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 #580 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 580 Saturday, 27 March 1999 Today's Topics: Looking for Music Review Sites Michael Quatro and Bungalow Bill Feeling Belew Audio reproductio thru the ages Exiles' Flute - A Clue? Giles and V-drums stick Professional vs. non-professional musicians Gitbox Adrian Belew in Guitar Shop magazine More New Lineup Thoughts (Just what everyone wants to read!) What's eating Robert Fripp? KC live in France '82 HELP!!! Bad Co; new KC formation; Jamie Muir and Derek Bailey; Fripp in LA Weekly Fripp in LA WEEKLY Reaction to New Line Up Crimso '00 A correction GIG REVIEW: P3 at the Cactus Cafe 3/22/99 GIG REVIEW: A little ProjeKct Three report. . . GIG REVIEW: p3 at Austin GIG REVIEW: ProjecKt 3 at Antone's (Austin 3/25/99) ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com or use the DIY list machine at http://www.elephant-talk.com/list/ To ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.htm You can read the most recent seven editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest system v3.5b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Fri, 26 Mar 1999 00:03:03 EST From: DanKirkd at aol dot com Subject: Looking for Music Review Sites I'd like to tap ETers web site knowledge, if I may, to discover as many sites as possible that DGM could contact to suggest/propose reviews of DGM releases. I'm sure a lot of you are familiar with the best and most appropriate sites, more so than I am, sites whose audience would be interested in DGM artists. Please send suggestions and recommendations directly to me at DanKirkd at aol dot com. Thanks much, Dan ------------------------------ Date: Tue, 23 Mar 1999 09:38:26 -0500 From: Jim Bailey Subject: Michael Quatro and Bungalow Bill Greetings one and all, Time has once again granted me a rare opportunity to increase the vast store of knowledge that is ET. Regarding Mr. Quatro, the album is called "Paintings," and he performs ItCotCK. Be warned, however, that his vocals are on a par with Dave Lawson of Greenslade (i.e. rather flat). Not only that, but he completely drops the last verse! Otherwise, the performance is not bad, and the album does have its moments, especially the title track. Regarding The Nuge, he does play on the album, but I don't believe he's on ItCotCK. His guitar abilities are admirable; pity the rest of his brain doesn't work nearly as well - mostly in regard to animal hunting and firearms. Although the subject seems to have died a natural death, I thought I'd add an interesting side-bar to that "Bungalow Bill" thread. In the January '99 issue of Mix magazine there is an interview with producer Chris Thomas (hey, I know they burned me with that Geof Workman bit on KC a while back, but this one I DO believe). In it, he says: "I've been very fortunate in the sense of having ridiculous fantasies come true - for instance, playing live [mellotron] with the other four Beatles on 'Bungalow Bill' with George Martin up there producing." So now we know who played that riff for them, who played it for KC? Alright, you can put that one to bed now. Until we meet again, Jim Bailey ------------------------------ Date: Tue, 23 Mar 1999 06:49:06 -0800 From: Eric Kirchner DDPIL Subject: Feeling Belew I've enjoyed Belew's work, whether it be solo or with KC, for many years. But after listening to Beat again last night, I've never heard him subsequently match the vocal intensity of Neal and Jack and Me. His guitar work has occasionally grabbed me by the shirt since, but damn he was powerful on that track and elsewhere on that release. The new lineup for KC will be fine (God, I just hope that there will be some STRUCTURE after a steady diet of ProjecKt R&D), but I would love to hear Belew bring it like he did on Beat. Regards, Eric ------------------------------ Date: Tue, 23 Mar 1999 11:10:20 -0500 From: "J. Macon Patton" Subject: Audio reproductio thru the ages As much as I like picnics...I grew up with skunks in Great Falls, Virginia. Ahhh, the aroma of road kill. I think that there is still a huge variety in how we listen to music (more or less) privately. We have small radios, nice stereos, really nice stereos, and in some cases really "top drawer" systems. All of these would be mono or stereo. We have TVs, PCs, 40" tubes, 100" screens. Backed by a plethora of decoders, this would be "a computer with great software/drives" ,"home entertrainment" or "full blown home theatre". I think there is a difference in Lps v. CDs v. DVD's v. DATs. I think there is a difference in a $1,000 stereo and a $10,000 stereo and a $100,00 stereo. The same goes for computers, and "Home Entertainment". I hope I'm clear in my distinction of a HiFi System v. Home Entertainment...computers speak for them selves. Right now those of us who are still happily hanging on to our LPs, realize that Cds are quite acceptable after 15-20 years of learning and technology. Now we have DVDs and Dolby 5.1, DTS etc ... no standard and we get corporate fights over who's encoding/decoding is the best...remember Beta v. VHS - Beta was better but Sony had little software. JVC won with VHS. It will take some more time for the digital delimma to polarize and then we'll be "back where we started, here we go round and round" (thank you Ray Davies). Something else is always on the way! If you consider yourself an Audiophile, enthusiast or happy with a walk man - buy what you need. If you are like me, and possibly my email pal that will come back in another life, (possiblly as a skunk!) We/I probably need 2 systems for listening. The "high end" (if that's what suits you) for "sitting down with the stereo" and a "system capable of decoding the everything available with a TV in the middle". (Remember a big Center Channel is a must...not to mention the hardest to encode.) I think we are all happy just to have the boys on a different kind of format, to me that's what makes it fun. Of course there's nothing like the fleshy sound of a live show! (Makes me wonder - what do you prefer to listen to at live performances - Stereo output from the board, 5.1, Q Sound...or just some waves without amplification past body muscles? I like all of them - Pink Floyd's last? tour through the US sounded great in Death Valley at Clemson University and the sound surrounded us. Widesperead Panic sounded great at Blockbuster Pavillion in stereo. The choir at church sounds just fine acapella(sp). Please don't mic. an orchestra, live...IMO. "Far Out Son of Lung and the Ramblings of a Madman" Give us Peace in Kosovol where ever breath is not taken forgranted - WE are so damn lucky! Macon ------------------------------ Date: Tue, 23 Mar 1999 12:32:44 PST From: "phil toudic" Subject: Exiles' Flute - A Clue? Dear ET: A longstanding mystery in the FAQ category is, "who's playing the flute part on Exiles?" Last time I checked the FAQ, the mystery had not been completely resolved. I've had Collectors' Club # 3 for a week or so now, and since no one has posted on the subject, I'll take a stab. About two-thirds of the way through the improv The Rich Tapestry of Life you can hear a ... yes, it's definitely a ... LIVE flute solo, and not a mellotron flute sound! Since only Cross, Fripp, Wetton, Bruford and Muir are listed in the CD credits, I presume one of them was playing flute. Further, the only one of the five clearly not otherwise occupied during the flute solo is Cross. (Behind the flute solo you can hear guitar, bass, drums, and flute, but no violin or mellotron.) So one guess is that it's Cross. It would fit the sort of multi-instrumentalist role of a violin/keyboard player in a rock band. On the other hand, there's a possibility that Bruford is holding down the percussion section alone at that point. I don't hear any of Muir's "funny sounds," but it's kind of hard to tell whether one or two are playing percussion behind the solo. So Muir is another possibility. The overblown, "wild-thing" tones coming from the flute would suit the on-stage personality of "wild man" Muir. Based on the observations above, my guess is that the flute part on Exiles was the work of either Cross or Muir, and not of a non-member (or former member) of the band (e.g., Mel Collins or Ian McDonald). My personal guess would be Cross, based upon my perception of him as a multi-instrumentalist who could probably play several instruments, if only a bit of flute. (I'm probably wrong, par for the course.) Any thoughts on the subject out there? Can anyone tell if Muir is adding percussion behind the flute solo? Seeya, - Phil T. ------------------------------ Date: Tue, 23 Mar 1999 16:08:09 -0800 (PST) From: Roger Curtis Subject: Giles and V-drums Bring in Mike Giles and let him play V-drums. This would keep the new Crimson interesting while still being electronic. - Roger Do You Yahoo!? ------------------------------ Date: Tue, 23 Mar 1999 17:56:53 PST From: "Jed Schorr" Subject: stick I have a picture of Patrick Stewart (Picard of Star Trek fame) playing a chapman stick from the Dune movie. Anybody seen this? I looked it up in the ET archives but to no avail. here is my link: www.vbs.vt.edu/staff/benfield/picardstick.jpg ------------------------------ Date: Wed, 24 Mar 1999 10:13:13 PST From: "Nomad Stem" Subject: Professional vs. non-professional musicians ET regulars are familiar with Fripp's diary writings about unsolicited tapes and CDs and such. For example (there are many), in a September entry he wrote: "Please, unless you are a recognised professional (on whatever level) do NOT send me your tapes / CDs. DGM cannot establish an artist: the artist establishes themself. If you really need my advice, come to a Guitar Craft course - that's one of the reasons we hold them. If you're not prepared to do that, you don't really need my advice. Play live: be superb. Recording at home isn't enough if you wish to find an audience - isn't that obvious? If you love music, be an amateur / semi-pro. We do NOT become professional because we want to, but because we HAVE to. And if you have to, prepare for grief by practising for 4 - 8 - 12 hours a day for months on end. Present yourself in public and allow the public to recognise your talents on whatever level. Otherwise, have an easier life; enjoy your hobby; be true to the music. But if you wish for a life in music, prepare for a life of service." Contrast this with a statement Trey Gunn makes in his Road Diary from February in which he talks about Percy Howard: "Most of the reasons musicians give, when saying that the only way to be a real player is to be a professional are way off base to me. And with Percy I now have living proof. A lot of people think that you can't devote enough time to music unless you're a pro. Percy has plenty of time and, incidentally, I don't. Some people think you can't play with great musicians if you're not a pro. Well, Percy has played with some of the best. Other people think no one will take you seriously as a musician if you're not pro. Well, I take Percy seriously and so does Vernon and Bill Laswell." I do not know what prompted Trey to write this, but his comments are interesting, and one has to wonder if they are in response to comments Robert Fripp might have made. Of course Trey doesn't actually say what reasons musicians mostly give for saying that the only way to be a real player is to be a professional. Comments? Nomad ------------------------------ Date: Wed, 24 Mar 1999 16:13:20 -0500 (EST) From: Daniel De Blasio - 99 Subject: Gitbox hey everyone... this is a second attempt to receive information about Gitbox. Does anyone know anything about recordings other than "Touch Wood?"..I would greatly appreciate your help.... Peace, Daniel DeBlasio ------------------------------ Date: Wed, 24 Mar 1999 16:47:26 EST From: DanKirkd at aol dot com Subject: Adrian Belew in Guitar Shop magazine There is an interesting multi-page article/interview in the latest Guitar Shop magazine about/with Adrian Belew, that focuses on his guitar sounds. I'm sure guitarists will find it even more interesting. Cheers, Dan ------------------------------ Date: Wed, 24 Mar 1999 14:59:08 -0800 From: Eric Kirchner DDPIL Subject: More New Lineup Thoughts (Just what everyone wants to read!) Was it just me or did some of the material on Thrak get a little cluttered with 6 musicians elbowing each other on the stage? One of the things I loved about the '80's Crim and Red was that they were small, mobile units. Don't get me wrong -- I loved Thrak, but there was a whole lot going on in that band that (IMHO) didn't necessarily contribute. I'm guessing that the new lineup might be tighter -- could Uncle Bob (after his FracKtal experiences) have decided the same thing and acted upon the circumstances that took Levin and Bruford out of the picture? Speculation is free, I suppose. I don't know about the rest of you, but I'm getting the feeling that the new Crim lineup might be taking KC up a notch just like the new lineup did in the '80's. I've gotta stop drinking so much coffee. Regards, Eric ------------------------------ Date: Wed, 24 Mar 1999 17:00:48 PST From: "DOUG VENCILL" Subject: What's eating Robert Fripp? Dear Fellow Crimsonites, Something happened to me a few years ago that still has me bothered, and I'm asking any fellow KC fans to feel free to respond to this if anything similar has occurred with them. [ No, please don't, except by private mail. This is a "dead thread". -- Cheers, Toby ] In the summer of 1995, I about had a myocardial infarction when I heard that King Crimson was going to be the opening act at the HORDE festival that year. I made a point of getting off work early that day so I could get there in time, as KC was scheduled to take the stage at 5 pm. I wasn't too surprised to see that not too many people had showed up to see the opening act, but those of us who were there were strong in numbers and enthusiasm at seeing the quintessential progressive rock band of all time. I had spoken with a friend of mine about half an hour before the show started, a local concert promoter who had brought most of the solo members of Gong to the Kansas City area, among others. He had found out that KC was only being allowed an hour-long show with NO ENCORES, and that Fripp was pissed about it. Well, we weren't too happy either, but the Powers That Be evidently had everyone's hands tied, so we just decided to enjoy the show as much as possible. And a great show it was, needless to say. The stage announcer even invited us to leave our scattered assigned seats and come down to the front so we could enjoy Robert & friends up-close. What a treat it was seeing the band from the 3rd row, my 35-mm in hand. And what a shame it had to end so soon. Well: I was strolling the grounds of the Sandstone Amphitheatre, watching the roadies set up for Rusted Root, when I heard a soft-spoken British voice behind me. I turned, and there, in glorious 3-D, was the redoubtable Mr. Fripp himself with someone who appeared to be a road or tour manager. As unobtrusively as I could, I turned to him and said, "Excuse me, Robert...?", in hopes of shaking the maestro's hand, apologizing for the appalling treatment they had as opening act for the festival, possibly getting an autograph & the chance to thank him for 26 years of unbelievable music. No sooner had I uttered the above words than he turned on his heel and walked off without even looking at me. I was so flabbergasted at his behavior that I was speechless for a second. The manager with him followed dutifully behind, giving me an embarrassed glance, and all I could say to him was, "I'm very sorry." He assured me it was all right and disappeared with Fripp into the crowd. I want to share something with all of you. In 25 years of attending literally hundreds of concerts, I've had the privilege of meeting some of my most revered musical heroes: Steve Howe. Jon Mark & Jonny Almond. Chick Corea & Stanley Clarke. Keith Emerson & Greg Lake. Daevid Allen, Tim Blake, Didier Malherbe & Gilli Smyth of Gong. All of these people were very gracious in talking to me, signing autographs, and expressing appreciation at our adulation of their music. I have never had anyone treat me like His Royal Highness Mr. Fripp did--not even the courtesy of acknowledging my existence. I'm sure Fripp is not the only musician in the world who treats his fans this way and I realize this might seem like so much hot air to a good number of people reading this. But I had to vent...I think it's a sad state of affairs when celebrities, basking in the glow of years of success, forget that it's their fans who put them where they are. I can understand if Fripp was disgusted over the allotment of time they were given for their performance, but I can assure all of you that at the end of each song they offered us, we ROARED. We were all in heaven. I would think that would have been sufficient balm to heal his wounded ego, but evidently I was wrong. So, Robert, if YOU'RE reading this, I'd suggest you take a good, long meditation and remember that the world owes you--as it does all of us--NOTHING. You are truly blessed in that you have been granted the brass ring of doing what you love and getting paid for it...but it would do you well to remember where all those dollars come from. I wasn't some lamebrained, Motley Crue T-shirt wearing "far-out-dude" type who was going to scream "Hey, everybody, it's ROBERT FRIGGIN' FRIPP, MAN!" I was just a struggling musician myself who genuinely wanted to thank you. Regardless of what kind of MOOD you were in, I think you could have conducted yourself more like a gentleman than as a holier-than-thou egomaniac. I will still buy King Crimson's music and still speak of them in glowing terms...but my encounter with the Frippertron will leave a taint on my memories of that concert performance forever. --Doug Vencill bambooji at hotmail dot com ------------------------------ Date: Thu, 25 Mar 1999 19:04:00 -0500 From: Will Etkin Subject: KC live in France '82 I am looking for someone who is a member of the Discipline CD club that does not want the upcoming live in France 1982 disc but would be willing to get it and sell it to me (for a bit more than paid for of course). Please e-mail me. I would love to get a hold of that, but I haven't had much interest in the other DGM club releases to get me to join. Thanks, Will willknot at bellsouth dot net ------------------------------ Date: Fri, 26 Mar 1999 13:43:15 +0200 From: Dov Moran Subject: HELP!!! Many years ago (25?) I heard in the radio the song "I talk to the wind" while the singer was a female. The guy at the radio said that this is a very rare King Crimson white record and that the recording is actually of King Crimson prior to the joining of Greg Lake. He said that actually this was a record made out of tapes prepared by the group in their reversals which yield the replacement of this female singer by Greg lake. The performance was BEAUTIFUL. Very different from the original known song. Much faster. I miss it so much, despite the many years passed from this only time I heard it... Any idea where can I find this record? Any information about it? Please send me your response to my email address. many many thanks, Dov Moran Tel-Aviv, Israel ------------------------------ Date: Fri, 26 Mar 1999 14:19:40 -0800 From: "Scott Steele" Subject: Bad Co; new KC formation; Jamie Muir and Derek Bailey; >I don't expect Bad Co. will be whipping out a version of "Formentera Lady" on tour? ;) How about a record of King Crimson covers with Paul Rodgers doing all the vocals? I can't get enough of your mellotron. >I suppose if one had not seen the Trey Gunn band live (or P4), this might be reason to worry. I agree - I saw P4 in Portland OR and one way to look at the new KC lineup is that it is P4 with Adrian replacing Tony. Certainly there are other ways of looking at it too. >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. Anyone knowing it's title please send a personal reply. I remember the LP was on the ECM label. I also would like to obtain this if it exists on CD - does anyone know where it is available? I believe it was called "The Music Improvisation Company" if memory serves. I'd buy it from DGM if they offered it on their website. >Fracture is more than a good song, it's a masterpiece... I agree - I'd love to hear this arranged for either string quartet, or Apocalyptica, the cello ensemble that does Metallica songs. - S. scottst at ohsu dot edu ------------------------------ Date: Fri, 26 Mar 1999 15:57:38 -0700 From: Neil Sadler Subject: Fripp in LA Weekly In the current LA Weekly music industry feature, Robert Fripp "shares.. his blueprint for a promising, ethical future". http://www.laweekly.com/ink/99/18/music-payne.shtml There's also an interesting article on MP3. Regards, Neil Neil Sadler / Bleeding Arts http://www.apc.net/sadler/ ------------------------------ Date: Sat, 27 Mar 1999 03:40:09 -0800 From: Marc J Goodman Subject: Fripp in LA WEEKLY Hi all, Been lurking for a while, and thought I'd write to let you know about an article in the March 26-April 1 issue of the LA WEEKLY, a free paper we're lucky (?) to get out here in LA. The issue this week, subtitled "The Music Grind - An Industry That Devours Its Own", has several articles regarding the recording industry, one of which is called "The Rules of the Game - Robert Fripp on the Profession of Music", written by John Payne. It includes excerpts of the DGM release statement regarding business and ethics, and an interview detailing what's going on with the music, the label, the collector's club, etc. There's also some great homespun philosophy about how the music world operates on the grand scale to which it has grown, and the alternatives to that way, i.e. via the new technologies that the Net is bringing about and through the successes of many of the smaller labels we all know about. It's a pretty brief article, but does a decent job at calling attention to the fact that this music still exists in a world where demand dictates supply, and actually flourishes due to the attentiveness of certain dedicated artists. There's a photo, as well, although it has been cut up and split over two non-connecting pages. Damn arty, though, if you ask me. Thanks LA WEEKLY. And thanks, too, Mr. Fripp. And while I'm thanking people, thanks to Toby and Dan for giving me this forum. Marc J Goodman good1 at pacbell dot net ------------------------------ Date: Fri, 26 Mar 1999 15:44:53 EST From: Enoboy at aol dot com Subject: Reaction to New Line Up I have been reading all the postings concerning the new line up and have tried to sort out my own feelings on the issue. Now, enough time has passed for me to be sure how I feel. It sucks!!! Of all the possible combinations one could have gotten out of the Double Trio, this is about the weakest. This is not to disparage the technical abilities of PM and TG; it is that TL and BB are both compositionally far ahead of that pair and nearly anyone else in the business. If we look back at the various incarnations of KC, the strongest three (IMHO) were those where the band was on a par with Fripp in most respects. (1969, 1972, 1981). The other versions, including the Double Trio, had players that were not of his abilities and the music suffered. Witness Earthbound or Islands. Or half of Thrak, for that matter. AB is a good musician but his songwriting is OK at best. Now, his role will be even stronger in the band and that means more weak songs. What would most of us rather listen to? The classic muscular Vroom or the wimpy Walking on Air? For that matter, Indiscipline or Matte Kudesi. Larks' Tongue III or People? I know which ones I would pick, and I think old die hards would agree. The KC that we go to see, that we enjoy the most, that gives up the most satisfaction is the band that specializes in amazing instrumentals, not in pop songwriting. Reading the rationale in the diaries is maddening; Fripp is, was and will always be King Crimson. The compositions that are the best are those that have his stronger input. To whine about no one wanting to write songs or organize the band is BS; it is his f-ing job!!! If anyone else was at the DVD playback in LA, they will confirm that all the members spoke as though were still part of a working band. Would TL have gone and toured with Seal if RF had preempted it? I'll bet not. Same with Bruford and Earthworks. They are a great band, but they ain't raking in the dough. I'm sure BB would have been on board if Fripp had assumed the leadership role. But RF is so idiosyncratic and obtuse and that is that. So, now we have a band of decent technical ability but not much excitement. Having seen TG in a number of venues has confirmed that he is merely a Fripp puppet and adds little to the mix. PM is good, but how can he compare to the guy who writes strong jazz and rock tunes on his own (BB). Belew? Oh, well. I will go see them and buy whatever comes out, but I am saddened by the loss of the nuclear core of that amazing rhythm section and the potential that we'll never see or hear. ------------------------------ Date: Fri, 26 Mar 1999 15:30:53 EST From: MongoBoy at aol dot com Subject: Crimso '00 In ET 577 > My fear is that the criteria used in > inviting Gunn and Mastelotto into the band was very much > that of "supporting" players (even though they're officially > members). I disagree with this notion entirely. How are we to know what "criteria" were used at all in reforming KC in '94? I think this suggests that the double trio was prejudged - looking to the output 4/6 of its members (i.e. 80's Crim) - and seeing no room for expansion other than that of support. However, if one were to have anticipated the forthcoming double trio from the more recent (at that time) perspective - the output of 3/6 of it's members (i.e., "Damage" - Fripp/Sylvian) - one may have had a very different expectation of what Gunn & Mastelotto's contribution would be. I did. Interestingly, a friend commented upon first hearing the Fripp/Sylvian record " The First Day" that he thought this was 80's KC revisited. What they were doing was closer to KC of the 80's than the double trio ever was in my opinion. In ET 578 wasserd at usa dot net writes: >I loved the sound of the 1980's Crim, much due to Bruford's >Simmons kit. So, with the advent of Roland's V-drums, I am >confident, due to Fripp's various comments in the Diary, >that Mastelotto would be phenomenal. >Don't fear it, people. Embrace it! I agree wholeheartedly. KC "00 is going to be tremendous. And as Roberts say in a recent diary posting, if KC comes to your town, better to see them now then to wait for the next time. There may not be a next time. All the best, Matt Seattle, WA USA ------------------------------ Date: Fri, 26 Mar 1999 11:15:18 -0600 From: Matt McCaffree Subject: A correction Hello- I just posted a message a couple of days ago regarding the P3 shows in Austin, TX that contained an error. I had stated that there was a LTiA II encore the second night. I'm not sure what I was thinking-but the encore that night was VROOOM. Sorry about the inaccuracy. Matt ------------------------------ Date: Tue, 23 Mar 1999 10:33:09 -0600 (CST) From: vince Subject: GIG REVIEW: P3 at the Cactus Cafe 3/22/99 Project 3 played to a packed house in the miniscule Cactus Cafe on Monday night. Arriving 45 minutes early was not enough to get us one of the 100 or so chairs so we found ourselves standing for the duration. I'd guess an additional 60 folks didn't make it in at all. Never fear, as P3 plays the Cactus again Tuesday and a newly announced show at the much larger Antones on Thursday(3/25). I can't give you a blow by blow, not being familiar with Projects other than what I've heard on the P2 cd. Not much space music this time around. Fripp hit the stage to wild applause, playing several minutes of soundscapes before Pat and Trey arrived. The first song was quite the beast with Pat laying down a polyrhythmic base for Trey and Robert to play over. Sometimes Fripp would let loose with his patented displays of molten-metal shredding. Other times, Trey would get the spotlight as Fripp played those muted-attack soundscape chord washes. About this time I thought, people need not worry about the future of the King. He's in good hands. The band played a 45 minute set then another after a short break. The second set featured a cool Trey-Fripp duel that had me thinking of some psychdelic Allman Bros mutation. Fripp played the role of bandleader, signaling Trey when to start playing Warr games interlocking with Fripp's guitar runs. After the second set, the band returned with their lounge rendition of Thrak. To me, the King made several appearances, mostly contained within Trey and Robert's chord progressions. Fripp used his "xylophone" guitar sound in some blistering runs that had the crowd hootin' and hollerin'(this is Texas). I enjoyed P3 more than P2. Heavier, more Kingly to my ears. I thought Fripp seemed invigorated playing with Trey and Pat, which bodes well for the next KC recordings. To sum it up, what a treat to see such an engaging display of music-ing. It was great to see Fripp still out there peeling paint off our musical conventions. He never ceases to amaze or engage. I still have some issues with the V-drums. Some of the V-drum effects didn't flow smoothly but mostly it worked. I wouldn't mind Pat taking the beats up a notch, getting a little wilder. I think this might boost Trey and Robert to even greater heights. vince ------------------------------ Date: Wed, 24 Mar 1999 10:46:45 -0600 From: Matt McCaffree Subject: GIG REVIEW: A little ProjeKct Three report. . . Well, the last few nights have been interesting indeed. I've just experienced three straight nights of ProjeKct Three in Austin, TX and anyone that's concerned about the future KC lineup of Adrian, Trey, Pat and Robert can rest easy. The chemistry (at least between Robert, Pat and Trey) seems very strong and these guys seem to really enjoy playing together. First, let me say that I feel very fortunate to have seen these shows in some of the smallest venues I've ever seen bands in. Truly amazing seeing these guys playing that close. I've really seen a lot of range over the three gigs-going from very dark, noisy, unorganized and electric the first night to a little more structured and mellow the third. The second night provided the biggest surprise when they encored with a very strange marimba-like version of Lark's Tongues in Aspic II. (Actually, the LTiA "theme" was used more as bookends for a pretty cool drum solo by Pat.) I think once you throw Adrian in there to kind of balance out the sound-it's going to be a very interesting and very capable lineup. (And I did see him meandering around in the crowd at the first show.) I have one more chance to see them this Thursday and I'm sure it will continue to improve. Hope to report back again soon and I'm interested to hear what anyone else who's seen these gigs thinks. MLM ------------------------------ Date: Fri, 26 Mar 1999 03:50:43 -0600 From: Claudia Alarcon Subject: GIG REVIEW: p3 at Austin Long time no post... They say good things come to those who wait... well, I waited and I got what I deserved. P3 played in my home town of Austin Texas 4 nights almost in a row. Commitmets kept me from attending the first three, but tonight was magical. Antone's, home of the blues, was the venue for our heroes to perform this evening. I missed all the SXWS hoopla and opted for a more relaxed, homey atmosphere, which I got. I was standing about 4 feet away from Mr Fripp as he performed his magic with -yes, my friends- the NEW King Crimson. Sorry ya'll, but there's no need for any more of that "what about Tony and Bill" thread. Pat and Trey rule the world, and take this from a long time fan who just watched them perform from right against the stage. The chemistry that exists between those three can be replaced by nothing else I have ever seen. Pat carries the band. In such an intimate setting it is important to observe that the rhythm section composed by Pat and Trey is in constant connection with Robert, who gave them cues with a mere look or signal with of the hand. The band was so tight it was unbelievable. They had so much FUN. An observer friend of mine who was at the SXSW show on Sunday remarked that the show was somewhat less polished, perhaps because of the time constraints. Tonight, however, I SAW the new King Crimson in action, I felt that I was at a special rehearsal of the new material we will all be seeing (and hearing) in the future on tour. I don't care what you purists talk about, Pat and Trey are up to the challenge of *being* King Crinson, they are the future of the band as seen by the eyes of Mr Fripp, who obviously sees the great talents developing...Robert was very personable this evening, addressing the crowd at the end with a "thank you for the tour of Austin" (referring to the 4 nights that they played here) and acknowledging the anniversary of the guitar craft, 14 years ago to the day, without even a microphone to speak into. He just walked up to the front of the stage and SPOKE. I was very lucky tonight: I got to see the whole show from the very front of the stage, leaning against it and feeling Trey's bass notes on my leg crawling up my body. The crowd was mostly male ( so what's new), so I doubt that many of you folks felt what I did... Let me tell you what. I cannot wait to see the new Crimson, because I've just seen the rehearsal, and it's ALL GOOD. The passion is there, the technique is there...and Mr Fripp likes Austin!!! Wahoo!! I cannot wait to hear the new official recordings. Please come back soon, ya'll!! A very satisfied fan, Claudia. ------------------------------ Date: Fri, 26 Mar 1999 11:25:18 -0600 (CST) From: vince Subject: GIG REVIEW: ProjecKt 3 at Antone's (Austin 3/25/99) ProjecKt 3 closed out their tour of Austin on Thursday(3/25) with a visit to our local "home of the blues", Antone's. If you'll remember, I reviewed Monday's show at the Cactus Cafe. Well, as an audient, I enjoyed the increased elbow room of Antone's along with their free beer(liqour license problems). Local folk/pop guitarist(sorry for the labels) Sara Hickman opened with a solo performance. Hats off to Sara for having the huevos to open for "geniuses"(her words). ProjecKt 3 then took the stage. No warm up soundscapes this time. Let me 'fess up. I came to this show with the expectation that it would be pretty similar to the other show I saw. Wrong. While I did recognise 3 of their pieces, the rest was new to my ears. These guys were really whipping it up on the spot. Monday's gig, Pat and Robert really stood out to my ears. Tonight, it was Trey Gunn who came off the bench and sunk baskets from all over the floor(too much basketball lately, sorry). As I told him afterwards, he was the shit! The spirit of the King flows in this boys blood. I found out after the show that his parents were there from San Antonio. He did them proud. Robert seemed content to provide the canvas for Trey's sonic brushstrokes while occasionally delivering cortex-blistering solos of his own. Pat's drumwork seemed more confident and he got some nice grooves cooking in the kettle. The first set was quite the beast while the second(opened with a few minutes of soundscapes) had a jazzier feel. Fripp's phrasing during one piece actually sounded bluesy. Sorry I can't get more specific about what they actually played as post-gig euphoria led to overconsumption of Hefe Weizens and a humble narrator slowing typing this review. I thought that they sounded much tighter/looser(if you catch my drift) than Monday's show. Lock these guys in a room for a few more weeks and extinguish all flames when you open the door. This was a musical experience that really engaged my brain and had me babbling for hours afterwards(my poor girlfriend, who I woke up and bombarded with thoughts about the show). I hope Trey found me coherent in our conversation. I mentioned that he shouldn't think twice about ETers who opine that KC would be less without Tony/Bill. I hope that DGM thinks about releasing something from these shows as all doubters would be immediately silenced. Trey said he wished Robert wouldn't read all of our posts. :) Gee, I guess this review is more about me than about P3. Surprise, huh. Oh, after the encore(which had Trey playing electronic voice sounds), Robert walked to the front of the stage and announced that it was the 14th anniversary of Guitar Craft. After stunted applause he said "Most of you probably don't know what you just applauded"(paraphrased). I think I applauded for the healthy roots nurtured by GC and the fruits we'll be enjoying for years to come. Bravo, boys. vince PS - I'm no suck-ass fanboy, as this review might lead you to believe(though perhaps I'm in denial) ------------------------------ End of Elephant-Talk Digest #580 ********************************