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               E L E P H A N T    T A L K

        The Internet newsletter for Robert Fripp
              and King Crimson enthusiasts

                        Number 718

                 Wednesday, 26 July 2000

Today's Topics:

   French buyers: Great Deceiver au bonne prix
   Howard Stern's version of ITCOTCK
   TCOL In French Playboy
   King Crimson vocalists
   Re: Fripp's "3 piece KC" comment.
   3 piece KC
   Re: 3-piece KC
   Re: 3-piece KC
   Re: New Tour, Old Material
   out-bjorked?
   self promotion and a call for abuse
   Three easy pieces?
   The (probably redundant) opening act debate and the six degrees of Bungular 
   more TCoL (and a few words on Fripp)
   LTIA II
   Re: Yes talk
   my dream KC lineup is:
   the KKK
   3-piece KC

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Date: Mon, 24 Jul 2000 19:48:15 +0200
From: Sidney Wiener <swiener at free dot fr>
Subject: French buyers: Great Deceiver au bonne prix

J Gibert now has the Great Deceiver box set (DGM version) for 352 Francs
(50 dollars at current rate). Get it before they realise that they actually
offered a good deal for a new release!

Sid

------------------------------

Date: Mon, 24 Jul 2000 16:09:24 -0400 (CLT)
From: "Miguel Farah F." <miguel at antonia dot webhost dot cl>
Subject: Howard Stern's version of ITCOTCK

Hi all.

Jon Benfield mailed me the MP3 with Howard Stern's version of _In the Court
of the Crimson King_, and I put it up in my web site. That way you can grab
it for yourselves instead of having to ask for it via e-mail.

The URL is http://www.webhost.cl/~miguel/KC/LOSERS.mp3

--
MIGUEL FARAH              //   miguel at webhost dot cl
#include <disclaimer.h>   //   http://www.webhost.cl/~miguel
<*>
"Trust me - I know what I'm doing."
- Sledge Hammer

------------------------------

Date: Mon, 24 Jul 2000 21:36:52 -0400
From: leslabb at ptd dot net
Subject: TCOL In French Playboy

Went to the new Borders book store here in Harrisburg, PA.  Spent lots of
money on some cool music and magazines.

The CDs I was able to find were Liquid Tension Experiment I & II, Dick's
Picks' vol 12, and a new one by Ozric Tentacles titled "Swirly
Terminations".  It is actually a collection of alternative jams from
previous cds.  The liner notes are very sparse, so I can't even tell if it
is a collection of live jams.  But worth it just the same.  I also picked
up "Bible Of Dreams" by Juno Reactor, way cool.

I also picked up some cool music mags, the French version of Playboy, and
one titled Oriental Cinema.  The OC mag covered Japense SCI-FI/Monster
flicks, but on the last few pages had hot asian chicks. ThePlayboy had a
review of the new KC CD, but it was in French, so here it goes if someone
can translate:

CA PLANE TOUJOURS FURIEUSEMENT POUR MR. FRIPP ET SES CAMARADES

Meme si on n'aime d'eux qu'un seul sublime morceau, In The Court Of The
Crimson King, qui date deja, ca fait un bien fou de saviour que Robert
Fripp et ses copains n'ont pas raccroche', qu'ils sont toujours la(et meme
sur scen, al'Olympia le 25 jun).  Et qu'ils font toujours a peu pres la
meme musique.  Pour nostalgiques des 70's.

I did have French in 3rd grade, but learned very little.  What I can make
out is the announcement of the 06/25/00 gig.  The ending also sounds like
the reviewer says the disc is for Nostagics of the 70's.

The reviewer did give the disc a 3 out of 4 bunny review :)

Les

------------------------------

Date: Tue, 25 Jul 2000 21:19:33 +0000
From: Jeremy Robinson <jrobinson at crescentmon dot org dot uk>
Subject: King Crimson vocalists

Re. the recent thread in 'Elephant Talk' about female vocalists for King
Crimson, I think Bjrk or P.J. Harvey would be stunning. They've both
got the wildness, the edge, the potential for mania and intensity which
would suit the old Crims down to the ground. They're also both highly
intelligent, educated singers and performers, with mesmerizing stage
personas. And both have the required musical background - not only in
rock/ pop, but also in jazz, and 'experimental' music. Harvey in
particular has produced some stunning swamp blues, real dark, nervy
stuff, which would suit Crim outings like 'Prozac Blues', 'Frying Pan'
and 'Oyster Soup. Harvey can also whack a guitar about like a good 'un.
So, no strangers to strangeness, Bjrk or Polly Jean, and both well up
to the high standards of Crimsonoid music. (Plus, P.J. Harvey's from
darkest West Country, very near Frippland).

It'd be a great step for Crimson to take, having a female vocalist. And
surprising, too, perhaps, as prog rock (and art rock, or avant garde
music or whatever you want to call it) is generally very masculinist,
very much boys' music (no offense meant here - this is a statement of
fact: consider the subscribers to ET, the fans at KC or prog concerts,
the people who buy KC or prog rock, and the people who make it).

Jeremy Robinson

------------------------------

Date: Tue, 25 Jul 2000 17:47:11 -0400
From: Kathryn Ottersten <ottkat at bellatlantic dot net>
Subject: Re: Fripp's "3 piece KC" comment.

Hi Crimpeoples,

I read NotoriousAWOL's comment in ET 717 with great curiosity.   He
wrote:

> Adrian quit or was asked to leave the band. That's my vibe!
>
I am not sure that I understand how Fripp's diary entry of July 11 is
taken to mean that Ade is the (contemplated/threatened) absent member.

When I read Fripp's diary, I took it that Fripp was quoting his own
reply email stating that he would not play a large gig without doing
warm up shows first, which would fit into his established pattern.
Given that Ade, in the Launch.com interview, said "give me a quartet,
any quartet, and as long as it's got Robert and me in it, I'll be
happy," it does not seem that he would quit the band.

NotoriousAWOL also wrote:

> If you review AD's rendition of the way he came late to the TCOL proceedings he
> seemed like a fifth wheel "adding "things to music that was already there.
>
This is refuted also by Ade's statement in the same interview.  He talks
about working on part of the album before he, RF and TG went out as P2,
and also how well he felt the later sessions in Nashville went with the
quartet.  I have not seen any indication that he came late to the TCOL
proceedings [is this from another interview? Where?], which would be
hard considering that it was recorded in his home studio.  The only way
he can be considered to have come late is if one thinks that most of
TCOL developed out of P3 & P4, but that does not seem to be the case
(also consider that these Projekcts were much shorter lived than P2,
which toured for 2 months, while P3 & P4 only existed for a couple of
weeks each).

I am of the opinion that reports of Ade's departure are premature (to
paraphrase W.C. Fields).

Kathy O.

------------------------------

Date: Tue, 25 Jul 2000 20:22:38 -0400
From: "rs" <rspeak1 at home dot com>
Subject: 3 piece KC

my take on the quote is that it was going to be without FRIPP!!!(not Belew)

>>>Very quick response to be followed: since I said the Milwaukee show was
too large, I'm assuming this is the debut show for the 3 piece KC?
Let me be clear, we WILL do a club date. This is necessary for the quality
of the group's performance after a period away from live shows. I really
hope that my patience & will are not tried on this, because my patience is
low right now & my determination is engaged". <<<

I think Fripp is making a stand, his way or no way.

------------------------------

Date: Tue, 25 Jul 2000 17:56:37 -0500
From: "LaRose, Phil" <plarose at pioneerpress dot com>
Subject: Re: 3-piece KC

Some people just aren't reading Fripp's comment correctly. He meant since he
was unwilling to do a show in a large venue, the promoter's insistence would
mean he would bow out. The 3-piece KC would be Fripp-less. You folks wishing
for a "new" Crimson future might live to regret it...

phil

------------------------------

Date: Tue, 25 Jul 2000 20:43:12 -0500
From: "Grant Colburn" <grantco at greenbaynet dot com>
Subject: Re: 3-piece KC

Notorious wrote:

>Yep! I saw that Fripp diary "3-piece KC" entry too!  Exciting, isn't it?
>With respect to Adrian and his fans,  the perceived imbalance in the band is how
>his things are grafted on to the other three's more involved, cohesive work.

I'd buy that a bit when considering the monumental pieces Lark's 4 and
FraKctured. I think those 2 were definitely pretty worked out by Fripp with
Gunn and Mastelotto. But really as far as I remember reading Prozac was
pretty much a Belew song as well as the song parts of Frying Pan (even
though the cross chromatic idea I think came from a ProjeKct jam). Oyster
sounds like a band jam that Belew pounded into a song of sorts and of
course the Lark's coda was from Adrian too. As for the song TCOL, it sounds
to me like its been around for a couple of years already, (supposedly its
what they played first at a rehearsal before Fripp said the immortal "What
are those things?" in regard to the V-drums) And even there for better or
worse Adrian's influence is certainly felt. He's the one who HAD V-drums in
the first place!

> Then there were the Fripp diary entries about TG and PM wanting to play as many
>times as possible while in England but AB seeing not much point.

My guess is rather than Adrian not wanting to play England more, that he
knew his friend Robert did not want to play in England more.

>Divisive. Now post- "3-pieceKC" diary entries mention how the future beckons
>mysteriously . To us, maybe, but not to Fripp. Adrian quit or was asked to leave the
>band.

He quit on his own accord, and from what I understand mostly due to the
time frame of when Fripp wanted to begin the recording more than some deep
personality problems. PLUS! Didn't he actually quit only for about a total
of 3 hours?

>That's my vibe! Wow I'm thrilled! I like Adrian but I
>think the time has come.

Hmmm, my vibe was totally different. My guess was that Fripp is the one who
was considering not playing, NOT Belew. So far I've heard no complaints
from Adrian about the European tour, its Fripp who painted the "Hell on
earth" picture. My feeling was that he (Fripp) was the one considering not
to play under the present circumstances....

------------------------------

Date: Tue, 25 Jul 2000 21:37:39 -0500
From: "Grant Colburn" <grantco at greenbaynet dot com>
Subject: Re: New Tour, Old Material

Aaron wrote:

>Citing Alexis' list of possible reasons for why Crim might commit an art crime:
>>1-Robert's taste in music have changed.
>Of course--and Robert's changes of taste have made KC one of the most
>colorful bands in history.  But do you really think he doesn't still love
>all his babies?

Yes, I totally believe he does NOT love all his babies. Plus unlike
children musical pieces don't grow up. I think by making Fripp play all his
babies you also don't let Fripp grow up.

> And even if "sick of playing them", these old songs have
>unlimited potential for reworking to suit the current lineup and tastes.

Technically of course this is true, especially if one considers that KC
could certainly pick songs they are not sick of playing due to their not
playing them for the last 20 years. Songs like Great Deciever, Catfood,
even a jam on Sailor's Tale would be cool to hear. Unfortunately its often
true that with a new group of guys it would take just about as long to work
up old songs as write new songs so I don't see it happening too soon.

>KC's catalogue is too vast and rich to justify wholesale neglect.  Any KC
>show would be better off (more diverse, exciting, and satisfying) with
>multiple KC incarnations acknowledged.

Yes, if nostalgia is your main concern. If Crimson were a brand new band
touring on their first album people wouldn't have these feelings. Though
the norm for bands from the 70's is to play all the old hits, its certainly
not a law. As I've said before, if no one shows up for the gigs maybe KC
will rethink their position. I for one don't think they'll have a problem
selling tickets though. If anything it always sounds like they could play
bigger rooms and sell even more tickets if they actually wanted to.

>Otherwise, guys, just change the name of the band to "Discipline" or something.
>The King is dead--long live the King.

Why be so influenced by dogmatic beliefs though? Sure, the norm is an old
band plays old songs, but if they decide not to, yet still sell out their
tour then just deal with it. We as KC fans seem to deal with our favorite
band being primarily one guy with whoever he decides to play with, so
here's just one more thing to deal with when dealing with the enigmatic
King Crimson. The King Lives, long live the King!

------------------------------

Date: Tue, 25 Jul 2000 22:46:27 -0400
From: Edward Banatt <ebanatt at bellatlantic dot net>
Subject: out-bjorked?

>Ever considered that, although musically prolific and original, Bjork is not
>an instrumentalist - let alone a bright one?
>
>Apart from not being able to contribute in that aspect, what on earth would
>she be planning to do during a typical King Crimson set for 90% of the time?
>(Don't tell me "scatting"...)

If you plan on bashing Bjork on this list, get the facts straight. ;) She
plays flute and keyboards.

.....Are you saying KC could not have a "vocals only" singer?  Sooo a
singer can't be a musician?  Whoops.

Eddie

------------------------------

Date: Tue, 25 Jul 2000 22:06:49 -0400
From: Jason Nickey <jnickey at indiana dot edu>
Subject: self promotion and a call for abuse

Everyone,

Check out my review of TCOL on www.allmusic.com.  (and if your really want
to be turned on to some truely progressive music, read my bio of the
Danielson Famly and be enlightened) rock on, JN

------------------------------

Date: Wed, 26 Jul 2000 02:23:10 -0500
From: Steve Smith <ssmith36 at sprynet dot com>
Subject: Three easy pieces?

> From: NotoriousAWOL at aol dot com
> Subject: 3-piece KC!
>
> Yep! I saw that Fripp diary "3-piece KC" entry too!  Exciting, isn't it?

Don't get too excited, because I believe you're reading Fripp's post
incorrectly.

Think about it.  If it's *Fripp* who's pissed about the promoter wanting to
put the kibosh on a club gig warmup prior to U.S. Crimson activity, then
what in the world makes you think he'd jettison Adrian?  Puh-lease.  If
that's your wish due to an anti-Adrian bias, then so be it.

But my own take on said post is that Fripp has told a promoter that if a
gig won't happen in the way Fripp wants it to happen, then a three-piece
Crimson will show up: Belew-Gunn-Mastellotto... sans Fripp, who evidently
no longer has any use for any gigs that don't go down the way he wants them
to (and to that I can only say "rah! rah!").

Is Fripp truly mercenary enough to follow through on his threat?  Hard to
say, even after all of the stage exits prompted by flashbulbs.  But it will
be interesting to see what ultimately happens.

Steve Smith
ssmith36 at sprynet dot com
NP - Michael Hedges, "All Along the Watchtower," 'The Best of Michael Hedges'
(Windham Hill)

------------------------------

Date: Wed, 26 Jul 2000 15:51:44 +0800
From: Brady Drums <kelly at bradydrums dot com>
Subject: The (probably redundant) opening act debate and the six degrees of Bungular seperation

Hello there ETers and purveyors of things Crimson

There's only one act I can imagine opening for KC.
   Neil Hamburger
Seriously, can anyone imagine this guy in front of a Krim crowd?
 Could make for a great BTV moment.

Cheers
Shane Brady

------------------------------

Date: Wed, 26 Jul 2000 03:22:29 -0500
From: "Aaron P Deglanville" <"aaron_deglanville"@uhc.com>
Subject: more TCoL (and a few words on Fripp)

Ken B, pressing buttons:

>And why don't negative first impressions count, only positive ones? An
>impression is an impression. Mine upon first hearing the CD, was
>disappointment!

All opinions count, but not all opinions are created equal.  TCoL is not a
"bad" record any more than Britney Spears would make an excellent choice of
vocalist for the next KC release.  Well, unless she did the tour naked.

>I also find it ridiculous to say that while people's first impressions that
>this is a bad CD aren't valid, that saying this is one of the best (if the
>best) KC record ever is valid.
>How without years of wear and tear can that
>be decided? Doesn't the CD need the test of time to see if it truly is the
>best KC record ever?

See first sentence, last paragraph.  All our opinions count for
*something*.  And I would certainly agree that opinions that are
unequivocally asserted--especially in great haste--are often suspect.  Odd,
above you're actually arguing that *positive* first impressions "don't
count"--isn't that just your first criticism in a funhouse mirror?

>How is this a new direction for KC? Sorry I don't hear it. Go back and
>listen to ITCOTKC, LTIA and Discipline. Those records were all very
>different from each other. Truly new directions.

True.  But don't forget that Belew-era KC is not the only incarnation
guilty of coughing up blatantly derivative material.  Witness ItWoP, which
was essentially a paler shade of "Crimson King" with a mind-numbing
Mellotron solo tacked on (hee hee, send hate mail to above address).

> I don't find the new
>record a new direction. In fact I find parts very derivative. I do find it
>a better and newer sounding record then Thrak, but still not a new
>direction. When I hear the song TCOL I hear 80s Crim, when I hear
>FraKctured I hear Fracture and when I heat LTIA IV I hear the other LTIA.
>So how can it be a new sound?  Is it the hardest hitting Crim record yet,
>yeah, but so what, it doesn't mean it's new!

>...if Fripp really wants a new direction he has to get rid of Belew.

Am I the only person who hears "Red" during LTiA IV?

On balance, I agree: this is not a radically different direction for the
band.  I am in the thick of the crowd of those who thrill to the very idea
of getting rid of Belew, despite my very high opinion of TCoL.  KC has long
stood for diversity and groundbreaking music, and I'm inclined to agree
with those who suspect that removing AB would usher in a great new era.

That said, I don't think TCoL has a single bum track--your comparisons of
FraKctured and LTiA IV to their predecessors is too facile.  And yes, we do
hear plenty of the Disciplinary interlocks, but I still find the new
arrangements fascinating, and their song-contexts strong.

>The 'piano' solo on Oyster Soup

...rips.  Why should a guitar *always* have to sound like a guitar?

>Now my biggest gripe, this notion that ones needs to listen to something
>multiple times before getting it. And its corollary of how many people seem
>not to like Crim records the first time. I find both of these very strange.

>...I don't need to seem 'special'. With "Look what I can listen
>to, but it's difficult music, you need several listen to 'get it'
>"attitude.

But you concede earlier that opinion invariably changes over time--even
claiming that a genuine appraisal of the disc *requires* a long trial (your
words again, below):

>How without years of wear and tear can that
>be decided?

I personally was crazy about most of the Crimson I personally own on first
listen, with my appreciation simply deepening with closer listens.  That
makes the point: there are, in a sense, often "secrets" locked within the
products of artistic genius.  Appreciation grows, in part, because we come
to know the art/ist better than we once did.  For some, this may mean not
loving the music at first, but having it slowly grow on them.  This is a
pretty common phenomenon, especially with music that challenges expectation
and convention.  I'd be interested to hear what your first impression was
of Mr Bungle (if you've heard them).

>Finally, it beyond my wildest imagination that anyone can condone Fripp's
>behavior to his audience!

I have to admit, reading in the archives Fripp's bombastic, defensive
explanations for his rudeness to concertgoers surprised and saddened me
(though I realize that he was occasionally responding to rude and insulting
letters).  He often comes off as haughty and narcississtic, with a palpable
attitude of superiority over his fans.

But he would be right in reminding me of my own responsibility in the
expectations I impose upon my "Heroes".  Expecting an Enlightened Being is
not fair--and all too common.  Fripp is a musical genius, but human, and
being in the public eye, he is an easier target for critical stones than
most of us.  And I hope to god that if he actually reads this, he will see
me as deeply appreciative of his work, and aware of him as a complex,
mutidimensional human rather than simply a one-sided "prat".

I forget who wrote it, but it was beautifully put--something about how we
the audience are not the purpose of what Fripp does, but only the witnesses
of it. Yes, we are damned privileged to even *experience* KC--perhaps
spoiled rotten.

Love to all,

aa

------------------------------

Date: Wed, 26 Jul 2000 04:26:14 EDT
From: Signify71 at aol dot com
Subject: LTIA II

Hello--

Would someone kindly point me (via email, please) to where I can obtain
tabs for "Lark's Tongues in Aspic Part II"?  Specifically, both bass and
guitar tabs.  I can read tab well, but have some problems sight reading and
nailing the correct chord voicings, so the easier to comprehend the better.

[ Look on ETWeb, of course: www.elephant-talk.com -- Toby ]

Also, to respond to a few comments in recent ETs:

1.  Yes please, let's get a FZ digest going, a quality one.

2.  I have Schizoid Dimension (the tribute CD) and I have listened to it
all of once.  I prefer the real deal as opposed to these (sometimes good,
other times horrid) covers; don't go out of your way for it, but if you
score a used copy or something, at least listen to it first.  I don't
really trust tribute albums anymore, so...

Chris

------------------------------

Date: Wed, 26 Jul 2000 18:24:49 +1000
From: " Tony Greig" <sztgnym at turboweb dot net dot au>
Subject: Re: Yes talk

Fellow Crimophiles and more to the point, Yes freaks!
Sorry Toby, this rave is more Yes than Crim.

In Et 715, Sandy Starr writes,

<I agree! I really like the album, and prefer it to its predecessor Tormarto
<(apologies to the anyone who likes animals, but I think 'Don't Kill the
<Whale is a low point in the band's career).

As the band (Yes) members say on their history video regarding the Tormato
sessions, ''we were tired, wasted and disillusioned etc''.
Tormato is a disappointing album in some sections, but far from their lowest
point! (that was still to eventuate). Maybe they had stayed together a touch
too long. Robert Fripp could have the insight to disband King Crimson before
this energy presents itself! There may be other reasons also, but Fripp
appears to have an uncanny ability to foresee the impending doom if Crimson
hangs around for too long!
Drama is an excellent album even though Anderson was not present, with new
members Horn and Downes and Howe, Squire and White's superb playing and
arrangements temporarily staying the demise of the band (briefly).

<Hmmm. I agree that Anderson's joining the band is what _prompted_ the name
<change, but I don't agree that sticking Anderson on the music is what
<automatically makes it Yes. When Yes were a separate entity to Anderson
<Bruford Wakeman Howe, they had a legitimate claim to the name Yes. 'The
More
<We Live, Let Go', from the mixed quality Union album, has little or no
<involvement by Anderson and sounds more like the essence of Yes to me than
a
<lot of pieces with Anderson on them.

Jon Anderson linking back up with Squire, White, Kaye and new guitarist
Rabin in '82-'83, produced an identifiable melody and feel to what became
the very good album 90125! The entity 'Yes' automatically presents itself
(again).  A bit like King Crimson appearing (again) when 'that' melody and
feel presents itself!
In other words, when the time is right!
A reason as to why this album (90125) is so good, could be the fact that the
band was enjoying fresh ideas in this linup and 'certain' musicians had not
tasted the huge commercial success that followed, and we all know how the
trappings of stardom can affect individuals ego's etc! This could be the
reason that the abysmal 'Big Generator' debacle in '87 was so poor an album.
Too many ideas (and commercial success?) and lack of direction from 'one'
new member who assumes control. Anderson was not allowed to come to the fore
etc, and you guessed it, lack of melody etc, and the spirit of Yes dies
quickly!

Regarding the ABW&H rave, The name Yes may have stayed with Squire and
company (it wasn't much use to them though), but we all know how succesful
the ABW&H album and tour were! This band captured what we know as Yes magic
and sort of left the other 'Yes' in limbo, so to speak! That can also be
heard on the following Union 'collaboration', as there are only four (4)
songs from the redundant Yes 'name' linup and eleven (11) songs from ABW&H.
It would appear that Squire and company were a little lost without Anderson.
I must say that it would appear that Jon Anderson is the main instigator of
most of Yes's classic material (with able support from either Steve Howe or
Chris Squire).

Gnad Markus in ET 715 says, regarding Pink Floyd,

<A circus, yes. And no musicians anymore. Sleeping for years and then
<going on the road is not my sense of being a professional musician.

What, these guys do not do anything musical outside of the Floyd? It may not
be your sense of being a professional musician, but really, to presume these
guys are 'sleeping' and get back together for nostalgia is a little
misleading! There is an old Floyd video, I think it is 'Live at Pompeii',
where they are talking around a dinner table and they admit way back then,
that they are a 'lazy' group. So what! What is your sense of being a
professional musician? I think Gilmour, Wright, Mason and Waters doing his
solo material, are fairly professional! Just a touch!

Regarding Yes,

<Talk is their best. Sadly, they didn't perform any of these songs on their
<latest tours.

Talk is an allright album (at least better than Big Generator and the 4
songs on Union IMHO). But still, Anderson was being suppressed by 'you know
who' (again). More like 'gladly' they didn't perform any of those songs on
any recent tours. After Yes fans were treated to Howe and Wakeman on two
albums and tours, the Talk album and tour were always going to be a bummer.
Steve Howe is back where he belongs and sad for some, but out go the Rabin
songs except for one or two! (Notice there is the 'Classic' Yes melody,
lyrics etc, back again too?).

This can only mean one thing, certain longstanding 'leaders' in the bands
Yes, Tull, Floyd and Crimson, have a fair idea as to were the vehicle should
be heading, and as long as they 'feel' the energy is positive, then they
will continue to 'march forward'.
Cheers, Tony Greig.

------------------------------

Date: Wed, 26 Jul 2000 03:39:50 -0500
From: "Aaron P Deglanville" <"aaron_deglanville"@uhc.com>
Subject: my dream KC lineup is:

I GOTTA say it, I'm brand new.  And maybe it'll sneak through:

Robert Fripp:  guitar
John Wetton:  lead vocal, bass
Trey Anastasio:  guitar, vocals
Page McConnell:  keys, vocals
Bill Bruford:  drums/Brufordosity

Three-part harmonies and keys.  Dig it.  And fully capable of playing
anything in the KC catalogue.

aa

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Date: Wed, 26 Jul 2000 03:44:53 -0500
From: "Aaron P Deglanville" <"aaron_deglanville"@uhc.com>
Subject: the KKK

Has anyone else noticed that the song titles on TCoL have a total of 3
misplaced capital "K"s (KKK) ?  Not that I really think that it was
deliberate, but it is kind of an odd oversight for such a smart group o'
guys to make.

aa

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Date: Wed, 26 Jul 2000 11:17:14 +0200
From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE)
Subject: 3-piece KC

I responded privately to the first message but after NotoriousAWOL post I
think I have to send my opinion. I may be mistaken, but I am quite sure
that, when speaking of the 3-piece KC, RF refers to him leaving the stage
to AB, PM and TG on their own whenever he feels the
venue/conditions/whatever of a particular concert do not meet his
requirements.

___
Laurent Masse                                  masse at geocean dot u-bordeaux dot fr
___

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End of Elephant Talk Digest #718
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