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 #579 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 579 Saturday, 27 March 1999 Today's Topics: RE: Fripp's doing it all over again, THANK GOD! the raging new kc debate Tippett in AVANT Greg Lake USA Vinyl passed to new owner Re: Who turned down KC? More info on P3 shows in Austin Re: KC2000 by RS Re: Sometimes God Smiles Fripp interview Re: Sometimes God Smiles Sometimes God Smiles HUMOR: Progressive Rock Would you turn down a chair with KC? re: Derek Bailey and Jamie Muir re: Fripp/ Kahn connection Fripp's Judeo-Crimson philosophy on craft ! frippisms (fripp speaks) Sartori in Tangier Fripp& Eno on the radio Re: ETalk & 3 Questions Toyah on BBC Buzzcocks? Collectors Club -- so far P1, Cirkus, XTC GIG REVIEW: Brierly Barkingside's Backhoe Band ------------------ 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: Thu, 18 Mar 1999 18:01:18 PST From: "Donovan Mayne-Nicholls" Subject: RE: RE: Fripp's doing it all over again, THANK GOD! I agree. There is no comparison between the abilities of Gunn and burrell. But I've heard DAMAGE as well as Gunn's solo albums and what really buggers me is that he doesn't have a personality (musically, that is). He's very much a Fripp clone. That's what I meant with the "uniqueness" bits. I would also like a shorter line-up and support the Fripp soloing plea. THRAK was a disapointment because it didn't build on the VROOOM promise and musicians were wasted. The eighties quartet sounded like more than just four people, while this didn't. Regarding Mastelotto, I do know of his work prior to Crimso, but the King's always had top-notch drummers and I can't picture him carrying the tradition alone. Unlike the Bruford/Muir interlude, where an already exceptional Bruford was outdated by Muir, Mastelotto has lost loads of street cred by being close to the master. ------------------------------ Date: Fri, 19 Mar 1999 10:48:19 +0800 From: Brady Drum Company / Chris Brady & Craftsmen Subject: the raging new kc debate To Peter Clinch, I couldn't have said it better. I recall Robert's diary mentioning something along the lines of 'inspiration can't be falsely manufactured', any KC that Fripp goes public with is bound to be worth hearing. He's been in this game for a while now, I think he knows (or feels, for lack of a better word) what he's doing. Derek Bailey and Jamie Muir? Iv'e visited a few DB web sites and can't find those releases. A lot of Derek's stuff is on 'underground' vinyl-only labels so chances of finding those on disc are slim. But there's a lot of Bailey web pages, check em' out, you might get lucky. Shane Brady. ------------------------------ Date: Thu, 18 Mar 1999 22:15:01 -0500 From: Chelsea Snelgrove Subject: Tippett in AVANT Greetings All: You might be interested to know that Keith Tippett is featured in the latest AVANT magazine. There's a special piano section which includes Tippett, among others. Cheers, Chelsea Snelgrove ------------------------------ Date: Fri, 19 Mar 1999 11:28:42 -0500 From: Jim_Jones at contiteves dot com Subject: Greg Lake Interesting comment about Greg in ET#575 regarding his continuation in ELP. In a recent tv program in the UK there were interviews from all the KC/ELP/YES/Asia players with the noticeable exceptions of RF (expected) and Greg Lake. Does anyone out there know what his plans are? Is he going to continue with a vocal role in light of the obvious change in his register and tone in later years. Having listened closely to the CD Then and Now I find it difficult to see how he can continue to perform a major portion of any of his repertoire be it KC ELP or whatever. Jim Jones ------------------------------ Date: Fri, 19 Mar 1999 10:23:43 -0500 From: "RAYMOND J RAUPERS JR." Subject: USA Vinyl passed to new owner I passed on the Vinyl LP to a vinyl enthusiast free of charge and held a digital copy on the Philips Audio Only CD format. The one time recordables are playable on all CD players and all CD Roms. The TDK brand are available at Circuit City for about $6.00 per one. Bulk mail order availability is about $3.25 after ship and handle. To my knowledge the USA LP is out of print unavailable in any format. I don't know of any legal or ethical reason not to offer to make ETr's copies of my disc when I am forwarded a one-time recordable disc to be returned postage due with no fees charged. Please do not forward any disc without my prior e-mail consent, I don't want to receive a mass of discs in the mail in case my suspicion that King Crimson has left a great deal of customer's needs unsatisfied by ignoring interest in this recording. My views on music ownership is best explained by the words of John Lennon: "No one owns music. It is only musicians and record companies that think they own music." Help stop the collusive actions of the record industry in restricting supply and entrance to the music industry at all levels. $17 a disc is only sustainable in a non-competitive environment and most bands are shut out of the market at these price levels. The cost to the customer (not audients) is the inaccessability of progressive bands and the theft of all things humanly related to the power of music. Again technology offers the customer a voice and brings some leveling to the playing field. Peace, Raymond ------------------------------ Date: Fri, 19 Mar 1999 09:38:43 PST From: "Michel Champagne" Subject: Re: Who turned down KC? According to RF's notes: When the Islands band was being assembled, (January 1971), Rick Kemp was offered the job of bassist (Boz had already been retained as vocalist) and quit after a two week trial. Subsequently, the decision was made that Boz would be vocallist and bassist, and RF taught Boz how to play bass . One week later, John Wetton phoned looking for work! In late October of the same year, Wetton visited Boz's flat, with the rest of KC present. RF says he had hoped that JW would stay on and let Boz concentrate on vocals, but Wallace, Collins & Boz wanted Boz to stay on bass. Wetton apparently saw the handwriting on the wall and declined. Ten months later, though . . . Also recall that RF was the first choice to replace Peter Banks in Yes before Steve Howe was approached. He declined (of course)! ------------------------------ Date: Fri, 19 Mar 1999 12:59:38 -0600 From: Walter Daniel Subject: More info on P3 shows in Austin ETers, Griff at the Cactus Cafe emailed me with a bit more info on the upcoming P3 shows (Monday and Tuesday, 22-23 March). Tickets will be held only for out-of-towners. Doors open at 7:30 PM and the show starts at 8:00 PM. Cost is $17. If you arrive a bit before the doors open you should have no trouble getting in. The Cactus Cafe is on the University of Texas (http://www.utexas.edu) campus in the student center on Guadalupe Street ("the drag"). If you're arriving by air, the #20 bus runs from the airport to the eastern side of the campus and the drag is on the western side. One-way fare is $1. The Austin Chronicle, a weekly "alternative" newspaper, ran a big SXSW music preview in the 18 March issue. On page 46 there is a quarter-page photo of Mr. Fribble with the caption "Projekct [sic] Three's Robert Fripp." Here's the paragraph about the Sunday night SXSW show: PROJEKCT THREE: King Crimson's problem is getting all six of its busy and gifted musicians together to record and perform. Founder Robert Fripp's answer is to break the group into fractals [sic]. Loosely hailing from Salisbury, England, ProjeKct [sic] Three is the third such group, comprised of Pat Mastelotto (drums), Trey Gunn (touch guitar), and Robert Fripp (guitar). The trio functions as proving ground for Crimson writ large, so expect more improvisations and fewer crafted, Crimson-like songs. (Electric Lounge, 9:30 PM) What does "crafted, Crimson-like songs" mean? The writer must never have heard THRaKaTTaK. If memory serves, the last time a Crimson unit appeared here in Austin was the Double Trio show of November 1, 1995, at the Austin Music Hall. There was a good crowd that night (200?) and the performance was fantastic. No, I won't be the guy yelling out "Bruford!" during the P3 show. I might get confused, however, and holler "Supper's Ready!" Walt ------------------------------ Date: Fri, 19 Mar 1999 16:20:11 -0600 From: "Grant Colburn" Subject: Re: KC2000 by RS On the previous ET: > Fripp was talking about the Nashville rehearsals costing > $30,000. How? Now a days, you can record a high quality > album for less than that amount. I have a feeling when one is dealing with the 6 members of KC, members aren't car poolin' in a VW van and "crashin" on Adrian's living room floor. You are probably bringing over Fripp and Bruford from England and paying for the airline tickets, also hotel accomodations for at least 4 members, plus airline tickets from where ever Levin, Mastelotto, and Gunn are coming from in the US, plus Adrian's studio may or may not be large enough to rehearse a 6 piece band which would require rented rehearsal space. Then chances are that the members don't move and or set up their own equipment much anymore, at least not entirely. Then maybe the Crimson fund feeds not only the 6 members for the 2 weeks but also any crew which may be along including the guy to record all rehearsals (which I think is always done). Whether this all adds to $30,000 who knows but I bet it ain't cheap! > Also, Fripp says that he was frustrated by the the >Nashville sessions because his 2-3 pieces were not >completed or even worked on much. I think it is unrealistic >to expect a 6 member band to nail any decent song(s) in a >week or two, especially if they haven't play together in >awhile. This doesn't necessarily mean that the pieces written by Fripp were 100% finished either. But regardless, if one knows time is scarce to work, extra effort should be expected to make it count as much as possible. >Finally, in his letter to Bruford, Fripp claims that it >would be unfair and unrealistic "burden" to expect him and >Ade to have new material in a couple monthes. Why? Didn't >the tandum write most of the 80s CDs? > It just sounds to me (I could be wrong, feel free to >disagree) that Fripp is hesitant to write and publish new, >structured, and band oriented music. Why? If your a >fulltime musician, you should have the time and energy to do >it. I somewhat understand the cost issues (time and money) >but those objections are really crappy. In this day and age, >there is no reason you can't produce your own quality CDs >from start to finish by yourself. Granted, my band is not on >the scale of KC, but we are doing it. Anyone else agree? Let us not forget that Fripp is also the head of his own record label, shall we? Without knowing the style or complexity of RS's band, something tells me that it IS a BIG burden to try to write Crimson material worthy to be called Crimson yet also unlike anything Crimson has done before. Also, if I read the letter to Bruford correctly, I think Fripp was planning on throwing out most of the material attempted at the $30,000 rehearsal since no one seemed overly enthused by it. And beyond that, I think Bruford wanted new material finished to record and tour within the next 6 months. Though the difficulties of Crimson often amaze me, I always take Robert Fripp at his word when he says things are more difficult than we can know. Considering Crimson is his baby, why would he say these things if they weren't true? ------------------------------ Date: Sat, 20 Mar 1999 15:26:49 -0500 From: "Jake Hayes" Subject: Re: Sometimes God Smiles >I am considering ordering the Disciple Global Music Sampler >vol 2 "When God Smiles". I see that it has 30 tracks on 1 >CD. Are these just pieces of songs or are they complete >songs? As far as I know, most of the songs sound fairly complete. However, having recently purchased 'Salad Days' by dear Adrian, I discovered that 'Never Enough' (one of the thirty tracks on SGS) is indeed an abridged version. However, in my opinion SGS is an excellent compilation and well worth the money. -Skarekrow ------------------------------ Date: Sat, 20 Mar 1999 17:21:53 -0500 From: James Hannigan Subject: Fripp interview There is an interview with Robert Fripp in Seconds Magazine. I'm guessing it's new, but there's no date given. One of the lutanics from Marilyn Manson is on the cover. An interesting interview, nothing earth-shattering. He does mention that he would like to play with Vernon Reid. - Jim ------------------------------ Date: Sat, 20 Mar 1999 15:26:49 -0500 From: "Jake Hayes" Subject: Re: Sometimes God Smiles >I am considering ordering the Disciple Global Music Sampler >vol 2 "When God Smiles". I see that it has 30 tracks on 1 >CD. Are these just pieces of songs or are they complete >songs? As far as I know, most of the songs sound fairly complete. However, having recently purchased 'Salad Days' by dear Adrian, I discovered that 'Never Enough' (one of the thirty tracks on SGS) is indeed an abridged version. However, in my opinion SGS is an excellent compilation and well worth the money. -Skarekrow ------------------------------ Date: Sat, 20 Mar 1999 11:48:55 -0800 From: "Andy Gower" Subject: Sometimes God Smiles >I am considering ordering the Disciple Global Music Sampler >vol 2 "When God Smiles". I see that it has 30 tracks on 1 >CD. Are these just pieces of songs or are they complete >songs? >Keith Enstrom >enstrom at worldnet dot att dot net Belew's "Of Bow And Drum" from Op Zop Too Wah cuts about 1 minute Bruford Levin's "Original Sin" from Upper Extremities cuts about the same Otherwise all of the songs are full length (as far as I know) There are some short songs of course: 42 second piano piece by Bill Nelson 28 second soudnscape by Fripp 50 second version of 21CSM by ProjeKct Two 18 second interlude by Bruford Levin I really enjoy this sampler. Great variety and really neat sounds from ProjeKcts, Bill Nelson and Fripp. 30 songs, 72 minutes, it's all good! Andy Gower http://www.geocities.com/SunsetStrip/Arena/2763/index.html ------------------------------ Date: Fri, 19 Mar 1999 14:32:51 -0500 From: "Stober, Karen E, SITS" Subject: HUMOR: Progressive Rock Great laugh! Karen E. Stober karen1 at mail dot idt dot net http://idt.net/~karen1/ How To Be a Great Progressive Rock Reviewer In 10 Easy Steps =========================================== Reviewing progressive rock albums can be simple. Are you tired of agonizing over the right words to use? Confused about your subject matter? Or are you just a lazy pig? Then use the following tips, and prog rockers everywhere will believe your every word. Trust me. Each tip is followed by an example so you can see exactly how it's done. (1) In every review, you MUST praise the Mellotron. Always describe it using the word "wash." "Gentile Goyim's keyboardist, Kerry Mayonnaise, treats the listener to spectacular, warm washes of everybody's favorite Mellotron." FOR BONUS POINTS, also mention the Hammond B-3, and imply violence. "Greg Palmer's raw, two-fisted Hammond work pierces the listener's eardrums with sonic knives." EXTRA BONUS POINTS if you mention either of these instruments, and they don't actually appear in the music. "On the road, King Creampuff's keyboard setup consists of grand piano, harpsichord, and several analog synths, but strangely, no Mellotron." (2) Any band that uses cello automatically gets a rave review. For bonus points, use the word "haunting." "As the music fades, a haunting solo cello appears out of nowhere, accompanied by a trio of Mellotrons, washing away." Subtract ten points if you compare the music to "Eleanor Rigby." (3) If the music has flute in it, compare it to Jethro Tull. It doesn't matter that the music is really death metal, chanting monks, or atonal birdsong: YOU MUST MENTION TULL. For extra points, mention Camel too. "Paraan's music features Hyperia Gomez on flute, inviting comparison to Jethro Tull or Camel, even though the flute's main use is as a handy mallet to bang several large gongs." (4) You don't have to bother describing the music. Just list the instruments and let the reader imagine the rest. "From out of New Zealand comes Genghis Ka-Ka, one of the finest prog bands I've ever heard. If you are a fan of acoustic guitar, haunting cello, and explosive, annihilating Hammond B-3, you MUST check out this album." (5) Mention the length of at least one song. Extra points if you call it an "opus." "Side 2 of the album is completely taken up by 'Ode to Bowser', a 22-minute magnum opus based on the theme from 'My Dog Has Fleas.'" (6) Casually mention the name of an extremely obscure band that one of the musicians used to play in, making your reader feel REALLY stupid or disloyal for not knowing it. "... featuring Sergio Blammobarpher, whom fans will no doubt recall as the charismatic ex-triangle player from ubiquitous Icelandic proggers Hund Extinctski Thirstifollicle." THE CUNEFORM COROLLARY: put completely obscure band names in parentheses for extra points. "Rounding out the group's sound is Bridgid Kirsch (Dootwhapper, B'nai Gwelzh) on freshly washed Mellotron." (7) The Syn-Phonic Rule: Praise every album by calling it the "best" example of a totally contrived category. Don't forget the exclamation points. * Museo Rubenstein, PASTAFAZOOL ($18). Possibly the ultimate Eskimo bassoon band of all time!!!! (8) If a progressive album features very long, drawn-out, incredibly repetitive, boring instrumentals, call it "space music." "Space rockers Mimsy Borogoves specialize in atmospheric drones that last upwards of four hours before switching notes." (9) Use abbreviations known only to seasoned proggers. "Zyzzyva's music is a thrilling blend of PFM, HTM, RIO, TNR, ZNR, and PDQ Bach." (10) Every keyboard/bass/drums trio MUST be compared to ELP. Every quiet, symphonic prog album MUST be compared to PER UN AMICO. All raw, loud music MUST be compared to King Crimson's RED. All counterpoint MUST be compared to Gentle Giant. Bonus points if it sounds nothing like Gentle Giant. Every "old Genesis style" band MUST be compared to Marillion, not Genesis. Every male vocalist with a high voice MUST be compared to Jon Anderson. Every female vocalist, regardless of range or style, MUST be compared to Annie Haslam. Every band that uses sudden, unpredictable tempo and time signature changes MUST be compared to Barry Manilow. "Angled Guard, Sweden's newest prog sensation, combines the beauty of PER UN AMICO with the rawness of RED, producing a progressive, symphonic extravaganza that could only have come from Marillion. Lead singers Jon Haslam and Annie Anderson are pictured on the album cover, inserting twin flutes up Barry Manilow's nose... taking the instrument far beyond anything Camel and Tull ever did." ------------------------------ Date: Sat, 20 Mar 1999 21:31:35 PST From: "Spear man" Subject: Would you turn down a chair with KC? As I recal David Sylvian turned down a 'chair' with KC. Something to the effect of 'given the history of KC, Robert, no thanks. And as a result, a great Fripp/Sylvian tour. --Thomas ------------------------------ Date: Sat, 20 Mar 1999 15:56:30 EST From: Biffyshrew at aol dot com Subject: re: Derek Bailey and Jamie Muir Eno1one at aol dot com wrote: >Does anyone have information on the collaboration between >guitar player Derek Bailey and King Crimson's very own Jamie >Muir? There is a CD that exists. The album is titled _Dart Drug_ (at least on the CD; the LP is either _Dart Drug_ or _Dark Drug_ depending on whether you believe the cover or the label). It was recorded in August 1981 and originally released on LP as Incus 41, and more recently on CD as Incus CD19. The tracks are "Carminative," "I Soon Learned To Know This Flower Better," "Jara," (titled "Jaja" or "Ja Ja" on the LP cover and label respectively), and the 22-minute "Dart Drug" (titled "Dark Drug" on the LP). For some strange reason, the CD version of "Carminative" is about three minutes shorter than the original LP version, the missing section being the beginning of the LP track. Get On Down, Biffy the Elephant Shrew http://members.aol.com/biffyshrew/biffy.html ------------------------------ Date: Sun, 21 Mar 1999 21:58:32 +0000 From: gomez Subject: re: Fripp/ Kahn connection ET readers might like to join in current speculation about the connection between our favourite - RF - and the american architect Louis I. Kahn. Kahn died in 1974, the same year as J.G. Bennett, and so personal contact between Kahn and the Frippster is unlikely. However, on the plane of ideasi it seems that there is a cosmic html link between those meta-ideas espoused by the Frippster and those proffered by Kahn during his years of teaching at Yale, Harvard and the University of Philadelphia. Examples as offerings neither conclusive or true in any way, are presented in the form of a little-known conversation between Fripp and Kahn as follows: Kahn: ...consciousness is a prevalence which needs an instrument to play on.i Fripp: ..Music is a benevolent presence constantly and readily available to alli Kahn: ...When you see the pyramids now, what you feel is silence. As though the original inspiration of it may have been whatever it is, but the motivation that started it - that which made the pyramids -is nothing but simply remarkable. To have thought of that shape as personifying a kind of perfection, the shape which is not in nature at all, and striving with all this effort, beating people, slaves, to the point of death to make this thing. We see it now with the circumstances gone, and we see that when the dust is cleared, we see, really, silence again. So it is a great work....i Fripp: ...Music is the architecture of silence. Kahn: ...Art is the making of a life. Nature only expects you to obey the laws of nature. If you get in front of a truck, you are soft and the truck is hard, and you're a dead duck. There is no sympathy for you whatsoever. And the patterns are made by the interplay of the laws of nature, which work in unison not isolation, will make wonderful designs - but they are unconscious designs. We make conscious designs because we can choose at random, as the author does in building a story that has its own life. Craft objects, such as the spoon, the hatchet, a piece of silverware, of crockery, a work of architecture, a book, must, to be called works of man or expressions of man, contain the presence of a life...i (Kahn : Talks at First Congress of Craftsmen, June 1964 ) Fripp: ...Music is a mirror of who we are.i Kahn: ...I felt first of all Joyous. I felt that which joy is made of, and I realised that joy itself must have been the impelling force, that which was there before we were there, and that somehow joy was in every ingredient of our making. When the world was an ooze without any shape or direction, there must have been this force of joy that prevailed everywhere and was reaching out to express...i Fripp: ...Discipline is a vehicle for joy.i Conversation between Fripp and Kahn, published in somewhat altered form in VIA 10 Ethics and Architecturei 1990 Jim Gomez ------------------------------ Date: Sun, 21 Mar 1999 17:41:47 EST From: PKANE69 at aol dot com Subject: Fripp's Judeo-Crimson philosophy on craft ! Shalom fellow Crimites, There is a wonderful article on Robert Fripp in a magazine called : SECONDS, issue no 48., The web site is at (www.secondsmagazine.com). It is a 6 page interview with some black & white photos of him & group shots of various incarnations of the Crim. Here is just a snippet of the interview that might catch some fellow Jewish fans as well as any fan for that matter. SECONDS: The idea of craft resonates with me, because it seems to fly in the face of much of the current aesthetics of music. I hate to shove things into categories- FRIPP: But we will. SECONDS: Yeah we will. In Electronica, for instance, you have a growing population of musicians to whom craft is not essential to being able to create-at least not musical craft or proficiency on an instrument- FRIPP: It's a different instrument. A craft is developed with that particular instrument; there will be certain advantages & certain disadvantages-like you won't be able to turn up at a Bar Mitzvah & play "Hava Nagilah" & you might turn up with a whole pile of equipment, & it might be in the memory someware, but- I had 3 years playing in a Jewish hotel, playing Bar Mitzvahs & so on, & it wasn't- I mean I never found an emotional resonance with the music, but it was an experiential background that i found very groundful. I dont know what the equivalent for an Electronic musician would be. How do you go out there for 3 years & get your chops down, responding on demand with that particular instrument ? SECONDS: What do you see in the future for Electronica & DJ- based music ? Do you see it as a passing fashion, or do you see it intergrated into band structures ? FRIPP: I think it will be intergrated, within ways that we can't quite see at this time. In 1967 I took a fuzzbox & volume pedal into my work in the Jewish hotel, in the dance orchestra, & the saxophone player- who was one of the finest musicians I ever played with, world- class though no one will ever hear of him- the saxophone player really looked down on the fact that i had the volume pedal & fuzzbox. & in his work, it would never be intergrated, & in my generation it was. It was integrated in such a way within the music that it was seamless. Some young character will come along -what it requires is a genius who will re-write the entire direction of the electric guitar, or the guitar per se, but you need a particular man or group of people & women, & women increasingly- to bring normal perspectives in, & the new generation will absorb it & 7 years later it will be there. Well thats all for now. Im off to eat my bagel & crim cheese. (Cant resist those dumb puns). Stay well & let the crimson beat go on for all. Paul from da Bronx N.Y. ------------------------------ Date: Sun, 21 Mar 1999 23:30:55 PST From: "Spear man" Subject: frippisms (fripp speaks) Fripp<--Busy guy indeed: (my apologies if this has already been mentioned here--spearman) Pulled this off Patricia Fripp's website (fripp.com) Announcing Robert Fripp Speaking Tour If you think he's a great guitarist - you should hear him talk about: The State of The Music Industry. How to Run an Ethical Business during Unethical Times. Confessions of a Gigster: "How I got locked out of my hotel room without my trousers and other tales of woe from a working musician." Cecil Beaton's Home: My House the Money Pit. Inside Secrets of Renovating a 400 Year Old House. For more information email PFripp at aol dot com. Coming Soon: Cassette Album "Robert Fripp Unplugged." Live impromptu talks after Robert Fripp's solo performances. Hear Robert be funny, contentious, brilliant, insightful & very silly. ------------------------------ Date: Mon, 22 Mar 1999 07:17:45 -0600 (CST) From: Todd Madson Subject: Sartori in Tangier Dmitri asked for some information regarding Sartori in Tangier, the exciting instrumental track from the "Beat" release by King Crimson. Besides interesting playing from all the participants, the title is an anagram for "String Riot in Aria." FYI -Todd ------------------------------ Date: Mon, 22 Mar 1999 09:58:47 -0500 From: Michael McGrath Subject: Fripp& Eno on the radio Hello Crimsoids: I found a CD yesterday at Bleeker Records in NYC called Brian Eno & Robert Fripp Live In London 1974 & Paris 1975. It is on the Super Golden Radio Shows series, #040, and distributed by SGRS (super golden...). It is an Italian import. I've yet to hear it today, but will let you know. SGRS has loads of great stuff, including Roxy, Lou Reed, Genesis, and several Bowie's, all from the early to late seventies. Hopefully the acoustics are good on them. I haven't posted in awhile, and was last seen as Frippless here. Just wanted to keep my friends informed of certain finds out there. Hope all's well. ------------------------------ Date: Mon, 22 Mar 1999 12:09:39 EST From: DanKirkd at aol dot com Subject: Re: ETalk & 3 Questions In ET 577 Joe Basile wrote: > 1)Saw a Michael Mannering CD > listed in the Crimson rack at Circut City. It was listed on > Magna Carta Records. Anything to this? A few months ago you may recall Robert Fripp mentioned that a copy of a DGM Club release had been seen on sale at a Seattle area Circuit City, and asked for anyone who could to check into that. In response I ventured into a nearby Circuit City and although I saw no evidence they had or were selling a club release, I too noticed the Michael Manring CD in the King Crimson section. So I asked Circuit City about it and they looked it up in their catalog and that CD was actually listed as a King Crimson release. I assured them it wasn't, yet they would not correct the error. Obviously someone thinks this will help sell this CD, although it is a little much to not only stick it in the KC section, but I also remember seeing the sticker label on the side attributing the CD to King Crimson. For more info on the CD in question go to http://www.zaks.com/magnacarta/magcar20.htm . Dan ------------------------------ Date: Mon, 22 Mar 1999 14:09:18 -0500 From: Stewart Murrell Subject: Toyah on BBC Buzzcocks? Are my old eyes deceiving me, or was that the lovely Toyah on the trailer for this week's "Never Mind The Buzzcocks"? (Hmm... wonder whether they'll have her husband on the "Where Are They Now?" round...) ------------------------------ Date: Tue, 23 Mar 1999 10:40:58 +1200 From: David MacLennan Subject: Collectors Club -- so far I've just received the third Collector's Club disc, (KC @ Bremen 1972), so I thought I'd post my impressions of the Club releases so far. Overall, the Club releases have lived up to my expectations. Fripp warned us about the sound quality of some of these, and so I was prepared for the worst. However, so far they've been better than I might have hoped -- not brilliant, to be sure, but the performances shine through, and that's the main thing, surely. CC#1 - King Crimson Live at the Marquee 1969: Sound-wise the worst of the three to date. Several tracks, notably 21CSM and Epitaph, are incomplete, and the much-vaunted Trees is almost unlistenable in places. But what a performance! In 1969, these guys had no peers -- they were streets ahead of any other rock band of the era, in both intensity and musical inventiveness. The last part of this disc (barring Trees) is the most interesting (the Improv/Travel Weary Capricorn/Mars section). Hearing them doing throwaway boogie riffs and the old standard Nola in amongst all of this showed that it wasn't all brow-furrowing intensity. Mars positively shreds -- Beast! Beast! And of course, hearing a live I Talk to the Wind makes up for not having this on Epitaph, even if it is a somewhat diffident version (slightly different arrangement too). CC#2 - King Crimson Live at Jacksonville 1972 This is the one I've enjoyed the most so far, I guess because it's an incarnation of the band that we've heard little live evidence of (only the long-deleted Earthbound), and I'm a big Lizard/Islands fan. Sound quality is better than the Marquee disc, but still pretty ropey in places. Mind you, it's better than Earthbound sound-wise, and gives a good indication of how Earthbound might sound when remastered. Good to hear a live version of Cirkus (albeit a fairly plodding one), but the highlight is Formentera Lady/Sailor's Tale. The former is almost funky in places as they head off into a jazzy groove after the song part ends. Fripp was right: this was a blowing band, as opposed to an improv-strong band like the 73-74 one. Indeed, Fripp seems to take a back seat for most of this album, only really coming to the fore on things like 21CSM and Sailor's Tale. Mel Collins is the star here, no contest. CC#3 - King Crimson at the Beat Club Bremen 1972 Eight months later and an all-new KC hits the road. When judging this disc, one has to remember it is a band in its infancy, and like all infants it has a tendency to trip over or run into things repeatedly. It is the sound of a new band finding its feet. The rambling half-hour improv that opens the set is not very cohesive, but there are some great moments, and hints of tracks to come. Some lovely Fripp playing about 12 minutes in over a gentle backing from the rest. Exiles is a bit thin-sounding, and LTIA1 is truncated. Sound quality is the best of the three, but it is in mono. The real interest is that this is the only official live recording to feature Jamie Muir. I'm assuming the more normal drum sounds are Bruford, while all the other crashing about is Muir. He certainly added some colour to things like LTIA1 and in the improv. An interesting exercise is to play this disc followed by The Night Watch -- a mere 13 months separates the two recordings, but what growth there had been in the interim! Overall, I've been pleased with all three discs. Hearing all these live recordings that have been released over the past few years, starting with The Great Deceiver and continuing on through The Night Watch, Absent Lovers and the Collectors Club releases, has given me a new insight into a group I thought I already knew pretty well. More revelations are doubtless to come. Long Live the King! David Maclennan ------------------------------ Date: Tue, 23 Mar 1999 13:59:02 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: P1, Cirkus, XTC Hello everybody, I have posted the question on the DGM guestbook to try and get an answer from those who know, but after the recent P1 "Live at the Jazz Cafe" review I thought it could be of interest to a lot of you. In the CC#3 liner notes, you can read that at least two tracks on the future boxed set P1 release have been remixed after the masters were sent to Pony Canyon. So the two editions will be different, and which tracks differ is not known for the moment. As a KC/P completist, I am quite sure I will acquire both editions. Any news on the release date of "Cirkus" ? On an unrelated topic, the new XTC album after a seven years strike (!) to get out of a corrupt Virgin deal (sounds familiar to anybody?) is out now, and it's a beast! This may not be everybody's cup of tea here, they are no prog-rock pond scums set to bum you out, they do not tour, they heavily rely on carefully written/orchestrated pop pieces/nursery rhymes in the Beatles/Beach Boys/Kinks tradition with some interesting experiments in cyclical writing, but hey! Pat drummed for them back in 1989 and contributed a track on their 1996 tribute album, and Adrian loves them and was eagerly awaiting this new release. And remember: Barry Andrews came from XTC when he played on Exposure and was asked to join the LoG. "Apple Venus vol. 1" has almost nothing in common with what XTC did back in 1978, but Andy Partidge and Colin Moulding are killer songwriters/composers. This new "orchoustic" challenging release is a must listen for any "serious music lover", and I guess it's quite crowded there! (and BTW, their entire back catalog is top notch - full of dense compositions and inventive guitar work). I have read somewhere (Adrian's site?) that a Belew/Partridge collaboration may occur sometime.... WOW! I will be the first in line... _________________________ Laurent Masse masse at geocean dot u-bordeaux dot fr Universite Bordeaux I tel: (33) 5 56 84 28 24 Departement Geologie et Oceanographie UMR CNRS 5805 EPOC Avenue des Facultes 33405 TALENCE cedex FRANCE _________________________ ------------------------------ Date: Mon, 22 Mar 1999 10:11:52 +0000 From: Peter Clinch

Subject: GIG REVIEW: Brierly Barkingside's Backhoe Band Earthworks not only playing in Edinburgh, but only a few weeks after CGT. Wow! At this rate I'll expect to find the Double Trio busking outside Tescos when I go shopping one day... Turned up having made the safe assumption that jazz == not sold out, and got a table seat just in front of the mixing desk at the Queen's Hall, a very good venue which combines comfort and atmosphere very well, and has a habit of putting on v. good gigs. Armed with a pint of Guinness in a glass glass, I made my way in and sat back to enjoy the show. There was a support band, a quartet to whose leader I must apologise for forgetting her name (Laura McDonald???). Not that she was forgettable, but I just have a terrible memory for names... she played a good alto sax, alogside a terrific pianist and a useful pair on bass and drums, the bassman (sorry, name gone again) shared with Earthworks. That was a short but enjoyable set, an interval and then Bill & Co. took the stage. Bill introduced numbers in his laid back style, presenting a mix from Earthworks albums past and present, plus a reworking of "If Summer Had Its Ghosts" from the Bruford/Gomez/Towner outing. All the material was good and the playing was superb, everyone meshing very well as a band: minor criticisms were the bass getting a little lost in the mix at times, and it was a shame for the accoustic numbers (generally from the new works) that the grand piano sat behind Steve Hamilton went unplayed while he used his (presumably better monitored) electronic keyboard for a piano sound. Very minor quibbles though, but a more annoying feature was no encore... plenty of applause going on, but the house lights came up and muzak over the PA just about as soon as they were out the door. Hey ho. The whole band solo excellently with a good combination of swing and gusto, and as long as you like jazz are well worth a ticket if they're nearby (didn't regret my 60 mile trip to see them). Bill said he'd be happy to sign CDs too, if you're an autograph hunter. I'm not, had bought the CD direct already and would've missed my train, so I headed straight off rather than go and blether with the band. Good night out. Pete. -- Peter Clinch Dundee University & Teaching Hospitals Tel 44 1382 660111 ext. 33637 Medical Physics, Ninewells Hospital Fax 44 1382 640177 Dundee DD1 9SY Scotland UK net p dot j dot clinch at dundee dot ac dot uk http://www.dundee.ac.uk/~pjclinch/ ------------------------------ End of Elephant-Talk Digest #579 ********************************