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 #707 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 707 Wednesday, 5 July 2000 Today's Topics: NEWS: "The Lady or the Tiger" books found/now available Re: Concerns Dangling genetalia? Discipline live at Moles Club/KCCC # 11 Innerviews News KRIMSON THOUGHTS ACKNOWLEDGEMENT Re: Concerns Re: US Opening Act Response To Lizard Bits/Re-masters King Crimson T-shirts and posters old material on stage or new stuff? Opening Act For US Tour Book of Saturday Centipede growing popularity and concerns Dead Radio Installment... The Nashville Sound GIG REVIEW: Shepard's Bush GIG REVIEW: Shepherds Bush Empire, London, 3rd July 2000 GIG REVIEW: San Sebastian GIG REVIEW: London GIG REVIEW: London gig GIG REVIEW: King Crimson in London ------------------ 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: Tue, 4 Jul 2000 18:29:57 -0500 From: ladyortiger at hotmail dot com Subject: NEWS: "The Lady or the Tiger" books found/now available A limited number of Frank Stockton's book, "The Lady or the Tiger", printed in conjunction with the 1986 audio release of the same name by Toyah/Fripp with the League of Crafty Guitarists, have been discovered and are now available in a very limited number. These are fine hardcover editions, with a photo of Robert Fripp and Toyah on the back cover. Both covers can be seen at: http://igg.com/ebay/fripp.jpg The books are $25 plus $3 postage. Proceeds to benefit agricultural projects at Claymont Court. Please contact ladyortiger at hotmail dot com to order; all payment methods are welcome. More information: Frank R. Stockton (1834-1902) was born Francis Richard Stockton in Philadelphia on 4 April 1934. His early work, written while in business as a wood engraver, was sufficiently successful to be published in the Morning Post of Philadelphia, Hearth and Home, a weekly New York paper he joined, Scribner's Monthly. and The Century. He became assistant editor of the St Nicholas periodical in 1873, leaving about 1880 to concentrate on his writing. The most famous of Stockton's stories, demonstrating his style of fanciful and grotesque humour, is "The Lady or the Tiger? "The story was originally written to be read before a literary society of which he was a member and was published in The Century magazine for November 1992. This caused a national sensation and a sequel, "The Discourager of Hesitancy," which was published as "A Continuation of the Lady or the Tiger?" In 1889 he bought Claymont Court, a colonial mansion on some 400 acres in the Shenandoah Valley, reportedly designed by George Washington for his nephew Bushrod Corbin washington. Here he lived and wrote his final stories before his sudden short illness and death in Washington on 20 April 1902 while returning to Claymont from New York. His widow, Marian E. Stockton, in "A Memorial Sketch" to her husband, written at Claymont and dated 15 May, 1902, put: "There is much philosophy underlying a good deal that he wrote, but it has to be looked for; it is not insisted and is never morbid." In December 1974 the property was acquired by the Claymont Society for Continuous Education, a not-for-profit educational corporation. As part of the Claymont Seminars program administered by the society, we hold a series of courses in Guitar Craft, usually in the Claymont Mansion so loved by Stockton. the room he used as his study, currently designated Room 5, is the room where I give individual tuition to the guitar students. The recording of music to accompany "The Discourager of Hesitancy" was part of a challenge set to the students of Guitar Craft IX, held in the mansion between 1-15 December, 1985, and recorded in the ballroom. The companion album to this, "Robert Fripp and the League of Crafty Guitarists Live!" is part of the same challenge prsented to the students of that course. Robert Fripp - 1 April 1986 Past President Claymont Society for Continuous Education (From the Liner Notes of "Toyah and Fripp: The Lady or the Tiger" EGED 44) ------------------------------ Date: Mon, 3 Jul 2000 17:34:44 +0200 From: Gnad Markus Subject: Re: Concerns Daniel T. wondered about why Fripp doesn't want to play older Crim stuff. Maybe because then he hadn't to pay royalties. Ammmmmmmmmmmm......... I always believed that if you play a concert you don't have to pay any royalties to writers. Maybe I always was wrong. But from my knowledge you have to pay every writer if you release a single or an album. If this is the case: Isn't then Fripp a REAL WORKING CLASS HERO??? I mean, digging the archives and releasing so much stuff from the past.... mind: if my assumption is true, then David Cross, Johnny Wetton, Michael G. and the likes of 'em get a quite good pocket money from their former employer. Fire your guns if I am wrong! Markus ------------------------------ Date: Mon, 3 Jul 2000 11:41:11 -0400 From: "Dom & Neen" Subject: Dangling genetalia? Kira wrote: That is a good line Kira. Although I've never subscribed to this "dangling genitalia & KC fandom theory", it does seem to be a popular trait among the majority of Crimson fans. It's just a fact of nature. But I also see a common trait among the uncommon female fans of the band's music. "Musicianship". I know only one female Crimson fan in my group of friends and she is also a skilled musician. The other few female fans I have come across in clubs and chatrooms on the internet are also musicians or have some knowledge of music. I was also trained in music from age 4-15, but unfortunately I stopped pursuing it. I think being a fan of KC's music involves having a great love for music in the first place and having the desire to seek out something to listen to that satisfies that love. I can't speak for everyone else here, but I know that their music satisfies this yearning in me. Also, I think this same theory applies to female fans of early Genesis, ELP, Gentle Giant...etc. B.T.W. To address your first exposure to Crimson's music, I was one album ahead of you when I was enlightened at 16 years old. "Beat" was my first exposure to the band followed by "The Young Person's Guide to King Crimson". So you can imagine the confusion I felt when trying to figure out if this was really the same band on both releases, lol. P.S. To me, a female Gentle Giant fan is the rarest bird in the progressive rock fan kingdom. regards, Dominick in NH ------------------------------ Date: Mon, 3 Jul 2000 18:03:32 +0200 From: "Antonio Rampini- Bias Group" Subject: Discipline live at Moles Club/KCCC # 11 Hullo all, I have just received CC # 11, "Discipline" live at Moles, and I have to confirm it: I am enthusiast of having all these crimstuff at my/our disposal!! I would like to spend my 2 lires (in a while, my 2 euro cents...) about the "quality" of the Club CDs. IMHO, when judging the audio "quality" of the KCCC CDs, we have to step behind to the beginning of the idea. I joined the Club (with # 1) having put on the scale pros and cons: I knew a "live in broadway" could be followed by a "moles club", in a quality audio rate from best (*****) to unsufficient (**). But in terms of performance importance, from (***) to (******), probably. This is one of the scope of the Club: to give fans some once-they-were-bootlegs performances, and more, that kind of *pearls* difficoult to manage differently than in a limitate edition copy. And I absolutely DO want to have also these crucial performances, these passage rites from one KC experience to the other, whatever the audio. Personally, as a collector, I was used to get KC bootlegs (I got some - perhaps a lot, aehm, sometimes payed a lot for rubbish recordings), but I stop buying boots when the DGMCC idea developed in the actual KC collectors. Well, this stuff is all I am asking to the club: some jems of astonish kind, some particular rehersal, some lost concert... listening to a performance, to appreciate the latter developing. Do it have a sense, in these terms, to focus on audio quality? For me, not. Talking about the KClub, I want to thank DGM people, and in particular Julie, for the kindness and comprehension they (she) had demostrated when I got in some little troubles with our posts (eg I had not receive CC # 10 -italian posts are even worst than our health service- and just asking them how I had to proceed in a similar case, they just solved my worry sending me prompty a brand new copy - including a little gift for the inconvenience I passed trough!). Thanks again - grazie mille, antonio rampini ------------------------------ Date: Mon, 03 Jul 2000 12:15:03 -0700 From: Anil Prasad Subject: Innerviews News Hi everyone, Just a quick note to let you know that the Innerviews Magazine website has been overhauled. It's been redesigned by the good folks at Bill Smith Studio. The reason I bring this up in this forum is because the interviews with Bill Bruford, Adrian Belew, Tony Levin, Iain Ballamy, David Torn, Rob Fetters and other relations have all been reworked for the new site. Some include new content, visuals etc. All this and less awaits you at: http://www.innerviews.org Cheers, Anil ------------------------------ Date: Mon, 03 Jul 2000 19:24:05 EDT From: "MALCOLM XERXES" Subject: KRIMSON THOUGHTS ACKNOWLEDGEMENT MONJULY3/2000/18:25 PARLIAMENT OF PACHYDERMS: Having just read #706, I find myself moved to echo the writing of MISTER GRANT COLBURN, who wrote: "...We the fans are not the purpose of what FRIPP does, we are only the witnesses....Be glad that ANY KING CRIMSON exists after 30 years...." Most eloquently and passionately stated, indeed: "More good advice can hardly be packed into one sentence than there is there!" Later in the same issue, MARKUS ALEXANDER GNAD'S 3rd IMPRESSION conveys what I perceived to be an implicit desire that writers to this forum (and, presumably, readers as well) recognise our personal responsibility and celebrate our individuality, rather than constantly using "IMHO" and the like, when he states that "...The opinions expressed herein are those of the individual authors...." Well, this is a very grown-up position indeed, isn't it? Whenever one sets down one's thoughts to paper - literally or figuratively - the author's opinion is all that one CAN be expressing, so acronyms are unnecessary and redundant. HERR GNAD goes on to state that "...We don't have to justify our opinions," which I take to mean that this practise of pre-emptive apologism has come about due to the often libelous (verging upon threatening) polemical criticisms of KRIMSON music, as well as to the written responses to said criticisms, often as bad as - in some cases, worse than - the writings which provoked the responses in the first place! Personally, I enjoy very much reading the "justification" of any opinion held by another, most especially when it is one that is diametrically opposed to my own AND is reasonably and logically presented: second to hearing it live or as a recording, this is the best way I know to be persuaded to listen to music that I might otherwise ignore for whatever reason(s). It can be a challenge, I know, to keep oneself from getting all hot and bothered when someone defecates and urinates all over one's sacred cow, but I invite us all to recognise that whenever we experience such heat, we are being presented with another opportunity to learn, to grow, and to transcend whatever limitations by which we might think ourselves currently imprisoned. "There's nothing you can do that can't be done." -JOHN LENNON Excelsior! MALCOLM XERXES (BATTERIE/PERCUSSIVES) ACTRA/BAEA/CAEA malcolmxerxes at hotmail dot com www.angelfire.com/music/a1000m www.shakesintherough.com POST SCRIPTUM: My home was burgled. As a result, a T-shirt emblazoned with "ROBERT FRIPP & THE LEAGUE OF CRAFTY GUITARISTS - Honour Necessity", as well as the printed aphorisms, were stolen from me. If anyone has these items and is willing to sell them, please contact me privately. -MX 19:24 ------------------------------ Date: Mon, 3 Jul 2000 19:37:13 EDT From: GenoTT at aol dot com Subject: Re: Concerns >It seems as though he [Fripp] no longer has any interest in playing classic >Crimson material anymore. If that was true, "FraKctured" and "Larks' Tongues IV" wouldn't exist. >When I say classic, I am referring to timeless albums such as >In the Court of the Crimson King, Lizard, Islands, >In the Wake of Poseidon, Starless and Bible Black, >Larks Tongues in Aspic, or Red (except for the title track). Discipline isn't classic material? Beat? (Say what you want, I love Beat.) ToaPP? They've stood up better since the 80s than almost everything else produced in that entire decade. >Could it be that he doesn't want to pay royalty monies to older members? >He plays "Red" and nothing else. Why? He wrote it himself! No royalties >have to be paid! Fripp has spent most of his career speaking against the greed-driven practices of the music industry. DGM's entire premise is to be run ethically and fairly with the MUSIC in mind, not the profit line. Do you think Fripp would do anything for this reason? I really hope you're not that shallow. >Well if that hold true, then shouldn't the older Crimson >material be played in order to pay homage to it? I would think so! And does 'paying homage' also entail trudging through the same 'expected' pieces every night even when the performers don't feel a purpose in it? >So therefore, my fellow Crimsonites, I urge you to request Mr. Fripp to play >classic Crimson material! You'd like to hear some older songs played live. Fine. I'd like to have the four of them visit my house and let me jam with them for an afternoon in my living room. But it's not up to me. Does anyone remember what "progressive" actually means? To progress. To grow. To change and move beyond the present. How much could they progress if they bogged themselves down playing "Schizoid Man" every night? Be thankful someone in this industry is still willing to take a chance and be challenging and creative.. there aren't too many of these bands out there. ------------------------------ Date: Mon, 3 Jul 2000 23:30:46 -0400 (EDT) From: nmates at sas dot upenn dot edu (Neal Mates) Subject: Re: US Opening Act I'm throwing my two cents in before this becomes another dead thread. First off, I don't think they really 'need' an opening act. Give the boys more time to explore. Would anyone out there agrue with that? Secondly, if they do get an opening act, I'd like to see one befitting of Mr. Fripp's views... side projects exploring their sound... a certain DIY aesthetic... one that wipes up the floor with audience's expectations. One up-and-coming band that would be a good combination with Crimso would be: godspeed you black emporer! They are a nonet (!!) out of Toronto. Their members have also formed bands with names like A Silver Mount Zion. I'd recommend their most recent EP "Slow Riot for New Zero Kanada". Two songs in 30 minutes that go by way too fast. However, this is only an opinion for another hirsute, earnest young man in spectacles, trying to get my head out of the basement. Let the pointless debating continue!! -- ***************************************************** * "You're such a wonderful person, * * but you've got problems." - David Bowie * ***************************************************** Neal Mates nmates at sas dot upenn dot edu http://www.sas.upenn.edu/~nmates ------------------------------ Date: Mon, 03 Jul 2000 23:51:12 EDT From: "John Spokus" Subject: Response To Lizard Bits/Re-masters While I can't really comment on the newest KC re-masters, which I have yet to purchase; I must say that I own the first CD master of Lizard (not The Definitive Edition, though most of my other Crim CD's are Definitives)and find it sonically very pleasing. When I got my first CD player (in '86 I think?) Lizard and Red were my first CD purchases in the (then) new format. To me at least those two still sound good to my ears though I admit I've purchased quite a few re-masters by other artists that are a vast improvement over the copies that were initially released on disc. I think record companies released a lot of titles very quickly back then without taking a lot of care in mastering, probably just to make a quick buck with a new format. What we got was essentially "glorified cassettes". I learned quite a bit about mastering during the making of my band's (The Beltways) second CD back in '98, and I must admit that the technology improved just in the two years since our debut release. I had the pleasure also of seeing a real pro mastering engineer, Bill Wolfe who's worked with The Grateful Dead, Tuck and Patti among other notables, work on our project. I must say that EQ is the big thing that I noticed him concentrating on. I think the issue of bits is somewhat secondary IMO in achieving a hot master, although it can't hurt. As far as bits goes, how much difference can the human ear really hear? Those old albums were mastered originally for the limitations of vinyl, I can't help to think that not a lot of that was changed , especially EQ wise, on the first editions . However, some discs were probably done right in the first place if they were in the hands of someone who really cared. I think Lizard is one of them. I agree with Matthew Smith about Tull's Aqualung (hissiest CD I own along with the first edition of ITCOTCK). Maybe someone who owns the newest re-master Of Islands can help me with this; has the "ghost track" with Fripp directing the orchestral players (that was on the vinyl, and the 'Frame By Frame' box set)been added this time ? John Spokus,Baltimore, MD ------------------------------ Date: Tue, 04 Jul 2000 15:19:37 EST From: "shane reynolds" Subject: King Crimson T-shirts and posters i just have a few questions..however annoying they may be to the K.C experts all around the world!!.ok...1:do king crimson posters of any kind exist,mainly classic ones(or any from the 1970s?.are there any K.C "classic" t-shirts around,like LTIA or RED or any from that era.ANy answers would be greatly appreciated. shane (melbourne aus.) ------------------------------ Date: Tue, 4 Jul 2000 09:12:12 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: old material on stage or new stuff? >> Dear ET moderators and readers, >> I have been disturbed by Robert Fripp's behavior towards older King >> Crimson material. It seems as though he has no longer has any interest >> in playing classic Crimson material anymore. > > Well, yes, and, with all due respects, who would? There are simply too >many options and possibilities for playing "new stuff," as opposed to "old >stuff." Quite a bit of the "old stuff" has been heard for a generation; let >this new material have its own time in the light. If we all agree that I may be wrong with the following, but it seems to me that every KC inKcarnation incorporating a significant proportion of old compositions in the touring repertoire did not generate any new stuff and quickly died. This happened with the '71 Islands lineup, almost artificially assembled to play material off the first three. By the spring of 1972, there were no composed new pieces in the repertoire, and the quartet broke during the January 72 rehearsals WHEN THEY TRIED TO GENERATE NEW MATERIAL FOR THE FIRST TIME. The same scenario repeated with the double trio, who heavily featured 80s material on stage. The setlist in Mexico 96 is exactly the same as Buenos Aires 94, no new pieces. The double trio broke (unofficially, but the result is the same) during the 97 Nashville rehearsals WHEN THEY TRIED TO GENERATE NEW MATERIAL FOR THE FIRST TIME. In comparison, the 73 and 81 lineup had virtually no old material in their set (21st and Cat Food for the first, Red and Larks' II for the second), and they quickly had new material developing (Doctor D, night watch, neurotica, howler, etc...). The follow-up albums (SABB and Beat) appeared within a year. On a totally personal note, these follow-ups are my favourites. I suppose this is due to "group expectations" of "what it is or is about-to-be-becoming" (something along these lines in the P booklets). It's very likely old material stick the group to its past and do not allow the future to present itself. So what will happen with the Y2K quartet? ___ Laurent Masse masse at geocean dot u-bordeaux dot fr ___ ------------------------------ Date: Tue, 04 Jul 2000 10:04:21 -0400 From: leslabb at ptd dot net Subject: Opening Act For US Tour In ET 706 Some Comments Were Made About An Opening Act For The US Tour: >I've never heard of the band you suggest, but I'd be interested in >hearing them. I've had the band Primus in my mind, specifically Les >Claypool WITH the former drummer, Herb as my dream opening act for King >Crimson. During Crimson's encore I'd like to hear those two along with >Krimson performing something from the 70's incarnation, perhaps Red or >Lark's Tongue.... ah.. I can only dream.... This probably won't happen in time for the US Tour, but I read an article in Spin magazine on PHISH. The Guitarist Trey mentioned that he was looking forward to a project with Les Claypool, and Stewart Copeland. What an interesting combination. Les ------------------------------ Date: Tue, 4 Jul 2000 12:38:36 -0700 (PDT) From: Angus Editor Subject: Book of Saturday Some time ago there was a print fanzine titled Book of Saturday. Due to time constraints publication had to cease. However there is a substantial amount of unused material, stocks of back issues and other assets. If you would like to revive the publication please reply. Thanks. Angus. ------------------------------ Date: Tue, 04 Jul 2000 23:22:27 -0300 From: luprates Subject: Centipede I know that somebody made comments on this before,but I had to post something about it. A friend of mine,on his birthday,called me from our favorite record store to ask me if a cd that he found on the shelves next to KC cd's was any good. He told me it's name: Centipede,Septober energy. Since I've heard around here that the album was good,I told him to buy it,so if he didn't like it,he would sell it to me. This guy has only a few things from KC,he's not too much of a fan. But when we gathered to listen to it,both of us were blown away by the music. Keith Tippet is definitely a genius--by the way,a very underrated one. Four movements of incredible music that surprise you all the time;we really didn't know what to expect. And we were definitely rewarded. A very theatrical piece of music, with strong,eerie,frightening,beautiful and soft moments. Who could ask for more? Excellent production by Robert--it must have been tremendously hard to record that huge ensemble playing that music,and he just did it wonderfully. Somebody also pointed out that this music might have influenced Fripp in his later works with KC,and I can say that it definitely did influence him. Percussions,improvs and vocals that remind you of Islands and Larks' Tongues are abound. What's my point? Every single fan of King Crimson MUST have this one on their collection. The only bad thing about it is that my friend gave up on selling it to me,dang! Now I'm waiting for my copy to arrive,and you all should do the same. Fernando Gonzales. ------------------------------ Date: Tue, 04 Jul 2000 20:47:36 PDT From: "Matt D" Subject: growing popularity and concerns I don't post often but a few things i had to say. First I was checking out the new SPIN magazine and near the back there was a quarter page ad for the Construkction of Light. A bold move? Also i noticed that this forum has turned into a place for arguement. Most posts are people complaining about someone elses post. Will this stop? I always skip these.. can't we keep these from public discussion? Matt ------------------------------ Date: Tue, 4 Jul 2000 23:53:36 -0500 (CDT) From: TheMincer at webtv dot net (Ric Wilson) Subject: Dead Radio Installment... Hi E.T. Folk, Well I try so hard, I'm playing these great tunes the other day on the air, (FM-N.Florida, U.S.), and some drunken clod calls up and screams,"PLAY SOME LYNYRD,MAN!". Right in the middle of "Tarkus" by E.L.P. Such blasphemy! I put on "Providence" off "RED"! There's your Southern Rock...But the boss got mad. Oh Well..Ric. Love 'Ya. P.S. Next time it's going to be THRAK! http://community.webtv.net/TheMincer/TheStarlessAndBibleBlackPage/RicWilson. CountdownToExtinctionInProgress... ------------------------------ Date: Wed, 5 Jul 2000 01:37:20 -0400 From: "Josh Chasin" Subject: The Nashville Sound Now that the four Nashville shows are available for streaming via KC-TV, I am wondering what peoples' opinions are regarding similarities and differences, and favorite show, among the four. ------------------------------ Date: Mon, 3 Jul 2000 20:15:40 -0700 (PDT) From: matt dot kemp_new dot uk at excite dot co dot uk Subject: GIG REVIEW: Shepard's Bush I'm writng this review a mere 5 hours after Crim left the London stage. To say the least I was blown away, this being my first Crimson gig. The set list was pretty much the same as Paris - the main one-hour set closed with "I have a dream" and about 4 seperate encores followed (acoustic TOAPP, improv, Sex, sleep, eat..., and "Heroes"). The highlights for me were Dinosaur, TOAPP, Cage, Heroes and Larks' Tongues IV - Fripp was incredible to watch in the latter. The comedy highlight was Robert's delight when Ade messed up the intro to Dinosaur. Belew was engaging throughout and proved equally charming when I spoke to him outside the gig as he, Trey and Pat left at 12.30 (Fripp left with Toyah over an hour earlier, refusing to sign anything, saying "You don't need that!"). When I mentioned Fripp's departure to Pat Mastelotto, he told me that it was usual and "Robert dosn't like playing London." He also said he thought the performance hadn't been one of their best, moments felt rushed and it never quite "gelled". However, I remain dazzled by the whole experience and can only pray that they return to the UK next year. MATT KEMP. ------------------------------ Date: Tue, 04 Jul 2000 12:43:57 +0100 From: Matthew Nolan Subject: GIG REVIEW: Shepherds Bush Empire, London, 3rd July 2000 To put it briefly: Stunning performance, questionable sound / acoustics. I don't know if it was just where I was stood - there might have been a sweeter spot somewhere, but there was quite a big bass resonance problem. A lot of Pat's low end would often obscure Trey. On the whole quite reasonable though, considering the density of the music. Strangely, the Double Trio, in the same venue back in 1996, came across better sonically. Highlights - Vrooom, Lark's IV, the improvs (especially the first, long one) and Adrian Belew's solo acoustic "ToaPP" The setlist was pretty much as has been the standard of late, although sadly no "FraKctured". I suspect this was as a result of the three flash photographs during "Dinosaur". As the first flash one went off, my heart sank. Then as the second and third came (they all seemed to come from same place, somewhere on the right hand side of the auditorium as you face the stage) I began to wonder whether perhaps they were "official" as it was the only time throughout the performance when the lights were actually quite bright, even over Robert Fripp. But then later there seemed to be a question from Pat Mastelotto as to what was next, answered with a very clear shake of the head from Robert. Pat then launched into an improv - skipping "FraKctured"? There had been a few cynical laughs after the pre-concert announcement about not taking photographs as it "really puts the artist of their stride". But I have to agree - I mean, it put me off! I even started clapping in the gap in "Dinosaur" - good grief. But on the whole the audience was very well behaved. I didn't see any taping equipment - but then I wasn't really looking, my eyes were on the stage. One chap started to light up a cigarette just in front of me towards the very end - he had come in later, possibly after the no smoking announcement. I was just contemplating asking him to put it out when an arm came in from the left and a security guy tapped his shoulder. He put it out with no argument. We had backing singing and 7/8 accent clapping in "Three of a Perfect Pair", and jazz gig style applause for Trey Gunn in a couple of the improvs and for Robert's furiously fretting fingers in "LTiA:IV" - although you couldn't really call it furious fretting as it was all rather fluid and graceful. Adrian played some fantastic solos. It's always an entertainment to watch his face and body as he does so - the person and the sound move as one! Pat was arms all over the place, jaw agape, fantastic stuff - a spectacle for the eyes, ears and chest cavity. Trey's fingers performed a ballet over his Warr guitar. And there were a couple of appearances for the Ashbory too. Trey and Pat seemed to be very much a duo, Trey often wandering back to the side of the kit on Pat's right to exchange words and looks. It seemed like at times they were inventing new unison accenting structures on the fly, or at least reminding each other of last minute changes decided upon earlier in the day. Adrian came up and made a shock announcement before the last encore (Bowie's "Heroes"). He very solemnly approached the mic, quelled the audience and said "tonight is the last night this band will play together". The pregnant pause he left was filled with many a sharp intake of breath and then a smile broke through his face with the continuation "until we start rehearsals in September [for the Japanese leg of the tour...]" So, in summary - cracking toast gromit! Just a pity they're not also playing Manchester, Bristol, Glasgow, Birmingham, Newcastle... (but with the hard slog they've had so far who can blame them?!) Regards, Matt Nolan. =================================================== The bizarre but boogieable Rob Beadle Triangle Band http://www.rbtb.co.uk/ ------------------------------ Date: 4 Jul 00 11:09:24 MDT From: JEAN-LUC MARTINEZ Subject: GIG REVIEW: San Sebastian Hi Crimfans, here's my two cents report of the San Sebastian gig (Plaza de la Trinidad - June 28th). Sorry to be so late, but I first had to go down from the clouds, in order to be more objective :-) The place was really gorgeous, a little square beside a hill in the old quarter of the town. Because of the non smoking instructions, we could smell fragances of lilly from time to time. Only 2000 seats, so I was very lucky to get a ticket after a 250 km trip (I drove from France). The audience was really respectful, and I haven't seen any flashes during the show. So, the set list was the usual one during this tour, including the 2 encores. As always, Ade kept smiling to the audience, while Robert stayed very attentive on his stool. The sound was a little bit saturated, especially for the loud part of Trey's guitar and the V drums. The group seemed really joyful. One or two times, Pat and Trey tried to disturb the metronomic rythms of the songs, making Ade laugh. Spanish audience made a really good rythmic section, clapping their hands like for a flamenco song, on 3OPP. Ade seemed really to appreciate. As I expected, all the songs sounded better than on the record. Believe me, young Crimfans, the best KC stuff is live, even I won't give up listening any of their records. The show ended by Heroes (I would have preferred Fashion, but never mind). The crowd was singing and dancing in front of the stage - nice moment. One more time, I missed Ade's mediator throwing (I had already missed Tony's one in 1982 in Paris). I hope I will succeed next time :-) At the end of the show, I asked an old Australian fan (which I told two hours before, that there won't be any old songs) whether he was not too disappointed : "Oh NOOOOO ! it's was fucking bright", he answered. Grateful thanks to KC for making me so happy. "I wish you were it to see it..." Jean-Luc MARTINEZ fan de toujours ------------------------------ Date: Wed, 5 Jul 2000 01:34:33 +0100 From: Simon Calkin Subject: GIG REVIEW: London Last night was a BLAST! Despite Robert's misgivings about this gig,it turned out to be wonderful. No flash photography! Only one cretin smoking at the bar! And the band......unbelievably good.As it was the last gig for a while,the end-of-term mood was very evident,especially in the newly-recovered Ade,who was a)obviously having a good time and b) playing out of his skin. My only criticism was that Robert was inaudible for the first third of the set,at least he was from where I was standing. Converts were made last night;two guys who came to the gig with me had never heard the King before,and were staggered. ProjekctX CDs were all sold out fairly early on,so I didn't get to get one.Anyone out there got one they don't want? God knows what this band is capable of;last night they made the Nashville gig sound like it was done by a tribute band.You guys who see them in the fall/autumn are in for a real treat,you lucky people. Simon Calkin Support Services,News Resources * Work: 0208 576 0910 * Fax: 0208 749 7853 * Room 4252 TV Centre, Wood Lane, London, W12 7RJ > * mailto:simon dot calkin at bbc dot co dot uk > * http://www.bbcresources.com ------------------------------ Date: Tue, 4 Jul 2000 11:38:26 -0500 From: Ibrahim Ata SEVER Subject: GIG REVIEW: London gig Hi ETers, London gig was the first time that I see KC on stage. After waiting 1.5 hour in the queue and one hour in venue they came to stage finally. Adrian saluted the audience with sympathetic gestures and they started with Frying Pan ( if I am not wrong). I am not going to criticise their performance or review the gig. Because as a first experience I was just happy to be in a venue and feel the vibrations of music in my body. May be I can do this in 2nd or 3rd attendancies At this point I don't know whether Mr Fripp is reading this posts or not but we will be very happy if we can see the King Crimson in Turkey(In Istanbul or in Ankara). There are lots of KC funs in Turkey and since almost all countries that KC gives concerts require visa for people from Turkey, they have no chance to see KC abroad(Just assume that they have enough money for this expensive adventure). Regards... ------------------------------ Date: Tue, 04 Jul 2000 11:53:23 +0000 From: "J. Robinson" Subject: GIG REVIEW: King Crimson in London Just a couple of words about King Crimson's London gig at the Shepherd's Bush Empire, 3 July, 2000. Audience: overwhelmingly male (and white), in their 30s and 40s. Venue: ye olde Englishe theatre. Not jam-packed, but fairly full. Sound: not brilliant, and woolly in the bottom end. Presentation/ lighting: dull. Pretty much everything was as expected (such as the set list). Belew loped about, smiling, the only member obviously enjoying himself. Fripp was impassive, immobile, underwhelmed, and tired. Mastelotto played his heart out. Very impressed with Gunn, who contributed some amazing sounds and shapes. He was the revelation of the evening. A very professional performance from the band (about 2 hours). Hardly any communication with the audience, just the occasional 'thank you' from Belew. No rock 'n' roll 1-2-3-4 count-ins, or extended endings. No endless changing of guitars, tuning/ preparation between songs, etc. Just a very heavy, solid wall of sound, with Gunn and Mastelotto conjuring a hammering, thunderous barrage of bass-rich noises, with Fripp as the guitar alchemist, soaring over the songs. Belew threw in jagged riffs and occasional plaintive or jokey vocals. The sheer weight of the Crim sound recalled 'classic era' King Crimson, 1973-74, when the Crims were much 'heavier' than the hard rock bands of the time (Led Zep, Black Sabbath, Deep Purple). King Crimson 2000 were not 'scary' or threatening, as they might have been back then; they were four extraordinarily gifted musicians rocking out big-time. Stand-out was definitely the series of improvs, early in the set, mainly from Gunn, Fripp and Mastelotto. The improvs were magnificent, uncompromising, and deliciously idiosyncratic. A superb night. When's the next one? Jeremy Robinson ------------------------------ End of Elephant Talk Digest #707 ********************************