Elephant Talk #561 (as text)

22 December 1998

Date: Fri, 11 Dec 1998 18:22:22 -0500
From: David Kirkdorffer <DKirkdorffer at exapps dot com>
Subject: clarity

Folks -

At times, complex ideas are more easily understood when different words are used to convey the same ideas.To that end, and if you are having trouble understanding requests for personal space from aspiring rock musicians, allow me to introduce you to a web-site that will translate ANY web-site or text into your choice of:

Go to: http://www.rinkworks.com/dialect/

For example:

De recent posts t' ET 'n de DGM Guestbook on the, ERRRR, subbuhjeck of errrr, why dehe are barous 'n many reasons t' not, uh, 'n many betteh diggs t' do dan, talk t' Fripp (public, pehsonally) habe my full support. Um uh. Dese postehs habe my encouragemin t' keep postigg; but, uh, betteh yet, uh, blease t' tell all deir friends & casual ackaitasss, duuhhhh, famly & professhunal associates, duuhhhh, not t' attempp, seek or wish t' engage wid dat spiky little tyke from Dorset. Eben, go furdeh: take out adbehtisemins. Put your money behind what you beliebe t' be rite. Duh, your postiggs so far habe been too easy - take dis as far as you can. Exeht yourselbes; make your words your ackions - 'n see if you are aggle, 'n to what extent, uh, t' pehsuade odehs of your biews! Huh huh!

Merry Christmas Yo!

David Kirkdorffer

Date: Sat, 12 Dec 1998 07:23:50 EST
From: MARABUS at aol dot com
Subject: Pete Sinfield

What's Mr.Sinfield been up to since ( Still ) ?


Date: Sat, 12 Dec 1998 14:45:33 -0500
From: Trevor Brown <trev4 at ix dot netcom dot com>
Subject: B.L.U.E. and Torn

Having just now sufficiently recovered from the 2 shows that I saw at the Bottom Line, last week, I must report that I have come away from the experience with mixed emotions. On the whole the shows were excellent, with Friday's late show being the better of the two that I attended. The group was a cohesive and responsive force that was able to swing into new directions, effortlessly, without losing any of the members along the way. This is surely the test of how "tight" a group really is. I will not continue to rave on; rather let me now mention my other response. Simply put, David Torn was not nearly the musician he was when last seen at the Knitting Factory performances. His guitar work was erratic and at times noisome; in short, he verged on being a liability to the performances. To this listener it seemed as though he was, at times, merely being indulged by the other members of the group. If I were not familiar with their disc, and only had these performances to judge by, I would say that this particular musician had no merit for inclusion in this group. Alas, all I can register is puzzlement and regret for a less than adequate perfomance. Let fly the brickbats!

Date: Sat, 12 Dec 1998 17:38:01 -1300
From: Andrew Acunzo <AACUNZO at mail dot chem dot sunysb dot edu>
Subject: Pete Sinfield (Re: Elephant Talk #560)

Hi all. This is a response to a post by Edgar Kausel in ET #560. Edgar wrote:

> I've read some discussion in ET about Pete Sinfield being
> a member of the '69 band. He was, no question about it. I
> actually think he was one of the band's leaders. If Fripp
> was the music leader and Lake was the front man on stage,
> then Mr. Sinflield was the off-stage leader man.  His

I don't disagree with what you had to say about Lake and Sinfield here, but I definitely don't agree that "Fripp was the music leader" of the '69 band. Unquestionably, that title belongs to Ian McDonald. A brief look at the album credits shows that although three of the pieces were group composed, Ian was solely responsible for the music on "I Talk to the Wind" and "In the Court of the Crimson King."

By listening to the debut album and especially the live recordings, it becomes apparent just how much of a force Ian was in the music. In fact, I might venture to say that, with the possible exceptions of "Schizoid Man" and its sequel "A Man, A City," Fripp may have been the *least* musically important member of that band.

Andy Acunzo
aacunzo at sbchem dot sunysb dot edu

Date: Sat, 12 Dec 1998 14:59:12 -0800
From: Eb <gondola at deltanet dot com>
Subject: Re: Mmm...salady

Rob "Blurb" Murphree breathlessly announced:

>     >I think the record would've been more substantial if he had
>     >written new songs actually DESIGNED for the acoustic medium,
>     >rather than just re-adapting some old favorites. Seems like
>     >taking the easy way out.
>All songs on Salad Days WERE re-recorded strictly for an acoustic
>format so his classics could be presented in their most naked form.

This comment is totally unresponsive to my initial criticism.

Me: "I wish Belew had written new songs specifically designed for the acoustic medium, instead of simply re-adapting old favorites." You: "But he re-adapted old favorites!" Um, OK. Now as I was saying....

>I applaud their enthusiasm and thank them for helping
>the masses hear what they've been missing.  To me and the thousands
>of Adrian fans around the world, this IS the most important statement
>he could ever make.

Jeeeesus. Just a LITTLE over the top, aren't you?

A repackaging of previously released alternate versions of previously released compositions is the most important Belew statement possible?? Move to Hollywood, my good man. You have a long career awaiting you as a publicist.

Someone else:

>Now, you want a real funny, original Projekt, get Wesley
>Willis to join Fripp n' co.

My mind reels at the thought!


np: "An Evening with Wild Man Fischer"

Date: Sat, 12 Dec 1998 16:26:44 -0800
From: Shawn Perry <dcs at inetworld dot net>
Subject: Greg Lake leaves ELP

I was just wondering if Greg Lake's departure from ELP would open up any possibilities of him working with Crimson again. I know this is a longshot, but it seems Lake's reasons for leaving has something to do with the fact that he is no longer the sole producer of ELP's records, as he was during the band's reign in the 70's. I get the feeling that Lake wants to venture into something a little more challenging. Without taking anything away from the present line-up, it would be interesting to hear him again with Fripp.

Dare to dream,

----Shawn Perry----stperry at inetworld dot net-----

Date: Sun, 13 Dec 1998 14:06:09 +0200
From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE)
Subject: re: Fripp writing lyrics

I haven't checked, but I am quite sure Mr. Fripp is also responsible for the lyrics to "You burn me up I'm a cigarette" on exposure. Can anyone confirm ?

Laurent Masse
masse at geocean dot u-bordeaux dot fr

Date: Sun, 13 Dec 1998 11:09:16 EST
From: Bolinhed at aol dot com
Subject: Ade: Tre(y) Cool But Never Too Cool For KC

I think the significant amount of Belew work that gets released besides his KC output renders the question of "Is AB too cool for KC?" somewhat void; he has his KCake AND eats it, and so do we.

I'm now listening to the recent live Rush album; they threw in a CD of live 1978, on which they do "By-Tor And The Snow Dog" - who writes song titles like that any more?! - and the middle freak-out sound like Lifeson was enjoying some Fripp-inspired dissonance.

Incidentally, I realy enjoyed but was surpirsed by Fripp's praise for Robin Trower; is there a place to find Fripps' comments/critiques of other players?


Date: Mon, 14 Dec 1998 09:39:23 -0800
From: Jim Bricker <jim_bricker at filemaker dot com>
Subject: Adrian & KC on SF radio

In the "nice to know" department -

just today San Francisco's KFOG (104.5 and 97.7) featured Adrian Belew in the "My Three Songs" contest segment - where the listeners need to guess the connection between three tunes.

The songs played were

Someone tried to guess the connection early before the third song and guessed it would be "Mmm Mmm Mmm Mmm" by Crash Test Dummies. A cruel thrust...

The songs/connection were suggested by someone in the KFOG office. Neither AB or KC are in any kind of regular rotation on the station, though I have heard "Walking on Air" and "21stCSM" in addition to "Heartbeat." I'm not sure I've ever heard any of Adrian's solo works on KFOG.

Merry Christmas all...

Jim Bricker
San Jose, CA

Date: Mon, 14 Dec 1998 16:34:00 -0800 (PST)
From: Michael Tanigawa <tanigawa at cadence dot com>
Subject: re: Fripp writing lyrics


I stand corrected. Several readers have kindly pointed out examples of Fripp lyrics outside the context of KC.

Unfortunately I am unfamiliar with most of that work. My interest in KC is limited to the pre-1980 editions of the group. I bought "Discipline" soon after it was released in 1981, but spent the rest of that decade waiting for material from 1969-1974 (in the meantime listening to a lot of forgettable new-wave and post-punk bands!!).



Date: Tue, 15 Dec 1998 08:35:58 -0500 (EST)
From: Brian Pinke <bpinke at indiana dot edu>
Subject: Seeking LCG

Hi all,

I'm looking for a copy of the LCG's Live in Victoriaville album/cassette/(CD?). Also willing to trade. Or even tape trading, in light of the fact that it is (as far as I can tell) commercially unavailable. Please contact me privately.

Date: Tue, 15 Dec 1998 13:58:11 +0000
From: Jon Shaw <jonshaw at mail dot ndirect dot co dot uk>
Subject: Mr Fripp is NOT God ... he's becoming Miles Davis

I recently noted the (sometime) Happy Gigster posting on wishing to be left alone by audients and his empathy with the stance taken by Miles Davis. Whilst ruminating on this morsel, I became convinced that the Happy Gigster is slowly turning into Miles! As they say on Through the Keyhole, "let's consider the evidence":

An overriding desire to always be moving forward musically and not to look back (even if the audients/critics want it). A movement away from "songs" into longer, denser, improvised "musings". Retreating from face to face meetings with audients. Increased periods of Debilitating illness (ETers note recent posting Saturday 12th. December, 1998; 16.33 "Your Diarist is suffering from vestibula neuronitis."). Wearing of colourful designer "gear".

Keen ETers should therefore keep a watchful eye out for the future metamorphic changes I predict manifesting themselves in 1999......

Driving of Lambourghini/Ferrari around Southern Counties at breakneck speed. Wearing of "Michael Jackson" style gelled hair-weave. Movement away from improvisational composition back to covers of pop songs (Billie? Boyzone? Cher?). Increased use of New York street argot eg. "That Mastelotto cat is a mean motherf***er who laid down some heavy s**t on our latest live ProjecKt groove-thang". Further bouts of illness of increasing severity and duration. Pimping for drug-money (Wonderbun take note!). Spouse-bashing (spouse take note!). Cameo roles in cop-related TV series and low-budget movies.

Remember, you read it first on ET!


Jon Shaw
31 Moor Lane
West Yorkshire
LS29 0PS
Email work: jon dot shaw at scomagg dot co dot uk
Email home: jonshaw at ndirect dot co dot uk

Date: Tue, 15 Dec 1998 16:24:20 -0500
From: marc_i_roemer at ccMail dot Census dot GOV
Subject: Early Muir Review, Crimson Gesture

I. The Music Improvisation Company - Review

The day begins innocently enough: you emerge from the soft, thick blankets with a yawn; bones creaking, you slowly amble your way towards the clinking of spoons and coffee cups and the rumbling of chairs at the kitchen table. Soon you've crunched and slurped up the last of a huge bowl of corn flakes (with plenty of sugar), and the porch beckons.

Banging the flimsy screen door shut, you take a big breath of fresh country air and think for a moment that you can actually hear the sun sizzling away the dew. It's a perfect morning to take your pet goose for a ride in the old red wagon.

"Well, the wheels need a little oil pal, . . but they can wait," you explain, carefully placing the bird onto the cushy, nest-shaped, yellow pillow sewn and stuffed by Grandma especially for such occasions as today. Gordy bobs his head as if in complete aggreement. After all, with clipped wings, a wagon ride is the closest he gets to flying.

Later, you secretly consider to yourself that Old Cobblestone Road, while both historic and scenic, was perhaps not the best choice for the celebratory promenade. The squeaky, rusty old metal wheels of the wagon cause quite a racket on the uneven, pock-marked bricks. To say nothing of the squawking, honking, and bleating of the world's most sensitive and intelligent goose.

But you like it. You smile playfully, and watch carefully for the next pot-hole.

II. Inside the Court - The Interpretation of a New Testament Scholar

As I wrote in ET #3??, I'm told that the gesture of the Crimson King is a early Christian symbol for peace. Anybody know better?

Long live the delineated and inherent meanings unfetishized,


Date: Tue, 15 Dec 1998 18:32:26 EST
From: Bknt at aol dot com
Subject: Norbert Fragg: the Tossed Diaries

Dear Team:

While answering the call of nature in an appropriately placed watercourse on the grounds of an historic hovel owned by the Artist Formally Known As Quince, I gazed upward at an open window in a neighboring manse (listed on the Register of Untoward Places of West Corsetshire rabbit keepers) from which a haphazardly bound manuscript was summarily hurled. Pausing to zipper my trousers, I fetched the assembly and was astonished to find that these defenestrated fragments contained more writings of the petulant but marginally famous guitarist, the very Dabbling Friggster, Norbert Fragg, whose epic, Yellowtron-drenched art rock compositions, In the Waiting Room of the Bilious Barrister, Rupture, I Pee in the Wind, Matty Rubenstein and Eel Heads in Plastic (Parts One, Three and There Might Have Been Two But It Wasn't For Me So It Isn't For You), have been recently collected in the archival live recording, The Tight Crotch.

These writings came originated in Fragg's Fraggonomic period, when, after becoming dissatisfied with cappucinos served in the United States, he disbanded his band, Thing Simpson and committed himself, while reading the intensely philosophical journals of Bennett Cerf and giving solo concerts of echoing, tape-looped bleets in such artistically challenged locations as cheese shops and railway lavatories, Fragg developed a form of musical and spiritual instruction "intended to produce tunes that will be embarrassing and possibly annoying to anyone other than Earnest Young Men." Mr. Fragg called this instruction Guitar Wonk.

For the benefit of Mr. Fragg's many-but-not-too-numerous enthusiasts, I commit these excerpts to cyberspace:

  1. In Guitar Wonk, we make use of aphorisms which may have meaning, but then again, may stink. Among these aphorisms are: Let us Have Clean Crispy Friends; Expectoration Has Its Consequences; Changing Underwear Changes Everything; It is Possible to Hate Those Who Like What You Do If They Take Your Picture First; and, Sometimes God Yawns.

  2. In Guitar Wonk, the perspiring musician must develop three disciplines, the Discipline of the Nose, the Disclipline of the Sphincter, and the Discipline of the Big Toe.

  3. A nose smells. A musician, more often than not, stinks. The Discipline of the Nose develops our understanding of what does, and does not, stink. By practicing the Discipline of the Nose, we can pick our noses and pick our performers but we can't pick our performers' noses.

  4. Of necessity, a sphincter releases material when it must The Discipline of the Sphincter concerns the musician's relationship to the music industry. By practicing the Discipline of the Sphincter, the musician learns that it is better to be pissed on, than pissed off.

  5. We rarely honor our toes until they are crushed, painted, stubbed or spat upon. The Discipline of the Big Toe has absolutely nothing to do with anything, but, because I like things in three's, the Big Toe reminds the musician that a life in music can be pointless.

(At this point the cappucino-encrusted manuscript fractalizes into unequal parts, some with acoustic drums, some without.)

Bill Kent

Date: Tue, 15 Dec 1998 17:52:44 -0700
From: "Tim Salmon" <tsalmon at gene dot COM>
Subject: re: Bryan Ferry Listens to "Discipline"
> He quoted Bryan saying "it sounds like King Crimson to me."
I'd never heard this before. Can anyone in ET land
substantiate this story?
Arnie <

Actually, it was the other way 'round -- & a few years later: Fripp, upon hearing "Boys & Girls" (or, INSERT FERRY TITLE HERE), was heard to say "It sounds like Roxy to me..." 8^) -- TiM SaLMoN, S.F.

Date: Wed, 16 Dec 1998 11:06:35 EST
From: Goodcraker at aol dot com
Subject: Wesley Willis

Just a short reply to Selinsky's post on that Krazy Kat Willis. I knew Wesley while he was wandering around the North side of Chicago. Not only would he be a fabulous edition to any ProjeKt, but I think he should be considered as Hulk Hogan's running mate. At least he'd have more personality than Al "My name is Al" Gore. BLOOD GUTS AND FIRETRUCKS! Sorry Toby, I know this has absolutely nothing to do with KC, but ...we ARE talking about Wesley Willis.

Happy Holidays all!!!!
T Murphy/Chicago

Date: Wed, 16 Dec 1998 11:00:32 -0600
From: Carlos_Pacheco at 3com dot com
Subject: Looking for a Box Set Frame by Frame

One question, My girlfriend is dissapointed,because she doesn't know how to get the Box Set Frame by Frame:The Essential King Crimsom in Lima Peru. It's an important gift to me for chritsmas Where could I get a brand new box set in Miami after christmas? its very important to me to get an answer before the next Elephant Talk Issue.



Date: Wed, 16 Dec 1998 20:53:52 -0500
From: "Craig J. Clark" <cjclark at earthlink dot net>
Subject: Moraz/Bruford on CD

There has been a certain amount of talk on ET lately about the two Moraz/Bruford albums and how hard they are to come by.

Well, I was in a used CD store recently and found the Moraz/Bruford CD _Flags_ for $10 (plus tax). I bought it and I'm willing to let someone on ET have it at cost, plus shipping (which would be roughly $3 first class or $1.24 fourth class). If anyone's interested, contact me via private e-mail and we can work something out.

Craig J. Clark
cjclark at earthlink dot net

Date: Wed, 16 Dec 1998 22:30:03 -0500
From: Angela Sabo <angela_sabo at sympatico dot ca>
Subject: Robert Fripp's guitars

I was wondering if you might be able to tell me the model(s) of the Gibson guitar(s) Robert Fripp used during '69 to '72. I have looked everywhere but could find no information about them. Your help would be greatly appreciated.

Sean Sabo

Date: Wed, 16 Dec 1998 20:57:24 -0800
From: "Anonymous01 Anon1" <anon0001 at inreach dot com>
Subject: Boz Burrell

I came across a reference to a Feb. 1968 Boz Burrell single, "I Shall Be Released/Down in the Flood," on Nigel Young's Deep Purple Diary page (http://members.aol.com/nigelyoung/mark1.htm). Apparently some members of Purple played on it. Is this for real? I've never heard of it before. Anybody know anything about this? Thanks, Anon1

Date: Sun, 20 Dec 1998 22:59:45 -0500 (EST)
From: deafjim at webtv dot net (James Crary)
Subject: Aphorism

"For those without humility, magnanimity is a good substitute." I think of this now, considering what has been said of Peter Sinfield's contribution to King Crimson. Sinfield's contribution is arguably analogous to Lennon's contribution to the Beatles. Fripp and Sinfield were pioneers, like Lewis and Clark. The occassional effort to diminish Sinfield only serves to diminish those who advance the effort. Sinfield once admonished a contrite listener not to lash out at "those good souls who gather like moths around the crimson flame." At the very least Sinfield was the goodest moth to gather round the Crimson flame.

James MacRyland Crary

Date: Mon, 21 Dec 1998 19:32:48 +0100
From: U30 - User <u30user at swp dot de>
Subject: New Record

Hello, today I readed that King Crimson will release a New Record in Marcn Called Circus. Is ist real new Record of The Double Band or a Compilation? I'm very Interested.

Udo from Ulm, Germany

Date: Mon, 21 Dec 1998 14:59:45 EST
From: Zippofan at aol dot com
Subject: Question about 'Discipline' Celtic Knot Work

Hi ET,

Great web site! I've been a Crimson fan since college - '82. I've always wondered about the meaning and source of the celtic knot design on the cover of 'Discipline'. Any ideas? I also noticed there is a different knot used by DGM.

Thank you, I appreciate your time.

Griff Lewis

zippofan at aol dot com

Date: Mon, 21 Dec 1998 20:28:22 GMT
From: crimson at blackcat dot demon dot co dot uk (Mike Dickson)
Subject: Jacksonville

I've just got myself through the third consecutive listen to the second DGM Collectors Club edition #2 - 'King Crimson Live At Jacksonville, 1972' - and am still reeling from the shattering sounds that burst out of my speakers at me.

For some reason this incarnation of the band has always met with a bad press, either from the horribly slated live album they made, or from the radically altered studio album they put together. A major considered problem with this incarnation of King Crimson is that the band simply didn't 'get it' and that somehow they were not up to the task of being King Crimson, whatever that might mean. The guitarist even alludes to it in the intro liner notes when he says that the band's repertoire 'didn't fall naturally' on its incumbent members of the time. (He admittedly goes on to honestly and affably state that KC was an 'unfair opportunity for these exceptional players'. I am sure I know what he means.

The Frippster is in *blistering* form through out the album, particularly on the maybe-already-familiar 'Sailor's Tale' (the only cut to appear on 'Earthbound' from this show) and the gargantuan solo he pulls off during 'Schizoid Man', a feat all the more remarkable considering that in my opinion it eclipses even the mind-blender of a ripper he pulls on the 'Earthbound' version. Beyond this, Mel Collin's blows up an electrical storm throughout 'Pictures Of A City' and 'Formentera Lady', which boasts a take better than the 'Islands' album featured.

On the down side, Boz's singing is at its foursquare - albeit charmingly powerful - best and the drum solo at the end of 'Sailors' (faded in the nick of time from 'Earthbound') goes on for about four minutes too long, but the up sides of this album makes render of these criticisms indolent. 'Cirkus' is a wonderful swirl of Mellotron and drums, and the pleasing improvement in sound quality over 'Earthbound' (which was never much of an issue to me) makes for a surprise worth waiting for.

It's also uplifting to read that Robert and Virgin Records are planning a re-release of this often overlooked recording. This was the first ever Crimson album I owned and to this day I am still met with requests to tape it from ET subscribers unlucky enough to have missed it. Although the band may be a 'jamming outfit', their views on some classic old recordings is always worth listening to for the sheer joy of their playing. Ian Wallace is one of those drummers who sounds like he is *always* having a ball playing this stuff. No, strike that - the whole band sound like they are having the most incredible fun just doing this stuff.

More of this quality of material please! As I write I am sticking the album onto tape to enjoy in my car. If 'Earthbound' has lasted me twenty years then this one ought to last me twenty more. I implore those fans of the band who remain undecided - the DGM Club sounds so far like the perfect opportunity to explore the Greater Crim. The next release is due February 1999; 'King Crimson (with Jamie Muir) at the Beat Club, Bremen 1972'. I can hardly stand the waiting!

Robert - from the bottom of my heart - thank you for this music, both then and now.

Mike Dickson, Black Cat Software Factory, Scotland : Fax 0131-271-1551
crimson at blackcat dot demon dot co dot uk : ET Administrator : Columnated Ruins Domino

Date: Tue, 22 Dec 1998 11:41:45 EST
From: Camzone at aol dot com
Subject: Live at Jacksonville, 1972..THANK YOU FRIPP

There is only one word for this..beautiful. The sound quality is very good, if you consider Earthbound (and, for that matter, Live at the Marquee) and Cirkus is a real treat.

The guitarist says that the listening community has yet to make a considered judgement on this outfit. On this I agree with him, but for myself (and probably others, once they receive this), the attitude on this line-up has become much more positive. Thank you again.

PPS. Check out the entry for this release at my website, address given below Cameron Devlin Webmaster of "Disciplined" (formerly "The Definitive King Crimson") http://www.devlin-web.demon.co.uk/progmusic/kcrimson/kcrimson.html

Date: Sat, 12 Dec 1998 10:58:58 EST
From: MilesTee2 at aol dot com
Subject: GIG REVIEW: B.L.U.E Park West Chicago

They were in a fine groove with huge smiles showing that they truly enjoyed themselves. Highlights were Tony playing the electric upright with a bow and Bill's ability to be the Ring Master. Saw P2 at the same venue and have difficulty saying which was better so I'll call it a tie. As a progressive jazz & early Crimson fan, the horn was a quality addition. Bill is the best & Crimson would not be Crimson without him. Tony, along with Stanley Clarke, are the finest bassplayers. This show confirmed my feelings regarding Bill & Tony. Too bad this was their last show -- hope they play together some time in the near future or maybe Robert could play with Bill & Tony with Bill as the Ring Master (my suggestion for the new Crimson or Projeckt). If any of the Crimson member are reading this review/comment, ThankYou for visiting Chicago in 1998 as much as you did, and hope to see & hear you as much in 1999.

Have a happy safe holiday season everyone.

Date: Sat, 12 Dec 1998 23:49:18 EST
From: TreyElder at aol dot com
Subject: GIG REVIEW: b.l.u.e. in chitown

B.L.U.E. should change their name to, "Bruford Levin Upper Expendables." just kidding. actually, it should be called, "various artists pay tribute to the music of Big, Bad Bobby Fripp." Fripp sounded great, too bad he wasn't there! bruford, levin, and the trumpet player (sorry) played very well. torn was bad. he spent more time fondeling his rack than a shoe saleman! can you spell h-i-r-e-a-g-u-i-t-a-r-t-e-c-h-n-i-c-i-a-n? i would have more sympathy, but you figure that by the end of their american tour he would have all the stomp boxes in order. there were lots of brilliant moments of musical adhesion, it would have been nice to hear more of the trumpet player (sorry). but the music was completely frippian, so why not just call it King Crimson and fall in line behind the command of The Genius Presently Known As Fripp?

jim deer
introspection at juno dot com

Mike Stok