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 #731 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 731 Wednesday, 6 September 2000 Today's Topics: NEWS: The Trey Gunn Band tour update NEWS: Sid Smith Interview @ Krimson News subject: comments on Cirkus cd Projeckt 3 and 4 RULE!!!!!!!!!!!! Tight bands and weird music ReConstruKcting THIS LIGHT Re: Describe King Crimson Re: Sara Lee NY Times Puzzle, KCCC, TCOL Re: Describe King Crimson looking for the schizoid man Comments on "A Temple in the Clouds" TCoL made a believer out of me Leon Thomas Re: as David Gilmour's guitar is Live shows of interest to ET Re: comments on The Night Watch Sara Lee This is my first posting, Subject: Unknown KC cd seen on the internet Re: Sara Lee and TCoL Longacre Theater CD Re: Fripp, Toyah and Picasso Re: Exposure Russians put USA on CD Nothing new under the sun Hello form Denmark ------------------ 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: Sat, 2 Sep 2000 01:27:11 EDT From: Treyg at aol dot com Subject: NEWS: The Trey Gunn Band tour update The Trey Gunn Band tour update. the cincinatti show is definitely off. but, we have added a show in New Haven, Connecticut. Sunday September 17 2000 Tune Inn club 29 Center Street, New Haven, CT 06511 www.elevatormusic.com ------------------------------ Date: Thu, 31 Aug 2000 19:16:45 -0400 From: "Jeffery A. Duke Jr." Subject: NEWS: Sid Smith Interview @ Krimson News Greetings From Krimson News! We just completed and put up an interview with Sid Smith. Sid, if you didn't know, is writing a book covering King Crimson in it's entirety. In the interview, we cover such subjects as how he became involved and when the expected release date of the book is, in addition to another 21 questions. It's an interesting read, and we hope that you will check it out! Here's the link to Krimson News: http://www.murple.com/krimson_news/ The interview can be found under Reviews, (that is until I can update the graphic) Take Care All- Mr. Crimson ------------------------------ Date: Thu, 31 Aug 2000 10:27:36 +0200 From: eric dot odijk at grontmij dot nl Subject: subject: comments on Cirkus cd Hello, My comments on the Cirkus cd set: Although I miss a few Crimso-moments on this double cd, I would recommend this to anyone involved in playing any instrument. Being a drummer, this is an unfair record, since I don't think I can play more than a few minutes of each song. God, how great were these guys over the years? If only they had included Frame By Frame and Discipline to this release, it would have been perfect. Only thing is, I can barely listen to other music anymore, it is so intense. Apart from live Crimso cd's I only listen to live cd's by Pink Floyd, Deep Purple or Thin Lizzy. Those are the only live releases I still can stand to listen to after discovering the live Crimso recordings. Only songs I don't generally listen to are 1ii2 and the Boz songs. They should have taken 21st CSM from a recording with Lake, Giles and McDonald. Listening to the Cross/Fripp/Wetton/Bruford songs, which are quite present on thic cd (thanks for that) I think an extra song like Exiles would have been good. They could also have released the Mexico recordings as a separate album and then just include a lot of songs from that on this cd, then there would have been space enough for other songs. 4,5 out of 5, because of the above. Otherwise it would have been 5,5 out of 5. ------------------------------ Date: Thu, 31 Aug 2000 09:42:37 EDT From: ChalkPie88 at aol dot com Subject: Projeckt 3 and 4 RULE!!!!!!!!!!!! Greetings, If anybody has not yet bought "The Projeckts Box" yet, you better go get a part-time job at Starbucks or Dunkin' Donuts, and start saving your dimes. It is ABSOLUTELY BRILLIANT!! The best Crimson to emerge since 1973-'74 (IMHO). The 'Ghost' track from P4 is really eerie and amazingly powerful. Anybody who has been getting down on Matellato lately and does not own this needs to buy it immediately. He takes drumming and/or percussion to the next level. P3 and P4 are more interesting than P1, even with Bruford on it. Is anybody with me on this one here or what???? The Projeckts RULE!!!!!! P.S. - 'Lizard' is the BEST KC album EVER!!!!!!!!!!!! Brilliant!!!! Frank Long Island ------------------------------ Date: Thu, 31 Aug 2000 16:20:09 +0200 From: Jury Jania Subject: Tight bands and weird music Hi to everyone on this nice sunny day! Sandy Starr wrote (btw, Hi Sandy, nice to hear from you!) >3) The greater the degree to which the intangible entity 'King Crimson' is >present at a certain stage in the band's performing/recording history, the >more it eclipses the individual talents of the band's members, and the more >it draws upon them to create a collective whole. This collective whole is >informed by the talents of its members, but transcends them, and is, to use >a cliched phrase, 'more than the sum of its parts.' This is a good idea. IMO there are four albums that fit into this, which are ItCotCK (outstanding, but I guess you can invent a new musical style just once in your lifetime), LTiA, Discipline and TCoL (even though I don't like it that much). On these albums you find the involved musicians very tight together, as described above. ItWoP is a kind of ItC...revisited, Lizard is in my opinion more a RF's-vision-of-the-crimson-king-meets-contemporary- english-jazz kind of thing and therefore unique, Island is... yes well, but I like it (btw, what strikes me is the fact that the Island-Band has more of a *classic* jazz outfit: dr, b, sax - piano is missing. IMO RF isn't playing such an important role in that outfit - listen to the improvs on summit!), SaBB is a very strong album but could not match its predecessor because it isn't that tight (same with Beat), Red (and even more ToaPP) seem to me a little irresolute - despite the great final (which is missing on ToaPP), and finally Vrooom and Thrak are more an attempt to bring together a KC-*Big Band* than to discover new ground. To Mr. Cox: it's interesting that you start with *your* opinion and go on with *our*. Yes, but... this was certainly not mine. Their can certainly be a discussion about musical or lyrical qualities of one or the other KC-album - therefore this forum was set up. But be careful to not mix your expectations and preferences with a kind of demand towards the band (there is a review of TCoL on ET, where the reviewer is arrogant enough to say "Let's keep progressive rock progressive, shouldn't we" - if this reviewer was in the band, than he could decide wether a certain lyric is still progressive or not - as an audient, he has the right to like or dislike it and discuss, but not to demand) - and make sure that you just speak for yourself and not for the whole of us because I am certainly not sharing your opinion. BTW, can anyone declare those strong feelings against the lyrics of I have a dream to me? Marcus Enochsson asked: >Which leads me into my question: How do you explain King Crimson to a >person who has very different musical references than me? If asked by people who are *absolutely not* into any kind of progressive music I simply say: Noise. They will never ask again. This was given to me by a friend of mine who used to say that he likes most of ItC..., but screamed, when I presented the Earthbound-version of 21st Century Schizoid Man to him: "Stop this! This is certainly no longer music, this is just ... noise!" What would he have said if he was presented Thrakattak or most of the improvs of TGD? Seriously, I think this is a problem because it's not rock, it's not jazz (really?) and it's nothing in between (despite their *real* songs). I don't know. On the other hand most of the people who know me for years use to say "well, this again is some of the weird stuff that you are always listening to". Good music makes you feel lonely, I guess ;-) In the end I like to recommend an album to you which nobody seems to like because it is selled for an amount of 12 Marks (which is 5,50 Dollars or 3,5 Pounds): Bowie's Outside. A very tight band and a beautiful Keith Tippet-like piano. Again pretty weird stuff. BTW, can anyone tell me anything about Gongzilla (private e-mail, of course!). Greetings from Cologne, especially to Sandy and Markus! Jury Miaow! Again - Lucia-the-cat ------------------------------ Date: Thu, 31 Aug 2000 18:33:56 +0200 From: "Markus Gnad" Subject: ReConstruKcting THIS LIGHT Hi There! I was one of the first on this list who reviewed TCOL (mainly because it was released three days earlier in Europe), so let me throw in three more pence: 1) V-Drums sounded BEST on ProjeKct Two. They sound very wonderful on TCOL-The Song. The rest is up to getting used to them, but they fit perfectly into the overall bizarre 'scape of the album. 2) V-Drums & basses: On P2, the bass was programmed via V-Drums I suppose (if not, how could we have had 2 guitars playing side by side?). Why didn't this happen on TCOL, so we could have had THREE GUITARS, mainly live? 3) Piano Solo on Oyster: I said this before, but what the Crim. The Piano Solo (which is not THAT great IMHO) sounds like a tribute to David Bowie. There are a few lines in the fade-out that sound exactly like Mike Garson's fade-out solo on "Thru These Architects Eyes" on the masterpiece "Outside". Ideas, commentaries, cliches? So long Markus Alexander Gnad Re: In Fripp We Trust --Martin Warin "Everything THIS FRIPP does is right" ------------------------------ Date: Thu, 31 Aug 2000 09:44:41 -0700 (PDT) From: tim gainer Subject: Re: Describe King Crimson Marcus asked: How do you describe King Crimson? My way of doing this is quite simple.. This band is the true definition of the phrase, 'alternative music;' NOT by the definition you're used to...it's something entirely different. Listen and prepare to be amazed. I've tried this on about a dozen people...it hasn't failed yet. ------------------------------ Date: Thu, 31 Aug 2000 17:45:21 +0100 From: John Peacock Subject: Re: Sara Lee > Martin Warin asked: > > * Is Sara Lee from the League of Gentlemen (aaah!) > the same Sara Lee who played bass with Ani DiFranco? Yes. She also played with the Gang of Four (1981-1984-ish) and the B52s, amongst other gigs. John -- In the spirit of shameless self promotion, my songs may be found at: http://www.mp3.com/peacock "sell yourself, sell yourself, expect nothing" as a sage saith. ------------------------------ Date: Thu, 31 Aug 2000 13:43:21 EST From: "Ann-Marie Anchustegui" Subject: NY Times Puzzle, KCCC, TCOL Hi there! Les said: >I was completing the Tuesday edition of the NY Times >crossword puzzle (As >appeared in the 08/29/00 edition of the >Harrisburg Patriot News) and found >the following answer to this >clue >25 Down "Start Hammering" >The answer I came up was "THRACKATACK" The them of the >puzzle seemed to >be repeating sounds as the answer to 11 >down "Be able to buy some wheels" >answer being >"AFFORDAFORD". I didn't see the puzzle, but I'll bet a 10 pound bag of Beaton chow that the answer is actually "ATTACKATACK". Since I've piped up, I'd like to just mention that after waiting almost 2 years, I finally joined the KCCC, and before I knew it I had bought all 11 CDs so far released! Generally I'm tickled with the whole lot -- maybe none moreso than the last (Discipline at Bath), and if I may say so, the service I've received from DGM USA has been outstanding. Finally, I'm actually rather surprised by the volume and degree of dislike generated by TCOL. I like it quite a bit, even if I wouldn't call it my favorite KC album, and I agree with a poster some issues back who suggested that the hardest thing to get over with it is its sonic "sheen". The only thing on it I really don't like is "Oyster ..." -- and that's not because of its lyrics, but the music. Paul Wagoner Share information about yourself, create your own public profile at ------------------------------ Date: Thu, 31 Aug 2000 12:20:18 -0700 From: John Brower Subject: Re: Describe King Crimson In ET730, Marcus Enochsson wrote: "I've just caught up with the latest months ET digests. Interesting as always. During my non-ET months, I've been asked a handful o' times about my musical tastes, and sadly, but as expected, the name King Crimson rang no bells when mentioned by me. The logical next question was often "What kind of music do they do?", "What are they like?", to which I often responded something with as much focus, context and truth as a bucket of herrings. Which leads me into my question: How do you explain King Crimson to a person who has very different musical references than me? For a person who's musical tastes are limited to the top lists controlled by clever marketing people, how does one best give a good picture of what KC is all about? The very different incarnations doesn't make things easier either..." My reply probably won't make things a great deal clearer for the new listener. So be it. I would describe King Crimson as a way of making music. The players, the time, the place, (and, if it is a live performance, the audience) determine the form that the music takes. This is contrary to the notion of consumable bits of entertainment that are easily reproduced. If this seems too difficult, consider: How does one describe the music of Miles Davis or Igor Stravinsky or Frank Zappa? There are identifiable charactertistics frequently present, and perhaps that is what draws us back to partake of their varied outputs. But there are many people who do not enjoy all "periods" or styles of these artists' music. One could make similar analogies with art, film, literature, science, or philosophy. These artists have insisted on the freedom to create what moves them. History is littered with the remains of those trapped by the expectations of the marketplace. If you cannot find a way to do your creative work within the marketplace, then you would do better not making it your profession. John Brower ------------------------------ Date: Fri, 1 Sep 2000 21:41:09 +0200 From: "Jack Van Handenhove" Subject: looking for the schizoid man Hello, I am looking for a clean version of the schizoid man that appeared on the In the Court of album. I'd like to print both of them on a t-shirt for personal use. Has anyone got a clue where I could find both illustrations the scared as well as the smiling version? I could use the illustrations on the album, but they are of course mixed with text and stuff. thanks for any reply, Jack Van Handenhove, Belgium. ------------------------------ Date: Thu, 31 Aug 2000 16:00:13 -0500 From: "Michael W. Flaherty" Subject: Comments on "A Temple in the Clouds" The background of this collaboration by Jeffrey Fayman and Robert Fripp has been well established on this list, and the set already has a "thumbs up" from the usually silent Toby, so I just have a few comments to add. The record company has evoked the term "Frippertronics" in the promotion of this disc, and in theory this is legitimate, but the sound is too full to be compared to the more sparse "Let the Power Fall," or even the Eno collaborations. It is certainly true, as initial posters have noted, that this cd is most likely to appeal to those who enjoy the soundscape cds, but I would add that if this is soundscapes, it's soundscapes light. While Fripp's guitar loops drone, they never scream, and Fayman's additions to the mix tend toward the "pretty" side of things. My first impression of this disc, in fact, was that it was a little too "new age" for my tastes. Several weeks of listening later, I find that this is not the case. Fripp's hypnotic scapes are just more subtle this time. The 30 minute title track in particular offers new spaces for the ears to explore with each listening. The shorter tracks can indeed be favorably compared to the more beautiful moments of the soundscape series. While there may be less variety here, and are purposes arguably less significant than Fripp's meditations on death (despite Fayman's liner notes, which I find to be a bit pretentious), Fayman and Fripp have created a beautiful work that is highly recommended to those who care for such things. Michael Flaherty ------------------------------ Date: Thu, 31 Aug 2000 22:14:04 +0100 From: "Edward of Sim" Subject: TCoL made a believer out of me Hi, this is my first post. I've been lurking on the list for about a month or so. Before the last 3 months, my history with KC had been extremely minor: about 18 years ago a guy played me ITKOTCK once, and I thought, "Oh hey, another decent sounding progressive rock band." And then about a year and a half ago a friend (Mark Rhodes, a long-time Crimhead and lurker on this list) played me most of "Discipline", and I thought, "Hey, this is kind of interesting." We kept speaking of Crimson off and on for the period that followed, such that I was curious enough to listen when the new album was released. TCoL was the breakthrough album for me, the first I owned, and simply amazing. It is because of TCoL that I have become a Crimhead. I have collected my way back to 1973 now -- I've yet to hear the first four albums (save that one listen to the first one 18 years ago). Many of these albums already rank among my favourites of all time by any artist -- in fact, so far I'd say only Beat and ToaPP do not. (Having said that, I think there is enough great material on those two to make one album that *would*!) Having started with the Belew-era Crimson(s), I was not sure what I would make of pre-Belew KC. But man, stuff like Red, Starless & Bible Black, and LTiA just can't be denied. (I'm still looking forward to owning and knowing the first 4.) The thing I find most shocking in a lot of the posts on ET is that anyone thinks they can possibly know what the right thing for KC is except for Robert Fripp. KC is a Certain Intangible Something about music that only Fripp channels. And I think even he doesn't "know" what it is, he just knows it when he feels it, and is trying to get better all the time at knowing where to look for it. Many people have posted that TCoL is not "a new beginning" or a "starting from scratch" that ITKOTCK, LTiA, and Discipline are to each other. In response, I would argue that just because one of your favourite things about KC is the many changes throughout their history, that does not mean that that specific quality is a fundamental component of Robert Fripp's vision for the band; it would seem to me it is more of a byproduct of his quest. I would also argue that if all the above albums had the same singer, and were identical to their current state in every other respect, these albums would not seem so disparate. Although there has been fantastic, wonderful, exciting evolution through this band's long career thus far (something I can say about every band that I think of as "great"), I sense a definite totally identifiable thread running through all their stuff. (For example, crossing line-ups, I think the [incredible!] song "The Great Deceiver" would not seem out of place at all on the album "Discipline".) There's not a track on TCoL that could conceivably have been on any of their previous albums; the two instrumentals hark back quite deliberately, but are also clearly further meditations on previously visited subjects. I think Adrian Belew is simply amazing, fantastic, and wonderful in KC; I have virtually no experience of his other work outside this band. I will eventually seek this other stuff out, probably, out of curiosity. What he gives to KC, however, is so specific and excellent. Fripp obviously feels that AB is a key element to that place where that Certain Something is released. Who knows? Maybe one day RF will feel differently, feeling that something else is needed. Possibly, more likely, AB will find he no longer wants to do it or can't find the time/energy to commit to doing it as well as he wants to. (Incidentally, I can't believe people are so down on ProzaKc Blues, but then again, I'm shocked at the hostility towards "Thrak" as well.) Anyway, I'll shut up for now by saying: I'm happy to have discovered Crimson, they have already given so much to me. I think the problem a lot of the time is that people have expectations of the band, and then get upset when the band do something other than what they are expecting. Having read back through many of Fripp's postings to ET, and his DGM diary, it seems to me that even he doesn't have expectations of the band -- expectations only get in the way of possibilities. My sense is that he follows his instincts in finding the players, and creating the environment / circumstances, most likely to give purest voice to that Certain Intangible Something that is Crimson. (Even when those instincts go against what might seem reasonable, like the double-trio.) Good on Robert Fripp, and good on King Crimson. And how can TCoL be a bad thing, when it still has the power to connect with and convert a new listener like myself. peace, Edward - Edward of Sim Chorley, Lancashire, England edward at mysticinsect dot freeserve dot co dot uk ------------------------------ Date: Thu, 31 Aug 2000 15:25:20 -0700 (PDT) From: Chelsea Snelgrove Subject: Leon Thomas Greetings, To follow up on a recent post, Leon Thomas appears not only on Santana's "Lotus" album, but also on the wonderful and unjustly neglected "Welcome". (John McLaughlin also plays on the record, but not on the same cuts as Thomas). Cheers, Chelsea Snelgrove ===== Ars longa vita brevis ------------------------------ Date: Fri, 01 Sep 2000 01:20:15 +0200 From: Goran Janicijevic Subject: Re: as David Gilmour's guitar is "Spear man" wrote: >yes, except there's no one that can be that lazy, nor play as slowly--just >look at the one, two, three, four or was it five guitarists? that played on >the Roger Waters In The Flesh 2000 >tour. Non e of 'em could play like Dave. And how many guitarists would it take to emulate Fripp? ;-) I also wonder who could be the Sinfield's option for Fripp's replacement. -- Goran ------------------------------ Date: Thu, 31 Aug 2000 20:00:10 -0600 From: Mike Subject: Live shows of interest to ET Hello everyone...for anyone in or near the Chicago area, you might be very interested in these shows... THE TREY GUNN BAND (http://treygunn.com/) This show is at Martyrs' 3855 N. Lincoln Ave. in Chicago on Wednesday, September 6th. Tickets are $15 and will be available at the door the night of the performance or through Ticket Master at (312) 559-1212. I've said this before and I'll say it again, this stuff is phenomenal! I wrote a little pseudo review on Trey's new disc a couple weeks ago and posted it on the Gentle Giant electronic list...here it is: The Joy of Molybdenum (Discipline Global Mobile 2000) I really think Trey's stuff is the best product coming out of the Crimson Camp lately...and that includes KC's latest. In fact, this disc is more interesting than anything since "Thrakattak" (which was the best Crimson disc since "Red"). Trey's music is much less cluttered, more stripped down and has a much phatter groove than the Crimson King. The band consists of TG on Warr Guitar, Tony Geballe on 6 and 12 string guitars and saz and the highly underrated Bob Muller on drums and percussion. Muller's contribution is integral to the overall sound of the band, giving most pieces an indian or middle easter flavor. Geballe lays back most of the time letting Trey split the air with knife edged solo's or funky rhythm propulsion for Muller's tabla outbursts. The production on this disc is wonderful, being recorded on all analog equipment it has a warmth and presence that would be absent on a digital recording. Forget about constructing light...check out the Joys of Molybdenum! yeah!!...and I mean it! Opening this show, and your not going to want to miss this...trust me, is THE ALL RECTANGLE. This local four piece has really got my head spinning after the two live shows I've seen in recent weeks. With the unusual lineup of bass, drums, live on stage electronic manipulations and HEAVILY treated trumpet, there sound is jazzy, droney, groovy, crunchy, and, what I like to call...cold ambient, sorta like something you'd hear on an early ECM release by Terje Rypdal and Palle Mikkelborg. I'm really excited about this bill at Martyrs' on the 6th...I've been psyched to see Trey ever since he had to postpone his gig earlier this year so I'm anxiously awaiting this show, especially since I've had time to fully assimilate "The Joy of Molybednum". Festivities kick off at 9pm with The All Rectangle. Come early! THE CALIFORNIA GUITAR TRIO This show is also at Martyrs' 3855 N. Lincoln Ave. in Chicago on Sunday October 1st. Show time is 8pm and there will be no opener. Tickets are $15 and will be available at the door the night of the performance or through Ticket Master at (312) 559-1212. The Trio was born in 1991 in Los Angeles. Bert Lams (Belgium), a classically trained graduate of the Royal Conservatory in Brussels, Paul Richards (USA), the resident rocker and guitar effects aficionado, and Hideyo Moriya (Japan), surf guitar specialist, combined their diverse background and playing styles to build the unique California Guitar Trio sound. The three CGT members met in Europe in 1987 during a series of Guitar Craft courses offered by Robert Fripp. After several years of touring in America and Europe with Fripp and the League of Crafty Guitarists, Bert Lams invited Richards and Moriya to form a trio and relocate to LA. In January of `91, the three moved into a tiny house in the Hollywood area and began working together officially as the California Guitar Trio. The CGT's original music was heard by millions on the U.S. broadcast of the `96 and `98 Olympic Games and is regularly played by NBC, CBS and ESPN as an exciting backdrop for TV sports programs. The NPR program "All Things Considered" recently featured the CGT and took an in depth look at the trio's unusual technique called "circulation", where notes are passed in rapid succession between the players to produce a sustained melodic sound. With five albums released, the CGT has arrived at a new level of exploring an increasingly diverse amalgam of musical styles--brought to life with mind blowing musicianship and an unabashed emphasis on good fun. Performing amazing arrangements of everything from Beethoven's Fifth to surf guitar hits like Pipeline, to their own high energy and ambient originals, all impossibly played on three acoustic guitars...the CGT continues to defy expectations with an unmistakable intensity. More info can be found at http://www.cgtrio.com/ RICHARD LEO JOHNSON Once again, at Martyrs' 3855 N. Lincoln Ave. in Chicago on Tuesday, October 10th. The phone is (773) 404-9494. Richard will be opening (with a full 50 min to an hour set) for the JK band (An offshoot of the Darkstar Orchestra.) that evening. Tickets are $5 and will be available at the door. The show starts at 9pm. While a plethora of musicians have made careers out of imitating masters of their instruments, only a handful of artists steer clear of emulation so they can discover their own distinct voices. Self-taught Arkansas guitarist Richard Leo Johnson stands tall as one such creative artist. Using a variety of self-constructed alternative tunings and celebrating such musical heroes as Jaco Pastorius and Tony Bennett, Johnson coaxes his 12 string to talk, squeal, swell with enthusiasm, chime with ringing strums and burst with surprises around every bend. If you're thinking, oh no, not another new age guitarist to lull me to sleep with gentle impressionistic washes, you're in for a huge surprise. Johnson's boundless playing finds him delivering the goods with a cubist sensibility, mixing in percussive African stylings at some junctures, slapstick comedy and raw roots music grit at others. Just as Thelonious Monk confounded jazz listeners with his angular approach to the piano, so too does Johnson compel acoustic music aficionados to listen with new ears. Anyone who was at the first California Guitar Trio show last May saw Richard open up for them too...and judging from the awestruck reaction of the audience during and the manic response after his way to short set...this time around it's going to be dazzling. Don't miss it! ...and to finish off this acoustic guitar extravaganza... PRESTON REED will be returning to Schubas on December 6th. More details very soon on the return engagement of this tap crazy titan of the acoustic six string...stay tuned... Till later Michael Eisenberg -- Outre Music Music Beyond Boundaries ------------------------------ Date: Thu, 31 Aug 2000 21:07:35 -0400 (CLT) From: "Miguel Farah F." Subject: Re: comments on The Night Watch > >Date: Thu, 31 Aug 2000 10:24:00 +0200 >From: eric dot odijk at grontmij dot nl >Subject: comments on The Night Watch > >[...] >Now if only I could get my hands on The Great Deceiver, but that box costs >a fortune. I'm thinking of buying it anyway. I need more of this. I was in the very same position as you three months ago: wanting to buy TGD, but scared by the price. I asked here what should I do, and got several messages telling me to BUY IT! So I bought it... and could NOT be LESS regretful. So I tell you: BUY IT! It's worth every single penny it costs - your wallet will hate you for it, but your brain will thank you for years... -- MIGUEL FARAH // miguel at webhost dot cl #include // http://www.webhost.cl/~miguel <*> "Trust me - I know what I'm doing." - Sledge Hammer ------------------------------ Date: Fri, 01 Sep 2000 10:49:58 +0800 From: David Dudgeon Subject: Sara Lee Martin Warin asked: * Is Sara Lee from the League of Gentlemen (aaah!) the same Sara Lee who played bass with Ani DiFranco? Yes. She has also played a fair bit with the Indigo Girls. Sara's bass playing is well served by the collection of live Ani DF recordings gathered on the 'Living in Clip' double-CD (which is immense fun!). Cheers ...... David ------------------------------ Date: Thu, 31 Aug 2000 09:01:19 -0300 From: "CLOVIS DE MICO BAPTISTA" Subject: This is my first posting, This is my first posting to the people in ET, please excuse any wrong word, as I am a brazilian fan of KC. I've been reading ET since April/2000, as a way to improve my english reading, as well as the KC fans are clever and spiritual in their writings! it's really funny to follow the threads in ET newletter! BTW, I'd like to submit a MIDI version of LTIA part 2 I've been working on. I don't find it yet equal to the original version (especially BB drumming and percusion), but it was an old obsession that I had, since the first time I heard the song - what the hell this group is doing?, that what I thought..., anyway, I put down note by note using Cakewalk 7.0, 'cause I don't have a MIDI keyboard, with a great help from the tab transcription there in ETweb on some points. I'm sending in two forms, Cakewalk 7.0 and MIDI. I would enjoy any criticism to improve that version, with replies to: clovisbaptista at bol dot com dot br Thanks, and congratulations for the grat work! [ I've asked Dan the Webmaster to put these files up at ETWeb -- Toby ] ------------------------------ Date: Fri, 1 Sep 2000 14:11:21 +0200 From: "Eric" Subject: Subject: Unknown KC cd seen on the internet Hello, Browsing through the internet and visiting various on-line cd-stores, I came across a KC cd called Lake Of Tears. There was no description or anything, just a knob saying add this to your shopping bag. Has anybody ever heard of this release, since I can't find any info on it. Eric Odijk The Netherlands ------------------------------ Date: Fri, 1 Sep 2000 08:30:47 EDT From: Jajoch at aol dot com Subject: Re: Sara Lee and TCoL In a message dated 8/31/00 9:05:47 AM US Mountain Standard Time, et at blackcat dot demon dot co dot uk writes: << * Is Sara Lee from the League of Gentlemen (aaah!) the same Sara Lee who played bass with Ani DiFranco? >> I'm assuming so. Sara Lee also did a lot of work w/the Indigo Girls. I remember seeing her play with someone else, but...er...can't quite remember who...sorry. Jay Cleveland ------------------------------ Date: Fri, 1 Sep 2000 11:10:57 -0400 From: Philip Chadwick Subject: Longacre Theater CD Hi: Forgive me if this query is misdirected, but the options for email contact are many. I read about the NYC Longacre Theater KC shows form (94-95?) were being mastered for a CD release. Any info on this will be appreciated. Thanks Philip M. Chadwick Advertising Production Mgr. Tufenkian Design ------------------------------ Date: Fri, 1 Sep 2000 15:47:54 -0400 (EDT) From: Terry Kroetsch Subject: Re: Fripp, Toyah and Picasso Just got back from Edinburgh Fringe and Toyah Wilcox's performance of Picasso's Women (4 one-person plays based on each of Pablo's abused muses - in this case Dora, I think) - wonderful. She is a great actress. I was, fan-boy that I am, thinking Mr Fripp may show up and....HE DID. He appeared relaxed and glad to be there and was chatting amiably with another fan-boy before the show. Ha. Real people doing real things. Has anyone read/listened to Toyah's Living Out Loud autobiography? I may give insights to the Crimson King. Maybe not. ------------------------------ Date: Fri, 1 Sep 2000 18:19:25 -0500 From: "Buzz Fenner" Subject: Re: Exposure I may be flogging a dead horse here but, in ET Digest 727, Tom Buckner wrote: "If any of you have old vinyl copies of Fripp's Exposure, you may recall that a voice on the record says 'it is impossible to achieve the aim without suffering.' If you look at the tiny writing scratched into the vinyl near the inner groove of side 2, you will read this: The aim is freedom, conscience and truth." And on side 1 we have: 1981 is the year of the Fripp! Buzz mailto:bfenner at bscn dot com "Eat facist death, flaming media pigs!" - Skip Zipper ------------------------------ Date: Sat, 02 Sep 2000 18:07:32 +0200 From: Goran Janicijevic Subject: Russians put USA on CD On 02 Sep 2000 01:09:24 GMT, in alt.music.yes videosmm at aol dot com (VidEOSMM) wrote in Message-ID <20000901210924 dot 20943 dot 00000959 at ng-cf1 dot aol dot com>: >There is a substantial bootleg operation in that part of the world (Russia >- G.J.), apparently (from conversations with a native of the locale) . I >got a King Crimson USA CD >From that region that looks absolutely real, but have no idea whether or not it >is..... My comment: Who knows, maybe they have Earthbound on CD. ------------------------------ Date: Sun, 03 Sep 2000 01:42:01 CEST From: "Marcus Enochsson" Subject: Nothing new under the sun Hello! Skippable if you're late to work/school/break/lack patience/hate my posts: There's something that I've been thinking for quite some time now. Since the discussion about the non-inclusion of pre-VROOOM material on the TCOL tour, started, in fact. I admit that I haven't read every message about it as closely as I could have, but unless there's one very important point that haven't been made, unless I've missed it... There have been complaints about KC not taking the "classics" up in the new bands repertoire. I know Pat wanted to play Cat food, Ladies of the road, etc, but even if I would have loved that, I'm also extremely pleased with the set list they have now. My point: Anyway, this isn't anything new, apparently. In the 80s, KC played almost only 80s material. From looking at the ET discography, Red was given a live treatment during some shows, and LTIAII during most of the 80s shows. But apart from Red and LTIAII, it seems to me that there were no pre-AB/TL songs on the repertoire. With this in mind it is to me even more locigal with the setlists of the two last tours. 1) It was 20 years since 21CSM and Talking drum were performed live, and 10 years since the 80s songs were performed. Of course it was fun to pick them out of the dusty memories and play again. Also, with just one new album (or two, or 1,5) from the double trio, there wasn't enough material to just look forward. To play for two hours, there had to be old classics in the set. And that may not have been a forced desicision, but a deliberate nostalgiafest. 2) On the last tour KC did something thay hadn't done before. Roughly half of the set list consisted of music written 10-25 years ago, by other bands, that is, not by the double trio. Perhaps a few of you thought that that was the most natural thing in the world, to play the old classics on tour. But KC isn't a nostalgia band. Much water have run under the bridges since the Thrak tour, and now there's definitely enough material from the latest decade to fill up a gigs setlist without any problems. The inclusion of TOAPP and Heroes as specials (as well as DOTT and Cage) is simply an attempt to have some fun, and not to sink too deep into the new material. Someone could call them prententious, you know... So, on the next tour, I hope for some brilliant new music, lots of improvs, and only the classics the whole band (whatever band it'll be) agree upon, if any. It's up to them, if it wasn't they wouldn't be KC after all... /Marcus PS. Yes, I like Kaipa... ------------------------------ Date: Sun, 3 Sep 2000 22:01:07 +0200 From: "Jens Pohlmann" Subject: Hello form Denmark Dear ET I have just recently gotten on the net and is therefor also reading the ET-site for the first time. I am, and have been, a Crimson and bandmembers -fan since my youth (now 41). I was at the first (i missed the second) "Construction of light" concert in Copenhagen on the 27'th of May. The consert of a lifetime (only the second was even better, i was told). I got a T-shirt and the program but i did not bring enough cash for the CDs offered at the concert. I have been trying to get hold of the Project-X and the Pat Mastelotto-band CDs through my regular shop but was told that these two ar not put on the market. Can you help me obtain ths two CDs ? please, please, please ?. Yours Jens Pohlmann Rantzausgade 10,4,tv 2200-N Copenhagen Denmark ------------------------------ End of Elephant Talk Digest #731 ********************************