Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #694 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 694 Thursday, 15 June 2000 Today's Topics: GIG BIZ: KC Concert Barcelona GIG BIZ: Japan Tour Tickets New remasters TCOL concert t-shirt available Re: KCCC Confusion Shouting at Concerts Night Watch Question in "This Night Wounds Time" post Fripp's Opinion On Jimi Hendrix Gravity Tree & King's X Re: My friends moral dilemma. The ProjeKcts(Incl. tCoL) Re: Forcing KC upon your friends Pat's_Drumming_ Re: Elephant Talk #690 (RE: Mr. William Bruford is NOT God!) a lighter thread... starless and >trey gunn & percy howard< Setlists from "Deja Vrooom" shows?/Hidden stuff on same Fripp and Mp3 new Crim or how V-drums killed my fav band Improv on S&BB/Red Crimson book by C. Romeo GIG REVIEW: Warsaw, 11.06.2000 GIG REVIEW: Warsaw, Roma Theatre, 10-Jun-00 GIG REVIEW: Field Report from Prague ------------------ 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 v3.7b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Wed, 14 Jun 2000 07:25:17 EDT From: LTheDwarf at aol dot com Subject: GIG BIZ: KC Concert Barcelona Hi Et'ers I think I'll go to The KC Barcelona Gig (June 26th), there's some places still available (approx 170F, #16, EURO26). As I am living in Perpignan (FRANCE) I can ship in my car one or two guys, for a day trip (departure on 8PM). Is there someone insterested in? Here's the french Translation: J'envisage d'aller au concert de Barcelone le 26Juin, il reste des places disponibles.J'ai la possibilite d'embarquer avec moi au depart de Perpignan 1 ou 2 personnes interessees avec retour possible le soir meme (Compter max 2H de trajet) Email: Lthedwarf at aol dot com ------------------------------ Date: Wed, 14 Jun 2000 15:23:13 +0900 From: Takaaki Higuchi Subject: GIG BIZ: Japan Tour Tickets Hi, Starting today, the ticket reservation of Japan Tour is available on the UDO home page(http://www.udo.co.jp). These four days are available as of now. 03-Oct-00 Kanagawa Kenmin Hall Yokohama, Japan 04-Oct-00 Shibuya Kokaido Tokyo, Japan 05-Oct-00 Shibuya Kokaido Tokyo, Japan 07-Oct-00 Shibuya Kokaido Tokyo, Japan Though it's in Japanese, I think some of you are in Japan :-) regards, Takaaki Higuchi ------------------------------ Date: Mon, 12 Jun 2000 19:56:51 EDT From: Jeffcone9679 at cs dot com Subject: New remasters Can anyone tell me when the next batch of 24 bit remasters is comming out? ------------------------------ Date: Tue, 13 Jun 2000 09:35:56 -0400 From: "Erik Varga" Subject: TCOL concert t-shirt available To anyone interested: I have available a NEW ConstruKction of Light T-shirt (Size: Large, Color: Black.) that I picked up at the Nashville gigs last month. This MINT unworn T-shirt features the CD artwork on front and a cosmos design on back. I paid $25 for it. Please contact me privately: vargan at mindspring dot com Erik Varga ------------------------------ Date: Tue, 13 Jun 2000 16:39:51 +0100 From: Peter Clinch

Subject: Re: KCCC Confusion In ET #692, Lewis Beard worried: > I read rave reviews of ProjeKct 4 Live in San Francisco 1998. Yup, it's a stormer. Worth it just for Seizure IMHO. > I want it, but I dont want to shell out 96 bucks just to > join an elite list of fanatics, when I'm not even sure if I can get > something that is already released. I might be in an elite bunch, but would you describe me as a fanatic? I've been in KCCC for over a year, but only have 3 releases (Cap d'thingy, Broadway and P4) and don't have any interest in releases pre-1980, and not much for several others (have by-passed Vrooom Seshes and Moles Club, for example). You can pick up previous releases as long as they're listed on the catalogue pages (I think they still all are): The Cap and Broadway shows were already "previous" when I joined up. > Also, I dont know that I want to automatically get all the new stuff. You don't have to. Just let KCCC know in advance of a mailing you don't want it, and they don't send it to you. Worked every time for me so far. > the DGM Club approach puts me off. Can anyone explain it, comfort me, or > somehow tell me if/when I can ever buy P4 - San Fran 1998 just on its own? As long as you can see yourself getting 6 releases (bear in mind that a double CD like Broadway technically counts as 2) altogether, ever, then you can't really lose: it's just you pay up front. But if I understand correctly you can't pick up Roar of P4 on its own at present, and plans are not afoot for you to do so (there again, you can't pick up "West Coast Live" on its own. There again, you can probably do both of those if you get expensive Japanese imports, but why bother?) > But its annoying. I wish I could just go on a > simple page, enter a credit card #, and click the 3 selections I happen to > want right now. It would be nice, but my impression is that economically the club wouldn't really be able to operate without a certain level of guaranteed income, hence the up-frot payment to finance the discs. Once you have paid your $96, however, you should indeed be able to click the 3 selections you want right now, and then just leave the other 3 until such time as the club produces something else you want. Alternatively, you could ask if anyone is willing to dispense with their copy of Roar of P4. But you can't have mine! Pete. -- Peter Clinch University of Dundee Tel 44 1382 660111 ext. 33637 Medical Physics, Ninewells Hospital Fax 44 1382 640177 Dundee DD1 9SY Scotland UK net p dot j dot clinch at dundee dot ac dot uk http://www.dundee.ac.uk/~pjclinch/ ------------------------------ Date: Tue, 13 Jun 2000 12:31:12 EDT From: StucoHomes at aol dot com Subject: Shouting at Concerts In a message dated 6/13/00 10:47:03 AM US Eastern Standard Time, et at blackcat dot demon dot co dot uk writes: > If you have to shout at a concert do it before, between or after the music > being played. Never make distractions while music is being played, and that > includes any long pauses that may be part of the music (unless the band > invites the audience to participate that way). I doubt that anybody is > going to the concert to hear the audience members perform, I think that > people are going to hear the band perform. It is incredibly rude and > selfish to make noise while others are trying to listen. It is also > incredibly rude and selfish to make noise while the band is trying to play. Indeed - I am one who likes to shout at concerts, but only in-between songs, and never when the people onstage are talking. A well-placed, or witty shout can lead to great things - examples of this are littered all over live albums - especially the live albums in the Zappa ouvre (if i spelled THAT one right!) Without audience shouters, we wouldn't have Zappa's "Whipping Post" on You Can't Do That On Stage Anymore Volume 2, (or, for that matter, the poetry recitals on Volume 1). - - - Reverend Jody L. Barnes "May the baby Jesus shut your mouth and open your mind." - Don Vliet "He who hesitates is lost." - Andy Partridge ------------------------------ Date: Tue, 13 Jun 2000 12:58:23 -0500 From: Michael dot Russell at mercerdelta dot com Subject: Night Watch Question in "This Night Wounds Time" post On 13 June, 2000, Martin Warin wrote: >Talking about "The night watch"... I wouldn't think of myself as the >greatest poets of history, though I think I might have *some* skill. But >WHAT (?!?) does "so many years we've suffered here - our country racked >with Spanish wars" mean? The topic of the song is Rembrandt's 1642 painting Captain Frans Benning Cocq Mustering His Company, a canvas colloquially known as The Night Watch. For almost 80 years starting in 1566, the Dutch fought for independence from Spain. After decades of sporadic warfare and truces, lasting peace was secured as part of the general settlement reached at Westphalia in 1648. The lyrics to the Crim song are filled with references to 17th Century Dutch bourgeois life and experience, including the Spanish conflict. ?Michael ------------------------------ Date: Tue, 13 Jun 2000 13:32:55 -0400 From: Daniel Pepper Subject: Fripp's Opinion On Jimi Hendrix hello everyone..i read in a Robert Fripp interview about Fripp's opinion on Hendrix..he thinks he was a man who had something to say, but not a wonderful musician..i just thought his opinion was interesting...on the other hand, Hendrix said that ITCOTCK was an excellent, mind-blowing album..feel free to comment on the these two musicians' opinions of each other~ ------------------------------ Date: Tue, 13 Jun 2000 14:24:46 -0400 From: David Vella Subject: Gravity Tree & King's X In ET #692, Brian Burch asks about Gravity Tree & King's X, and their relation King Crimson. I've never heard of Gravity Tree, but his description sounds interesting. On the other hand, if you can imagine grafting Beatlesesque harmonies on a heavy metal power trio, you have a pretty good idea of what King's X sounds like. It seems to me they have been around for about 10 or 12 years. I like some of their material, especially the earlier CD's, my favorite being "Faith Hope & Love" (or something along those lines) & the eponymous "King's X". But "Out of the Silent Planet" & "Gretchen Goes to Nebraska" are almost as good. Their recent material doesn't seem to hold my attention as much. They may be good, but they hardly merit being mentioned in the same sentence as King Crimson. (But then, who does?) -David Vella -- ==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==* David C. Vella Office: Harder Hall 219 Associate Professor of Mathematics 518-580-5291 Skidmore College dvella at skidmore dot edu Saratoga Springs, NY 12866 Home: 518-587-5363 web-page: http://www.skidmore.edu/~dvella/dcvbio1.htm ==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==*==* ------------------------------ Date: Tue, 13 Jun 2000 14:45:22 -0400 (EDT) From: Ed Stokes Subject: Re: My friends moral dilemma. > From: "Macahan The Unifaun" > Subject: My friends moral dilemma. > > ... I've got a friend who attended the Copenhagen 27th May > show. And this friend happens to know a horrible guy who owns a private > recording of this show. This horrible guy has the motto "Tape it! Swap It! - > Profit? Drop It!" and tapes a show every now and then. I usually consider tape-trading a respectable hobby under this principal. > ... he has offered my friend a copy of the recording > of bands who think taping shows is bad, there is a conflict between the > friends desire to hear the Copenhagen show, and the friends desire to show > respect to KC. > ... what should the friend do, considering that both desires are very > strong?? > > Possible suggestions for actions: > 2) say "no thanks, I would really have loved to, but you know Fripp" optimal. How badly does yr friend need this recording? How much does he respect Fripp, who's nice enough to fill our bootleg receptors every two months with high quality boot-methadone? I think Our Man's gone to some lengths to obviate the bootlegs he clearly hates *without* prosecuting alternate media or persecuting fans (c.f. Metallica/Napster but only if it doesn't become an annoying, off-topic thread). I guess I won't mention bootlegtv.com (whoops -- oh well). The only thing I could imagine making me not wish to honor his request would be a compulsion to collect every recording imaginable. I don't wish to disparage this mindset but it's more redundancy that I personally could imagine enduring for my enjoyment. This friend might want to consider what motivates him to acquire this particular commodity. In short, what has hyped this fellow on acquiring the recording? Perhaps under consideration the friend will find his (I'm sorry for the gender presumption here) motivations other than ideal, and not representing the kind of personhood he (sorry) wishes to develop. Or perhaps some more enriching task might fill the need so identified. Here's an easy, pseudo-random suggestion: how about hearing music by an artist who's unfamiliar? Has yr friend yet heard Heldon or Trans Am, for instance? > 1) trade for the recording and let that be it. This seems to be the only real alternative. If yr friend does succumb to the trade, perhaps DGM could use a copy as well. However, AFAIK (=as far as I know) they haven't requested one and probably wouldn't consider compensation in this form or any other. > 3) trade for the recording and pay royalty to DGM (the friend is prepared > to do so if they wish) Mr. Fripp's main objection doesn't seem to be financial (tho that is a factor). So while this may assuage yr guilt, it wouldn't set things right in the minds of people objecting. Me, I'd just miss the $$. [snip snip I fear I'm bloviating] My personal practice: I do collect bootlegs, but not of Fripp/Crimson. "Moral" considerations are almost a non-influence. The only thing that really turns me off to the practice is a steady supply of quality legit product. DGM do the absolute best job of this I've seen. [My enthusiam does not reflect a monetary or otherwise corrupting interest in DGM, other than that of a happy customer.] Es. ------------------------------ Date: 13 Jun 00 15:51:39 EDT From: James Dusewicz Subject: The ProjeKcts(Incl. tCoL) I was quite amazed at some of contents of the posts that appeared these last several weeks about the new Crimson album. Seeing that the last Crimson album I'd bought up to this past weekend was CIRKUS(1999). Yes, I'd bypassed everything until the big brouhaha about the new Crimson album began sending more Elephant Talk Digests my way. Be that as it may, and having said that, last Saturday I went and bought THE PROJEKCTS Box SET(4 CDs, 1999) THE CONSTRUKCTION OF LIGHT(2000), and on Sunday, for good measure bought SPACE GROOVE(2 CDs, 1998). Really, I'd forsworn KC ProjeKcts. I had the mistaken opinion that they were going to be a lot of Soundscapes, and questionable endless jamming. But I was struck by all of the negative criticism voiced here on CoL. And so, I took the plunge. I always wondered if, and when the Crimso's were going to follow up on THraK aTTaK(1996). Sustaining any interesting improvisation for a long period of time is difficult at best. Especially when so little new ideas are introduced at the beginning and the players pretty much know each others playing styles completely, and horror of horrors, they may tend to drift into improvisation that reeks of shared prior Crimson compositions. The CD listing of compositions played by ProjeKct one is an inside joke of course. I at least take it as such. But this fractal can boogie. I was not at all bored. Grateful Dead and Allman Brothers have long had a history of controlled spurts of improvisation,(but 4 whole CDs?) and so I approached The ProjeKcts from that perspective. "Deception Of The Thrush" appears on ProjeKct Two and Four. Am I mistaken to believe that that is as close to an actual pre-conceived 'song' that these guys get on the box set? If so, then it must rate as a first class King Crimson composition. It cooks! I heard The ProjeKcts Box set before I picked up ProjeKct One's SPACE GROOVE(1998). "Space Groove" appears on ProjeKct One's live disc. Another pre-conceived jam put to the 'live' test. THE CONSTRUKCTION OF LIGHT(2000), is a very metal KC album. Aside from Belew's distorted vocalizations; by the way what is ProjeKct X? A new direction, the end of KC as we know it? Or what? I like the pedal to the metal new FracKture. I also dig "Prozac Blues". But the appearance of "Larks' Tongues In Aspic IV has me wondering whether KC as we know it will exist, period. See LTIA III on THREE OF A PERFECT PAIR(1984). Is the Fripper going to dissolve KC yet again for several years hence? That is what LTIA IV arguers to me. I am/was pleasantly surprised at all of The ProjeKcts musicality. The jams are great! While there is much material to sift through, I'll enjoy playing The ProjeKcts Box Set(1999). I just wish I'd acquired it sooner. I've been a Crimson fan since the early eighties. So I find the fractals a very good change of pace. Starting with an album of sheer improvisation(SPACE GROOVE(1998), KC has done a major live/studio epic box only to mutate into a set of semi-structured music TCoL(2000). The irony of FracKture being re-done 2000 style, though patently obvious, has not escaped me. jim campaigner at usa dot net James Dusewicz ------------------------------ Date: Tue, 13 Jun 2000 18:45:13 EDT From: GenoTT at aol dot com Subject: Re: Forcing KC upon your friends Alas, I can sympathize. I too seem to be the only one among my group of peers that can be considered a Crimson fan, although I've had different reactions. Most are variations on "It's weird... they're good, but it's not my kind of thing." One friend is a huge fan of typical 'prog' (Yes, ELP and the like) and only likes ITCOTCK. One is a jazz fan and only likes Lizard. Another friend said she was "scared" (scared?) by Elephant Talk - and this is a girl who lives on listening to heavier metal than I can stand. Another female friend just "didn't get" most of the music, however she's a fan of techno/new wave and absolutely fell in love with ProjeKct Four. I've given up trying to figure it out. However, it does say something about the sheer versatility of KC past and present. It's definitely an acquired taste, but the best things usually are. ------------------------------ Date: Thu, 1 Jun 2000 08:31:16 -0300 From: "Herman Ringer" Subject: Pat's_Drumming_ Hi there! I was just now, thinking about... drumming. How can some people be so wrong. Writing that Pat Mastelotto makes too many weird noises instead of drumming like Bruford. I'm a big fan of Bill, but if you put the the balance exclusively on the right speaker, you'll hear what Bruford plays. It makes Pat's playing sound as simple as Ringo Starr's (who I ALSO love). Before I received TCOL, I was also one of those Bruford die-hard purists, but I can't help but to feel a great deal of admiration for Pat's innovative approach to percussion, especially on tracks like "The ConstruKction Of Light" (part or traKck I), "Into The Frying Pan" or "The World's My Oyster Soup Kitchen Floor Wax Museum". Just give this new album more listening time, and hear the new lineup live. Then you'll be able to jugde more fairly. Herman ------------------------------ Date: Tue, 13 Jun 2000 22:06:35 -0500 From: Craig Subject: Re: Elephant Talk #690 (RE: Mr. William Bruford is NOT God!) >Oh Lord, but he is so close, at least from a drummer's point of view >(Clapton, according to some, a couple of decades ago, from a guitarist's >point of view, was God) something with which I disagree, but that is not >the issue (the real one in my opinion being still, after all these years, >Mr. James Marshall Hendrix) Without a doubt! .....Which is proven by the cover art to AXIS BOLD AS LOVE 8^) ~C ------------------------------ Date: Tue, 13 Jun 2000 23:29:52 -0500 From: William Jenks Subject: a lighter thread... Just for laughs (and for something of a change), I thought I might just inquire what inquire what ye olde KC fans are listening to these days. I know it's trite, but it's a change from the old bootlegging crap and "I love/hate TCoL." Might even turn a few people on to a few things. To start, I'll admit to having the luxury of a private office where I can play music at a low volume all day while I work if I want. Today's collection either shows that I have no taste at all or that as my mood shifted during the day I wanted different accompaniment... so here's the playlist (more or less in order) ProjeKct X TCoL (had to listen to my recent arrivals!) Vivaldi violin concertos, Op 12 (put my brain back in order...) Shostakovich string quartets (another intense fellow, but for different reasons) Danzi Wind quintets Op 56 (Again, needed a break, but this time from intense emotional music) More Shostakovich quartets (He's pretty compelling and I have a complete set...) Melissa Etheridge (ok, so it's brainless, but I'm working late and the brain is fried...) Cheers, William ------------------------------ Date: Wed, 14 Jun 2000 11:49:30 +0200 From: "Robert" Subject: starless and I've just subscribed to the ET (why has it taken me so long to hit on this idea?!) and I'm thrilled to be in a very good company. To Martin Warin. Read you query. "The Night Watch" refers to Rembrandt's masterpiece, and as for "many years of suffering" and "being racked with Spanish sword", well, my history teacher told me once, that in the sixteenth and seventeeth centuries Spaniards made themselves quite at home in Holland and didn't behave very courteously towards the natives. I think duke Alba fits perfectly in the long column of names headed "blood-thirsty mass criminals". True, "Starless and Bible Black" is one of the greatest KC achievements, though I give my personal preference to "Lark's Tongues in Aspic". By the way, as far as I know, there was once a hot public debate about possible meanings of my favourite KC album's title. Conclusive? In Poland, we have a concotion (a kind of confection, actually), that's called (literal trranslation) "bird's milk". It's a thin layer of chocolate around a cube of vanilla jelly. Very sweet. Now about taping: I agree entirely with GeoTT's view. But still... even the artists themselves don't show the necessary firmness. I was amused to read in the liner notes of "Blue Nights", how Tony Levin appealed to his fans for tapes they might have recorded illegally, since he wanted to immortalize the band's brilliant improvisation, and the offical equipment didn't work on stage! Initially, the reponse was "reluctant", as he puts it. Well, obviously! What did he expect? Last but not least: the Warsaw concert (June 11) was a feast! (rhyming unintentional). Warm regards Robert Sudol ------------------------------ Date: Wed, 14 Jun 2000 13:01:19 +0100 From: "ric.com" Subject: >trey gunn & percy howard< a new cd by percy howard featuring (once again) trey gunn is due out soon. it's called "full catastrophe" & credited to meridiem (title of a previous percy howard cd, also featuring fred frith, bill laswell & charles hayward).the previous album featuring trey gunn was called "incidental seductions", incidentally. all howard's cds (including the 4 cds he recorded with nus) are well worth checking out & i'm sure that'll hold true for the new one, too. details at:http://allmusic.com/cg/x.dll?p=amg&sql=A468641&, by the way, could we possibly cut the smokers vs. non smokers thread? there will be no reconcilliation between these 2 parties & its connection to crimso is very tangential at best. wish you well - ric* ------------------------------ Date: Wed, 14 Jun 2000 08:16:38 US/Eastern From: bigtop at voicenet dot com Subject: Setlists from "Deja Vrooom" shows?/Hidden stuff on same I'm just curious as to what the setlists were for the two shows that were used to put together the "Deja Vrooom" DVD. Also, is there anything else "hidden" other than the Soundscape? -Brian ------------------------------ Date: Wed Jun 14 10:05:14 2000 From: SydRoms at aol dot com Subject: Fripp and Mp3 As Fripp has been very vocal about the music industry and how it behaves, as well as bootlegs and such, I'm curious if he or any of the other Crimsonites have made any statements regarding the controversial new technology. I know about his public release of KC Live in Mexico (Am i thinking of the right show?) on mp3 format, but how do they feel about mp3 trading, such as napster? I'm not asking for fans opinions, because then this would become a very lengthy (and probably annoying) debate, but I'm just curious what he thinks about the technology and how this technology is being used. Thanks! Tim Clark http://www.desolateheaven.com ------------------------------ Date: Wed, 14 Jun 2000 10:50:46 -0500 From: Earl Rapp Subject: new Crim or how V-drums killed my fav band Hello All: well; I have had tCoL since the day of it's american release and it's great ! I just don't like it very much, and it pains me to say this. the drums, although played expertly by PM, sound terrible to me. I just hate the V-DRUMS !! they are not all, they are cut out to be.. the V-drum cymbal sounds on tCoL are god awful. the snare sounds like a department store toy snare. this is the last King Crimson album I buy, until I hear on good authority they are back to using real drums Give me a good old fashioned Ludwig snare baby !!!! ps Prozac Blues would make my worst Crim song ever. it's not funny or even entertaining. Adrian's vocal treatment is absurd. the vocals sound like a bad Tom Waits impersonation. Best Wishes: Earl Rapp ------------------------------ Date: Wed, 14 Jun 2000 12:40:17 -0400 (EDT) From: Steven Sullivan Subject: Improv on S&BB/Red > From: "Martin Warin" > Subject: Improvisation > > 1) How improvised are songs like "Providence" or "We'll let you know"? I > mean, were the tracks recorded separately, or did they all sit in the > studio at once? Did they have any set goals, like: "Uuuh, Bill, you start > drumming like *that* after two minutes and I'll keep playing Eb min sus4 > add 9, ok?" One wonders... They are both live improvisations, actually (though you wouldn't know it from the album liner notes). You can hear them in the context of hte concerts they were taken from, on the Great Deceiver boxed set. Providence is from a Providence, RI concert (naturally) and WLYK is from Zurich, I believe. [Also, thanks to David Singleton for reviving my faith that USA *will* be officially released...someday. Of course, I read this the day after I had spent several hours declicking a WAV file of the LP!] ___ -S. DO NOT ACCEPT THE COOKIE ------------------------------ Date: Wed, 14 Jun 2000 18:44:25 +0200 From: Ferran Nogues i Tolnay Subject: Crimson book by C. Romeo In ET 693, Andrew Dearden said he bought a book about King Crimson by Carlos Romeo (ed. Catedra, Madrid, 1999). I have read that book. Certainly, the photos are old and well known to any Crimso fan, but the important thing is the text. It's a very complete story of the band including all Fripp solo and collaboration works, and coments on all DGM-related artists!. An excellent book, wonderful writing, professional and seriorus. I would strongly recommend it to anyone who can read Spanish. Ferran (Catalan Lands) ------------------------------ Date: Tue, 13 Jun 2000 10:00:51 +0200 From: "Marcin Gokieli" Subject: GIG REVIEW: Warsaw, 11.06.2000 And here is the review of the next one... The setlist was quite similiar tyo the first one, except that they began with Prozack Blues and oyster was played at the beginning of the show. The character if the thing was a bit different: I think that during the first concert, it was Fripp who lead the band, his solos and other work were the most stimulating. On the second one it was a bit different: first, Adrian played loads of fun stuff, mad parts in the most unexcpectable moments, etc. But THE STAR of the evening was Trey, who really blew everything away. During the improv he played a tremendous 'bass' duet with RF, and a killer 'guitar' solo after. Every note he played was extraordinary. He entered with strange motives in the most arranged sons (Fracktured, for example), and was really GREAT. Maybe he does that often, but i do think that he had one of the better nights of the tour. I would say that during the first show, that was the improvs that were the most stunning, and on the second one the 'written pieces' took over thanks to great work by TG and AB. I do have the impression that PM played more enthousiastically the second night. BTW, i do think that the new rhythm section is MUCH more fun then the previous one. And the whole band became so organic... Just do not miss any show you can attend. Everybody was having great time, Fripp was smiling, etc. What a fun it is to see two KC shows in a row... Marcin Gokieli marcingokieli at go2 dot pl ------------------------------ Date: Tue, 13 Jun 2000 19:08:01 +0000 From: "Krzysztof Ojczyk" Subject: GIG REVIEW: Warsaw, Roma Theatre, 10-Jun-00 Set list: Into The Frying Pan TCoL Improv based on X-chayn-jiZ Another improv Dinosaur One Time Vroom FraKctured The World's My Oyster Soup... Cage ProzaKc Blues LTiA IV Coda: I Have a Dream encore: Three of The Perfect Pair (AB solo) Deception of The Thrush (P3) second encore: Sex Sleep Eat Drink Dream third encore: Heroes Looking at previous set lists, the lack of 'Heaven and Earth' is a great loss to me. The quite long improvised part was interesting, of course, but both pieces represented rather P2 style of improvisation, which compared to P3 or PX, isn't my favourite. 'Into The Frying Pan' as 'the entry of the crims' was a fantastic choice. Trey Gunn, with his Warr Guitar and his strange way of playing during the opening bass riff, looked like someone from a different world. Trey Gunn had been staying in the centre of my atenttion by the end of the show. I was extremly surprised that my favourite guitar solo in the last part of 'Deception of The Thrush' was performed by Trey, not by Robert Fripp. If Robert Fripp was ever anxious for his succesor, now he should be sure that he has found him. It's hard to say anymething about famous V-drums, because they were... too quiet. Pat Mastelotto's playing was very impressive in some parts of TcoL or FraKctured, but in others, it was almost impossible to hear his work. It seemed that all members of the band enjoyed the show very much. The most happiest musician that I've ever seen was Adrian Belew. It looked even quite strange to play such avant-garde music with a continual grin. You may like it or not, but Adrian solo performance of Three of The Perfect Pair was... perfect. I've never expected that any KC song could sound so excellent, although it is performed only by one acoustic guitar. First thought after end of the show: why didn't I buy ticket for the second gig in Warsaw. ------------------------------ Date: Tue, 13 Jun 2000 19:36:02 EDT From: "Donnon Murray" Subject: GIG REVIEW: Field Report from Prague Success!!! After recovering from the stroke I had upon learning that the Prague show was sold out two months ago, (which incidentally wasn't mentioned in Elephant Talk or DGM), I made my way down to the Archa Theatre in hopes of procuring a ticket. I was successful early on. I wound up paying a scalper 1000 korunas for what was a 650 koruna ticket. This may sound harsh but it translates to paying 27 American dollars for what was a 17 dollar ticket. It's what I would have expected to pay anyway. Further softening the blow was that, like the other shows I've been to, it was general admission and I went in early to stake out a prime piece of real estate - leaning on the edge of the stage underneath Robert Fripp's feet, staring straight down the barrel of the Lunar Module. Had I been so inclined, I could have untied Fripp's shoelaces or pressed a few foot pedals but being a respectful audience member, I kept to myself. This was certainly the most interesting and intense of the three shows I've seen. Though they played the same songs with the exception of dropping FraKtured and adding an instrumental, the order of the set varied significantly from the previous two shows and the playing was certainly the best. In addition, Fripp opened the show with a WICKED soundscape. This show was certainly the best I've seen Fripp play, though my experience with live King Crimson is rather limited. Anyway, here's the setlist: Soundscape, Into the Frying Pan, The ConstruKtion of Light, Heaven and Earth, One Time, Dinosaur, VROOM, Cage, Instrumental, Prozac Blues, Lark's Tongues in Aspic part.IV Coda:I Have a Dream, Three of a Perfect Pair, Instrumental, Sex Sleep Eat Drink Dream Heroes. Heaven and Earth was INSANE. The best I've seen. This one changes with each performance and they keep taking it to higher levels. Fripp was playing a bass sound on his guitar for a significant portion of the tune and Trey had his guitar set to sound like Robert's guitar and he did a very Fripp-like solo over Fripp's "bass line". April Fool's Day in June. Heaven and Earth climaxed with Fripp and the rest of the band absolutely tearing it to shreds with ferocious intensity. The kind of stuff that makes your head explode. Playing "One Time" afterwards was a necessity, just to cool themselves and the audience off. VROOM was tight but here's where it got weird and almost ugly. At the tune's end, Ade broke a string. The roadie came out to retrieve it and Ade went to switch guitars but Pat motioned him to come back behind the drums ,which he did. Now this was great and they brought it to a rather dramatic finish but it was at this moment some boob who just doesn't get it decides to take a photo WITH FLASH. Duh. As I said, I was right in the eye of the storm and I was right there for Robert's reaction. Immediately his attention was drawn from looking on amused at Adrian playing drums with Pat and bringing VROOM to a wonderful climax to this rude distraction. He got up, walked to center stage and asked that the house lights be brought up. He then asked the gentleman with the camera to surrender his camera to him. No response. He asked again. Still no response. He then waked back to the Lunar Module, put down his guitar and walked off stage. A seemingly disappointed and bewildered band followed soon after... Of course by this point the rest of us without cameras were freaking out, the plug just having been pulled on one of the best Crimson shows we'd ever seen( ok, I'd ever seen). Apparently, the culprit was caught though because a few minutes later Fripp emerged from back stage holding up the confiscated film like a trophy for the crowd to see. The show resumed. The instrumental was quite nice, both Robert and Adrian shining. Lark's Tongue keeps getting better - Fripp's right - you do have to see the new material live to get it. Overall, not a perfect show but intensity and ferocity made up for all minor mistakes. Fripp's on FIRE this tour. I don't know if any confirmed or rumored US dates have hit the web but I spoke with a roadie who assured me that a US tour is in the works for Autumn, probably after Japan. He said he knows of a Philly date but nothing yet for my home town of Baltimore/Washington. Fingers are crossed. ps. One detail, for those anal enough to care (like myself), the middle part of Dinosaur,with the synth and Tony Levin, has been cut on this tour. And also for those of you who haven't been following the plot, Cage features Ade on acoustic guitar and 3oaPP is Ade, solo acoustic. I'm jumping off the boat at this point. I'd love to do more but time and scheduling conflicts as well as money don't permit me go on. I'll be back on though when the current campaign hits the States. See you all in November at the Fripp Soundscape shows in NYC! ------------------------------ End of Elephant Talk Digest #694 ********************************