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 #702 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 702 Wednesday, 28 June 2000 Today's Topics: recording from BootlegTV Whining about CC releases Commercial Culture Re: Me and Bela the B Lizard for trade Not As Bad As I Expected.... Tape looping, Moles, TCOL RE: Pre-Frippertronics? Associations evoked by The ConstruKction of Light I Passed on Moles / KCCC im new to this stuff Struggle for Life more TCOL-ing Sylvian "The Spirit of Crimson Radio"! KCCC #11 GD box set to sell Fripp Soundscapes Live in Argentina Mailorder laugh! Nashville BootTV Show (too much ET) Fates Warning GIG REVIEW: KC In Paris - Why ? GIG REVIEW: King Crimson in Paris ------------------ 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: Mon, 26 Jun 2000 12:15:09 -0500 From: Bob Ramstad Subject: recording from BootlegTV allright. as suspected, i've received some email asking for more explicit directions. in the interest of maximum information flow, i thought i'd post some more explicit directions on how to record the BootlegTV broadcast. first, an apology. it appears that the most recent Winamp does not support decoding the WMA/ASF/ASX stream that BootlegTV broadcasts. this is a change from the technology used with the Live in Mexico City, which worked fine with Winamp. i posted without testing and for that i'm sorry. now, for the explicit directions. again, the theory. there are two fairly easy ways to capture the stream. one is to use a virtual audio driver. basically the idea is to write a piece of software that looks as though it is an audio soundcard but actually saves the audio sent to it to a file. simply point Windows Media Player (or any other happy software program) to output to it. the nice thing about this method is that you are guaranteed a clean copy as the only application sending audio data is the one you want to capture. track down and pay for Total Recorder if you want to do this. please note that i have not actually used Total Recorder so i can't vouch for that specific implementation, but the theory is sound. the second way is to simply play the stream back using your favorite compatible player and then capture the audio as it passes through the system mixer. as long as the system + audio applications do not generate any other noises during the capture, this is only slightly lower quality than the virtual driver method. with the second method, i have tested the most recent version of Music Match Jukebox (a free program). first, configure your file extensions so it will play when you click on any of the BootlegTV links. (this should happen by default when you install it, or there are options within the application to do this for you.) hit stop on the MMJB player. the audio link will still be on the MMJB playlist. then, on the recorder, select as source "system mixer" then select the desired output type. if you want to write to CD, use WAV, otherwise, you can select an MP3 or WMA format. click on "record" in the recorder, then "play" on the MMJB player. of course, i strongly recommend experimenting with the shorter tracks first to make sure your system is working properly before waiting the ~2 hours required to download the entire concert. i also recommend making your system as quiet as possible, and also doing the download at night. it goes without saying that a stable internet connection is a must. some folks believe that the Windows Media Player has better streaming support and better decoding of Windows Media Audio files. it certainly provides better status information than MMJB. if you agree, you can use this as your player and use any application that is capable of recording from the system mixer as the recording application. there are many such applications out there. both of these methods will work with any audio format out there currently. -- Bob ------------------------------ Date: Mon, 26 Jun 2000 13:38:44 -0400 From: John Ott Subject: Whining about CC releases > First the bad news: KCCC-11. The most disappointing Club-item so far. The > quality of the sound is very poor, that attempts to listen to the music is > often disturbed by the awful quality of the recording itself. I hope future > releases will at least have much better quality, otherwise the current > members should be warned before considering continuation of membership YOU WERE WARNED! When the club was first set up the understanding was that many of the releases would be of poor sonic quality and the DGM team would do the best they could with current technology to make them as listenable as possible. If you do not accept this then the Club is clearly not for you. It would be nice if before the releases are sent out if the DGM web would have info on the relative quality of the release so that those that want to decline a particular release have the information to do so. I raised this point with the DGM early on, but it seems to have fallen through the cracks. But I know that a CC release may be a turkey sonically and I accept that risk. And I would rather have the money from the club spent on archiving and restoring music than be wasted with a lot of administrative overhead. I agree CC #11 very poor sonically, But it is an important collectors item and historic record of the beginning of the 80's Crim. Clearly the music is still being worked out with this line-up also. I will not give this CD a lot of listening as both CC4 and Absent Lovers are much better recordings and performances. But I am glad to have it for its historical value. later John DC-ET ------------------------------ Date: Mon, 26 Jun 2000 14:46:39 -0400 (EDT) From: Justin Weinberg Subject: Commercial Culture I recently read a great book I thought might be of interest to fellow Elephant-Talkers, especially in light of Fripp's comments on the difficulties of operating in the marketplace. The book is called _In Praise of Commercial Culture_ by Tyler Cowen (Harvard University Press). The main argument of the book is that, though markets aren't perfect, they have been and still are crucial to the development and expansion of the arts (including music, art, literature). He argues compellingly against "cultural pessimism," the prevailing view that the arts are in decline, and marshals quite a bit of interesting evidence to show why we should be hopeful and optimistic about culture now and in the future. Though the book is put out by an academic publisher, it's an easy read. Fripp may dislike the values of the marketplace, but it appears to be the operation of those very values, over time, that have made his wonderful musical career possible. Enjoy. Justin ------------------------------ Date: Mon, 26 Jun 2000 14:08:29 -0500 From: William Jenks Subject: Re: Me and Bela the B Bill Kent wrote a nice post about the six Bartok string quartets and their virtues in #701. I won't comment further, except to say that these are considered by many if not most classical music types to be *the* quintessential set of string quartets from the 20th century. (Others in that class would probably include the Shostakovich cycle and the Debussy and Ravel.) If you want to sample the Bartok string quartets, you need to find a good recording. Among the best are recordings by the Takac, Keller, Vegh, Tokyo, and Emerson String quartets. The Takac is the newest of these, and is very well thought of. (I've not heard it.) Fans of KC may like the Emerson version in particular because it is so precise rhythmically and tonally. It should be available at BMG or Columbia House CD clubs for a bargain, since most of the Emerson's stuff ends up available there. Otherwise, any of these sets will set you back something like $30. These quartets are a touch on the "difficult" side, but so is KC. They're well worth the effort. Good luck! William -- ---------------------------------------------------------- William S. Jenks voice (515) 294-4711 Department of Chemistry fax (515) 294-0105 Iowa State University wsjenks at iastate dot edu Ames, IA 50011-3111 http://www.public.iastate.edu/~wsjenks ------------------------------ Date: Mon, 26 Jun 2000 15:11:40 -0400 (EDT) From: Darryl Subject: Lizard for trade Greetings all Eter's, I have a limited edition 30th Anniversary mini-gatefold of LIZARD I am willing to trade. I am looking for either ...GILES, GILES & FRIPP(if it exists on CD) or THE BEGINNERS GUIDE TO THE KING CRIMSON COLLECTOR'S CLUB. Please contact me by e-mail. Thanks Darryl ------------------------------ Date: Mon, 26 Jun 2000 18:23:00 EDT From: PR1955 at aol dot com Subject: Not As Bad As I Expected.... I must say I did not get Bashed as bad as I thought I would but I feel compelled to comment futher...... As I said I have been into Crim now for 31 years. Saw the first shows in ' 69 and have not missed any NY shows except when I went to school in Bean Town and saw the Orpheum shows...Crimson/League/Solo...I saw them.I love what Fripp does and what he stands for in music. Can many of you say the same or am I dating myself???? I do see alot of .edu's out there. I have a 19 year old son who is an edu....Are you with me? And I bought many vinyl bootlegs as I grew up and when I was younger these did serve as great examples of the evolution of many of the bands I contiue to listen to today. But it was very surprising to me that Fripp chose this to release. Some of you stated that the ' 69 stuff souned just as bad- CP too (which I was at-$3.00 or $5.00 to get in). But a recording of the 1980's....Come on. Historical signifigance aside the sound just plain sucks. I listened to it once and into the collection it goes to collect dust. Fripp MUST have better examples to use. I know for a fact almost every live show has a tape recording at the board for the band to review afterwards. Some are saved-most are destroyed...So come on...Put the politics aside and call it as it is...CRAP.... Yes I will remain a club member and I look forward to all the releases. I love his/their music. I play TCoL almost every day in my car and I do not get some of the bashing it gets on the post. Yes I miss Bill and Tony but this is a different band and therefore different music. But it comes from 4 guys we love and respect and we must take it on face value. Like it or not it's still KC damn-it.. But I run off now and it was and is my opinion that Mole Club sounds like shit. Am I glad to have it????YOU BET I AM.......Luv you all and cheers....Paul ------------------------------ Date: Mon, 26 Jun 2000 21:10:18 -0400 From: "Timothy W Cox" Subject: Tape looping, Moles, TCOL In regards to the recent commentary on tape looping etc.. Am I wrong in acknowledging Les Paul as the pioneer of tape looping and background recording? In regards to the recent commentary on the Moles recording. Simply put, this is a bootleg at an affordable price. Typically we would pay up to $50 dollars for such a release from an illegal vendor and never question the sound quality. At least we can now listen to boots with a clean conscience and a healthy wallet. On a similar note, I recently attended the Columbus guitar show and was shocked to see a bootlegger with a video from the thrak tour in Japan and it appeared to be a copy of the official release!!! Now that's a turd!!! However its always interesting to see all the crim heads come out of the closet and flock to the tables when a bootlegger samples his goods. Discussion about the particular show erupts and a sense of community is felt. Considering the continuing negative posts about TCOL (some of which I agree with, but not all) does anyone remember if there was this much negative feedback and controversy when Vroom or Thrak were released? I personally can't remember it being at such high levels. Additionally, I recently listened to the Nashville show and was disappointed in the new rendition of Cage. It isn't a heavy tune anymore. In fact for an incarnation that is supposed to be rock oriented it seems theThrak era was heavier and more interesting when they did rock-out. However, I did appreciate Heroes, but I hope during the U.S. tour this isn't a standard encore. It would be nice if they were a little more spontaneous and played just about anything regardless if they have practiced it or not. Belew used to do a great version of Purple Haze with the Bears when closing a show. ------------------------------ Date: Mon, 26 Jun 2000 21:39:33 -0500 From: Craig Subject: RE: Pre-Frippertronics? >Date: Sat, 24 Jun 2000 09:47:34 -0700 >From: MT >Subject: Pre-Frippertronics? >There are claims that guitar virtuoso Richard Pinhas played some duets with >Robert Fripp in the early seventies. I never heard Pinhas described as a "virtuoso" before. Who has made these "claims"? For in depth knowledge on this subject contact Cuneiform Records. > Richard Pinhas is said to have come up >with a looping method not unlike Mr. Fripp's early reel-to-reel endeavors >as early as 1967. Anyone have information on this or want to comment on Mr. >Pinhas' guitar looping technique? It was Eno, not Fripp, who actually began all that, then Fripp developed it further. There is a great "looping" site. Do a search, you`ll find it.... Once again, "is said".... By whom? It is common knowledge that Pinhas has nothing but adulation for Fripp. He even named a piece "In the Wake of King Fripp" on his 2nd Heldon album "Allez Teia", & frequently cites him as a major influence, as well as continues to dedicate compositions to him. (Check the liner notes to the Schizotrope CD). Craig ------------------------------ Date: Mon, 26 Jun 2000 23:27:59 EDT From: CCol542760 at aol dot com Subject: Associations evoked by The ConstruKction of Light The song starts with soundscapes, V-drums, and a theme played by Trey Gunn. Then the two lead guitars enter. They each play a similar melody, taken from Light ConstruKction of ProjeKct 2, shifted in time. Thus the listener can concentrate on either guitar - or on the melody construKcted by both guitars together. This is partly reminiscent of The League of Crafty Guitarists. This principle is varied in the middle section by faster passages with more interlocking guitar parts. Again, the listener can choose to analyze by taking the sound apart in the two guitar lines (and the bass and drum part) or can enjoy the synthesized sound, which for myself evokes the impression of the two guitars dancing with one another. These parts are separated by rhythm sections of the bass guitar and one lead guitar. The song part deals with the death of god as proclaimed in Nietzsche's "Die Froehliche Wissenschaft" (Happy Science - not sure whether this is the correct English title) and the danger of nihilism that it brings (am I a fleck of dirt ...), if there is no god anymore caring about the individual and no unique reason for life. It offers to transcend this nihilism by "the construKction of light" - this can be understood as the struggle for a deeper understanding of the concepts of quantum physics; but to me it rather means philosophically to bring more light to the world by truely cooperating with your fellow humans in mutual respect. The words sung in the chorus represent deep human feelings making life worthwhile (though not all of them are just enjoyable). This is matched by the musical concepts of the two lead guitars construkcting a light melody (light in the sense of not heavy, represented by jumps, i.e. large intervals) as equal partners, and the lead and the rhythm duo likewise construKcting a wonderful song. As always with Crimson, the music construKcted as a whole is much more than the sum of its parts. ----------- This is just meant as the associations that I have - no idea, whether this was actually intended by Fripp, Belew, Mastelotto, and Gunn. Carsten Collatz Richardson, Texas E-Mail: CCol542760 at aol dot com ------------------------------ Date: Mon, 26 Jun 2000 21:08:08 -0700 From: Jeff Liss Subject: I Passed on Moles / KCCC It's been forever since I posted to ET, though I've kept up with it traveling several different countries. (Why do these statements seem necessary? I don't know, they just do, but as a real ET skimmer myself, I sympathize if you've skipped the intro.) In one of those different countries, Japan, commonly known as bootleg heaven for those with the disposable income, I came across a couple of unauthorized recordings from that year everyone (including me) is so jazzed on, 1981. But this is not the 1981 of Moles and reluctance to don mantles -- this December '81. This is the 1981, after a pretty exhaustive tour of Europe and North America, of touring Japan and looking forward to Beat. It's really strange how people view time when they're very focused on a certain era of music -- several months in our lives can pass without any big changes but in the several months between Moles and Japan, fans see a very different KC. I discovered bootlegs of two or three Japan shows from 1981 that I had not heard of from discussions on the Web. A Tokyo show called Asakusa (named for the part of Tokyo they played in; the hall is now gone and the area is officially the Entertainment Quarter of Yesteryear; now KC and ELP play the suburban civilized venue of Nakano Sun Plaza that you know from your Japan '95 vid/Deja Vroom DVD) and Nagoya Dec 10th. The price on both had always daunted me over the year or so that I ogled them in visits to the Bootleg Ghetto of Tokyo, struggling with the urge -- until I started hearing about the KCCC. Then I had a potentially better option and gave up the idea of buying Crimson bootlegs -- and they really are available in the numbers Robert cites when referring to the Japanese bootleg scene, especially '72-74. I also heard around that time that Epitaph vols. 3 & 4 had been put together partially from boots; and ended up buying both the Asakusa and Nagoya '81 shows. Why? I sent an e-mail to DGM -- you'll remember a request went out for '81 shows? I asked if they'd be interested, and they were, and I bought them and sent them, and received in return a membership to KCCC: at $96 for 6 discs, I had spent that and plus a little getting them, and I was fully reimbursed with a membership and an extra CD tacked on. Of course I listened to them and taped the Nagoya show -- it sounds great, one of those rare gems in the world of bootlegs. Asakusa sounds very average, about Moles level, probably worse. The thing I discovered about buying bootlegs is that if the sound quality is only so-so, I won't listen to it consistently, no matter what the interest is in the content. Soon it's a CD I paid way too much for sitting on the shelf in a jewel case that, if it didn't break apart immediately upon opening it (it's true folks, there's a lot of bad packaging quality in that market) didalong with all the legit releases upon surface shipping them home from Japan. The point is this: I listened to the Thela snippet on the site and passed on Moles; I'll renew my KCCC membership when something comes along which really piques my interest, like '97 rehearsals (whoa! better go sign up again) and that sounds good. Everyone had the chance to do the same, and were duly warned on the subject of sound quality. If you want more '81, I can tell you for sure that DGM has a great sounding Nagoya show that's miles above Moles in sound quality, and that's straight off the CDs I sent. With tweaking, who knows how good it could sound. They can put it out when they see fit (between Moles and Cap D'Agne, not to mention the phenomenal Absent Lovers, we've had our 80's KC fix for a while) or not. And for those interested (as someone mentioned on ET recently) in early versions of Beat tunes -- well, we have early versions of Neal and Jack and Me, Neurotica, and Sartori in the Nagoya show. Taped gamelan opening into Discipline. It would make a great release. At the same time, I don't particularly hold my breath about it. They may have other ideas about releases. They may have a huge pile of stuff as good as what I sent in. Best, Jeff, the Happy KC Fan who Passed on Moles ------------------------------ Date: Tue, 27 Jun 2000 15:11:34 EST From: "shane reynolds" Subject: im new to this stuff hi,im very new to the wonderful world of king crimson and robert fripp....so please excuse my ignorance.I first go into them only back in deceber 1999,having bought the repackaged "in the court of...".I now own every album except...."three of a perfect pair" amd "islands".My fav thigs at the moment are LTIA and red.I need advice,so any king crimson experts out there...help!! is the great deciever boxed set worth getting???is it worth getting into the collectors club???any advice would be taken. thanks shane )from melbourne australia) ------------------------------ Date: Tue, 27 Jun 2000 12:01:57 +0100 From: "Bungey, John" Subject: Struggle for Life Lovers of the John Wetton era should try to lend an ear to Struggle for Life, a live double CD by Hungarian band After Crying (periferic records). Wetton joins them for a storming version of Starless ------------------------------ Date: Tue, 27 Jun 2000 15:44:53 +0400 From: "Iscander the Aquarius" Subject: more TCOL-ing Hello ETers! Just in case anyone thought we're done with TCOL reveiews-here's another one. I've listened to it for about 2 weeks-that made 6 or 7 listens...I think that's enough to make an opinion.What is different-no more songs to listen.I think the main thing of TCOL were the instrumentals-great ones,I must say.V-Drums are OK :) Anything would do for me,anyway,because for me it's always music that matters and only after that-HOW it sounds. Songs of TCOL is _nothing_.They sound perfectly,but muscially they are empty.I'm sorry,guys... I love the whole KC discography,and when I got me a copy of THRAK in '95 it blew me away(I love light fusion KC,I love heavy KC too).I just kept on listening it day by day.I definitely could do it with TCOL but with songs omitted.3 instrumentals and I HAVE A DREAM and PX -that's all that was needed.What KC always has been for me-wonderful songs and wonderful instrumental compositions-the second part is missing on 2K release.Well,it takes a whole lot of time and inspiration to compose melodies like that of Frying Pan-with one guitar going up chromatic scale and one going down.But it's mathematic-not music then.Anyone can invent as many songs as you wish based on this composing technology :). Lack of ideas,guys? KC,I can send you tons of my melodies to jam on ! Adrian-YOU write the songs in KC ! How could you let this happen ? "The world's my..." -do YOU like this song? I had my say... A\\ www.iscander.com www.iscander.agava.ru ------------------------------ Date: Tue, 27 Jun 2000 14:26:16 +0200 From: Gnad Markus Subject: Sylvian Wowie Zowie! For any of you who want to explore further musical combinations I strongly recommend Martin Power's book "David Sylvian - The Last Romantic". Among these combinations are included: - original of Opium (Arts), founded by David Sylvian with Richard Chadwick - connection Soft Cell/King Crimson (OK, insider joke, I meant: The Grid/Robert Fripp and vive versa) - Bill Nelson, David Torn etc etc In short: a paradise for all those who want to explore the "who did what with whom and when" theme in rock history. And - for those who did not know: "The Barkeeper's Apprentice" was originally released with an exhibition David Sylvian did, also the other lengthy track on "Approaching Silence" which features Robert Fripp, which was part of an exhibition of both after the "Damage" tour. The book is available from omnibuspress. Take care Markus ------------------------------ Date: Tue, 27 Jun 2000 09:33:20 -0500 (CDT) From: TheMincer at webtv dot net (Ric Wilson) Subject: "The Spirit of Crimson Radio"! Hello E.T. Readers, Since I read an article a few editions ago from "Darryl in Sunnyvale" that was delighted to hear some DECENT sounds, on his radio on the drive home from work,I have to relay my tale(s)! At the age now of 45, I've done radio (AM & FM) since a mere 16. I've done FM only since '77, and spinning vinyl is nothing strange to this Crimson Lover, I've watched radio progress from "The Black Circles" & magnificent turntables, to CDs,to the music library now being downloaded to hard drive! All I have to do now is touch a screen to play a tune! Whoa! At any rate, Doing radio in the Southern U.S. (i.e.Alabama,Georgia,Florida...) is a rather narrow corridor of musical travel,especially in Al. where Southern rock reigns! It was at a 100kw FM Rocker there, where one stormy night I aired"Starless" off the "Red" disc! The phone began ringing like crazy! "Where's the Skynard man?" they asked! "Is that some weird Pink Floyd?"and so it went until my boss called on the private line, with threats of dismissal! Which is just what happened two months later,after I played Disc one of "The Night Watch" for a 7P.M.program we call "SideShow". Very fitting in my opinion,I didn't want to air the normally scheduled Eagles that night,and hey,I WAS the Music Director anyway! Oh Well, now in the Northern Florida "Panhandle", Crimson is much more appreciated, I did "Dinosaur" just yesterday at 4:30p.m. and some guy called on his cell phone, loving it! I'll continue to do my part to give the States a treat when possible, so Pensacola,Fort Walton, and all surrounding areas, Keep an open mind, and open ears, I'll slip in something you never expect, when I can! (Sometimes when I can't!) Anonymous Air Name...(I Must Do That!). LOVE you all! -RW- ------------------------------ Date: Tue, 27 Jun 2000 12:41:39 -0400 (EDT) From: Art Cohen Subject: KCCC #11 Well, after the torrent of abuse hurled at the latest Collector's Club release, I had to go back and re-listen on headphones just to make sure I was listening to the same thing these other club members were! One fan writes "I hope future releases will at least have much better quality, otherwise the current members should be warned before considering continuation of membership." Is my memory faulty, or did Fripp not warn us at the outset that some of the Collector's Club releases would sound abysmal? Perhaps we've been spoiled by the exceptionally *good* quality sound quality of releases #4-10, but personally, I don't find #11 to sound much worse than, say, the material from the Fillmore East that was released on the retail version of "Epitath". In other words, it sounds like a bootleg. Big shock there. If I had actually been able to buy a bootleg of this performance that sounded this good in the 80s, I would have counted myself quite lucky. And, of course, the historical significance of this performance (as with #12, which I also expect to sound awful) is undeniable, and for that reason alone, it's at least as worthwhile to release as, say, discs of studio outtakes. --Art ------------------------------ Date: Tue, 27 Jun 2000 09:43:06 -0700 (PDT) From: Ronald Miklos Subject: GD box set to sell Hi All I am selling a brand new GD box set for R$ 60 (brazilian money) or US$ 35 plus mailing fees if outside Sao Paulo - Brazil. Please email me privately. Thanks Ronald Miklos Vogel ------------------------------ Date: Tue, 27 Jun 2000 10:20:02 -0700 (PDT) From: Alfred Bello Subject: Fripp Soundscapes Live in Argentina Mailorder laugh! Hello again everybody! This morning I received in snail mail a catalog from Aether Mailorder ( www.aether-or.com ). While browsing through it I suddendly burst out laughing when I read the following, which I found hillarious: ROBERT FRIPP "Soundscapes - Live in Argentina"- From 1999 by Crimson guitarist/egotist. Somewhere, about half way through, you can actually hear a couple get up, walk to the stage and demand their money back. Horrid. CD $8 After reading this I checked the website, but the comment does not appear. The space for it is empty. Cheers! Alf ------------------------------ Date: Tue, 27 Jun 2000 13:42:52 -0400 (EDT) From: Jonathan Subject: Nashville BootTV Show (too much ET) Greetings, I just finished my second listen (more or less) to the May 19 Nashville show courtesy of BootlegTV. My main observation is that ProzaKc Blues is quite accurate - these guys *have* been reading too much Elephant Talk. In addition to the ET reference in PB (delivered with a pregnant pause before the word elephant), there is Adrian's post-PB comment "who was that guy?", the performance of Heroes (subject of much ET discussion *before* this Crim started playing it) and RF's post-concert commentary on the "fact" that he is not nice to his fans. IMO, it is possible for a performer to get too close (figuratively) to the audience. Personally, I wouldn't want ET to influence KC any more that it already does. Face it: in ET, it is not always the "cream" that rises to the top. On the upside, I enjoyed the music and appreciate the chance to hear the present Crim as it was developing. Also, RF cracks me up as always. Stand-up comedy's loss is our gain. Yours, Jonathan PS also got KCCC 11. The venal RF's attempt to crowd all non-KC material off my CD shelves continues apace. ------------------------------ Date: 27 Jun 00 11:18:17 -0700 From: "David Voci" Subject: Fates Warning On 6/22/00, in the ET698, CARNEADE ALEPPE newsletter observed: >hi im a newcomer.why last kc has a such horrible >cover? >the aesthetic has been always important for kc as >the >coherence. bye. I would only like to comment here in favor of the artwork on Construkction Of Light as yes, it is not the usual KC resplendent artwork that we all know and love but it shows more the minimalist artwork style that has been seen on some Soundscapes covers and maybe Thrakattak if I'm not mistaken. The other thing that is very compelling about the art and more importantly the credits for this artwork is that it was done by 'Ioannis', an individual that did some marvelous artwork and design for what I consider to be one of the best so called Prog Metal bands to ever come out and that is Fates Warning out of Connecticut. On albums like 'The Spectre Within', 'Awaken The Guardian' from the mid 80's, there are some fantastic examples of Ioannis' work. While I am a latecomer in getting TCOL, I am impressed with the fact that we aren't getting the long laborious DGM business aims on this one and yes, I do like the artwork as it is a change from the usual. I am also very fond of the last track on TCOL, the Projekct X recording that might be an indicator(I surely hope it is)of Projekct things to come. Auguri e bambule, dv ------------------------------ Date: Mon, 26 Jun 2000 18:38:53 +0200 (CEST) From: Patrick JOUBERT Subject: GIG REVIEW: KC In Paris - Why ? Hello, Why such an awful concert in paris yesterday evening ? Why KC members performed if they knew that the sound would be so dirty ? Why the sound engineer did not notice that it was inaudible ? Why some people leave the room during the concert ? Why my ears hurt me so much that i had to put some piece of handkerchief in them ? Why did i pay 54$ for this ? Why do i feel betrayed by KC, which is one of my fav' band ? Hope sincerely that this would not happen again. Kind regards Patrick Joubert from Paris ------------------------------ Date: Mon, 26 Jun 2000 17:08:18 EDT From: MenisTV at aol dot com Subject: GIG REVIEW: King Crimson in Paris Hello Hippies, It's difficult to translate his impressions and emotion for a frenchie like me. Sorry for my broken english ! " L'homme schizoide du vingt et unieme siecle " is in walk. The concert at the Olympia, in Paris, was a very lightfull musical experience. The color of the sound was electric azure-blue, more ambiguous that the blue sky. I think that the direction that take Robert Fripp and KC is the way of a bigger artistic maturity. It's necessary, actually, to integrate science, new technologies, analytic concepts in artistic "products" not conditionned by the wild capitalism of the new economy. Progress in fact ! I like, particulary, spatial soundscapes of Fripp and also his strident cosmic calls. Like we say in France : "je suis sous le charme ! " Bye. Thierry ------------------------------ End of Elephant Talk Digest #702 ********************************