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 #574 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 574 Thursday, 25 February 1999 Today's Topics: NEWS: Adrian's promo trip Re: Travel Bleary Capricorn RE:More turgidity on Deja Vrooom Re:Travel Bleary Capricorn Re: Elephant Talk #573 Spanish Riff RE:The Link Between KC and SNL is Finally Established, Again?! Concert acoustics Live KC sound, DVD analogy, DTS Stuff Bungalow Bill, A Travel Bleary Mellotron "Clip" Radiohead, Travel Bleary Capricorn and P3@SXSW Re: Solicit videos, autographs, PP Web site, flashes, copywrites Crimso Remasters Subject: Solicit videos, autographs, PP Web site, flashes, copywrites One Fripp, One Bruford Trendsetters Ltd. & The Night Watch album artwork Annettte Peacock Travel Bleary.... Re: Can new material be archival? Re: RF--The Lady & The Tiger(variations thereof) More talk about flashing Re: Travel Bleary Capricorn The definitive RF/SNL connection CENTIPEDE live appearances Earthbound King Crimson Desktop Themes GIG REVIEW: A Grand Day Out with the Europa String Choir, featuring RealProm GIG REVIEW: Acoustic Adrian in Nashville ------------------ 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: Wed, 24 Feb 1999 15:17:33 -0600 From: "Rhino" Subject: NEWS: Adrian's promo trip Hi Tribe! Here is a list of this week's Adrian Belew / Salad Days promotions. Tune in if you can and for live appearances, drop by and lend your support. Sorry for such a short notice . I'm not sure if there's going to be more in the near future but if there is, I'll let you all know. -Rob WED., FEB 24: 9:00am WRNR radio (Annapolis MD) 12NOON: ANTHEM, NPR (Washington D.C.) 7:00pm BIBELOT In-Store (2080 York Rd; Timonium Crossing, Timinium MD) THURS., FEB 25th 1:30pm WORLD CAFE w/David Dye: WXPN Univ of Penn FRI., FEB 26th TBA/a.m. Live appearance on WFUV / Fordham University, Bronx NY (tel. 718-817-4561) *Call the station for time* 2:30 WESTWOOD ONE interview 6:00pm MERCURY LOUNGE / NYC / Meet & Greet/Release Party 6:00pm That's it - Saturday he goes home. (as forwarded by Elaine Diehl - Adrian Belew / Umbrella management) ------------------------------ Date: Sat, 20 Feb 1999 09:27:28 -0600 From: kholmhud at nwu dot edu (Kevin Holm-Hudson) Subject: Re: Travel Bleary Capricorn Gregg Jensen wrote in #573: >I know I'm not the first to make this connection; but I was >listening to Epitaph-Volume 1 Track 10--Improv-Travel Bleary >Capricorn and I noticed that Roberts Spanish sounding riff >on the fist 8 seconds of that track matches note for note >the track on the Beatles White Album--The Continuing Story >Of Bungalow Bill. My question is since I believe the White >Album came out in 1968 and the Epitaph track was recorded 14 >December 1969...Who's copying who? Please help!! This may have been answered sometime ago (maybe one for the FAQs now?), but the Spanish-guitar flourish you hear on both recordings is actually a demo setting on the mellotron. It seems the mellotron came with several "demo" tape sounds, one of which was an eight-second guitar cadenza (remember also that the mellotron can only sustain a note for eight seconds before the tape runs out). The Beatles used the sound to open "Bungalow Bill" (and I remember reading one of the Beatles saying this in a book about the Beatles' recordings, song by song, with quotes from the band--perhaps called _Beatlesongs_?), and KC does indeed use the same sound in one of their loopier improv moments on _Epitaph_. I'm sure it was done as a "tribute" of sorts to the Fab Four--the White Album was fresh enough then that the reference would have been unmistakable, and Fripp has elsewhere cited "A Day in the Life" as one of the recordings that inspired him to form KC. Now for another Beatles reference--on some shows of the THRAK tour, Adrian would perform a solo-guitar-synth (piano sound) setting of "Free As a Bird". Anyone else spot the chord progression from the intro to that song deep within THRaKaTTaK? (I believe it's track 5, but don't have the CD here with me). Given Fripp's beliefs regarding copyright ethic, how would he justify its inclusion? Khh Kevin Holm-Hudson Northwestern University School of Music 711 Elgin Rd. Evanston, IL 60208 kholmhud at nwu dot edu ------------------------------ Date: Sat, 20 Feb 1999 10:32:24 EST From: Enoboy at aol dot com Subject: RE:More turgidity on Deja Vrooom >>Now my question, since I posted this to 4 newsgroups and got >>no response: Actually, I did reply to you directly. As for your DVD problems, I will restate what I did a month ago. The authoring on the DVD is terrible. I haven't tried it on a DVD-ROM, but I too have experienced lock-up and skipping problems on two different DVD players. The menu is impossible, so I imagine it is equally difficult on a computer. Part of the issue is that DVD is still in its' infancy and there is no standard or conventional layout yet. Some DVDs default to AC-3 instead of Dolby Pro Logic, and others are the opposite. I rented one last week that defaulted to "Subtitles on". That was annoying, as we had to stop the movie, find the menu, turn off the subtitles, then restart. KC was pretty hands off on the Deja Vroom. As anyone who was at the LA playback will tell you, it was the first time any of the band (except for Fripp) had ever seen it. So the disc probably didn't go through the same level of quality control that a CD would. Best of luck. Maybe by the time the next DVD is released there will be more "standards" to the format. ------------------------------ Date: Sat, 20 Feb 1999 07:36:44 PST From: "Christopher Beal" Subject: Re:Travel Bleary Capricorn Greg Jansen writes: >I know I'm not the first to make this connection; but I was >listening to Epitaph-Volume 1 Track 10--Improv-Travel Bleary >Capricorn and I noticed that Roberts Spanish sounding riff >on the fist 8 seconds of that track matches note for note >the track on the Beatles White Album--The Continuing Story >Of Bungalow Bill. My question is since I believe the White >Album came out in 1968 and the Epitaph track was recorded 14 >December 1969...Who's copying who? Please help!! Actually no one is copying from anyone else. The "Bungalow Bill" guitar riff is really a mellotron sample. Thanks ------------------------------ Date: Sat, 20 Feb 1999 13:36:34 -0500 From: "drj_saro" Subject: Re: Elephant Talk #573 >I know I'm not the first to make this connection; the reason that these "riffs" sound alike is that they _are_ the same... it's a MELLOTRON in both cases! for proof, try to track down a copy of "The Rime of the Ancient Sampler - the Mellotron aAlbum" CD. thank you for your time and attention. Julius J. SAROKA drj_saro at neo dot rr dot com Cuyahoga Falls OHIO ------------------------------ Date: Sat, 20 Feb 1999 18:59:40 +0000 From: "Christopher Wilson" Subject: Spanish Riff <> Isn't this one of the many 'samples' that were incuded with the mellotron? Could the squinky noises we here at the end of 'VROOOM VROOOM CODA' from Thrak be from the same source - there are some similar sounds also on the Epitaph Box. Regards, Dr. Wilson ------------------------------ Date: Sat, 20 Feb 1999 13:57:28 -0500 From: Bruce Young Subject: RE:The Link Between KC and SNL is Finally Established, Again?! Hey all, I was flipping through the television late one night, and found myself on Comedy Central. They were broadcasting a re-run of SNL. Peter Gabriel was the guest musician for that particular show. My eyes were focused on the bass player and his funk fingers. This character was none other than Tony Levin. I don't know when the show was originally aired, or remember the song that was played. I apologize for the lack of info, but this is a definate link between SNL and KC. ------------------------------ Date: Sat, 20 Feb 1999 15:08:12 -0500 From: Robert MacCoun Subject: Concert acoustics > I don't know about anyone else here but my experiences of > gigs has been almost uniformly bad; poor acoustics and a > poor balance and/or mix, together with a lack of any depth > in texture are made up for by turning the PA up to an > almighty ear-shattering volume which obscures any chance you > might have of actually hearing what is being played. Maybe > some people like that, although I would like to think that > for my money I'd prefer something more than the inevitable > ear-bleeding and tinnitus. That's been my experience too, in 1981, 1994, and with P2 last year. I still enjoyed the experiences a great deal, but I'm sure I'd have enjoyed them more with less volume and saturation, and more "depth in texture" as you put it. I'm always surprised there isn't more complaint about this. Perhaps sound engineers lose sensitivity after years in the field. ------------------------------ Date: Sun, 21 Feb 1999 03:37:49 -0500 From: John Ott Subject: Live KC sound, DVD analogy, DTS Stuff > I don't know about anyone else here but my experiences of > gigs has been almost uniformly bad; I saw the Double trio at the Warner Theater (Washington DC) and the sound was good. I did not need earplugs and the break in "One Time" was exquisite. But the show at Merriweather the next summer (Although I had great seats) was terrible. The pavilion was half full and the echo was terrible. Also some dancing drunk kept stepping/falling on me. Maybe the sound on the lawn was better? I think that the acoustics of the venue is the reason for poor sound. Also the sound man's "louder is better philosophy for arenas with poor acoustics". I saw Eric Clapton at the MCI center. The opening band sounded good, loud enough to hear without pain and the mix was good. But then EC brought 4 electric guitarists out and blasted over the 20 piece orchestra he brought (rarely could you hear them, what a waste of their talents.) Less volume would have made for a much better show. I think that is the reason for RF's recent diary comments on finding the right sized setting for concerts. KC could sell out the Warner in DC easily, but that theater is larger than the numbers RF mentions in his diary. I was in the upper balcony at the Warner and even though the player were tiny from a distance, I enjoyed the show because the acoustics were good. But I go to concerts for the aural experience not to gawk at idols. Being able to see the players is a bonus. As to TJ's original question: I'd like to see some balance of club releases and live shows. But Robert will have to off-load more of the archiving work to DGM staff for that to happen. I hope it happens. > I asked this once before but met a deafening silence > (figuratively speaking), so I'll ask it again now that the > thing is released: Is there any part of the audio track on > the Crimso DVD that is playable on a normal CD player? > > This is like asking if any part of a VHS cassette is > playable on an audio cassette deck. This is probably why > you never got an answer. This is not a good analogy. A DVD will fit in a CD player. I'd like to see you get a VHS tape into a Cassette deck! Anyway I did (privately) reply to the gentleman's original query that it will not work. (DVD's have much tighter pit (digital bit) spacing than CDs) I bought a DTS decoder and receiver combo this week to enjoy Deja Vroom in DTS surround. Wonderful sound. I hope all future KC releases use DTS or Dolby AC3 digital. (or include both for compatibility like Deja Vroom does) There are a few audio DVD/CD's with DTS available now. Most are remixed for DTS. One exception is Alan Parson's "On Air" which was recorded for a 4.1 channel 20 bit digital format. It is available on DTS 5.1 (no center channel as the 4.1 mix is retained) Even if you don't care for Alan Parsons the digital recording mix of "On Air" is a great example of possibilities of the digital surround format for music. The track "So Far Away" is on the DTS sampler that came with my decoder. Breath-taking. As is the Crimson DTS mix on Deja Vroom. It's like standing on stage with KC. later John ------------------------------ Date: Sat, 20 Feb 1999 19:10:02 EST From: MarkJX at aol dot com Subject: Bungalow Bill, A Travel Bleary Mellotron "Clip" Hi All- My understanding is that this is, in fact, a "clip" (or whatever they call it) from a mellotron, which would make perfect sense to me give the prominence of mellotron in early KC. BTW, Salad Days is scrumptiously vegetarian! Mark J. Sincerely- Gregg Jensen ------------------------------ Date: Sat, 20 Feb 1999 19:08:13 -0600 From: James Hines Subject: Radiohead, Travel Bleary Capricorn and P3@SXSW Radiohead: I don't know if Fripp's said anything about them or OK Computer, but I read in one of those All Music Guides (listing all albums by many artists + reviews) that Trey Gunn is seriously impressed with the album. He said he had to play back a certain transition 5 or 6 times becasue he couldn't believe they pulled it off! Travel Bleary Capricorn: The "Spanish guitar" is not Fripp. It's a sample that came with Mellotrons. So that means that it's not Harrison, Lennon, or McCartney playing the lick on Bungalow Bill, it's a mellotron doing it. As for Crimson using it, it was McDonald playing the mellotron on that improv. Fripp's doing guitar (his tone is consistant throughout) and McDonald's "duelling" with him on mellotron. P3@SXSW: Strait from the mouth of the Austin Chronicle is the confirmed placement of ProjeKct 3 at South By Southwest '99: Sunday, March 21 Electric Lounge 9:30 pm ProjeKct Three (a King Crimson FraKctal)(Salisbury, UK) Since the following group (Flamenco!) hits the stage at 11:00, figuring in a 15-20 minute change-over, that leaves *at least* an hour for P3's debut. Not much else is going on Sunday night at the conference, so it's either good or bad. Good that most everyone will be heading home and it won't be super crowded (like, impossible w/out badges) to get in. Or bad that since not much is going on (action in only 4 clubs, as opposed to 41 the night before), it could be seriously crowded and impossible to get in. I say, either way, get there EARLY to see Gunn, Mastelotto and that other guy. For those interested, Terry Bozzio plays at La Zona Rosa on Thursday, March 18 @ 8pm and Jeff Beck the night before (17th), all night long, also at La Zona Rosa. Also, Fripp will be speaking at the conference itself about bootlegging. The info on that isn't released yet, but I'll post when I find out. Hope to see everybody there! Thrakkin'! James Hines (no Crafty affiliation) cheevy-james at mail dot utexas dot edu ------------------------------ Date: Sat, 20 Feb 1999 22:26:42 -0500 From: tonyola Subject: Re: Solicit videos, autographs, PP Web site, flashes, copywrites s craig stamm asked in ET #573 > Also, I wonder how Robert feels about the simple act of > copying a KC CD that I purchased onto tape so I can listen > to it in the car (I don't have a CD player there) or > elsewhere. Does this infringe on the copywrite as to > destroy the spirit of the music if it is a live recording? > Can this "act of copywrite violation" be considered > benevolent taping (as long as I keep it to myself). If I > gave a copy to my wife would I be liable for prosecution? > This has seemed to be a grey area that no one speaks about > very often. You are not violating copyright laws as long as the copies that you make are strictly for your own use. The trouble starts when the copies are distributed. I don't think making a copy for your wife is necessarily a violation, presuming you are both in the same household; however, this may be one of those so-called "grey areas". Tony Evans Olasongs tonyola at mediaone dot net ------------------------------ Date: Sun, 21 Feb 1999 10:41:35 EST From: Jonleebass at aol dot com Subject: Crimso Remasters Greetings to all, I contacted Possible Productions recently about the upcoming Crimso remasters from Virgin and the ever helpful Amy replied that the first wave are possibly going to be released in July. By "first wave" I mean that they will be released a few at a time and not all at once. These should be the worldwide releases and not the Japanese editions most of us have been reading about. On another note, If anyone has read about the recently released John Wetton/Richard Palmer- James CD "Monkey Business" and wondered if it was of any account then I must say "Buy this excellant collection of unreleased demos, outtakes, unreleased songs and writing demos!!" If you are interested in the song writing process to any degree then the writing demos should be a real treat for you. There are early bits of "Easy Money", "Starless", "Magazines" (which was supposed to be on the follow-up to "Red" and has finally ended up on Wetton's "Arkangel") as well as a demo of a song called "Woman" which also ended up on "Arkangel" but part of the song ended up as the middle section of "Fallen Angel". Very cool. One more song I must mention is called "The Good Ship Enterprise". The demo consists of John on vocals, bass, guitar and mellotron and good ol' Billy B. on the trap set. A very moving song in my opinion. The disc also gives much insight into Wetton and Palmer-James' writing partnership and is very much worth purchasing. Be seeing you, Jonathan Lee ------------------------------ Date: Sun, 21 Feb 1999 17:18:13 EST From: Matekudesy at aol dot com Subject: Subject: Solicit videos, autographs, PP Web site, flashes, copywrites > Also, I wonder how Robert feels about the simple act of > copying a KC CD that I purchased onto tape so I can listen > to it in the car What Mr. Fripp feels about your "simple act" and what the copyright laws are, I'm willing to bet, are two entirely different things. For starters, there is no violation of US copyright laws if you made a copy of your compact disc onto a standard cassette tape for your own listening pleasure/convenience in your automobile. There would, however, be a copyright violation if you made copies and distributed them for pecuniary gain or used the copies to broadcast their contents to an audience without the artists' prior consent or alternatively without escaping paying royalties for broadcasting the copyrighted material to ASCAP or whatever the European functional equivalent would be. Moreover, you would not be liable for prosecution under copyright laws for giving a copy of the recording to your wife; besides the obvious fact that the unity of marriage would render such a transfer of copyrighted work a mere nullity, copyright violations are not "prosecuted" in courts of law as a murder or arson may be, rather they are pursued by the impositions of fines and or by ordering an injunction to estop the violator(s) from continuing their prohibited acts. I hope that clears it up for you. On a more personal note, I think there's no "destruction" of the "spirit" of the live recording especially since the live material you mention is ALREADY recorded and thus is just IMHO, benign dissemination of a live performance that has been commercially distributed by the artists in question. Be well, and keep rockin' Aus ------------------------------ Date: Sun, 21 Feb 1999 15:52:43 -0800 From: studio seventeen productions Subject: One Fripp, One Bruford Hello Talkers- have just put a couple of items up for auction on ebay, one Fripp, one Bruford...please check them out at: http://cgi3.ebay.com/aw-cgi/eBayISAPI.dll?ViewListedItems&userid=ambient17&s ort=3&since=-1&page=1&rows=0 cheers, dave at studio seventeen http://members.tripod.com/technoambient/index.html ------------------------------ Date: Mon, 22 Feb 1999 00:48:33 -0800 From: "BCS" Subject: Trendsetters Ltd. & The Night Watch album artwork Dear Crimsonologists, I was just wondering if anyone might know whether or not the Giles brothers' pre-Giles,Giles & Fripp band "Trendsetters Ltd.", made any commercial recordings? Also,do the brothers Giles have a website? Where can I find more Mcdonald & Giles albums if there are any? P.S Foreigner doesn't really appeal to me unless they have an art-rock album I should know about. Also, have any of KC's alumni ever recorded or performed with Pink Floyd or Manfred Mann's Earth Band? Sorry, I have a million questions that I should just forget about for instance why Rembrandt's "The Night Watch" wasn't used for the recent King Crimson cd's album art? Ever since I first heard the song as a teenager I've always aesthetically associated that painting with the music and thought how mystical it was that this group took their inspiration from such a profoundly deep obscure reference. Not that there's anything wrong with the new artwork (in fact it's quite excellent), however, it doesn't seem to suit the song as richly and I felt somehow schwearted. Is there anyone else out there that shares in this sentiment? WilliamKrueger at hotmail dot com ------------------------------ Date: Mon, 22 Feb 1999 13:34:36 +0100 From: "staugard" Subject: Annettte Peacock 22-2-99 Hey Regarding Annette Peacock I'd like to add: She's one of my my favourite artists. Very articulate, intelligent and creative. The album in question: X - Dreams was released on Aura Records (AUL 702) in 78. The album featured among others: Chris Spedding, Jim Mullen, Brian Godding, Kuma Harada, Jeff Clyne, Stu Woods, Stu Cook, Bill Bruford, John Halsey, Rick Marotta, Dave Sheen, Darryl Le Que, George Khan, Dave Chambers and Peter Lemer. The album was produced by herself and need I say: It's great. Bill Bruford appears again on Been in the streets to long, from 82. On the track: So hard, It hurts(67). The track was recorded in 75 and features: Bruford, Chris Spedding, Steve Cook, Brian Godding (and Annette on piano). It's 12 minutes long and rather experimental. Before and after X - Dreams there's been a few albums. Revenge (Polydor) 69 Dual Unity (Freedom) 70 Improvisie (America) 70 I'm the one (RCA) 71 X-Dreams (Aura Records) 78 The perfect release (Aura Records) 79 Skyskating (Ironic Records) 82 Been in the streets to long (Ironic Records) 83 I have no feelings (Ironic Records) 85 Abstract Contact (Ironic Records) 88 Also released was a best of culled from her two Aura albums. The title escapes me, but it has one unreleased track on it. Whatever she's released since I don't know. I live in Denmark and we don't get many Annette records here. Does anybody have any info, website, E-mail address? Let me know. The last time I heard from her manager was back in 84. The address was then: Ironic Records PO Box 58 Wokingham Berkshire RG11 7HN UK Tel: (0344) 772061 This info on the address is probably out of date, but the last I got. Best wishes Jens staugard at post dot tele dot dk ------------------------------ Date: Mon, 22 Feb 1999 13:18:07 -0000 From: Steve Dinsdale Subject: Travel Bleary.... HI ETers, On the subject of Gregg Jensen's observation that the spanish guitar on this piece is the same as the Beatles' `Bungalow Bill', this is because it IS literally identical. It's not RF playing guitar, but actually the famous Mellotron popping up in one of it's many guises.On the lower keyboard of the old MkII (A huge beast) there are various taped accompaniments (Samba ,Bossa Nova that kind of thing) as it was originally marketed as a state of the art home music system. The idea was that the left hand could key these phrases while the player coaxed a melody with the right. You'll find that the very first minute or so of the first track on THRAK is also one of these.... The Beatles will have used the MKII at Abbey Road when making Bungalow Bill.....hence the similarity. Check out the Mellotron web site for more info on this .... ------------------------------ Date: Sun, 21 Feb 1999 18:48:45 -0800 From: "Eric D. Dixon" Subject: Re: Can new material be archival? Shane Brady wrote: >It would seem common knowledge that 'new' KC material was >recorded in 97 but not released for the (I think very noble) >idea that it was not radical enough. This is a myth that was put to rest by Fripp in his diary (I think), or one of the Q&A pieces on the Adrian Belew web site, perhaps. They started writing new material, but it wasn't recorded -- and there was not enough of the embryotic music to constitute a release, even if it had been recorded. Eric D. Dixon http://www.geocities.com/SoHo/Lofts/6072 "[H]umor is a mishap, considered in the proper light. In the past you can be funny even though you are the principal. In the present, mishaps are always funnier if they happen to someone else." -- Chuck Jones ------------------------------ Date: Sun, 21 Feb 1999 21:03:58 EST From: Biffyshrew at aol dot com Subject: Re: RF--The Lady & The Tiger(variations thereof) Gary Davis wrote: >Now are you referring to the actual story itself? If so, >then it would be more appropriate to say that Terrapin >Station has a marked resemblence to The Lady & the Tiger. >The story was not written by Fripp or Toyah. It was >actually first published in 1882 making it quite a bit older >than either album release. The relevant portion of the "Terrapin Station" suite ("Lady With A Fan") is itself closely based on an old British folk song, "Lady Of Carlisle," which I daresay predates "The Lady And The Tiger." Get On Down, Biffy the Elephant Shrew ------------------------------ Date: Mon, 22 Feb 99 13:03:27 -0500 From: alan s cohen Subject: More talk about flashing Let's look at the flash from a different point of view. No doubt some of us out there meditate. You know the shock that you feel when you're in deep and all of a sudden, LOUD NOISE. Pretty shocking. And, at least for me, the meditation never returns to where it was. I believe that Fripp uses silence to access music. Is this not meditation? Also, does it matter whether or not we understand his need for a flash-free environment? For instance, I can't hold a conversation when I first wake up. My brother once told me that he can't understand this. Well, his lack of understanding doesn't change the fact that I can't talk when I get up. He (we) just have to accept that this is so. Then life is easier for both (all) of us. But now to throw a bit of confusion into the mix. I was lucky enough to see ProjeKct One. Just to remind everyone, between the first and second sets of the final evening, when Fripp was talking to the audience, someone flashed at him, and a visibly angry Fripp returned to his stool. And then the boys launched into their best, most cohesive set of the 4 evenings. I spoke to Fripp at the HMV instore a month later, and he totally agreed that this was the best set of the series. I believe he said something like "Something took over the band." I'm not sure what this all means (perhaps Robert will give some insight in his diary), but perhaps I should end here, before someone thinks that I'm encouraging photographers. Alan ------------------------------ Date: Tue, 23 Feb 1999 12:24:34 +0000 From: Ron Chrisley Subject: Re: Travel Bleary Capricorn > I know I'm not the first to make this connection; I have not heard the Epitaph set, but if I recall correctly the guitar riff from Bungalow Bill was actually part of the Mellotron sample repertoire. I seem to recall it being played, for instance, as part of a Mellotron demo disc that David Cross would play over the PA before his gigs. So perhaps both the Beatles and KC just used a Mellotron tape? Apologies if this is the 18th answer to this question in the ET digest. Ron Chrisley ------------------------------ Date: Tue, 23 Feb 99 11:00:33 -2400 From: Chris Van Valen Subject: The definitive RF/SNL connection Hi EYMs(and Ws) On the May 19,1979 episode of SNL,Maureen Stapleton was the guest host with the musical guest being Linda Ronstadt and Phoebe Snow(as a duet). One of their two numbers was "The Married Men" from the first Roches album, which was produced by RF. In the background, out of the spotlight and off to the side, sat a tetchy tyke with a black custom Les Paul and a Revox tape deck spinning away. Is that the end to this debate? CV ------------------------------ Date: Wed, 24 Feb 1999 23:24:56 +0100 From: Massimo Bracco Subject: CENTIPEDE live appearances Hi to all ETers in ET 570 appeared this note : >"From: tps at merlin dot com dot au (The Performance Space) >CENTIPEDE 's `Septober Energy' >yes...a truely awesome musical experience...the live concert >presentation of the whole work was equally amazing at the >Rainbow in London...i can't remember the year !?!..with >smaller "bits" of the large band (like the late great band >Patto) in support ..and did in fact feature RF sitting up >the back as one of the guitarists playing the work live.... Do you really mean Mr. Fribble played live with CENTIPEDE ? I only knew that the entire line-up played only two or three gigs, but I had never details about it. Could you please write us some more about that event, kind of review describing us how was the concert from beginning to end ? I own the Studio double LP set, with the special cover portraing the painted bottles (I've seen also a first run edition with a white cover) As far as I Know, there isn't yet an official CD reissue. A friend of mine once found in Germany a double CD of Septober Energy, but it was only a bootlegged edition mastered from a vinyl copy. It's true that RCA owning the rights of that disc seemed not caring at all about it in the last twentyeight years.... but a couple of other releases by RCA-Neon label have just come out on CD (including the wonderful "Chris Mc Gregor - Brotherhood of Breath" featuring many musicians who appear also in Centipede) So maybe now it's the right time also for CENTIPEDE ! If anybody knows about live recording of that huge band, please give us a shout. It would be wonderful to hear them again in unrealesed material. ThrakByes MAX from ITALY ------------------------------ Date: Thu, 25 Feb 1993 00:29:55 -0500 From: sandra adams Subject: Earthbound I am about to begin searching for a copy of Earthbound. The impression I have gotten from reading the reviews is that there are both legitimate and bootleg copies of this record in existence.As a trader in Dead and Phish concert tapes, I always tell friends that bootleggers are slime.Also, Robert has made purchasing bootlegs totally indefensible,not to mention financially stupid,with the advent of the DGM Collector's Club.So, I am hoping someone can tell me what to look for in finding a legit Earthbound,or if such a creature exists. John Adams ------------------------------ Date: Wed, 24 Feb 1999 15:54:47 -0500 From: "Jon Swinghammer" Subject: King Crimson Desktop Themes Are there any good King Crimson/Robert Fripp desktop themes out there? I don't want one that has the entire first verse of Schitzoid Man as my closing windows sound. I think that is a bit too long and the only theme I have found features a terrible background and long annoying sounds that are out of place. Anyone have any info for me? Jon ------------------------------ Date: Mon, 22 Feb 1999 13:23:30 -0000 From: "Brian Thomson, London UK" Subject: GIG REVIEW: A Grand Day Out with the Europa String Choir, featuring RealPromoDemo A little elephant told me that the ESC were up for two gigs in one day, so I took that as sufficient motivation to drag myself out of bed on a Saturday morning (February 20) and head off to Waterloo. No Vindaloo, just a tall cappuccino and a copy of the International Herald Tribune, and I was just about ready for action. 1) Salisbury Arts Centre South West Trains kindly deposited me at Salisbury with plenty of time to find the Arts Centre, which turned out to be the back of a church. In front, I walked headlong into someone's wedding, narrowly avoiding appearing in the photographs - horror!. Once inside, I received more odd glances when I tried to buy a ticket (it was a free gig). Oh, well. The ESC had set up on the spacious stage, beneath a huge stained-glass window. Besides the bar to one side, and the coffee shop counter on the other, near the foot of the stage was a pile of toys which was periodically infiltrated by one or more noisy brats. Rare was the tune not subjected to a clink, crash or clatter from one of the above, especially while Cathy introduced the pieces without a microphone. The ESC were on stage for about 80 minutes, with a short half-time break, playing substantially the same set as the evening gig (more on the music later). Judging by the faces and overheard comments, many of the 40 or so listeners were there out of random passer-by curiosity, Markus' Warr Guitar and his TouchStyle method in particular attracting bemused scrutiny. Overheard: "What's he playing?" "It's a guitar, I think." "What does the handout say?" "Let me see, that's Markus, so it's a Warr Guitar." "Oh. OK" Overall, a positive reception from a slightly bemused audience, kids and all. Next stop: Oxford. 2) Zodiac Club, Oxford The ESC hit the Zodiac as part of the extensive 'Lighthouse Sessions' season, a week after the CGT were at the same venue. The crowd this time seemed more attuned to the idea of the avant-garde - I just wish there had been more of them. The venue was in the basement, with a (gratefully unheard) Rock club upstairs. The five pounds charge on the door was a bit worrying, since Oxford's population is, of course, thick with students (no pun intended). The Zodiac basement was still only about 3/4 full, a crowd of about 80. Definitely a higher proportion of enthusiasts, though, judging by the sustained applause at the end of the set, and the minor mobbing of the band as they left the stage. A more meaty PA system than in Salisbury, and an even more electric performance in every way, without the solemnity imposed by the church surroundings. No-one dancing, though - too busy listening. 3) The Band & Gear Cathy Stevens on 6-string Violectra - a mutant electric viola - see http://www.violectra.co.uk for more details. A faithful classical sound, most of the time, except when cranking up the effects for a more synthesised tone or shimmering glassy layers. Udo Dziezanowski on Crafty guitar, a Godin LGX-SA electric, but with a good "piezo" acoustic sound as well as triggering the synthesisers on occasion. Markus Reuter on Warr Guitar, that mutant guitar / bass beast popularised by Trey Gunn of KC. Two hands means bass parts (fat, round tone), snarling lead sound, and anything else that comes his way, from top to bottom. Alessandro Bruno, also on electric Crafty guitar, a Parker Fly with piezo bridge and whammy bar - great for swooping textures and sheets of sound, slide work, also with a great clean acoustic tone. More Electric that I had initially imagined - but who's complaining?! 4) RealPromoDemo On sale at the venues on this tour are two CDs: The Starving Moon (the 1995 DGM release), and the new RealPromoDemo, a 22-minute sampler of tracks from their forthcoming album, which is yet to be fully mixed. These are my highly subjective first impressions of the eight short tracks on the latter: Hot Metal: No, not about Web design, but the unsteady flight of a swarm of wasps drunk on music, searching for a nice hairdo to land on; shades of Bollywood; East Street Poets: Covent Garden or Greenwich Village in the autumn, Cathy exploiting the Violectra's range and tone, over a Crafty base; Improv - Marching Ants: Lurching, skittering, ambulating grooving improv - reminders of a certain recent animated movie; City of Rome: A cool drive, approaching the city, and diving into the traffic, stop-start, a walk in the park, architecture, details and growing darkness as night falls and rush hour starts again; Udo's smooth electric solos bookending the impressions; St. Francis Waltz: Masks and gowns, class and culture, and ladies and gentlemen with three legs trying to keep 5/4 time... wonderful; Improv - Chains: the "Quartet" to KC's "Trio", neither acoustic nor electric, but somewhere in-between Woodentops Two: a clash of cultures, Alessandro on slide, think Copland meets Guitar Craft. Ten Years: Markus takes the lead for a pastoral stroll through a soundscape miniature, rolling in texture; Markus also kindly gave me a copy of "Blast!", the demo CD by Centrozoon, his collaboration with Bernhard Wostheinrich (on synths and sequencers). While I haven't given it a thorough listening yet, I hear shades of Tangerine Dream, Pete Namlook, and the Orb, lost in space... Something to keep your ears open for in the future, maybe even on 12" vinyl for club release? 5) The Music Where do I start... overall, it's probably impossible to pin a label on the ESC's music, and I would suggest that if you don't have any of their albums, you have a listen to the tracks on "Sometimes God Hides" or the DGM CD-ROM catalogues. Neither the published information or the instruments they play would tell you quite enough in advance. On stage, they played pieces from both "The Starving Moon" and the "RealPromoDemo" (see below), including "Sermon On The Mount", "La Pasta" and "Little Sinfonie" from the former, and most of the latter - all with enthusiasm and taste a-plenty. Even more exciting, personally, were the several Improv pieces, an aspect of the band never emphasised before. One in particular, at the Zodiac, had me mesmerised, despite seeming to start out as a chance to play with the more exotic effects from their new gear. It had me thinking "it's not fair, why can't I sound like that when I play"! (Don't tell me, I know.) The biggest crowd-pleaser, on the other hand, was a superb rendition of the first ten minutes (or so) of Mike Oldfield's "Tubular Bells I". The ESC certainly don't need to play others' music, but it's an inspired choice nonetheless, and was all the better for being the only cover tune in the set. The sound systems at both venues were a problem, failing to convey the full range of the music, but it sounded wonderful despite this. Some might complain that it got to loud at times, but that was not too often in my opinion, and parts of the music are designed for a good thrashing! 6) Afterthoughts: If there's one word I would use to sum up the Europa String Choir, it would be "Range". Far more than most musical outfits on the road, the ESC stretched and sometimes broke the limits of both frequency and dynamic range in their music, compared to average bands - from low to high, from soft to loud, from sparse to dense textures. Neither venue or sound system could really handle them properly, never mind some of the audience, and there's definitely potential for larger venues or concert halls. For example, a genuine modern concert hall would have little difficulty supporting them, but if the planned North America club tour takes off, will someone please slip a twenty to the sound person, so that he/she stays awake and Listens? So, a long day, but a grand one. Not something to do too often, but well worth the effort. Some folks would "walk a mile for a Camel", so I have no problem spending the day on trains for music like this... Brian Thomson, London UK bnt at email dot com / bnt at ibm dot net "Red is the most joyful and dreadful thing in the universe; it is the fiercest note, it is highest light, it is the place where the walls of this world of ours wear thinnest and something beyond burns through." - G.K. Chesterton ------------------------------ Date: Mon, 22 Feb 1999 17:43:01 -0500 From: Dave Hvizda Subject: GIG REVIEW: Acoustic Adrian in Nashville I just got in from seeing Adrian at the 3rd and Lindsley in Nashville. It was a short set broadcast (locally at least ) on WRLT. He played six songs, all acoustic. The set was : Young Lions, Never Enough, Men in Helicopters, Dinosaur, Three of a Perfect Pair, and an encore of Burned by the Fire We Make. I have to thank Rob Murphree for getting the word out to those of us who could make the show. We drove about 100 miles from Huntsville Al. for the show. Before he did his set Adrian did a brief on air interview with one of WRLT's DJs ( sorry I didn't catch his name). It was a bloody good show (literally, Adrian cut his left hand and was bleeding for most of the show) It was a pretty small crowd, around 125/150 ? people. It was a release party for Salad Days, and Adrian milled around before and after the show shaking hands, signing autographs, ( yes , Adrian signed one for each of us) and generally just chatting with fans, friends an such. It was a great show , lots of energy. Well I have to be up in about five hours. I hope someone else who was at the show can put in their two cents. I'll describe some more of the show after I get some sleep. Dave Hvizda Huntsville Al dhvizda at ro dot com ------------------------------ End of Elephant-Talk Digest #574 ********************************