Elephant Talk #566 (as text)

14 January 1999



Date: Monday, 11 Jan 1999 18:26:14
From: dwool at yesic dot com (Donal Wool)
Subject: KC IN "GUITAR" MAGAZINE
Hello King Crimson fans from around the world! :-)

Just wanted to let you all know that there is a feature on
King Crimson in the February issue of "GUITAR" magazine.
(Formerly known as "GUITAR FOR THE PRACTICING MUSICIAN")

Peace out,
-Don-

Date: Monday, 11 Jan 1999 19:36:48
From: DANNYSTAMPER at webtv dot net (DANNY STAMPER)
Subject: TOYAH/FRIPP
Does anybody out there have a copy of "The Lady or the
Tiger" on CD? Did it ever exhist on CD? Will it ever be
brought back out on CD?  Does anybody out there want to sell
their CD?

Danny

Date: Monday, 11 Jan 1999 17:29:49
From: sgoodman at earthlight dot net (Stephen P. Goodman)
Subject: J.G. Bennett continued
Mark Fenkner put forth some good books; I recommend "Making
a New World," which offers a lot of links to Gurdjieff's
works with elaborations as needed.  It was my first dipping
into this material, prompted by RF's references to G. and
others in articles, and of course the album notes and
monographs.

In general you will have trouble finding Gurdjieff,
Ouspensky, or Bennett in mainstream bookstores.  Personally
I believe this to be the doing of a combination of factions,
most notably the psychiatric community, which must have been
obviously furious at the statement that "Psychiatrists have
ruined Psychology just as Priests ruined Religion," or
something similar.  To say nothing of the obvious conceptual
burglary of concepts like the Enneagram; as a kind of
result, you'll find all three of the above
authors-philosophers relegated to the Occult section in any
library, via the more-than-well-established Dewey Decimal
System.

Best bets for finding them though would be online.  I know
that Amazon carries a lot, since I set up a "store" page
linking to them, which includes quite a number of the above.
It's at http://www.earthlight.net/Bookstore.html in case
this assists.

The Claymont Society for Continuous Education can be sourced
for a lot of material via their catalog, which I believe can
be obtained via http://www.claymont.org - though I've found
no inherent link so far.  I got onto the mailing list
(non-email) through the address RF put on the back of "Let
the Power Fall".  :)

Stephen Goodman - It's... The Loop Of The Week!
EarthLight Studios - http://www.earthlight.net/Studios

Date: Monday, 11 Jan 1999 23:16:28
From: dandor at erols dot com (Dan B.)
Subject: Entry to the "Real World"
In reference to those seeking a beginning entry into the
ideas and concepts of Bennett and Gurdjieff, I strongly
recommend the G.I. Gurdjieff book "Views from the Real
World" published by Arkana. It is, in my opinion, the most
concise and valuable reference to the understanding of
Gurdjieff's principles on awareness and insight (and I feel
qualified, having read all his works).

The book is a collection of Gurdjieff's early lectures and
is therefore solely concerned with the understanding of his
approach to self-realization. These lectures were
transcribed by pupils, not Gurdjieff himself, and although
not being from his actual hand, to me this is advantageous,
as anyone who slogged through "Beelzebub's" can relate; Mr.
G. often times would take numerous pages on a thought or
example which sometimes could be expressed in a page or two!
This book "Views from the Real World" can change your
life--it did mine.

P.S. I concur wholeheartedly with the poster who made the
comment regarding the original versions of "Cirkus" and
"Pictures of a City" contrasted to the live versions on
CC#2. Boz and Ian Wallace were an inferior rhythm section
when measured against the originals; and this did interfere
with my enjoyment of #2--though obviously live and studio
are two different animals--and those earlier guys did choose
to leave the band anyway (unfortunately)! The drumming on
Lizard is some of the most creative, original and best I've
ever heard.

Dan Buxbaum
dandor at erols dot com

Date: Tuesday, 12 Jan 1999 00:36:25
From: swinghammer dot 1 at osu dot edu (Jon Swinghammer)
Subject: J.G. Bennett, Sound Quality
I have been hearing references to J.G. Bennett on ET lately
and have a few questions:

1.) What does his philosophy involve exactly?  Such as what
branches of philosophy does he address specifically?  I'm
guessing Ethics and Metaphysics however I'm curious.

2.) What published works does he have in print currently?
Any famous works that I might have heard of?

That is all on that subject.

I've been listening to king crimson for awhile now and I'm
also into elp and genesis and I have noticied something I
don't think I like.  The remastered versions of the KC
albums are kinda poor in comparison to say a Genesis album
or an ELP album from the same time.  In the Court... is good
and In the wake... is as well and Lizard isn't bad.  But
Islands is poor. I mean Ladies of the Road needs to be
cranked so that I can understand the lyrics or hear the
music clearly.  Is this just me or do I just have bad
copies?  Or is it due to limitations of being on an Indie
label?  Just curious really but it does bother me.  Not to
say I don't think I got my money's worth or anything cause
that's not what I'm saying at all but I think that the
quality can be poor to barely average.  The 80s stuff is
much better but still isn't wonderful.  I dunno but this
seems odd to me. While I love my KC cds I'm kinda bothered
by a few at the same time. Anyone share my thoughts?

Jon

Date: Tuesday, 12 Jan 1999 10:39:03
From: rolfk at romsdal dot vgs dot no (Rolf Klausen)
Subject: new album? + ordering DGM / CC products in Norway
Hi, this is my first post to ET.

A norwegian newspaper recently printed a list of new CDs
coming out this year and there it said that King Crimson
would release a new album this year. Does anybody know
anything about this? Is it the result of the ProjeKcts? I am
sorry if this already has been talked about in ET. I have
just started to read it.

I live in Norway. Is it possible to order CDs from
Discipline Global Mobile when you live in Norway? How do I
pay etc. ? I have no credit cards. And is it possible for me
to become a member of the ColleKctors Club? And if so, how
do I do that?

All answers appreciated. :)

Rolf Klausen        rolfk at romsdal dot vgs dot no
http://www2.romsdal.vgs.no/~rolfk/

Date: Tuesday, 12 Jan 1999 11:28:13
From: ganderso at notes dot cc dot bellcore dot com (Gordon Emory Anderson)
Subject: The Kings' New Clothes
MJF stated.......

"Another thought:  Fripp would seem to have posited in
recent years that he doesn't feel KC to be a "prog" band in
the sense that we all roughly define the term. "

One thing I have long felt about KC is that it has always
seemed to have clothed itself with elements of a
contemporary musical venacular, as opposed to really being a
product of a musical "movement" or whatever. Actually, when
I first started listening to KC in the late 70s, i wasn't
very thrilled with ITCOTCK (still don't have all of it!),
but I thought Red was really relevant. Note I was living
(and still do) in NYC, and the NY underground had no use for
"Prog" at all. Years later, however, I realize that even the
early KC was merely clothed in Prog, but had an essential
element shared by the later incarnations, though perhaps a
little more hidden. This has become even more apparent with
the live releases.

In the 80s it would be easy to look at KC and even a lot of
the album material and hear "New wave" if you really wanted
to. But in Concert that cloth would be tossed off, at least
most of the time. LTIA Pt2 from Absent Lovers is a good
example.

Even now, the 6-member KC seems to kind of share that "Wall
of Attack Sound" sported by some of the "grunge" bands, like
STP or Soundgarden, while still maintaining the same
essential energy (actually, I like to say to other KC fans
that the double trio make heavy metal irrelavant). Actually,
in this case the musical similarity is no coincidence, as
many of these "grunge" guys seem to quote Red as an
important influence. I still think it would be cool to
kidnap some kid with an AC/DC shirt or whatever and drag him
into a double trio concert. He'd either be scared shitless
or see religion!

-Emory

Date: Tuesday, 12 Jan 1999 02:09:23
From: humbaba at bigfoot dot com (Eric D. Dixon)
Subject: NY3 classified
James Crary wrote:

>Does anyone know the name of the New York family who Robert
>Fripp humiliated and whose rights he violated in the making
>of "NY3" on the album Exposure?  I would like to see if they
>would help me.

Help you do what?

Incidentally, the couple humiliated themselves by arguing
loud enough that they could be heard through the walls.  And
Fripp didn't violate their rights in making the recording.
Rights of privacy don't apply when you're shouting loud
enough to be heard in the homes of others, and even if the
couple claimed copyright violation (having a copyright
interest in the phrases they created while arguing), Fripp
is well within the Fair Use boundaries of copyright law by
using some of the words they vocally broadcast into his home
and altering them -- developing them into a new artistic
form.

Eric D. Dixon      http://www.geocities.com/SoHo/Lofts/6072

Date: Tuesday, 12 Jan 1999 07:34:39
From: badler at hehe dot com
Subject: somebody's post about "Lizard"
If you can find "The First Three" Box, which I own, there
are the '89 "Definitive Versions" of said picture disks
(ICofCK,IntheWofP, & Lizard).

Benjamin Adler (Crimson newbie)

"You Can Find All You Need In Your Mind If You Just take The Time.
Dream Theater: "Take the Time"

Date: Tuesday, 12 Jan 1999 11:22:53
From: Mike dot Heilbronner at adidasus dot com (Heilbronner, Mike I)
Subject: For Sale:  FLAGS on cd (Moraz/Bruford)
I've emailed privately with someone about this, but I lost
his address. So, now officially for sale, is my copy of
Moraz/Bruford:  Flags It's open to everyone.  Email
privately with offers if you are interested.

Thanks
Mike.

Date: Tuesday, 12 Jan 1999 17:47:27
From: leper at mindspring dot com (earthblind, starbound)
Subject: Box Sets
>I went to the 800.com site & they list that they have both
>"Frame by Frame" & "The Great Deceiver" box sets, at really
>good prices with free shipping.

>Vinny Papia

Be warned, however.  Expect long wait times from 800.com.
Meaning don't expect your order in the month that you order
it.  Possibly a helpful caveat.

*Consider yourself warned.* -- Grendel (Industrial/Electronic Prog):
 http://www.geocities.com/SoHo/Atrium/4664/grendel.html
 Against a Sickness: http://www.geocities.com/SoHo/Atrium/4664

Date: Tuesday, 12 Jan 1999 20:14:55
From: calmanor at pce dot net (Drew W. Eaton)
Subject: Lizard
Hey.

Pat Nolan inquired about upgrading his vinyl Lizard and was
discouraged about the lack of a remaster....Pat, as I
understand, the entire back studio catalog is going to be
released on 20-bit Japanese gold discs. Shipping is supposed
to start maybe early February....very limited.

Drew W. Eaton

Date: Tuesday, 12 Jan 1999 15:10:56
From: nomad_stem at hotmail dot com (Nomad Stem)
Subject: DGM Guestbook and ET
I'm finding the DGM Guestbook to be any increasingly amusing
read.  I am particularly amused at the number of people who
make jabs at ET for its content, only to post their
guestbook entry amid a mass of inane guestbook chatter about
snuffing out rodents,  pleas for Fripp/DGM to consider this
or that historical gig for release, or suggestions about
artists DGM should consider starting an association with.

Let's face it, most of the useful news any of us read about,
other than that interspersed in Fripp's diary, comes from
ETers posting to the newsletter.  And to all those that get
upset that the newsletter is moderated should thank Toby and
Mike for filtering out discussions on mouse traps.  But to
even compare ET with the DGM guestbook is like comparing
apples with oranges.  The later is a guestbook, and is
generally treated by those making entries like in any
guestbook.  ET is a forum for discussion that naturally
touches on contentious issues because we don't all agree
(that's a pleasant fact of life).

So let's cut the ET bashing - it's getting old.

Nomad

Date: Wednesday, 13 Jan 1999 13:10:43
From: BasileJ at rams1 dot rasd dot k12 dot pa dot us (Joseph S. Basile)
Subject: SCHIZIOD DIMENTION liner notes
Blessed New Years To all Eters!

Over New Years, Eve brother-in-law Tommy Diamond and I were
listening to the Trower CD, with Fripp's liner notes that I
copied a few Ets back (Thanks again Steph P.!). He asked if
there was another liner note that he would be a good read.
So listening later to STARLESS (Thanks Tim Ryan). I mention
that the SCHIZOID DIMENSION a Tribute to King Crimson would
be an enjoyable read to most Crimson fans. The writing by
David Thompson seems to express many ideas, which I never
would be able to put into words (Comparable writting to Neil
Talbot's soundscape reviews!). In addition, the CD is an
enjoyable piece of music. Here is David's work taken from
the above mentioned CD.

"King Crimson," Robert Fripp said recently, "is not the
Robert Fripp band. If any doubt, ask the other members." The
guitarist is vehement on the subject, but throughout King
Crimson's nearly three decade long career, one man has
remained constant to the ever changing line up, and one
man's musical vision has epitomized the group's work.

Quite simply, Robert Fripp can, and through his solo albums,
does, exist without King Crimson. But King Crimson has never
existed without Fripp, and so it is that in paying tribute
to the group, the bands featured on this album are also
paying tribute to the man who, with very little competition
indeed, can be said to have written some of the most
fundamental laws of modern music-including the one which
insists there are no laws to begin with.

King Crimson was never a conventional rock band, of course.
From the groups very inception in 1968, it began redefining
an audience's expectations, leading the press a merry dance
as it sought to keep up with the group's conventions. "At
the beginning of 1969," Fripp wrote, "Crimson were
'underground.' By the end, they had become 'progressive.'
After 1972, and into the 1980's, Crimson became part of 'Art
Rock'.'' So many tags, but so little definitions: by
refusing to stand still, King Crimson also refused to accept
any of the myriad musical crowns they were offered. Indeed,
one gets the distinct impression that if the band could have
changed it audience as easily, and as frequently as it
changed it's members and styles, no one would be happier
than Fripp. For King Crimson were many things, but they were
never static.

>From the beginning, the band refused to accept that music
had boundaries. How could it, when even their debut album,
"The Court Of The Crimson King" swung from the grinding
protometallics of "21st Century Schizoid Man," to the almost
folky whimsy of "I Talk To The Wind", from the Gothic
darkness of "Epitaph," to the symphonic majesty of the title
track?  Add to this the jazz heavy incursions of the band's
1969 live set (preserved on the "Epitaph" boxed set), and
the traditional concert closing rendition of Gustav Holst's
"Mars, The bringer Of War," and even in its infancy, King
Crimson was a precocious giant.

This precocity was to remain King Crimson's calling card,
through the first half of the 1970's, when the band reigned
supreme on the western rock circuit; into the 1980's, when
with renewed life and vigor, Fripp resurrected the band for
three new albums; into the 1990's, when a third generation
of Crimson king gathered to challenge the accepted order of
things. It has, in fact, became a recurring pattern; no
sooner does rock and roll think it has found a purpose,
Psychedelia, New Wave, or Grunge, than King Crimson is back
to show it new direction, and offer fresh food for thought.

Fripp himself has never been frightened to documents King
Crimson's convolutions. From the sometimes impenetrable side
streets of in concert improvisation which highlights
"Earthbound" and "The Great Deceiver" live albums, to the
spawling instrumental monoliths of "Red" and "Lark's Tongues
In Aspic"; from the pulsing dance percussive of "Elephant
Talk " and "Discipline," to the distinct discordancy of
"THRaKaTTak," and "Cage",; wherever one turns in modern rock
influences, a facet of the ubiquitous Crimson King will be
waiting there.

It is that ubiquity which fires this tribute. The bands here
may not necessarily be those whose names are not instantly
aligned with that of King Crimson, but for each of them,
Robert Fripp and co. have left an indelible musical mark, as
individual as any of the original group's most adventurous
numbers, and as adventurous as the sheer individuality which
Fripp has surrounded himself over the past years.

Greg Lake, later of Emerson, Lake, and Palmer, was a
founding member of the Crimson court; Adrian Belew, that
most startling of young guitar stylists, was a star of the
band's Eighties regime. Bill Bruford of Yes, Peter Gabriel's
Tony Levin, Asia's John Wetton, Bad Company's Boz Burrell,
all have passed through the court of the Crimson King at
different times, bringing their own kind of magic to the
brew, and vindicating Fripp's own self effacing commentary
as well. King Crimson is not the Bob Fripp band, but Bob
Fripp is the Crimson King, and this tribute, to the band, to
the man, but most of all, to the music, is a testament to
the chemistry which erupts when all that comes together.

Let that be their epitaph.

Written by Dave Thompson  For SCHIZOID DIMENSIONS A Tribute
to King Crimson Featuring David Cross, Brand X, Chrome,
Metal Euphoria, Controlled Bleeding, Pressurehed, Xcranium,
Spirit Burning, Astralasia, Alien Planetscapes,
Architectural Metaphor, and Solid Space. Purple Pyramid
1997/ CLP 0123-2 /Careers BMG Music Publishing INC

I hope I kept to CD liner notes, but I am typing/ spelling
impaired. In addition, it helped me understand this writing
by looking up three words I didn't know. It made this
writing more powerful. Which three words?Sorry too
embarrassing. On embarrassing how, did I fall for your April
1 post? Rereading this was a hoot!

Blessed New Years' To All,
Basile By The Frozen Three Rivers & Ex Steeler Fan

Date: Wednesday, 13 Jan 1999 02:00:03
From: vanamonde at fabula dot it (Marco Passarello)
Subject: The Bruford Tapes
> MARABUS at aol dot com wrote:
> 
> I really love the music on B.Bruford's(The Bruford Tapes).2
> questions: Was the complete show ever released-if so is it
> available on cd? The musicians that play on it;Did they ever
> record a studio lp together? If you can assistplease e-mail
> me.

The musicians in "the Bruford Tapes" are: Jeff Berlin
(bass); John Clark (guitar), Dave Stewart (not the one of
Eurythmics, but a wonderful keyboardist who played before
with Egg, Hatfield & the North and National Health, and then
made some beautiful pop albums with the singer Barbara
Gaskin).  The same musicians made subsequently a studio
album titled "Gradually Going Tornado".

There are two other studio albums, coming before "The
Bruford Tapes", where the guitarist is not John Clark, but
the far more famous allan Holdsworth.

Hope this helps.

        Marco Passarello

Date: Wednesday, 13 Jan 1999 10:06:41
From: ekausel at hotmail dot com (Edgar Kausel)
Subject: Happy Birthday!
Happy 30th Birthday to the best band ever to emerge in the
universe. Thanks for tons of awesome music through these
years.

Date: Wednesday, 13 Jan 1999 20:38:16
From: Bknt at aol dot com
Subject: Norbert Fragg: The Frost Diaries
Dear Team,

     While stumbling south on America's famous Highway 61,
which links numerous Faulknerian Mississippi Delta hamlets
each claiming to have been the birthplace o' the blues, I
chose for my evening's rest the Memphis-themed Heartbreak
Hotel, selecting what purported to be the very accommodation
that inspired the late Rock  n' Roll Doctor Lowell George to
write the intemperate blues ditty "Cold, Cold, Cold."

     To my frigid revulsion, I discovered, in a fetid
chamber reeking of dismally distilled bourbon and the
cheapest of rose-scented cheap perfume, beneath the
appropriately flea-infested mattress,  shoved thoughtlessly
among forgotten socks and an autographed Little Feat
promotional panty, a still- chilled cube containing the
frozen scrawlings (some would say drawlings) of the
perpetually skittish but inevitably British guitarist
Norbert Fragg, the Man with the Blame whose Bartok rock and
other suspiciously complicated reifications of musical
infetishmento, performed by that rebarbatively enfluenzal
recording ensemble, Cringe Plumpton, have apocalyptically,
if not infinitesimally, nudged the titanic vessel of mass
culture ever onward toward its cynical icebergerac
extinction. Yes, it was the very Fragg, composer of such
bouyant ballads as Spat Food, Heptaparapish-in-a-pot, Rabies
of the Load (available only in Japan) Va-Voom (a limited
Correctors Club release marked "return to offender" after it
was sent in sympathy to the American President Bill
Clinton), and Quack, which, Fragg told us in the liner notes
to his combustible 5-CD collection of Internet musings,
Flame by Flame, "is the sound of 117 ducks attempting to
interrrupt a Guitar Wonk session for the purpose of
acquiring autographs from Patrick  Le Petomain' Methanely."

     While I would generously abandon these frosted flakings
in the frozen food section of my local supermarket, I
believe that Fragg's comments regarding his new career as an
after dinner mint and his insights into the Fears of the
Running Man are of such vital significance that I just HAD
to foist them, with my own petard, upon the gullible public.

     Thus:     

     Efforts on behalf of my sister to secure her Quibble
Bruvver instant fame and glory as a post-prandial
wit-slinger threaten to dash themselves upon the rocks of
perdition when I mention unfortunate tendencies among
hypothetical audients.  For the act of wording to occur,
audients must not only refrain from photography and
recording, they must also forsake the taking of notes, as
that is an act of taking and I just can't take being taken
anymore. To this my sister  replied that few, if any, of my
audients will be sober enough to take notes, and those that
might be will remain soporfically content to merely remember
my presence. This runs counter to my observation, based on
nearly 30 years of failing to get the worshipful attention
and commercial support from any but Earnest Young Men, that
the act of remembering can, and will, interfere with the act
of wording, especially in regards to what has passed, c.f.
"Rememberance of Gas Passed" by Marcel Foost. Sister replies
that all of this is beans--beans I say!--and that my
initially malordorous objections to being persecuted as an
object of inexpensive entertainment by those who don't know
a fundament from a fundamental will dissipate as soon as I
cease cutting off my nose to spite my face. An appointment
with a plastic surgeon is not necessary, she adds. We Fraggs
have always had a smell of sense, and, having consulted an
infumous southern Californian claiming to be expert in
aromatherapy, she has instructed me to repeat, "the nose
blows" several times daily, and otherwise sniffle
cheerfully.

     I surround myself with the groundscrapes from the
Tainted Bribe, a Washington, D.C. night club said to be the
favorite of many politicians, while remembering an incident
that prefaced, but did not deface, this musical coffering.
Arriving somewhat delayed before the performance, I was
basking in pre-gig unease when  I removed myself carefully
from a van and saw, amidst a polite and smiling collection
lobotomized reified musical mung beans sufficiently pathetic
to part with hard-earned pay for my services, a vaguely
Italiante person of unbridled enthusiasm proceeding toward
the Standing Man with untoward haste. With instincts honed
in the slag pits (some would say Fragg pits) of audient
abuse, the Standing Man became the Queasy Man who, though
not necessarily a Great Man did not desire to be a Late Man
as the now Running Man said, "Where have you been?"

     Having been here, there and inbetween, the Standing Man
became the Dashing Man who evolved rapidly into the Crashing
Man when the High Grossing Mass Culture Artists Only
entrance was locked. Wishing he could morph into the
Slashing Man, the Squeamish Man became the Peevish Man and
vaulted back into the van, where a few panicky polyrhymic
foot taps upon the accelerator turned him into the Driving
Man, but inadvertantly transformed the Pursuing Fan into a
Bug on the Windshield.

     Before he slid off, the now Expiring Fan called out,
"Fragg-thy-am, will you eat green eggs and Spam?"

     "I will not eat them in a van, I will not eat them as
you planned," said the Shouting Man. "I will not eat them at
the show, I will not eat them when I go. I refuse to eat
them when I play, and would not contemplate them any day!
Though Fragged I am, I spit upon your fetishized demand!"

      After the performance I was sent a note by the Late
Fan's wife that he was, or rather, had been, the slightly
well-known Italian orchestra conductor Riccardo Muti and
that he had wanted to schedule a performance with myself and
fellow Italians Luciano Pavarotti, Quentin Crispi, Brian
Enetti, Adolfi Bowie, and some guestbook posting ax-man
named Three El Keneallli.

     Quoth the Cold Man: "Hock-tooey, Muti."

     (At this point, the diaries melt into an slagg-infested
piffle of volcanic eructations as lambently lackluster as a
malfunctioning lava lamp.)

Bill Kent

Date: Wednesday, 13 Jan 1999 12:24:55
From: lantz at primenet dot com (Bill Lantz)
Subject: GIG REVIEW: CGT - 1/11/99 Borders Books - Mesa, AZ
Finally, some quality live music in Arizona!

Internet friends of mine know the drought I've gone through
lately in the live music area due to my state of residence
and my particular musical preferences, and I'm happy to say
that it is temporarily over now thanks to a largely
sucessful evening of music by the California Guitar Trio.

I was very happy to see around 100 people crammed into a
tiny corner in the music section of Borders. It was beyond
standing room only! Tony Geballe opened the night up with
about a 30 minute peformance including pieces from his solo
CD and some exquisite music that was influenced by time he
had spent in Turkey. I'm not totally familiar with his CD
yet, this material may be on his CD. He explained the "rare"
12-string guitar he was using was tuned similarly to the
non-standard tuning used by the CGT and the LOCG except that
he tunes down 1/2 step. So his low C string is a B Flat and
so on. I enjoyed his set thoroughly and it was a surprise
that he was there, really a major bonus.

The CGT took the stage and played some of their familiar
pieces from their CD's and also took the opportunity to play
portions of Pictures At An Exhibition, specifically The Hut
of Baba Yaga and the Great Gates of Kiev. Classical musical
lovers as well as ELP fans can relate to these pieces and
their re-workings were terrific. Beethoven's Moonlight
Sonata was also re-worked by the trio with the first half
being a rather standard approach (for them) and the second a
frenzied, precise attack.

Paul took an opportunity to read from a recent review
published in a guitar publication recently, it actually was
a very positive review, but some of the authors wordings
were funny to hear him read it, you could tell they found it
humorous (and an honor at the same time) still being called
Fripp disciples.

The title cut from Pathways was great too, I really enjoy
when they pass notes back and forth in essence making the
sound of one guitar. I've seen the Crafties do this in a
large setting, great stuff. The set closer was Caravan, and
being the Zappa fan I am, the "Caravan with a drum solo"
phrase starting rolling through my mind and lo and behold,
the three of them muted their strings and did a "strum"
solo. Hilarious! And the fun all three seemed to be having
added so much to my own enjoyment of the set, I think I was
smiling the entire time. They were joined by their "one time
and current" teacher Tony Geballe for an un-plugged version
of Yamanashi Blues, playing it away from the stage and over
by one of the retail counters.

Paul also took a few minutes to show off their new guitars,
I didn't catch the manufacturer, but the fretboard is the
most unique I've ever seen. It is fretted wide on the bottom
strings on thin on the high strings, causing the frets to
slant. He said this helps them take better advantage of the
tuning they use.

I couldn't stay afterwards, but they made themselves
available to sign merchandise, so go preprared if this is
something that interests you!

Thanks CGT, hope to see you again soon.

Bill Lantz
Mesa, Arizona

PS To anyone that was there and is reading this - I was the
guy with a Thrak hat on. Next time you see me, say hello - I
can count on one finger the number of people I know in
Arizona that are into Crimson and all the side projekcts as
much as me - or - just drop me a line now!


Mike Stok