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 #629 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 629 Saturday, 8 January 2000 Today's Topics: NEWS: Happy New Year to everyone Uncredited Fripp guitar A study of King Crimson improvisation. 6/16 vs 3/8 time sig talkin's There are no stupid questions ... Bicker Bicker Bicker Nyman Connection/Giles/Hunter Musket Alan Moore and King Crimson Re: Something to Look Forward to in 2000 Thanks KC & ET Re: Stupid Questions and Stupid People re: odd time signatures Re : Michael Nyman - Crimson Connection P2 Live groove reflections Kculture Please Filter noise Epitaph cover King Crimson - mp3 Question - Starless ProjeKcts Rock The House Measuring odd-times New and Improved official Mastica site 21 Fripp encounter John Paul Mexico live download problem ------------------ 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: Sat, 8 Jan 2000 22:46:59 +0000 From: "Toby Howard (ET Moderator)" Subject: NEWS: Happy New Year to everyone Well, OK, not really "NEWS", but I wanted to grab your attention. Welcome to another ET, and another year. I'd like to send best wishes for 2000 to all ET readers, from myself and on behalf of the other two of the ET triumvirate: my esteemed and esteaming colleagues Mike Dickson and Dan Kirkdorffer. I'll take this opportunity, if I may, to publicly thank Mike and Dan for their hard work, enthusiasm, goodwill, humour, and friendship, which have made maintaining ET over the years a real pleasure for me. And, I hope, for you too. And hey -- I got through this without even mentioning the **Millennium** once! Oh, shit... I mean, "TURD", oh, now I'm all confused... See you in 2001, everyone. Cheers Toby ------------------------------ Date: Tue, 28 Dec 1999 09:32:05 EST From: MRKOC at aol dot com Subject: Uncredited Fripp guitar Listening the final track on Eno's ALI CLICK compact disc maxi-single, and wondering if Mr. Fripp contributes an uncredited guitar. Fripp appears on the NERVE NET CD and on the FRACTAL ZOOM maxi-single. But there is a distinctive solo at about 3 minutes into I FALL UP that reminds me of a solo Fripp performed on David Sylvian's GONE TO EARTH, on the final track: UPON THIS EARTH. I do not see Mr. Fripp credited anywhere on the liner notes. If any of you devotees have the answer, let me know. One final note: I hate to be the one to rain on the parade or the ball dropping in Time's Square, but when I do the math the century and the millennium don't end for another year, give or take the few days it takes for this post to make it to the newsletter. Save your celebration until then. Happy last New Year of the Passing Millennium, Kevin ------------------------------ Date: Tue, 28 Dec 1999 06:50:34 PST From: "Ryan Tassone" Subject: A study of King Crimson improvisation. Hello. A King Crimson improv is a very special event. As much as they seem to defy convention, however, there are certain recurring themes and moments of unity that make them seem like structured compositions at times. It is a trait that relates not only to the time period, but to the musicians involved...people saying that ProjeKct 1 harkens back to the 70's improvs are denying that half of the troupe is made up of different musical creatures, namely Levin and Gunn. They are extremely opposite, in terms of their approaches to dynamics and timing...for instance, 70's improvs, as far as I can tell, almost never began with a drumbeat. On P1, half the songs start with Bruford laying down a groove, soon joined by the rest of the group. Songs like "Providence," "We'll Let You Know," and even "Starless and Bible Black" usually are introduced by a train-like sound, possibly Cross' weeping violin, or a mellotron. Bruford hits some gongs, Wetton desperately wants to rock out (and usually does). The tune gradually becomes funk. The end is sometimes indefinite, meaning it's edited for use on an album (think "The Mincer")...in this light, ProjeKct 1 is vastly unsimilar to 70's improvs. As for the rest of the set? Well, P3 is sort of like the few improvs that came outta the 80's, like "No Warning" and "Nuages" (perhaps even "The Sheltering Sky," as has been heavily suggested), with a solid electronic rhythm section and lots of sustained, sweepy guitar, not to mention a good helping of feedback. P4 and P2 are new territory, just like I said P1 actually was. And most of P3, too! And let's not forget "Thrakkattak," which smells a lot like the end of "Moonchild" from ITCOTKC! Just giving my two cents on a very common topic, don't mind me. (c; Ryan P.S. Yesterday, I bought IT. "IT" being The Gates of Paradise. All I can say is...aptly titled. ------------------------------ Date: Tue, 28 Dec 1999 09:41:34 -0800 From: Nic Roozeboom Subject: 6/16 vs 3/8 >> 4. Robert Fripp mentions in his diary a section of music in 6/16. Why would >> this section of music be in 6/16 rather than in 3/8 ? Because 3/8 is not divisible by two. ------------------------------ Date: Tue, 28 Dec 1999 16:05:48 EST From: StucoHomes at aol dot com Subject: time sig talkin's > > adrian: |* 1 2 3 4 5 6 7 1 2 3 4 5 6 7 *| > bruford: |* 1 2 3 4 5 6 7 *| But this isn't 7/8 and 7/4! It's just one or the other. If it's 7/4, then adrian is playing EIGHTH notes, you see? If it's 7/8, then think of it as bruford playing eighth notes, and adrian playing sixteenths. ------------------------------ Date: 28 Dec 1999 18:07:35 -0500 From: Dan Schmidt Subject: There are no stupid questions ... NeutronJuan writes: | 4. Robert Fripp mentions in his diary a section of music in | 6/16. Why would this section of music be in 6/16 rather than in 3/8? 6/16 traditionally divides the bar into two parts, each of which has three 16th notes. 3/8 divides the same bar into three parts. 6/16: YA da da ya da da YA da da ya da da 3/8: YA da ya da ya da YA da ya da ya da -- Dan Schmidt | http://www.dfan.org ------------------------------ Date: Tue, 28 Dec 1999 21:49:29 EST From: "Rob X" Subject: Bicker Bicker Bicker I subscribed to the ET newsletter about 10 issues ago. I've noticed a trend as to the amount of useless ranting invading my e-mail within every issue. I'm going out on a limb here, but I believe I'm safe to assume most of the people griping about the personalities of King Crimson haven't actually met any of the band members. If you enjoy the music, don't fuss about the minds behind it. It's insulting to the artist for you to presume what type of people they are merely because you are a fan of their work. Savour the simplicity. As for the Elephant Turd topic... enough is enough. Adrian has more of a right to discuss what he thinks of it than everyone involved in or reading the newsletter. The constant contention over a simple comment makes me gag every time I open my e-mail. So many time keys, so many songs. If you want a simple 'key' to unlock the mysteries of the time signature, pick up a bass guitar and learn how to work with a drummer. Time is an innate ability, and you either have it or you don't. The only difference between the pros and amateurs is their physical ability to synchronize their various extremities with that innate sense of rhythm. The ability to recognize time signatures is only required if you plan on writing or reading music on staffs. If you don't wish to emphasize the latter on your playing style, developing an instinctual ability of comprehending time will aid you in ways you'll never really grasp; however, it will make perfect sense in the strangest times. Well, I've had enough. Not only have I heard enough bickering in recent issues of ET, but I just heard more than enough from the hypocrite in me. In the future, true KC fans, focus on the more positive aspects of the band and it's music and respect the opinions of KC, for it is from their talents whence forth this forum was brought into existence. In the end, its only talk. ------------------------------ Date: Wed, 29 Dec 1999 10:14:00 +0000 From: Tim Pickard Subject: Nyman Connection/Giles/Hunter Musket The drummer in question was Michael Giles, as far as I am aware no recording of the event has ever been released. Giles also appeared on one track on the Penguin Cafe Orchestra album 'Broadcasting from Home (1984) EEGCD38. Whilst on the subject of Michael Giles, a collegue of mine claims to have played with him in a group called 'Hunter Musket' but refuses (on the grounds that they were really bad) to give further details or let me listen to their album. Anyone know anything about this one? >Reading the sleeve-notes for Michael Nyman's "After Extra Time", I've >found a surprising and mystifying KC reference. >The topic is "Memorial", Nyman's extraordinary piece dedicated to the >Heysel Stadium victims, and better known as the theme to "The Cook, The >Thief, His Wife & Her Lover". >Referring to the first performance, the sleeve notes say: >"The orchestra was the largest Nyman has worked with, 15 strong, the >string and horn sections backed up by electric guitar and bass, and a >drummer who used to be with King Crimson." ------------------------------ Date: Thu, 30 Dec 1999 01:37:08 -0800 From: s Subject: Alan Moore and King Crimson Hello, I would like to point out a connection I think between Alan Moore (comic book writer of Miracle Man, the Watchmen, etc.) and King Crimson. I think there are some subtle references to King Crimson in Miracleman comics- for instance a chapter in the first issue is called "The Red King Syndrome." Yeah, speculation. But Alan Moore also wrote a Batman series called "The Killing Joke"- also the title of an EG band. And Alan Moore has a new comic called "The League of Extraordinary Gentlemen"... Hmm, sounds sort of familiar... But most interesting of all, is that I noticed that the word "THRAK" is used as a sound effect on page five of Miracleman issue #2. Now I don't know how many comic book writers actually use the sound effect "THRAK." In the comic it is actually spelled "THRAAK." This issue Miracleman #2 came out in 1985, whereas the King Crimson "THRAK" album came out in 1995.... So are King Crimson and Alan Moore mutual fans or friends? Alan Moore is from England as well as many of King Crimson? Robert Fripp, if you know Alan Moore, please kindly ask him, "More superhero comics! More Miracleman! " Heh heh heh, that is not an expectation, just a longing... :) :) P.S. That is a wonderful solo sound Robert Fripp uses. I'm thinking some simple effects chained together, or multiple distortion units chained, ah well, no matter, as long as one person in the world is playing with that sound it's good enough for me! :) Steven ------------------------------ Date: Thu, 30 Dec 1999 06:22:15 -0500 From: Michael Townsend Subject: Re: Something to Look Forward to in 2000 I'm not sure where this came from - the Discipline Guest Book? My brother forwarded it to me and I thought it needed to be shared with the ET list. Or did it come from this list and I just missed it? In any event, it's a pretty thrilling preview of the 21st Century Crimsoid Product: > Subject: Something to Look Forward to in 2000 Whoaaaaaaaaaaaaa! We've listened to our first almost-complete aural through-view of the album (missing "Larks' V"). Not for the squeamish. Nor for wives. Not for friends of Jeff Carlyle. And (without ambiguity) not for anyone who doesn't already know the plot. For interrogation. For stilling neighbours. For clearing the sinuses. For demonstrating what 30 years of strangeness can amount to, when practised. Crimson records usually make some attempt to engage the audience. This one makes none. It is utterly without compromise. Most people will hate it. No radio station will play it. For the record to make sense, most people will have to see/hear Crimson live. And who cares? By now, we know how this works: Crimson plays it, nearly everyone hates it, eventually someone explains it to those who hate it, and they still don't get it or care to get it. Then, Crimson takes a break for between 3-10 years, retrospectives appear in the press, the "legendary" group returns to more or less the same level of dislike, antipathy, lack of interest and devotion as before. Robert Christgau will not like this record. >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: Thu, 30 Dec 1999 14:06:43 +0200 From: "Toni Suominen" Subject: Thanks KC & ET Hello all!! I just want to wish everyone in ET a happy new millennium!! And then I'd like to thank 30-year old King Crimson for three decades of worlds most finest, cultivated and best music. And I would specially like to thank Mr. Bill Bruford for being, to me, the greatest inspiration of all time. Your playing has really given me alot. Happy new millenniun to King Crimson also!!! Toni Suominen tono at mbnet dot fi ------------------------------ Date: Wed, 29 Dec 1999 13:27:34 -0800 From: "SABIN, JAMES" Subject: Re: Stupid Questions and Stupid People "4. Robert Fripp mentions in his diary a section of music in 6/16. Why would this section of music be in 6/16 rather than in 3/8?" There are a few different possibilities as to why it would be more intuitive to designate it as 6/16 rather than 3/8. Since I have not heard the passage in question, I will take a stab and throw out what I consider to be the most likely explanation, just based on my own train of thought. I associate a "1-2-3/waltz" sort of feel with 3/4 time, and I associate a "triplet/swing" sort of feel with 3/8 or 6/8 time. There's no rule that says this is the way it has to be, but many musicians who work with written music have the same associations. When the composer writes the music on paper, he/she must consider not only whether the meter has the correct number of 8th notes or 16th notes, but what implications that meter has for anyone who will look at the written music later. My guess is that the musical phrase Fripp was working on didn't have a "triplet/swing" sort of feel to it, and this would have made it misleading and confusing to designate it as 3/8. There's my $.02 James ------------------------------ Date: Wed, 29 Dec 1999 20:20:14 -0800 (PST) From: Edgar Kausel Subject: re: odd time signatures Fracture: at the end of the song, there's a difficult part in 15/8 (very similar to Fractured's 15/16, isn't it) Discipline: 17/8 and 17/4 Starless: the middle section is in 13/8, with a transitional part in 3/8. BBoom: there are some crazy double drums rythm patterns. 3/4 v/s 7/8, and then 3/4 v/s 5/8 (this is 2'13''--2'22'') ------------------------------ Date: Sat, 01 Jan 2000 18:00:03 +0100 From: Stephane Alexandre Subject: Re : Michael Nyman - Crimson Connection Hi Elephant-Talker, In ET #628, Russell asked who was the drummer for the first performance of Michael Nyman's Memorial. The answer appeared a few years ago in ET, it was Michael Giles. The piece known as Memorial used for the movie soundrack of "The Cook, The Thief, His Wife and Her Lover" is actually only one part of the original work in 6 parts dedicated to the memory of the Juventus fans who died at the Heysel one month before the premiere. The premiere was sometime in July 1985 in Yainville near Rouen during the summer festival (the festival has moved now in October). I do not know what Michael Giles thought of the location choosen for the concert (a disused power plant) but from what I read, Michael Nyman was not really pleased by it. For the movie shooting Peter Greenaway used the live recording of that performance since the studio recording was ready. Therefore, when the Michael Nyman band came to record the movie soundtrack they played the music while listening to the live performance in order to get exactly the same tempo. In the original movie soundtrack, one may heard some cymbals (at the begining of Sarah Leonard vocal part). There is no percussion player credited in the booklet, but I do not think it is Michael Giles. I beleive the cymbal was added later probably for the needs of the final procession scene. The cymbal does not appear on the recent recordings et likeky on the musical score - the composer choice. Happy new Year, Stephane. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ElEphAnt wAlk - a site dedicated to the live incarnations of KiNG CRiMSoN http://www.multimania.com/as33/Elephant-Walk.htm by Stephane ALEXANDRE : as33 at multimania dot com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Fri, 31 Dec 1999 11:43:12 -0800 (PST) From: RS Subject: P2 Live groove reflections Hi all, I just bought the Projekcts box set. It's really good so far, although I've only listened to the first two disc. Two observations. One, Bill Bruford is and will always be thee drummer for KC. Pat and Belew are definitely interesting, but Bruford is undescribably awesome. End of discussion. Secondly, I found the recording of the "photo incident" from the Cleveland show very interesting. I was at the show. In the liner notes Trey recall the audience shouting asshole at the guy who took the picture. This is only half true. Many audience members were shouting asshole at Fripp while others flipped the band off and lit up their cigs! I'd say a good 20-30 left the show as well. Although Trey says he agrees with Fripp stance on photos for the "obvious reasons", many people did not find these reasons so obvious. Personally, I feel one should respect the bands' wishes, but the whole audience should not be punished for one person's action. Also, take a picture (while it maybe distracting or rude) is not the atrocity that Fripp makes it out to be in the DGm diary. I'm glad the show went on though I'm not sure what to make of Fripp's destroying of the film and holding it up to the audience. I found it funny, childish, and heroic all at once. One other interesting side bar is if you listen to that end recording you here breaking glass in almost constantly. This is people throwing away their beer bottles. Is it me, or is that every show I go to, it seems that people are more interest in buying over priced beer than watching the band? First of all, it a huge waste of money. Second, if you're so interested in get drunk, why not stay home? If you can't enjoy anything without a beer buzz, you're pathetic. Has anyone observed this? I guess I expect this more at a Jethro Tull show than at a KC concert. You'd hope the fans would be a little more into the music. That's all for now, RS ------------------------------ Date: Fri, 31 Dec 1999 20:07:00 -0500 From: John Barnas Subject: Kculture Greetings music lovers in the 21st Century! I've been busy so haven't had the time to write and clear up or shed light on a terrible misunderstanding. We all love Adrian, and I think he knows it. If you've had the pleasure of conversing with him, you know he looks you in the eye and treats you like an equal. This is no marketing gimmick. What most of you don't know is that Adrian has become a skateboarder par excellance. On my recent December shareholders meeting in Nashville I was leaving my favorite local steakhouse when I noticed rumblings in the lot across the street. Some local youths had set up a plywood skateboard jump or ramp or whatever it's called. These boys were really getting airborne. I crossed the street for a closer look and, lo and behold, there was our favorite maker of weird guitar noises himself! All of the boys had shaved heads and so did Adrian. He looks younger now. Well the clincher is this: As Adrian grabbed his board and set loose on the ramp the boys, aged 12 to 32ish, started yelling, "Turd! Turd!, Turd!." I was astonished that Adrian could ride so well and also that now I knew what Ade meant several weeks ago about ET. "What a turd!" is just the same as when Robert says, "Beast!, Beast I say!". It is simply Tennessee skateboarder lingo and means, "How awesome!". I can't wait until the new KC tour next Fall to see Adrian and say, "Wow, that guitar playing was really turdish tonight, man". Happy New Year to all. In Crim, John ------------------------------ Date: Fri, 31 Dec 1999 23:54:01 -0500 From: Z Transform Subject: Please Filter noise Greetings, Projekcts 1 - 4 are great!! Projekct 2 following the picture incident contains the "noise" of electronics which is way uncool to hear in Hi-Fidelity. ~I am surprised although always glad to listen to any projects~ Jon~Paul ------------------------------ Date: Mon, 03 Jan 2000 07:24:22 PST From: "Manuel Rabasse" Subject: Epitaph cover Hi there, I want to make everybydy notice that the french magazine Hard N' Heavy has just issued a special issue on progressive rock. Apart from a 5 page feature on the live KC stuff there's also a free cd sampler which features a cover of "Epitaph" by a norvegien band called In The Woods. Anyone interested should write to Hard N' Heavy, Editions Freeway, 1 rue Rougemont, 75009 Paris -France. Email at: robert_amish at hotmail dot com ------------------------------ Date: Wed, 05 Jan 2000 15:39:28 -0500 From: "Louis Sormany" Subject: King Crimson - mp3 5 Jan 2000 Hi, I don't know if it's the appropriate place to adress my request. But, I'm desperately looking for Collector's Club No 1 "Live at the Marquee". I would appraciate if someone could send me the tracks (particularly "Trees" and "I Talk to the Wind") of this cd in MP3 format. I 'm also interested, always in MP3 format, by "Doctor Diamond" (on "The Great Deceiver"), "I Talk to the Wind" (on "Young Persons Guide") and by some tracks from Giles, Giles and Fripp ("Under the Sky", "She is Loaded", "Suite No 1", "Erudite Eyes"). In exchange, I can send MP3 tracks from the rare cd "McDonald & Giles", from a good bootleg of a concert recorded in Boston on March 72 ("Celebration of the Lizard" containing, among others, "Circus", "Cadence and Cascade", "Formentera Lady", etc...) and from "1996 Live in Mexico City". Please, respond by private E Mail. Louis. ------------------------------ Date: Wed, 5 Jan 2000 16:56:20 -0500 From: "Jennifer Stremble" Subject: Question - Starless Hi! I was wondering where I could get the sheet music for the Sax part in "Starless".......... Thanks in advance, Jennifer ------------------------------ Date: Wed, 05 Jan 2000 15:24:21 PST From: "Michael Irish" Subject: ProjeKcts Rock The House I agree with an earlier post in ET where it was stated that the ProjeKcts are some of the most exciting music to emerge since KC's Discipline. I'd go as far back as the Clash's London Calling in terms of rock that knocks me out of my shoes, although I feel the band has left pop conventions altogether behind; Robert Fripp's music puts me more in mind of Robert Simpson than the latest pop-dance fodder to come down the road. Each of the ProjeKcts have their own special rewards. I'm especially happy that P2's Live Groove did a vector shift to Planet Detroit. That was such a great concert! Overall, I'd say that the Projekct Four recordings are my favorites, here with West Coast Live, and also The Roar of P4: Live in San Francisco. The diaries at the DGM site have been fascinating, especially in regards to how the new Crimson album is coming together. Adrian is one of the best persons I've met in life, His skill as a vocalist goes as far back as the retake he did on Cadence and Cascade, a piece that compliments Adrian's beauty in ballad, and which I find closer to the music's spirit than Gordon Haskell's original. From his multifaceted solo work, from Discipline to Thrak to P2, Adrian remain one of the most creative artists in rock. I bought the remastered Court, with its beautiful gatefold cover; but I'm not sure I want to replace Posidon, Lizard, and Islands. Are the new remasters that great an improvement? Michael ------------------------------ Date: Wed, 05 Jan 2000 21:07:06 -0500 From: "Dan B." Subject: Measuring odd-times To Jordan: Try counting the accents or the spaces the notes actually occupy--rather than a 'measure'--and I think you'll be (more--or less?) exact. -- "Reality isn't advertising." -- Roscoe Bledsoe ------------------------------ Date: Wed, 05 Jan 2000 20:35:59 -0600 From: Jason Shelburne Subject: New and Improved official Mastica site FYI, In case you weren't aware, the official Mastica site (one of Pat Mastelotto's side gigs) is now at it's proper location. Please check it out at: http://www.mastica.net Pat would greatly appreciate it. It's been awhile in the coming, so please leave us your comments. Thanks, Jason (Mastica webmaster) ------------------------------ Date: Wed, 05 Jan 2000 21:49:37 PST From: "stuart allison" Subject: 21 >On this occasion, I plan to close the century down with 21CSM, >appropriate >for the title, as well as the hysterical aggravated >unfinished quality of >the end of the song. Hysterical? Yes, but hey, they finish twice, isn't that enough?! Stuart Official PM Page - www.pnc.com.au/~wallison/pm.htm ------------------------------ Date: Thu, 6 Jan 2000 10:34:45 -0500 From: Bob Pascarella Subject: Fripp encounter Last year I was invited to attend the G3 Tour which Robert was part of by a friend of mine, Phillip Bynoe. Phillip was (and is) the bass player for Steve Vai. Phillip invited my wife and I back stage where I was intruduced to Mr. Fripp. He stood silently with a cup of coffee in his hand. I approached and said: "Hello Robert, it's my pleasure to make your aquaintance." He replied: "It is also my pleasure. You're name is?" I answered: "My name is also Robert." He replied: "How nice." We stood listening to the others speak for a moment and politely parted with a smile. As a fellow performer I often find that I will react to an approach only in the manner that suits both the situation and my attitude at that moment. I felt that our exchange at that time was appropriate, pleasurable and repectful. If Robert had chosen to react to me in a different manner, I would not have taken it personally at all. Robert Pascarella Composer/Sound Designer ------------------------------ Date: Thu, 6 Jan 2000 14:15:44 -0500 (Eastern Standard Time) From: "John Murphy" Subject: John Paul For those who haven't yet heard/formed their own opinion on JPJ's Zooma, there is a great review on : http://www.thumpcity.com/ I recently picked this up myself and really enjoy it (this from one who was never a Zeppelin fanatic), Trey also contributes some neat stuff to this disc. ------------------------------ Date: Fri, 7 Jan 2000 13:34:01 GMT+1 From: Thomas Mazurais Subject: Mexico live download problem Another problem with the download (sorry!) : When I tried to download the file, I got a message telling me that I didn't have the right version of Windows Media Player. So I went to Billy's site to download the latest version, which appeared to be the same I already had! I tried to download the concert file again, but sme message! How can I download the file? Does anybody know? Thomas _______________________________________________________ Vendez tout... aux encheres - http://www.caraplazza.com ------------------------------ End of Elephant-Talk Digest #629 ********************************