. 5.Bill Nelson-Wild and Dizzy (from Atom Shop): more psycho jungle stuff. Totally crazy and totally excellent. If all techno was like this I'd go to every rave possible. 6.BLUE-Original Sin (from BLUE): this is pretty jazzy; something I didn't expect. Cool track, great work by Bruf and Levin and esp. Botti. A nice surprise. 7.Tony Geballe-Native of the Rain (from Native of the Rain): Wow. Excellent. I think 12 strings sound great anyway, but in the hands of Geballe, it's just beautiful. I could listen to this track all day long. Now I'm even more excited for the CGT to reschedule their upcoming tour! 8.Bill Nelson- Profaned Sanctuary... (from What Now, What Next?): interseting little piano instrumental. Too short (45 sec); I want to hear more. 9.Peter Hammill-Nothing Comes (From Everyone You Hold): a nice, soft piece by Hammill. He has a really cool voice. Smooth and relaxing. Good song. 10.Frippy-Pie Jesu (from Pie Jesu): impossible for me to discribe soundscapes, but I'll try...mellow and peaceful, but it darkens a bit in the middle. Impressive. I'd love to hear this in surround. 11.Bruford, Towner, Gomez-Amethyst (from If Summer Had Its Ghosts): VERY mellow and coooool. Great to relax to. 12.Adrian Belew-Of Bow and Drum (from Op Zop Too Wah): Great track. Only Belew can sound like this. Totally cool. Great opener for Op Zop as well. 13.Belew-Score With No Film (from Guitar as an Orchestra): Excellent track. This whole CD is great so anything could be put on this sampler. Why doesn't Adrian do film music? He should. I miss the applause, though (you have to get the Belew CD for this). 14.Bill Nelson-The Strangest Things... (from What Now, What Next): Like the "lyrics". Highly polyrhythmic music. Makes me smile becasue it's so good. 15.Gorn, Levin, Marotta-Shepard's Song (from Caves of the Iron Mountain): This CD is totally great and this particular song is the perfect example of what to expect from this trio. Very cool. 16.Radical Dance-Sabre Dance (prev. unreleased): Credited to Fripp, Mastelotto, and Singleton. Definately sounds like Fripp and Mastelotto. Pat does a cool watery-jungle rhythm with soundscapes on top and other stuff going on. OK, this CD *needs* to be released. Just insane. If Fripp doesn't put this out, it'll be a major loss. 17.Frippy-On the Approach of Doubt (from That Which Passes): Too short to barely even pay attention. Only 28 seconds. Need to hear more. 18.California Guitar Trio-Beethoven's 5th (from Pathways): It's the CGT, it's good. I honestly prefer the live version of this, but the studio sounds typically great as well. The live CGT album will be where it's at. 19.Mr. McFall's Chamber-Allegretto (from Like the Milk): A piece by Shostakovitch. Kinda goofy and cheery, but nice. Creates more eclecticism (and fun) on the disc. 20.King Crimson-Prism (from forthcoming Live in Mexico City): THIS IS BAD ASS!! Almost as cool as live; just a hare less jaw-dropping. Bruford, Mastelotto, and Belew showing how good they really are. Awesome. 21.ProjeKct One-4(i) (from Live at the Jazz Cafe): If anyone out there still says that "Fripp doesn't solo anymore" they should just listen to any ProjeKct. This is raging. The track is a Bruford and Fripp freakout with Gunn and Levin supporitng. Too cool. 22.ProjeKCt Two-Space Groove 2 (from Space Groove): This album has still yet to grow on me, but thankfully for this sampler Fripp chose the best track off Space Groove. Like many of the cuts on this sampler, it's severly edited, but it still shreds like anything. 23.Bill Nelson-Spinning Dizzy on the Dial (from Atom Shop): Bill Nelson is absolutely cool. We can only hope that this is where dance music is heading. Very original and cooler than you. 24.Jacob Heringman-Tocatta Seconda (unreleased): Classical guitar piece. It's my assumption that he's a Crafty (correct me if I'm wrong). Pretty piece and very calming. Nothing new, but it sounds good. 25.ProjeKct Two-21st Centruy Schizoid Man (from Live Groove): "Listen to the music and identify the beats." I was prepared to not enjoy this as it only contains the middle section of the song (the "Mirrors" part), but you know what, it's rather cool. Funky (different than usual) drumbeat by Adrian and Fripp sounding like a xylophone. I want more! 26.BLUE-Interlude (from BLUE): Bruford discussing the rhythm of one of the BLUE pieces over the dinner table. Short but amusing. 27.Crimson-Easy Money (from The Night Watch): Stellar performance of this classic when it was new. Not as powerful as other versions, but still a rocker and a fine addition to the sampler. Cool solo by Fripp. 28.Crimson-Dinosaur (from forthcoming Live on Broadway): Ack. This is the only song that shouldn't have been put on here. First of all, this is played almost identical to the studio version and second, it's edited. For me, the best part of the song is the middle. It's cut out here. Just like it was on the single. Absolutely useless and pretty boring. 29.Matt Seattle-Lindisfarne (from Out of the Flames): Bagpipes! Great melody and very good piece. Is this the first time the pipes have been on a DGM recording? Fripp should sample the bagpipes. Accompanied by acoustic guitar, bass and violin, these bagpipes (played by Matt, I assume) and this song are full of life. Excellent. 30.Frippy-On My Mother's Birthday (from forthcoming Live On G3): For those who think Fripp doesn't play with emotion ("feeling", whatever)-shut up and listen to this. He is a musician in the truest sense of the word and this piece is beautiful. WOW. Overall, I really like this sampler. Better than the first one (which I love)? Hard to say..they're both excellent. Except for Crimson's Dinosaur and Belew's Never Enough which are disappointing, this is a wonderful addition to any collection and makes me ache to hear more from these artists. Bill Nelson, the ProjeKcts, Radical Dance and Tony Geballe shine brilliantly on the sampler. I think God is indeed smiling when listening to this. Thanks for the length, Toby. James Hines (no Crafty affiliation) cheevy-james at mail dot utexas dot edu ------------------------------ Date: Thu, 19 Nov 1998 02:24:56 -0500 From: Steve Smith Subject: 10 Late Night Thoughts on Listening to "Sometimes God Smiles" 1. 30 tracks for $10. Not bad value at all. But I'd prefer complete tracks to excerpts in general. Most of what's here is excerpts. 2. Much has been made of the excellence of "Absent Lovers," the source of the "Three of a Perfect Pair" which opens this sampler. I concur. But while the separation of Robert and Adrian's lines by panning them hard left and hard right does lend a punchy clarity and equanimity to the music's structures, it's odd to hear Adrian's centrally-located vocals occupy the same space as Tony's bass lines, with Tony's support vocals in the vicinity of Adrian's guitar lines. A newcomer might be forgiven for thinking Belew the latest in Crimson's extraordinary line of singing bassists... 3. There's a certain similarity in the pop sheen and general "busy"-ness of Adrian's solo material and Bill Nelson's. Both are enjoyable, but for me in small doses - information overload. The acoustic Belew stuff I could wallow in for hours... but that's just me, and I'm growing old... 4. The live ProjeKct Two material from "Live Groove" is more powerful than the studio rehearsals. We all knew this would be the case. The "house" version of "21st Century Schizoid Man" was a hoot and a half. This is going to be one of my favorite albums of 1999, I guarantee. 5. There's too little ProjeKct One here to make me voice a confident opinion, but just enough to make me want to hear more. I guess that's the mark of an effective sampler selection. The snippet opens stomping like the 1974 band in thunder lizard mode, or even like P2. The player who is panned hard right is playing some furious guitar inna Fripp stylee - I assume it's Fripp, but can no longer confidently make that assumption having heard so much more of Trey in recent months. (Seems to me the reviews of the live shows had Trey stage left, Fripp right.) Then the momentum dissipates and the track becomes more of a "Thrakattak" meander. A nice sampling, and not at all what I expected after Fripp invoked the name "Derek Bailey" in his latest diary update... 6. I think I should go get the Tony Geballe disc. 7. Nothing at all against them, I like them very much, but I wish the California Guitar Trio track had been anything but the snippet of the Beethoven Fifth Symphony. It's a bit of a gimmicky showpiece, albeit skillfully performed. Much of their other repertoire showcases them better and more sensitively. However, the segue from the previous soundscape snippet ("On the Approach of Doubt" from the CD "That Which Passes") to this track, with its so-called "fate" motto, must be one of those particularly pleasing ones to which Robert referred in his diary. (Did I mention that virtually every track here segues into the next?) 8. You know what all the Levin and Bruford stuff sounds like. That's what it sounds like here, too. 9. Of the unreleased material from new DGM artists: Mr. McFall's Chamber is intriguing. Described as a renegade chamber orchestra in the finest Kronos Quartet / Bang On A Can / Icebreaker tradition, they are represented here by renditions of Elvis Costello's "Shipbuilding" and something titled "Allegretto" - it's the allegretto from Shostakovich's "Age of Gold" Suite, if memory serves. I'd like to hear more, I think. Jacob Heringman's lute piece is very nice but also very brief, and doesn't yet convey what Fripp said of him in the diary. Matt Seattle's "Lindisfarne" was not my cup'o'chai, falling somewhere between Enya and "Riverdance," but again, this was one teeny, tiny sample. Radical Dance - someone remind me, is this the Fripp/Gunn/Rieflin project? You'd hardly know from this tiny sliver... I guess I'd expected a cross between "Red" and "Psalm 69"... 10. Each soundscapes release is better than the last (although "That Which Passes" remains a personal high water mark for me). The booklet/catalog here indicates that when "1999" is released it will have one bonus track added, and Fripp's diary indicates the other sonic geegaws attendant to future soundscapes releases. As I won't be in the market for a DVD player or DTS-capable home stereo in the near future, all that stuff is relatively unimportant to me right now. What's important is that the music continues to progress, sounding ever less like the equipment and ever more like the compositional voice of Fripp. The final track on "Sometimes God Smiles" is a case in point... titled "On My Mother's Birthday" from an upcoming "Live on G3" release, the track is brief but one of the more poignant soundscapes I've yet heard... a simple, plainspoken melody on a piano patch, backed with harmonic drones and washes that in general *don't* match up with the melody at the expected points of convergence, creating a palpable tension, and then sometimes *do* match up at the expected points of convergence, creating a wistful sense of melancholy. Given that I expect this was the planned effect, it just reaffirms that as he gains more and more insight into the things his rig makes possible, Fripp the composer is able to make more and more powerful statements through his soundscaping. Interestingly enough, I bought this disc at the World Financial Center in New York City after, unavoidably delayed at work, I caught only the last 20 minutes of a one hour soundscapes set. The 20 minutes I heard didn't seem to be going much of anywhere compared to the exalted heights of recent soundscapes discs. But how much of what I was hearing, I wondered, depended upon what came before to give it greater compositional context? I cancelled my plans for Thursday night right away and made the decision to catch the entire set the next night. Longwinded, but I haven't posted in a while, I think, Steve Smith ssmith36 at sprynet dot com NP - nothing but the hum of my computer... ------------------------------ Date: Thu, 19 Nov 1998 19:56:19 +0200 From: "Mikko.Uusi-Oukari" Subject: Sliding Mystified for sale! Hi Elephant Talkers! I have "Sliding Mystified" bootleg CD (KC-012 label) recorded in Municipal Auditorium, New Orleans, Louisiana, March 31st, 1972, for sale. Please e-mail me to mikko dot uusi-oukari at utu dot fi for details. Thanks, Mikko ------------------------------ Date: Wed, 18 Nov 1998 23:28:28 EST From: Matekudesy at aol dot com Subject: GIG REVIEW: Frippy Aura in Bull & Bear arena Well, fellow Crimsonites, here it is hot off the press...Just got back from checking out Sr. Fripp in a solo performance of Space Music at the World Financial Centre Winter Garden, New York City. In two words, simply superb! Raced like a devil out of work and to my flat to drop off the weighty satchel and grabbed "In the Court of the Crimson King" and the four disc set Epitaph along with a black Sharpie in hopes that I may get Mr. Fripp to sign both treasured collections after his performance. Stormed into the Winter Garden a few minutes past 7:00 pm and the inimitable sounds of Mr. Fripp's soundscaping filled the impressive Winter Garden (a large venue with super high ceilings and a massive marble staircase leading down into the main space). I was pleasantly surprised to see the seating for the event was 95% occupied by a good looking, stunned crowd. I quickly surveyed the front and found a single chair, six rows from the stage just off to the right. Mr. Fripp was extremely business like, never really looking at the sizable crowd- he was compleatly absorbed in layering rich intricate sounds and looping them in and out of each other- intermittently swiveling around to tap on a variety of pedals and boxes that surrounded his rig. Since I missed the first three or five minutes of the performance I cannot report whether Mr. Fripp addressed the crowd before commensing his sonic assault. But he did not say a word thereafter. In a curious occurrence, about halfway through the performance, Mr. Fripp kept the soundscapes wailing and walked away, gently putting his Gibson (Les Paul model- I think) guitar on a stand (where there was another guitar on a separate stand which he never used) and "hiding" behind a canopy that draped the extreme right side of the stage. I don't know exactly what he was doing there but I thought it was interesting- it kept you focused on the rich tapestry of sound and not so much on the person causing it all. He walked back after a few minutes and continued the performance, which lasted an hour. At one point, when the sounds were not so loud, some people sitting on the majestic steps started to clap including the chap sitting next to me. The performance was clearly not over but this did not throw the Frippster off his course. Anyway, it was a super treat for New Yorkers to have Mr. Fripp perform his work gratis; both for the fans like myself and other "innocent passersby." In fact I just loved the look on some people passing by- not knowing where these wonderful sounds were emanating from. It's all good folks. I was not fortunate to get Mr. Fripp's signature on my compact discs. But I did see him after the show eating cookies by the table where some DGM dudes were selling Fripp goods. He even offered cookies to the small crowd gathered around gawking at the CDs for sale. "pie Jesu" and a few others including ProjecKt 2 which I already own. Plan to be there again tomorrow night and I expect nothing less than the sheer brilliance I witnessed tonight. Thank you Mr. Fripp. I enjoyed myself thoroughly. Aus ------------------------------ Date: Tue, 17 Nov 1998 12:42:22 -0800 From: "Moonan" Subject: GIG REVIEW: Soundscapes @ Northhampton First, let me start off by saying that the Iron Horse Music Hall is one of the absolutely best places I have ever seen a live performance!!! Granted I did sit right in front of the stage, but it looked like there were a lot of really great seats(Both on the floor in front of the stage where I sat and in the balcony). Secondly, let me apologize to Mr. Fripp for the distraction my table caused during the question and answer period. This was not our intent and we all are sorry it happened.( Our waiter came with the bill and asked if we could pay now! As my friends and I paid up, the shuffling and passing of money I'm sure was a distraction. By the way, did I mention that we were sitting right at Roberts feet? He was not upset but he did comment in conversation to another audient how he was able to divert his attention away from us to focus on their question.) Sorry! Soundscapes live is unlike any live performance I have ever wittnesed in my 42 years.I own enough soundscapes records, and now to see one live, can say that each soundscape stands on its own. Very alike and yet very different from every other soundscape.This night Fripp actually laid down what I thought were some very engaging passages. At one point he played some of his searing,soaring lead work over the top of the scapes and it was a great moment indeed.Something interesting though, from time to time Fripp would leave the stage, stand to one side as if to asses the scape playing, reapproach the stage and start playing again over the top of that. Something that I observed, and found somewhat humorous, was at these moments when Fripp did leave the stage, I would turn to watch the audience, and here was a room full of people fixed upon an empty stage with only the lights blinking on Fripps rack.In retrospect I think I now know why he handed out badges that said " I've been Frippnotized" to a few people with "good" questions at the end. I did ask a question but did not get a badge. Oh well! Rick ------------------------------ Date: Tue, 17 Nov 1998 20:44:17 -0500 From: David Kirkdorffer Subject: GIG REVIEW: of sorts -- Fripp -- Alone in Northampton, MA & Bjork Very nice show last night in Northampton, MA. The first piece was particularly strong, as was another piece that was, to my experience of sounscapes from Fripp, very sparce. A welcome twist. The "Q&A" session was interesting. Our man has a wonderous collection of stories and annecdotes to share. In it we also learned that Bjork has applied to Fripp requesting permission to sing Mary from Exposure -- which she tells Fripp is one of her favorite songs. One never knows what will ever make it through the music-making and releasing process, so don't count on seeing anything released. David Kirkdorffer UNDO P.S. The "Somestimes God Smiles" comp. disc is a very good collection of music that flow very well and make a complete experience. Well worth picking up! ------------------------------ Date: Thu, 19 Nov 1998 15:01:07 -0500 (EST) From: crv1 at is2 dot nyu dot edu (Chris Van Valen) Subject: GIG REVIEW: Soundscapes @ World Financial Center 11/18 Hi EYMs & Ws Last night's Soundscape show was magical and moving. RF took the stage at 7:00 sharp(he, of course, came out earlier to twiddle a bit) and began a very harrowing 'scape most reminiscent of November Suite, which ended with some panning back and forth from the right and left channels. While not going completely down to silence, the second piece was constructed which built and heated up to something quite warm and majestic, unlike something I had ever heard in past performances I've attended. The show stopped at 8:00 sharp, During a warm, receptive ovation, RF, smiling, came to the front of the stage and took a bow with his hand over his heart, and was gone. On my way out, after a pit stop, I almost bumped into the maestro accidentally in the back hallway, said "sorry"(not "excuse me") and left. I didn't want to have an unpleasant or potentially unwelcome encounter ruin the evening for him or me. CV If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett And it's potato, potato, potato. -- Mike Keneally ------------------------------ Date: Fri, 20 Nov 1998 11:57:05 -0500 From: Jay_Pounders%FRAGOMENEAST at fragomen dot com Subject: GIG REVIEW: of 11/19/98 show at World Financial Center, NY, NY This is my first posting on ET. Last night, I attended the soundscapes show at the WFC in the belly of Manhattan. I went alone and straight from work, thus I was still in my suit and tie and not at all out of place in the bustle of commuters making their way through the World Trade Center to their respective subways. This was a rare occasion where I could go straight from work to a performance of modern music and not feel totally out of place in a suit and tie. (what happend to all the non-conformists?) After quickly drinking a Becks at the little cafe adjacent to the soundstage, I found an open chair not far from the stage. As Mr. Fripp began playing, a hush came over the crowd. As the sounds filled the cavern of concrete, a feeling of complete relaxation and "oneness" came over me. I watched the crowd ( a strange mix of business people who happened upon the performance, the long-haired musician-types accompanied in many instances by their wives/girlfriends and children, families of tourists who had, no doubt, found the "free" concert an opportunity to sit and relax) and simply enjoyed my surrounings. The music seemed perfectly harmonized by the skyscapers towering above us, the helicoptors coming and going from the heliport just outside and the stars strung high above the glass dome overhead. Please excuse the melodramatic description of my evening, what I'm trying to say is "Thank you, Robert, for a wonderful evening." Last night was one of the rare occurances that sharing the human experience with others was entirely enjoyable. Jay Pounders PS. Afterwords, I bought one of the CDs that were for sale and gave the sound engineer a cassette of a song of my own to give to Mr. Fripp. I happened to have it in the pocket of my trenchcoat. There was no purpose intended as I have more or less given up any hope of doing anything with my music other than to create for the sake of creating. I just wanted to give something back to Mr. Fripp in exchange for his having given me so much pleasure through his music over the years. ------------------------------ Date: Fri, 20 Nov 1998 13:41:53 EST From: Frippless2 at aol dot com Subject: GIG REVIEW: World Financial Center NYC 7pm 11/19/98 My first thought was I couldn't believe I didn't stop in for at least ONE of the earlier three shows here. I'm not going to run on with droll physco babble. I'll just say that the place was entirely packed throughout the show. I wound up in the front row about 1/3 into the show. The acoustics seemed near flawless. The audience was respondent, appreciative, and respectful throughout. Reminded me of the audience at The Kitchen in the 70's when The Heavenly Music Corporation was played: no yelling out of any kind, applause only when absolute quiet, this with a crowd of about 400 people in a very PUBLIC building, with access to main shopping, subway connections, and inside the World Trade Center - a really busy place to stay so intensely focused, by artist and audience both. Robert playing his outstanding, tasteful best. I was so happy and proud to be at this show - everything was just perfect. To have a show of that magnitude in this forum is absolutely amazing! Thanks, Robert, for a great performance. Just one question though, Robert: were those Goldfish crackers you offered to a few people after the show? Simply great! ------------------------------ Date: Fri, 20 Nov 1998 09:15:13 -0800 (PST) From: Ethan Peterson Subject: GIG REVIEW: Frippery at the Winter Garden Robert Fripp: Alone--Space Music World Financial Center, Winter Garden, NYC November 18-19, 1998 Wednesday Afternoon: My first in-person experience with Soundscapes. Intense. As Mr. Fripp freely admits, they can be almost difficult to listen to, but the rewards can be great. I saw the entire afternoon performance and had three moments where I was taken beyond the normal boundaries of the listener. He performed a couple of the type of 'scapes with which I am most familiar: the building wave/crescendo type found on "That Which Passes." There was no harsh chord playing as on "Radiophonics." Instead, he seems to be experimenting more with keyboard-type sounds: chorus, pan flute (low and sparse), and the occasional chime or vibe sound. He would build a bed of sound, play over it, play with it, play apart from it, then let it go. He would put down his guitar and walk to the side of the stage to observe with the rest of us what had been created. After a few minutes he would return to bring it to a close before getting a new one started. Thursday Afternoon: I was only able to get away from work long enough to catch a half-an-hour of this show--two 'scapes. It seemed to me to be a less "successful" performance. The first piece that I saw (and, I believe, the first that he performed) was of the wave/crescendo type. But, other than some very beautiful notes hit in the fading resolve, it was less inspired than those of the previous day. He seemed to have a bit of trouble getting the second piece going. It used chorus and chime sounds, as well as some loud "thunder clap"-like sounds. Mr. Fripp never seemed to find a direction for this one and abandoned it fairly quickly. Thursday Night: Much more serious and intense than the afternoon shows. The lighting changed the atmosphere. And, as Mr. Fripp notes, Soundscapes are very much a spontaneous reaction to their environment. He did two long pieces (the first seemed to be in two parts). They were darker and denser. Really intense stuff. More "orchestral" in a way. Formal. In the second piece Mr. Fripp had trouble with one of his guitars, but switched to another and worked through it. It seemed like a very serious show. But when it ended, Mr. Fripp went back stage, grabbed a couple of bags of cookies, then joined the audience to distribute post-concert snacks. It was quite odd, especially after the heaviness of the performance. My last image of the show before leaving was that of Mr. Fripp standing in a slowly gathering sea of admirers asking, "Who wants a fig roll?" auburn_ethan http://toro.ny.synetics.com/ethan/ ------------------------------ End of Elephant-Talk Digest #556 ********************************