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 #618 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 618 Friday, 15 October 1999 Today's Topics: NEWS: Levin on Internet Radio on Thursday 14th PDA Feedback Requested ET Web Volunteer Requested dgm orders BB in Genesis,JW bass setup. Lake--Tarkus lyrics Patrick's Post re: CC Box RE: 404 Records Bruford In Genesis Re: Elephant Talk #617 Mingus man Re: Elephant Talk #617 Not to get noisome, but... DGM USA Michael Giles KC & Tool again Approaching Silence Earthbound LP for sale... Fripp Off The Deep End? Let's Review... Various Comments re: ET617 John Paul Jones & Robert Fripp Books on King Crimson Peter Giles Subject: Re: Fripp Off the Deep End Belew's Glue frippeinfeld Zoom Club '71 London ET Co-ordinator Jumps Ship Pony Canyon Fripp meets Grunge, gorges on cheesecake Various CD's for sale Prometheus CD Fripp Soundscapes T-Shirt and The Dozey Lumps at last Collectors Club Collection EZ $ on The Great Deceiver More LTiA details...the title track is in question this time... P4 Cellos on Red ? Ham or Cheese? DGM and 71/72 formation FFWD disc for auction GIG REVIEW: How My Wife Learned To Love King Crimson: Take her to a CGT Show GIG REVIEW: CGT in Philadelphia GIG REVIEW: CGT & T Lev @ The Bottom Line NYC GIG REVIEW: KC gig review may 4th 1995 ------------------ 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, 13 Oct 1999 18:54:25 -0700 From: "Kirkdorffer, Daniel" Subject: NEWS: Levin on Internet Radio on Thursday 14th [ Very sorry this ET didn't come out in time -- Toby ] On the off chance that this makes it into ET before the event, I just wanted to correct the date of Tony Levin's appearence at eYada.com. It will be Thursday 14th, not Friday 15th as Tony incorrectly reported at his website earlier. Dan ------------------------------ Date: Tue, 12 Oct 1999 03:20:56 EDT From: DanKirkd at aol dot com Subject: PDA Feedback Requested I'd like to get a feel for how many people are trying out the PDA version of ET Web through the Avantgo.com service we've established. I'm curious as to what people think. Drop me an email with your thoughts. Thanks, Dan ET Web ------------------------------ Date: Tue, 12 Oct 1999 03:26:29 EDT From: DanKirkd at aol dot com Subject: ET Web Volunteer Requested As many ET Web visitors may have noticed, the Gig Reviews pages are woefully out of date, not having been updated since January 1998. I guess I got yoo busy to keep it up to date, and then by the time I next thought about the pages, I was way behind updating them. So I'd like to know if there are any volunteers out there who might like to get these pages updated, and maintain them in the future. Although the Crimso Archives are a good way to find past gig reviews, the way these pages bring the reviews together makes for interesting and easier reading. Anything to do with maintaining ET Web content is no simple chore, so volunteer your time with caution. Thanks in advance, Dan ET Web ------------------------------ Date: Sat, 9 Oct 1999 12:09:57 EDT From: DKjb001 at aol dot com Subject: dgm orders greetings and salutations fellow et-ers. i was quite pleased to read afbello's post about DGM shipping, as I too was quite concerned. I placed an order (my first) on-line almost five weeks ago and have yet to recieve anything. when i first placed the order and enquiried as to the shipping time, i was told two weeks. should i be concerned or is this common? any knowledge on the topic would be greatly appreciated. and, in regards, to L. Masse's post, "?What about david torn and sylvian to fill the empty space? I'm really fed up with these "dream line-up" suggestions. Another dead thread?" Thank you! I thought this was already a dead thread! Until next time... lauren ------------------------------ Date: Sat, 9 Oct 1999 12:30:02 -0400 From: John Ott Subject: BB in Genesis,JW bass setup. >Subject: Bruford in Genesis > >I always hear that Bill Bruford played with Genesis for a short time but I >can't ever find any records with him playing. When did he play with >Genesis and what records if any does he play on. > >Reid He plays on the live album "Seconds Out" but only on one track: "Cinema Show" the rest is Chester Thompson with Phil at times. > >I have been listening alot to the Great Deceiver Box Set and >I love Wetton's bass sound. His bass sound ranges from a >very sweet clean sound to a raunchy, thick, bigmuff (with >wahwah) sounding, massive wall of noise. If anyone knows >what equipment he was using around the period of these live >performances in '73-'74, please reply. Thanks. If you read the GD booklet the pedal is identified as a Foxx fuzz/wah pedal. The Bass is a Fender Jazz model and the Amps/Cabinett are HiWatt. All you need to get that sound is this equipment and John's talent. The latter is much harder to aquire. John is playing a Fernandes bass these days and is mentioned on the artists page at the Fernandes web site as are Adrian and Robert. later John DC-ET ------------------------------ Date: Sat, 9 Oct 1999 12:49:04 EDT From: StevenTice at aol dot com Subject: Lake--Tarkus lyrics >>Maybe someone else can answer this question that has baffled me for years. What the hell do those guys yell at the end of "Are you ready, Eddy?" on Tarkus. "M.O. Cheese?" Can someone help me? The man himself obviously doesn't remember. I have the sheet music for Tarkus. The last words spoken on "Are You Ready, Eddie?" are "They've only got 'am or cheese." There is a footnote that indicates, "This should preferably be spoken by a cockney charlady." The famous ELP sense of humor at work. :-) Steven Tice ------------------------------ Date: Sat, 09 Oct 1999 11:07:48 PDT From: "Rich Malitz" Subject: Patrick's Post re: CC Box I just wanted to mention something here to Patrick, or anyone else who doesn't seem to mind making bad monetary decisions. Patrick wrote: "Just today I picked up at my local indie shop a 3 CD Japanese Import supposedly done by PolyCanyon, Japan for DGM. It contains the first 3 collector's club releases: 1. Marquee '69 2. Jacksonville '72 3. Beat CLUB '72 (included are2 booklets: one in Japanese and the other English...nicely boxed. Are these Legit releases?) If they are.....then Real KC Music is very very hard to get for the true collectors. Trust me...I have looked ALL over for anything like this stuff." Patrick, if you had the knowledge that ET exists, yet you had to look ALL over for these CDs, why didn't you join the Club last year? Instead of 3 CDs for $86.00, you could have had 6 CDs for $96. Now if you weren't somehow aware of the Club until today, then I apologize. However, if you have been reading ET for quite sometime, that would be pretty amazing to me that you would have missed these. DGM has mentioned that they might have second pressings of the Club CDs in the future, and as I speak, the USA office has the Marquee Club available again. Rich Malitz (Was on the way to the travel agent when Nashville shows were cancelled! See you guys in 2000!) ------------------------------ Date: Sat, 9 Oct 1999 11:35:43 -0700 From: "Joey Aguilera" Subject: RE: 404 Records I hope you played the file first using the windows media player. The file was intended to be played with this program so you can get the license. Once the license is on your hard drive winamp should play it just fine. I think the main point about this downloading CD's is that you are going to burn it to a cdr and not leave it on your hard drive. If this was the case then everything you wrote about hard disk crashing ... would not be an issue. CD recorders are going way cheap now and this seems to be the way things are moving. I for one embrace it ! One thing I have noticed about KC fans ( this isn't directed at you Dr Eaerth personally ) ever since this download was presented to us is that it seems most of us think that DGM and KC owe us something. We seem to be never satisfied with what they give us and demand that they make us happy or else ? Obviously this is a beta test and should become a better concept as time goes by ... but all we can do is complain about the download and complain that they didn't meet are system requirements ( even if some if it is outdated ) and knock the idea because it didn't work for us personally. Before anyone starts up on this last statement I hear that they are working on the Mac version of media player as I write and I read somewhere that DGM is considering making Cdr.'s of the shows available for persons who have trouble downloading in the future. So if we just sit back and relax ... wait a while and see what becomes of all this we may find out that all we have done these past few weeks is blow a lot of unnecessary steam and waste lot's of ET' bandwidth. I included with this post. that's all ... if I ever respond to another "KC Download" post again .. please shoot me. =) Joey F Aguilera __________________________ Six Degrees of Fripp http://www.indiscipline.net/fripp ------------------------------ Date: Sat, 09 Oct 1999 15:29:21 -0400 From: Ted White Subject: Bruford In Genesis Reid Akira Black wrote: "I always hear that Bill Bruford played with Genesis for a short time but I can't ever find any records with him playing. When did he play with Genesis and what records if any does he play on." Bruford played on none of the studio albums, but did play on the first Genesis tour after Phil Collins took over the vocal duties from Peter Gabriel and could not stay behind his drumset. Later Chester Thompson took over the chair for subsequent tours. Bruford *is* on SECONDS OUT, a 1977 Genesis live album. --TW (Dr P) dc-et #6 ------------------------------ Date: Sat, 09 Oct 1999 15:16:37 -0500 From: Craig Shropshire Subject: Re: Elephant Talk #617 Mingus man Ted White wrote: > At that point Mingus started a mail order label, Charles Mingus Jazz Workshop. It put out four albums (two were double LPs). Fantasy subsequently reissued two of them on both LP and CD. I have "Right Now" & a few others. My Q would be,...."What titles does the intrepid sound adventurer look for (if he/she is of the "progresso" bent)?" These..............?? >Mingus's "experimental" period ran up to about 1955, and is >best captured on the Savoy JAZZ COMPOSERS WORKSHOP and the >Fantasy/Original Jazz Classics JAZZICAL MOODS. ..........your input regarding his most "out" stuff would be appreciated. Sadly, most of the rock audience have the limited exposure of say, hearing Jeff Beck play "Good-bye Pork-Pie Hat"..................or maybe Joni Mitchell`s "Mingus". (Great stuff, BTW). > By the sixties in particular Mingus was a mature composer. What? So you`re saying he wasn`t "mature" because he was still in his experimental stages in the `50s? I hope not. I must be just incorrectly extrapolating here. That word "mature" can have an unpleasant conotation. It`s the more experimental works that tend to offer the most interesting, challenging, & exciting music. -Craig (he who purchased your copy of Sun Ra- Astro Black 8^) ------------------------------ Date: Sat, 09 Oct 1999 16:00:42 -0500 From: Craig Shropshire Subject: Re: Elephant Talk #617 Not to get noisome, but... > I do not understand the willingness to damage an ego which must occur after venting such noisesome (look it up, >it doesn't mean what you might extrapolate!) effluent. Not wanting to damage your ego or anything, but the word is noisome, sir. (Look it up), sir. > The criticism of a person, especially in front of such a large and expansive forum, should only be undertaken with great care & concern, Sir, point well taken, sir. > Flinging about coprolalia benefits only the flinger and never the flingee. Especially painful if it`s coprolite ;^) -C ------------------------------ Date: Sat, 9 Oct 1999 22:45:09 +0200 From: starless Subject: DGM USA Hi ETers has anyone in Germay orderd the The ProjeKcts and other stuff by DGM USA and could say the shipping time from DGM USA to Germany? I have orderd some DGM-stuff in USA (because the orderlist of DGM England is other than the orderlist of DGM USA) 4 weeks ago. I have got nothing from USA only a bill to my VISA-card-bank statement (2 weeks ago). I have wrote an eMail to DGM USA, but they didn't answer. Has anyone the same experience? Lothar ------------------------------ Date: Sun, 10 Oct 1999 08:49:44 +0900 From: "John Boudreau" Subject: Michael Giles Keith Burns wanted to know if there were any omissions from his list of recordings that Michael Giles played on . >So, it seems Giles was fairly busy with sessions until the early 80s. I >wonder what he's been doing since? >Also, does anyone know of any omissions from this list? Well , according to the insert of my Japanese copy of " The Cheerful Insanity Of Giles , Giles and Fripp ; Michael recorded 7 singles with The Dowland Brothers between 1962-64 : 1962 Oriole 1748 Little Sue b/w Julie * 1962 Oriole 1781 Big Fellla b/w Don't Ever Change 1963 Oriole 1815 Breakups b/w A Love Like Ours 1963 Oriole 1892 Lucky Johnny b/w Makes Me Blue 1963 Oriole 1897 All My Loving b/w Hey Sally * 1964 Oriole 1926 I Walk The Line b/w Happy Ending 1964 Oriole 1947 Wishin' And Hopin' b/w You'll Regret It * With Mr. Ubiquitous of the early 60's session man JIMMY PAGE on guitar ! Pete Giles became a member when bassist Ray Phillips left to join the Nashville Teens sometime in 1962 . The two Dowling Brothers , Dave and Gordon , apparently were Everly Brothers types and did all the vocals . The lineup also included Allan Barry on guitar . Cheers , John in Japan ------------------------------ Date: Sun, 10 Oct 1999 11:24:01 +0200 From: "P. de Ruyter"

Subject: KC & Tool again About a year ago there was a tv special on dutch tv about Danny Carey (the drummer of Tool). There he told us that one of his biggest influences was King Crimson, especially Discipline (the album and the song). And guess what his favourite member of KC was.....? No, not the other drummer but mr. Fripp himself! By the way, Tool's Aenima topped my list of favourite albums of 1996. ------------------------------ Date: Sun, 10 Oct 1999 13:31:17 +0000 From: gomez Subject: Approaching Silence A new David Sylvian compilation CD, APPROACHING SILENCE has been released on Virgin Records. The 3rd track, Approaching Silence, is a collaboration between David Sylvian and Robert Fripp, and was created as part of a multimedia installation in Tochoji Zen Temple, Shinjuku-Ku, Tokyo in 1994. Although Sylvian is the sole credit for the track, playing synthesisers and samples, Fripp is listed in the credits as providing voice/text and frippertronics. A brief review of track 3 is herewith presented: Musically, the total length of Approaching Silence is almost 40 minutes, and is a regular, drifting meditation, punctuated at frequent intervals by the striking of a small. low gong. Upon closer inspection, an interesting strategy or art of production seems to emerge as one composed of a single repetition or looping/sample of an approximately 1 minute long sequence, which has 4 distinct phases. A low gong marks the beginning of the first phase of this sequence, accompanied by a crescendo of imperative humming; this leads into phase 2 which is of a lower volume, and is a gentle, drifting atmosphere of floating tones punctuated by occasional synth chirps, buzzings and far-away noises, all of which become softer and again softer in volume. Phase 3 interrupts this quiet atmosphere with simultaneous multiple fade-ins of voice - or voices, which bounce and echoing off each other in left and right speakers, one on top of another, and at various volume levels which are mostly just below comfortable hearing. Question - what is it like to be inside the head of Robert Fripp? Phase 3 has the total effect of releasing only small, incomplete fragments of a Fripp discourse on crucial, overarching themes. When one is really straining quite hard to catch the words, and it seems that one is just about to make some sense of them, they fade, and - gong - the loop begins again. Analogues of a personal search, a musical image of the process of meditation in its variations, Approaching Silence is terrific stuff and, in my experience, never becomes boring. Although suspecting the presence of an ordering strategy, the quintessence of Approaching Silence always seems to remain just out of ones reach...it would be quite intersting to read a technical description of the composition of this piece from either Fripp or Sylvian. An attempt at a partial transcription of the choir of voices follows. Any alterations, updates, etc, are welcome. Fripp - ...something has gone terribly wrong; because of that many things have gone terribly wrong; because of that, everything may go terribly wrong. This is all meaningless unless we experience the terror...this is one of the obligations placed upon us...in spite of the restrictions, limitations placed upon us...(and that) we have become separated from the source...simple experience; beyond understanding. this is our freedom, if we wish, we may... something is lost, the composition is set adrift... Jim Gomez ------------------------------ Date: Sun, 10 Oct 1999 14:59:04 +0200 From: "Frits Jurriens" Subject: Earthbound LP for sale... Dear Crimheads, I happen to have 2 LP copies of EARTHBOUND, both excellent quality. I'd like to sell one of them, but have little idea how much it's worth. Both are printed in germany the first on EG/ISLANDS records the second on EG/POLYDOr records Anybody? Also: I would like to have KC live on Broadway 1995, so trading is an option. ========== Van LEVEN ga je DOOD... ========================= ------------------------------ Date: Sun, 10 Oct 1999 09:22:24 -0500 (CDT) From: TheMincer at webtv dot net (Ric Wilson) Subject: Fripp Off The Deep End? Let's Review... In response to "Grant" who seems to think that Robert has gone off the deep end,let us look back a moment.This is a individual whom has been the mainstay of this band for 30+ years, and through several quality lineups. Keep in mind that when the double trio "separated" (Which may or may not be permanent) ,they had just finished an Very, very,extensive tour .Bill Bruford's decision not to be a part of the Projekcts,was probably due to plans he had set in motion for "Earthworks" for quite some time,maybe even before the above mentioned tour. Tony Levin on the other hand is without a doubt, one of the most in demand bass Guitarist in the music business today. Peter Gabriel, Seal, and countless others appreciate his tremendous talent,as does Robert Fripp. As for Adrian being the only one capable of doing the vocals of King Crimson's extensive catalog of music, WRONG! And I think he would agree with that. He is a Vocalist, Guitarist, and all around incredible musician,I still remember him in "The Raisins" and The Bears". But, I'm glad he is still doing the vocals! Robert Fripp has a deep respect for the Musicians in King Crimson,he sees and feels their need to express their talents in other areas.Bill Bruford has "Earthworks", and Tony Levin has his opportunities. This is how the "Projekcts" were spawned most likely, giving Pat and Trey more studio, and touring experience with Robert and Adrian. And, it has created some excellent material for us Crimson Lovers. King Crimson has never to my knowledge had any "slouch" musicians in it's roster,and never will. Ric Wilson. ------------------------------ Date: Sun, 10 Oct 1999 13:22:27 -0000 From: "Jim McLaughlin" Subject: Various Comments re: ET617 The newsletter was getting a bit dull the last few releases. I glad to see it coming back to life. wilsonhenson at yahoo dot com wrote re greg Lake: He really hasn't written anything very innovative since 1973. Maybe I'm just pissed that he didn't respond to my question. The first statement is correct. (imho) Trent Turner wrote: < I do not understand the willingness to damage an ego...> BWHA HA HA HA HA HA HA HA HA HA! There is no way anything posted to this newsletter would damage an ego. You give the people who post here (myself included) more clout than we deserve. I -live- for this "unconstructive criticism" I find it thoroughly enjoyable. ME TOO! Brad Wilmot wrote a lengthy post re Belew/Fripp Lennon MacCartney: Very enjoyable "constructive" post. Keep'em coming. masse at geocean dot u-bordeaux dot fr responding to: BLonik13 at aol dot com Subject: Fripp's off the deep end Subject: John Paul Jones & Robert Fripp I have read very little response to the new John Paul Jones release here on the newsletter and was just curious to hear some opinions. I felt it was an amazing piece of work. The song "Goose" is a particular favorite. Jones is an amazing musician (not just bassist) and I am very pleased to see he is part of the DGM family. Which brings me to my real point. Since levin is now defunct wouldn't it be great to see him as a member of KC. I know he is currently on tour, but perhaps the future could see him in the band. His music on "Zooma" is certainly in the same direction that KC has been progressing and there is absolutely no question to his amazing talent. I would like to hear some of the readers opinions on the subject. I would also like to mention that I saw Mr.. Belew in Cleveland earlier this year and had a great time. I was quite embarrased when a man walked up behind me and, tapping me on the shoulder, asked me to step aside so he could get to the stage. I initially didn't hear him, and suspected this short chap was just a pushy fan trying to get closer. My friend kept pointing with his mouth open going "look you fool". I still didn't imediately respond until the man finally had to nudge me aside. Then I realized it was Adrian. Man, did I feel stupid. His show was great, taking requests from the audience, who were well behaved. This man is truly generous and kind. He signed autographs for every one and briefly spoke to us singularly. I am ever thankful that he is part of the rock-n-roll scene. Well thats enough blabbering for know. -A Nice Pair- ------------------------------ Date: Sun, 10 Oct 1999 20:53:08 -0700 From: rgw0001 at door dot net (weiner, robert) Subject: Books on King Crimson Greetings, Does anyone know of any books coming out on King Crimson? I know about the Eric Tamm book. I had heard that several people were working on books. I wish Fripp would take all his dairies and notes and publish them as a book. I found this record. Does anyone know anything about this book? Romeo, Carlos. TITLE: King Crimson / PLACE: Madrid : PUBLISHER: Catedra, YEAR: 1999 PUB TYPE: Book FORMAT: 439 p. : il. ; 18 cm. SERIES: Rock pop ; 53 ------------------------------ Date: Sun, 10 Oct 1999 22:01:46 -0700 (PDT) From: Edgar Kausel Subject: Peter Giles I searched in allmusic.com other records, besides GG&F, Poseidon & McDonald&Giles, were the world-class bassist Peter Giles played. Results: year artist album 1973 Head, Murray Nigel Lived bass 1986 Outside Edge Running Hot Kboards,Vocals 1996 Terra Incognita Tribal Gathering kboards Have you ever listened to them? ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com ------------------------------ Date: Mon, 11 Oct 1999 08:52:23 EDT From: BLonik13 at aol dot com Subject: Subject: Re: Fripp Off the Deep End Grant Colburn wrote: <> Sir, you are sorely mistaken. <> Care to make a wager on that? <> If you only knew... ------------------------------ Date: Mon, 11 Oct 1999 10:31:34 -0400 From: "Gordon Emory Anderson" Subject: Belew's Glue Brad Wilmot said... "Adrian the songwriter can be silly, even down right goofy. But when he's on he's terrific. He's an excellent vocalist. The problem is that so many Crim fans have locked onto one early phase or another and can't move on." Adrian doesn't seem to get a lot of attention on this list for a number of reasons. For one, he's not as good a guitarist as Robert Fripp. For two, he's not as good a drummer as Bill Bruford. For three, he's not as good a singer as Trey Gunn. Waitaminute, scratch that...he's a much better singer than Trey Gunn. Oh yeah, I'm not as good a physicist as Schrodinger or Hawking, either. Brad kind of made an interesting point in comparing Belew to McCartney. We males seem to focus on these guitar/drum/bass gods and overlook the kind of "glue" and focus that Belew's contribution equals. King Crimson has never exactly been about pure avante-garde or unmitigated guitar spew. These elements are there, but they are kind of hidden or channeled inside an easily digestible coating. Let's face it, for those of us for whom KC's music has sometimes come as a revelation (where your ability to hear is lifted a notch or two by the music), would you have "gotten it" if everything was abstract as 'Thrak'? Belew is one of the few "pop" musicians who is able to handle and direct this difficult musical underflow. Sometimes a great contributor is an enabler of others, one who can challenge disparate voices in a group to move beyond themselves. The culture and/or biology of women seems to understand this better than we men. -Emory ------------------------------ Date: Mon, 11 Oct 1999 17:32:05 -0700 (PDT) From: Edgar Kausel Subject: frippeinfeld Good evening happy hippies... Ian McDonald described Fripp (1973): "If he were not a civilised hippy he'd be commuting into the city doing the Times crossword and solving problems in lateral thinking. Fripp is also daft and sex-crazed... Rock's gain of an idiosyncratic musician and a truly eccentric personality was British industry's loss of a great comedian".... Well, he said "economist", actually. But between 1971-74, Fripp's announcements were the most funny thing in the "art-rock" (or "prog rock"?) shows. How could you forget when he said, back in 1972, that one of the gig's sponsors, Pepsi, was harmful? And when he told someone from the audience to listen more careful, in response to his demands to play louder? Anyway, there are dozens of examples with hundreds of funny details, but my favourite one is his introduction to the 1973 Berkeley gig. He said, with his unique style: "Good evening ladies and gentlemen. This is where the vibrant personality of the sexy guitarist leads to the fore to stimulate us and drive us all into ecstasy and excitement... I believe the general thing is I shout `Are you all children?' and you shout `Yes!' and I shout the same thing two or three times more or less on a song key, and we get to an incedible pitch of excitement... Having already reached that peak, I think we can safely bypass the preliminaries and serge (?) on to a new ecstatic hight... First piece of the evening was the new King Crimson song, which is called `Dr. D'. The second was the title track of the NEW King Crimson album "Larks' Tongues in Aspic"... We recommend that all those of you who have not yet the chance you are to make this investment, rush out immediately and purchase it , as part of the campaign to encourage you to make us a rich and famous band. We shall then... we shall then play the song which begins side 2 of that album, which is called `Easy Money'. Thank you." I was thinking, Fripp should create a compilation of his greatest announcements. The title might be: "Elephant Talk : A young person's guide to Fripp's announcements". Of course, the critics will say it's "self-indulgent", but that's deja vu, isn't it ? This could be the launching pod to his comedian carreer. Who knows, he might be the next king of Sitcoms. Edgar ===== ------------------------------ Date: Mon, 11 Oct 1999 17:38:41 -0700 (PDT) From: Edgar Kausel Subject: Zoom Club '71 In last ET, Crimhead Ronald Miklos Vogel tells us about the existence and the beauty of an early '71 gig, with songs like "Lady of the dancing water", ITCOTCK, "Get thy Bearings" and other gems. In the Frame by Frame booklet Richard Williams (MM journalist) says, back in '71: "They played eight sets at Frankfurt's Zoom Club [the first gig made by that band], all of which were taped, purely for reference". Robert please make us a little happier and make a KCCC release of that gig... ===== ------------------------------ Date: Tue, 12 Oct 1999 04:58:35 +0000 (GMT) From: "Brian Thomson, London UK" Subject: London ET Co-ordinator Jumps Ship Whaddya mean, what London ET Co-Ordinator? If you'd like to dis-co-ordinate ET/KC/RF-related events in your area, have a look at the "Local ETers" pages on the Elephant Talk web site, and get devolved. Thank you. Back to the main story: In about two weeks time, London UK will suffer a further loss of co-ordination, as if it doesn't have sufficient problems already. (The "British Airways London Eye", a.k.a. "The Biggest Ferris Wheel in the World, rose to the occasion over the past weekend, only two months late - see http://www.british-airways.com/londoneye/ for more on the stalled erection that had rivals chartering blimps carrying the slogan "BA Can't Get It Up"!) Now, a further blow is struck by the withdrawal of the London ET Un-co-ordinator for greener pastures, or Dublin (Ireland), whichever is cheapest, probably by the end of October 1999. This departure from the norm is at the bequest of a huge multinational computer corporation, and is motivated by base financial concerns (they offered a job), not by any higher ethical considerations. (Will they pay in Euros?) Once the un-character in question has settled in Dublin, co-ordination might be resumed, not that anyone would notice anyway. This Party Satirical Broadcast was brought to you by... oh... they're gone. Um. Bye. Brian Thomson London UK / Dublin IE bnt at email dot com ------------------------------ Date: Tue, 12 Oct 1999 15:45:05 -0500 From: michael goodall Subject: Pony Canyon Hi all, I live in Japan and can assure you that Pony Canyon is a legitimate company. It is one of the largest distributors of music in the country. My version of The Great Deceiver is on Pony Canyon. While I haven't yet seen the 3 CD Collector's Club release, I'm sure that my locale Yamachiku will have a copy. And I'll definitely be on the look out for the Japanese issue of the ProjeKct boxset (and I've got the the first six CC releases anyway). You know, living in Japan can be great at times! Michael ------------------------------ Date: Tue, 12 Oct 1999 05:42:10 -0400 From: Michael Townsend Subject: Fripp meets Grunge, gorges on cheesecake It's been quite a long time since I've posted to ET, but I wanted to share this tidbit I received from a friend who lives in Seattle. While the cheesecake image is funny, the news that Mr. Fripp is continuing to flirt with Microsoft is not! >My friend "George" called last night to share his experience from the other >day. He was invited by his friend (who was the drummer for Ministry and is >playing with Fripp now) to a meeting at his house with Robert Fripp. Fripp is >in town talking with Microsoft about them using King Crimson tunes for a >website. At this particular meeting there was Fripp, Eddie Vedder, Krist >Noveselic, Matt Cameron?, the drummer and George. > >Vedder and Noveselic were talking politics in depth. (Maybe Vedder/Noveselic >2008, Pres/VP). Apparently, Fripp was obsessively eating cheescake and >hugging everyone. >mtownsend at earthlink dot net PO Box 4722 Portland ME 04112-4722 USA< dad's new slacks in realaudio:fridays @ midnight http://wmpg.org ------------------------------ Date: Tue, 12 Oct 1999 07:43:12 PDT From: "Matt D" Subject: Various CD's for sale I have the following CD's for sale (or trade, tell me what you have) Adrian Belew Inner Revolution Ten Seconds Ten Seconds John Wetton Kings Road Liquid Tension Experimnet (first album featuring Tony Levin) FFWD FFWD (out of print) 50.00 Make me an offer Matt ------------------------------ Date: Tue, 12 Oct 1999 07:44:01 PDT From: "Matt D" Subject: Prometheus CD For sale Make an offer Matt Deibert ------------------------------ Date: Tue, 12 Oct 1999 20:41:44 -0700 From: studio seventeen productions Subject: Fripp Soundscapes T-Shirt and The Dozey Lumps at last Hello ETers, I am reluctantly parting with my near mint condition extra large RF soundscapes T-shirt on ebay. Please search www.ebay.com for seller id: ambient17 cheers, dave at studio seventeen http://listen.to/ambience/ probably more important: available now: the dozey lumps "one lump or two?" new standard tuning experimental acoustic guitar duo ...you've never heard crafty guitars quite like this! ------------------------------ Date: Thu, 14 Oct 1999 00:52:08 +0100 From: "mark pearman" Subject: Collectors Club Collection May I suggest that the DGM team consider designing "arty" boxes/storage units that KCCC members can purchase to house their valued collection that steadily grows?. P.S. The remastered ITCOTCK in a word is "SUPERB". Mark Pearman. ------------------------------ Date: Thu, 14 Oct 1999 22:25:35 +0200 From: "Toni Suominen" Subject: EZ $ on The Great Deceiver Good evening. I was just listening to The Great Deceiver box, and noticed something important. On the Easy Money on disc one you can hear Fripp playing a part of Discipline in his solo between 4:55-5:01. Is it possible that Discipline was so old idea? Toni Suominen tono at mbnet dot fi ------------------------------ Date: Thu, 14 Oct 1999 13:21:20 PDT From: "Ryan Tassone" Subject: More LTiA details...the title track is in question this time... Hey, fellow ETalkers. I'll make this brief...at the end of "LTia, Part One," there's a part after the violin solo in the middle where there are faint voices heard in the background. Sounds like something from a movie, perhaps? Just wondering if it was ever determined what that was, and why it was included. And directly after that part, it sounds like actual band members are sort of mumbling during the fadeout...who, and what is being said, if anything? It's a mysterious song, that. Thanks! Ryan ------------------------------ Date: Thu, 14 Oct 1999 22:44:15 PDT From: "stuart allison" Subject: P4 Hi, Just quickly: Does the boxed set and the "Deception of the Thrush" compilation contain any of P4's Drum 'n' Bass stuff if indeed they do? Also (as I wait for the set to hit our shores) could someone describe P3's music to me; what genre, what's it like, etc Thanks Stuart mail to: red_army_1 at hotmail dot com ------------------------------ Date: Fri, 15 Oct 1999 15:27:16 +0700 From: "Dave Lumenta" Subject: Cellos on Red ? A simple question: Was it Wetton who played the cello (well, to me it sounds like it) on Fallen Angel's intro (and also maybe on the mid-part of Red) ? It doesn't sound like Cross' viola. Regards ------------------------------ Date: Fri, 15 Oct 1999 04:44:35 -0700 (PDT) From: wilsonhenson at yahoo dot com Subject: Ham or Cheese? I'd just like to say thanks to all who sent me answers to my profound question about "Are you ready, Eddy?". I was astonished by the outpouring of responses. I haven't had this much attention since I was in the hospitol. You all are nuts! ------------------------------ Date: Fri, 15 Oct 1999 13:20:53 -0300 From: "SYNCHRO, RONALD VOGEL" Subject: DGM and 71/72 formation Hi all I am writing just to tell you that my review on Plymouth not only has generated some private emails requesting copies of the show (including Ian Wallace) but that Mr Fripp has also requested a copy. Not only Pymouth was sent to DGM but also 2 other shows ( Sheffield 1 (May 29, 1971) and Marquee (Aug. 9, 1971))(All by Brian in the US). Let's now hope that Mr Fripp uses it to release some material that would presents us of what KC actually liked in 71. Join the club and let's send DGM some requests. Cheers Ronald Vogel ------------------------------ Date: Fri, 15 Oct 1999 10:54:07 PDT From: "Matt D" Subject: FFWD disc for auction I am putting my beloved rare FFWD disc up for auction. You can find it at http://cgi.ebay.com/aw-cgi/eBayISAPI..dil?ViewItem&item=182181416 This disc features Robert Fripp Matt ------------------------------ Date: Mon, 11 Oct 1999 12:06:09 -0700 From: "Richard Donnelly" Subject: GIG REVIEW: How My Wife Learned To Love King Crimson: Take her to a CGT Show! CGT, Saturday IO/9/99 in Saint Pete, FL Despite the fact that the crowd was small, the CGT received an extemely warm response, and a standing ovation at the end of the show with, of course, the mandatory "encore." The warm-up band, a local quintet, though competent, succeded in showing the difference between the competent and mild with the (CGT's) extreme artistry, flamboyance and cutting edge performance (ability). The audience had no time to allow their minds to wander as the CGT held everyone's attention from start to finish. In a phrase: The show was utterly enjoyable, and the trio exhibited humor (Hideyo Moriya taking photos of the crowd), and a diverse repertoire featuring from Beethoven's to King Crimson and new pieces (Japanese restaurant music). Sales of CGT's CDs at the end of the show were brisk. It seemed that everyone in the audience lined up to purchase their two CDs. And I know that the CGT (Bert Richard's especially) made at least one convert in the crowd (my wife) who insisted on playing the CDs all day on Sunday, while making coments like "now I understand." Thank you CGT, now I can listen to King Crimson and the League (and now CGT) without having to turn the volume down. Excellent show! I hope they come again. Richard ------------------------------ Date: Mon, 11 Oct 1999 15:25:55 EDT From: Jazzin12 at aol dot com Subject: GIG REVIEW: CGT in Philadelphia Greetings ETers: Last nite, 10/10/99, I saw the California Guitar Trio perform at the Tin Angel in Philadephia, PA. The show was fine, but brief. I thought they should play more originals than covers, but Bohemian Rapsody by Queen seems to be a crowd pleaser. They did play a nice new Tony Levin tune that will appear on TL's new release. Anyway, the reason for my post is to repeat a funny line Paul Richards delivered after their attempt of an old KC tune (from Discipline - figure it out). He said that it is difficult to keep count when one part is in 17, one is in 15 and one is in 14. During a conversation he had with Tony Levin, he asked him how do you count this tune. Tony replied we don't, Robert (Fripp) counts all of our parts! The legend grows. On another note, I just received the new KC Collectors Club release: "ProjeKct Four: Live in San Francisco, 1995 (The Roar Of P4)". All I can say is I love the roar of improvisation. I am looking forward to the 4 cd set. Remember to recycle...listen again and again and again! Jay Jones ------------------------------ Date: Tue, 12 Oct 1999 00:00:11 -0000 From: "Jim McLaughlin" Subject: GIG REVIEW: CGT & T Lev @ The Bottom Line NYC Just got in after the early show at The Bottom Line in New York City. This show was truly a major event for ETers. The CGT were superb. With Tony Levin they were a little rough but for a first time gig they were a special treat. CGT came on for about six numbers and then were joined by Tony Levin. They played several CGT numbers with TL switching from bass to stick. Then they did a tune from TL's upcoming release. All very sharp pieces. Tony took a bow for the CGT to finish and we were blasted by two arrangments that totally blew me away. First Bohemian Rapsody. Spectacular! Then Beethoven's 9th symphony, 4th Movement (The Ode to Joy). This was too great for words. Chills swept up and down mine spine. This is one of my presonal favorites. I've worn out many a vinyl copy. As posted on the TL (papabear) website, they encored with Discipline. Very well done! Anyone who has even a remote chance to see this show should get off their buns and make sure they get to it. With or without TL this show is one not to miss. Jim ------------------------------ Date: Tue, 12 Oct 1999 13:51:31 +0200 From: "Francesco Cipresso" Subject: GIG REVIEW: KC gig review may 4th 1995 Hi ETers. I've sent here my review of the 1st KC gig I attended, held in Mestre, Venice on May 4th 1995, following the webmaster suggestion, as the ET gig reviews page has not been updated since January 25th 1998. This just to let you know that there's probably nothing of your interest herein. Cheers everybody. 21stCenturySchizoidFrank - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - KING CRIMSON 04/05/1995 Mestre, (Venice), Toniolo Theatre ROBERT FRIPP: Guitar ADRIAN BELEW: Voice, Guitar TREY GUNN: Warr Guitar, Chapman Stick, Voice TONY LEVIN: Basses, Stick, Voice PAT MASTELOTTO & BILL BRUFORD: Acoustic & Eletronic Percussions Supporting Act: CALIFORNIA GUITAR TRIO (Bert Lams, Paul Richards, Hideyo Moriya) SET LIST: 1) VROOOM 2) Coda: Marine 475 3) Frame By Frame 4) Dinosaur 5) One Time 6) Red 7) B'Boom 8) THRAK 9) Matte Kudasai 10) Sex Sleep Eat Drink Dream 11) People 12) VROOOM VROOOM 13) Indiscipline 14) Elephant Talk ENCORE: 15) Drum Solo 16) The Talking Drum 17) Larks' Tongues In Aspic, Part Two ENCORE: 18) Sleepless 19) Walking On Air And then it was Crimso! MY favourite group, since 1984 just a name (like already happened before), is alive & well once again, after more than 10 years of wait for some music that could be expressed only through His music. With Fripp, after all, everything's possible, even that he keeps his promise, done to me in the evening of November 17th 1993, after my second "rendez-vous" with Fripp & Sylvian (that night, right after the gig, I simply told him: "Next time with Crimso, Bob!", to receive the simple reply "Maybe"). The band, structured as a double trio, features the four members of the 80s Crim, plus two old acquaintances like Trey Gunn and Pat Mastelotto, both of which, refining their skills at the respective instruments, are finally admitted at the "court". I arrive at the Toniolo theatre (where I attended a gig by the League of Crafty Guitarists back in June 16th 1990) in the early afternoon,and istantly get in touch with several crimheads hangin' around. Among these, there are two guys arrived here from Naples, one of which (a Bruford die-hard) is the drummer of the rap italian group "99 Posse". Many things happen during this exciting afternoon:here are some of them: - I find Hideyo Moriya (the japanese third of the CGT) relaxing in front of the shop-window of a music store near the Toniolo; - Tony Levin walks in front of me, trying to camouflage with his sunglasses. I remain bewildered, not able to follow him to make a chat and to ask his autograph. He's walking quite fast, anyway, and after a short while he disappears among the indifferent crowd. - But the greatest pre-gig pearl is represented by the soundcheck, held between 17:30 and 18:00. Positioned right out of the backdoor, I enjoy my first live Crim experience - just sonic. This begins with the "Discipline" finale which, though not being my favourite Crim track, makes my body shivers. This electrifying anticipation carries on with "Frame By Frame", People", "Sex Sleep Eat Drink Dream", "Elephant Talk" and "VROOOM". - The only bad note from the day: making a phone call from a nearby bar I lose mr. Bruford coming out of the theatre and signing a fan's copy of "ITCOTCK". A lost occasion, fully recovered two years later at the "Night Watch" DGM Playback in London... Then it's finally gig time. CGT comes on stage and, without saying one word, like industrious conservatory pupils the three guys sit down and begin their set list with the thrilling electric slide intro of the "Train To Lamy Suite (parts 1/2/3)", performed by Paul Richards. This will remain the only electric shake of their half hour performance, otherwise delightfully acoustic. The set list features many tracks heavily performed in the previous years, also with the "RF String Quintet", like "Yamanashi Blues" or "Melrose Avenue", but reaches his height in two particular covers, as much unexpected as skilful. The first is the Morricone penned "The Good, The Bad And The Ugly". Here, the crowd participation is high as the performance quality, but this second one reaches its climax in the surprising version of the "Toccata And Fugue In D Minor" of a certain J. S. Bach. Here, eighteen chords work on shifts in a breathtaking relay, re-creating (personalized), the sound of that timeless organ, such a turning point in the all-time history of music. At the end, the ovation is unanimous and deserved. And then it was the King's turn. When those six guys appear on stage, joy is exceeded only by amazement. Fripp - obviously - puts himself in the shade, at the left of the stage (watching from the audience's point of view), while Belew "as a frontman" and Levin complete the first line. Behind, Trey Gunn is flanked by the two drum kits of Pat Mastelotto (left) and Bill Bruford (right). I'm in this last sector of the audience. The party begins with "VROOOM", which starts the last album "THRAK" too, and right from the start the true hierarchies emerge, though shadowed by the lights and other factors. Fripp is the real "deus-ex-machina", and couldn't be otherwise. His are the propulsor riffs, on which the ensemble leans on, his are the imperceptibles signals of the start for the single's improvs as well those for returning in the main themes. This happens throughout the concert, covering a period of 22 years of amazing sonic chemistries. "VROOOM" is the latest wonderful chapter of the "Larks' II - Fracture - Red - Larks' III fil rouge", and the definitive proof lays in the twin track "VROOOM VROOOM", whose central section consists in a piece rejected for "Red" back in 1974. Partially digested the initial emotion, I listen to the following double trio rendition note per note, through the ups and downs of the set list. These last ones are represented by many "Belew-oriented" songs, like "One Time", "People" and the - oh my! - final "Walking On Air". The tracks from "Discipline" are instead all played with great confidence and energy; "Frame By Frame" rouses the public's enthusiasm as much as the great final pair of "Indiscipline" and "Elephant Talk", during which the auditorium really seems to "actively listen" like Fripp has long been asking. The group's industrial side, overbearingly emerged with the last album, finds its main free play mainly in the spaces given to the rhythmic section in the percussive "tour-de-force" "B'Boom", linked in a medley to "THRAK"'s tight title-track: the walls of the Toniolo theatre are hardly able to bear such a sonic bombing. Bruford drives Mastelotto in a perfect synchronism; it's like on the stage there's just one single percussionist with four arms and four legs. Greatly executed is also the wonderful Crim-ballad "Matte Kudasai", which lulls the audience in a sweet esotic atmosphere, with Fripp's Gibson weaving a cloth of notes really intense. The two singles from "THRAK" are well played too: "Dinosaur" and "Sex Sleep Eat Drink Dream" both have that peculiar characteristic of "clear-dark", so typical of the Crim trademark: they snap at the audience to caress it a second later and vice versa. It's probably in this everlasting ambivalence that I've always recognized my temper, and in this music I've found right from the start that "something" which faithfully express the feelings and the impressions of my inner being. Quite predictable, then, that this self-identification touches its zenith in the tracks left at the end of this review: obviously my favourite, and obviously the classics. Fripp has not yet finished the closing "wheeze - chord" of "Dinosaur" that immediately starts with a piece of pure history: the six epic, fabulous minutes of "Red" have just begun. Captured by a total frenzy, I shriek and writhe with pleasure, offering an alternative show to the people around me. The second moment of pure ecstasy arrives at the end - well, almost. Finished the main set with "Elephant Talk", the King disappears behind the curtains to come back after less than two minutes for the encore. The beginning is enigmatic, totally produced by the Bruford - Mastelotto team: a call-and-response between the two drummers which creates every kind of sound offered by the percussions, both electronic and acoustic. This impro, gradually and without interrumptions, slides imperceptibly into the "already-heard-but-still-not-recognized-yet". But it just takes a few seconds, after which I fall prey of a new quiver, focalizing this new pulsating and obsessive music while the other four musicians are slowly getting into the overall sound, over the rhythmic line. The starting intro has finally transformed itself into "The Talking Drum". Once again, I'm out of my mind from the excitement and the surprise: the King is saying "goodbye" with the cream of His musical output. The aforementioned excitement is caused mainly from the contemplation of the foreseeable future: "if it happens what I imagine - I think - it will be pure rapture". And then, rapture it is. That distorted, ground-breaking Fripp's chord gives me the finishing stroke. They're really playing "Larks' Tongues In Aspic, Part II"! It's frenzy again, beyond verbal description but indelibly printed in my memory. The most shocking fact (like what happened for "Red") is the faith toward the original (under every point of view) with which the track is executed, though four musicians out of six didn't play in that historic recording 22 years ago. Meanwhile, I'm travelling completely tuned with that electrifying wall of sound till the final, redeeming explosion. That's it: the stage-audience communion is total: a magma of corpses vibrating together with a magma of notes, both of them burning. The music ends, and the six guys comes in front of the stage to greet the crowd...yes, all six of them. I cannot believe my eyes staring at Fripp smiling, waving to the crowd, clapping his hands and even indicating someone among the public! What a night! This would have absolutely been the best way to archive this wonderful jewel of a concert, still it's not over yet. Excited by such a gig, the audience keeps yelling for more, clapping rhythmically their hands for a second encore which, unexpected, arrives. This must be one of the "right" evenings, for Fripp & Co. Like everybody else, I'm overjoyed by the perspective of some more sonic gratification by the six guys, but I just can't imagine what else they could play after such a waterfall of emotions. And, as a matter of fact, the greatest expectations soon leave space to scorching disappointment. The torrid atmosphere with which the previous great performance permeated the walls of the Toniolo theatre is suddendly turned off - the classic cold shower - by two more "pop" songs: "Sleepless" (once published even as a 12'' dance single!) and "Walking On Air", which closes the gig once for all leaving the crowd in a dreamy, ethereal and impalpable atmosphere, not even barely comparable to the previous, hot finale. Later, outside the theatre, there's no sign of any Crim members, while I easily get in touch with the CGT guys, which are standing outside the theatre main door, chatting with someone and totally neglected by the - almost - entire crowd. I approach Paul Richards, talk a little with him and - shaking his hand - congratulate him on the CGT performance. I leave him with his autograph on an official CGT postcard, reaching with the same intent the other two guys from the band, standin' around there. Hideyo Moriya signs the postcard with japanese ideograms. The "mission" is by now complete, and with a dull-witted smile stamped on my face I leave the theatre behind me, in search of some rest after so many emotions. FRANCESCO CIPRESSO 10-11/06/1997 ===== ------------------------------ End of Elephant-Talk Digest #618 ********************************