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 #759 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 759 Wednesday, 8 November 2000 Today's Topics: GIG BIZ: 4 tickets available for Boston 11/20 GIG BIZ: Hartford pre-show meeting SUPPER CLUB Let's clear up the Gong stuff. Re: Parody post about Fripp, DGM & etc. in ET 758 HDCD re-Releases detroit gig Heavy ConstruKction - Short Review Response to DGM/KCCC criticisms What exactly is "Cage"? Heavy ConstruKction CD Review - Addendum Gong-Crimson Connection Christian's IRE Play Elephant Man!!!!Bruuuuford Rules!!!!!!! Connections, Kid A Enough about Bruford! Mailing List about masters of guitar Re: Australian Tour I Promise I'll Behave If You'll All Just Shut Up! ------------------ 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, 07 Nov 2000 14:32:27 -0500 From: J A Sontag Subject: GIG BIZ: 4 tickets available for Boston 11/20 Hello! I have 4 tickets for the KC gig at the Berklee Perfromance Center in Boston for Monday, November 20, at 7:30. The seats are Orchestra Center Row Z seats 108-111. Since I got these, KC added a date much closer to home, and I got tickets for that - therefore, these are available. They are $30.00 face, and that's all I want for each of them. If interested, reply to jasontag at csionline dot net. Jeff Sontag ------------------------------ Date: Tue, 7 Nov 2000 12:28:23 -0800 From: Paulo Henrique Leocadio Subject: GIG BIZ: Hartford pre-show meeting Cheers! Anyone interested in a pre-Hartford Concert Crimhead meeting? This is my first KC concert EVER so I am REAAAALLY excited. Paulo H. ------------------------------ Date: Thu, 01 Jan 1998 00:04:26 -0500 From: dan Subject: SUPPER CLUB Hello..I'm a big King Crimson fan..I was very upset when I found out that I couldn't go to the Supper Club show because I was only 17..u have to be 21=(...can't King Crimson play in any NORMAL VENUES? can they come to the Nassau Coliseum or something? ugh..bye ------------------------------ Date: Tue, 7 Nov 2000 14:47:50 -0000 From: Clive Backham Subject: Let's clear up the Gong stuff. I have, and shall always remain, a much bigger Gong fan than Crimson fan. So let's sift through the various bits and pieces of info and mis-info that appeared in ET#758... Lucas Bleicher said: >In fact Bill Bruford DID recorded with Gong. He plays >on side B of the album "You" (Moerlen plays on side >A), although there's no credit in the booklet >(probably because of record labels matters). This is absolutely false. The drummer on the whole of "You" is Pierre Moerlen. His style is unmistakable. Think about how the drums come in at the start of "Isle of Everywhere", or the beat during "Get it Inner"; Bruford would never have come up with those. I can't imagine where you got this idea from. Bruford did one tour with Gong in late '74. This was always intended as a temporary stint. Bruford was just one of many drummers who filled in for Moerlen when he was otherwise occupied with his classical percussion work (or incapacitated by chemicals). There are a couple of fuzzy audience tape bootlegs that purport to have Bruford on them (I think I have a gig from Le Mans in the back of a cupboard somewhere), but he certainly never recorded with them officially. According to Daevid Allen, Bruford found the crazyness of Gong rather perplexing. Following the Crimson break up after Red, it seems Bruford took a string of temporary gigs (Gong, Genesis, National Health, probably others I've never heard of) before getting his own band together. Bob Pascarella said: >My understanding of his contributions to the band is that Bill was part of >what was called The Canterbury Scene through the 1960's and early '70's. I don't think Bill could ever be regarded as part of the Canterbury scene. He's worked with a few on them, most notably in National Health. And Dave Stewart was in the Bruford band, of course. I think the month with Gong was his first ever work with a Canterbury band. > I know that Charles Hayward and Rachid Houari >were drummers on the first Gong record. Rachid was the drummer. Charles Hayward wasn't on any Gong album. I've never heard of him being one of the stand-in drummers, but there were so many of them I couldn't say definitely. >Then Pip Pyle and Pierre Moerlen >recorded on several others. Quite so. These two guys (in their own way, both equally as good on the drums as Bruford) have occupied the Gong drum seat for most of its history. >Then in the latter part of the band's history >there was a split with Daevid Allen's wife (Gilly Smyth) starting a band >called Mother Gong (no idea if Bruford was associated with this). No Bruford involvement in Mother Gong. >There were several other Gong off-shoots that he could have been part of..but I >would say that this is unlikely. Agreed. I can't think of any Bruford involvement with the greater family of Gong bands. Peter.K.Geddes said: >Bill Bruford was in an early version of Brand X (or so I've heard), >whose drum chair was later filled by Gong's Pierre Moerlen. I'm 99% sure Bruford was never in Brand X. That band's original drummer was Phil Collins. Later on, Brand X had two main rhythm sections: John Giblin/Collins, and Percy Jones/Mike Clarke. When Brand X reformed a few years ago the drummer was Frank Katz. Pierre Moerlen toured with Brand X for a bit, but never made an album with them. The only official recording I know of with Moerlen in Brand X is a couple of bonus live tracks on "Manifest Destiny". >Bill Bruford was in early version of National Health (he was in alot >of bands, wasn't he?) which also included Gong's axe-man Steve Hillage >at one point. Yes, but like his stint with Gong, this was never meant to be a permanent gig. He filled in at the beginning while National Health searched for a suitable drummer. Hillage's involvement was in the same vein: he filled in as temporary second guitarist. > (don't have the Nat'l Health CD here ("Missing Pieces") to >see if they were in the same line-up or not). Like you, I don't have Missing Pieces with me, but I think that Hillage & Bruford play together on a couple of tracks. >Gong drummer Pip Pyle >also was in Nat'l Health too if I remember correctly, either before or >after Bill Bruford (maybe both). After Bruford. Basically National Health eventually gave up trying to find a new drummer good enough and called in Pip (who had been in Hatfield and the North with Dave Stewart and Phil Miller). ------------------------------ Date: Tue, 07 Nov 2000 09:56:58 -0500 From: Kathryn Ottersten Subject: Re: Parody post about Fripp, DGM & etc. in ET 758 Hi Crimpersons, I just want to commend Christian () on his hilarious post from ET 758. It is, without a doubt, the funniest parody that I have read in E-T since the April 1 issue of a couple of years ago. I recommend that everyone who missed it go back and read the full post, but I have snipped some highlights: Regarding the current tour: > Everyone has to baby Fripp otherwise he won't tour, is that it? > Is he really that great a live performer, anyway? What's happens if the > band can hear the audience snoring? Do they turn up and play some > mind-boggling repetitive atonal crap as punishment? > About DGM and Collectors Club releases: > What's next? A mono mix of every recording - three different box sets, > one panned to right, one left, one centre? > Commenting on TCOL: > Technically brilliant, of course, some nice spots, but overall - yawn. > Maybe I was just too hyped-up after the incredible Thrak and B'Boom. > And ending with a flourish, he wrote: > Looking forward to the next release and the Toronto concert! > > If they act like babies and walk off stage, we'll go and drag 'em back out. > Now THAT would be some interesting band-audient interaction! > Brilliant! The best spoof of the archetypal "obsessive Crimso fan" that I have ever seen. To lay into Fripp, DGM, and the latest release, and then say "Looking forward" to the Toronto show (while managing to threaten physical violence!) - just sheer inspiration. I am looking forward to see if anyone got fooled by Christian and actually responds angrily! ;-) Thanks to Christian for a wonderful read; I am still laughing. Kathy ------------------------------ Date: Tue, 7 Nov 2000 10:04:11 EST From: Eeeyaaaah at aol dot com Subject: HDCD re-Releases Well, some have posted about the new 24 bit remasters of LTiA, SaBB, and Red, to the effect that there's no real difference. On many stereos, this may be true. But with an HDCD-capable stereo with good resolution, I find the changes so large that at times its disorienting! It almost sounds like a remix! HDCD is an odd technology--it basically sneaks extra resolution via a form of spread-spectrum trickiness riding underneath the actual music bits. It uses perceptual coding, so that it seems to draw out more detail according to what is playing and how. I find my brain being guided into places it would not normally pay attention to. As a result, listening to SaBB (in particular) is kind of like listening to a new album. You may not agree that all of the changes are good, but it's clear there's a lot more there (at least in HDCD) than with the definitive editions. Some have claimed the ability to hear artifacts--there may be one at about 21/2 minutes into Lament in the left channel. It sounds like very low level distortion or buzzing, but this may be from overly high recording levels. There's also a much stronger sense of dynamics. We also hear that the younger Fripp's right hand is much more aggressive in those days! LTiA is wierd. I always thought it was a bad recording, but now I hear that it may have been recorded in two different studios, or on two different boards or something. LTiA pt 1 sounds absolutely pristine. For most of it you can't tell its 27 years old or whatever. But then other parts are still kind of faded-sounding, though better here than before. What happened in that original session? Red sounds different too, though not as different as SaBB. The guitars are louder and stronger, and Bruford comes through as an emerging drum force. Some of the cymbals almost sound real on my stereo. Make no mistake, if you have a good HDCD-able stereo system, and you've spent a long time with these recordings, get 'em. They sound almost radically different, and you will listen as if for the 1st time. -Emory PS: I am NOT a DGM ass-kiss! ------------------------------ Date: Tue, 7 Nov 2000 09:13:19 -0500 From: "Dennis Wiens" Subject: detroit gig Just a quick note about the Detroit Majestic Theater gig. Yes I agree .... it was great. The Majestic is a dump!!!!!! But the sound was not bad as someone earlier had warned about. This band knows how to deliver a clean sound. All instruments could be heard and ALL lyrics could be heard. How many concerts can you say that about ?! I did write a set list. I could post if someone would like this but many postings have been made from earlier gigs. One main point. Most concerts I have been to I have left feeling very satisfied. I've always wanted to see YES and always misted them. When I finally did see them, I felt very satisfied. During KC, I found some of the long songs went by very fast. An example, RED is not a short song. They played the whole thing. I wanted it to go on and on. They could have played Frakctured twice and that would have been OK for me. When the concert was over I still wanted more. I did not want it to end. I live in Southern Ontario and it is a bit of drive to get to the venue. Seeing the second show the next day (Monday) was not an option for me. Oh how I wish it was. Oh well, I sure am glad I went. Thanks! Dennis P.S. I took my 16 year old son who listens mostly to the contemporary metal of today. His eyes practically bugged out watching the musicianship of KC. Yes he had a very good time. ------------------------------ Date: Tue, 07 Nov 2000 20:54:31 GMT From: "Danny Anderson" Subject: Heavy ConstruKction - Short Review Howdy folks. I don't know how Everyday Music store here in Portland, Oregon got ahold of Heavy ConstruKction before its supposed release date of November 13 (today is the 7th) but it did and it's playing in the headphones as I type. First impression - Livewire Fire. Where TCoL was compressed, multi-layered and a bit muddy. HC rings thru clear as a bell. Everybodies contributions are easily heard. Pat lays down the polyrhythms as well as the hammer. Trey handles the low end easily and with facility as well as creatively. AS much as it is a sacreledge to say it, Tony and Bill are not missed in this music (and I love the hell out of them - thank goodness that they released BLUE live as well). Adrian is Adrian so if you like what he adds to the band, it's there. His Homer on ProzaKc Blues is especially good. RF's speed playing is like a Starbucks triple cappucino IV drip. The boys have layed their balls exposed on the chopping block and have emerged without a scratch. This is a short review as I haven't listened to the whole 3 CD set yet, saving the PX improvs for last. Seeing how there are only 11 shopping days until my birthday, my birthday present has come early. All for now. Dan PS - If anybody wants to complain to DGM regarding the premature release do so. I'm very curious how this one got out plus I'd be pissed as hell if I just read this review and had to wait another two weeks for the one I ordered. ------------------------------ Date: Tue, 7 Nov 2000 13:11:59 -0800 From: "David Isaak" Subject: Response to DGM/KCCC criticisms In a recent post, "Christian" writes: <<3. DGM will seemingly do anything to milk you of your money.The idea is great, no question about that, but Fripp's quality control? I dunno... Some of these collector's club releases are SO bad, one wonders about the artistic vision that allows them to be released by the band. Would anyone buy these from a bootlegger? Probably not. But adoring fans are loyal and the official seal makes it legit in their eyes.>> I am usually disinclined to bother posting to argue with someone, but this is so unfair, and just so downright stupid, that I'm afraid I can't control myself. To avoid going on and on in a disorganized rant, I will simply make a list.Since you list Fripp and DGM as being the same entity (they are not) I will take your comments as applying to both: 1. If Robert Fripp were interested in maximizing his or DGM's income, he most certainly would take a different approach to his music, touring, promotion--in fact, to just about every aspect of what he does. KC has steadfastly resisted cashing in on the nostalgia market. If they really wanted the cash, you'd see things like new versions of old "hits" and reunion bands and concerts dedicated to 70s music. 2. If DGM is so cash-oriented, why do they have the list of artists they have? McFall or Europa String can't be real cash cows. 3. There have been some complaints about KCCC prices being high, but $16 for a CD (postage and handling included) is very reasonable; I've paid more than that recently at Tower and Borders for things that are not nearly as obscure. Many of the KCCC members would probably pay much higher prices--and I think DGM knows that--but they have kept prices down anyway. I for one am grateful. 4. Yes indeed, the sound quality on some of the releases is poor. And DGM carefully announces the audio quality rating on each release. If they rate the audio as poor, and you buy, and the audio is in fact poor, what the heck are you complaining about? 5. I do believe, based on jottings in the various diaries, that a good deal of effort is expended to try to improve the audio quality of old, poor recordings. But I really don't think that these releases are part of an "artistic vision;" I think they are being released mostly as being of historical interest (or for those of us who study the music closely, of musical interest despite cloudy reproduction), and are being offered mainly because of listener demand. Personally, I wish that there were more "live studio" outtakes, like the VROOOM Sessions, but there are a lot of other listeners who desperately want live recordings from early periods. In any case, they are offering a real smorgasbord of material and I can't fault them for it--especially since nobody has to opt to take any given release. 6. What really ticks me off about Christian's post, however, is the fact that to even get into the KCCC you have to go through extensive, very explicit disclaimers explaining every aspect of what the purpose of the Club is, how to evaluate audio, etc. In fact, Robert Fripp personally has urged that anyone who has any doubt about joining should not join. I have never in my life seen a commercial venture that was so clearly unanxious to have me buy something from them. (Indeed, the Collector's Club recently turned down someone's membership!) So Christian apparently skips through all the disclaimers that they caution you read in entirety before joining, pays not attention to the fact that the whole Club operation is designed for a specific group of audients, ignores the clearly posted audio evaluations (which I have found to be very accurate), and then has the nerve to complain that the audio isn't up to snuff and the material doesn't fit into an artistic vision. Wow. No wonder the band tends to avoid tuning in to these pages; with some people you can't do anything right no matter how careful you are. And as to my hard-earned money, I wish people would keep it in perspective. $16 is the cost of taking a friend to a movie or lunch. For that price you are getting MUSIC--music on a CD, that will remain playable indefinitely. This seems like a bargain to me. I like the Club, I like DGM's business vision, and I like the service I have received from DGM. Anybody who manages to order a KCCC recording and doesn't like what they get has no one but themselves to blame. I can't see how they could operate this service any better or provide any more cautions than they do at present. ------------------------------ Date: Wed, 08 Nov 2000 17:31:09 -0500 From: labguest Subject: What exactly is "Cage"? Hello Crim-fans, I'm sorry to be such an ignoramus, but I would like to know, what is the deal with this song "Cage" that the band has been playing throughout this tour? All I know is that it's not an original of KC's, or am I mistaken? Please inform. Ben ------------------------------ Date: Tue, 07 Nov 2000 23:10:51 GMT From: "Danny Anderson" Subject: Heavy ConstruKction CD Review - Addendum Having listened to the entire 3 CD set now, some additional comments. Cage, reworked, is less frenetic and is very well done. I especially liked how it segued from Improv: Offenbach. TCoL is actually uptempo from the studio album, which is amazing. LTiA4 and FraKctured, live, live up to the promise and Heroes is a great ending for the concert portion of the discs. Having listened to the PX Heaven and Earth CD, the disc three of this set fails to surprise on first listening. I guess that is the liability of listening to it previously and having been blown away by it. It is more of the same (what a complaint) The set quite awesome and overall, at $23.99, it is a tremendous steal. It occurred to me that my previous post might've sounded like it contained a covert Adrian bash. Didn't mean it that way. Ade cooks, croons, crashes and Crims throughout. Like I said, Livewire Fire. ------------------------------ Date: Wed, 08 Nov 2000 10:16:22 EST From: "Chris Norton" Subject: Gong-Crimson Connection Another Gong-Crim connection (before this becomes a dead thread): Steve Hillage played with Gong. Steve Hillage also played in the Orb with Alex Patterson, Thomas Fehlmann and Kris Weston. And Robert Fripp played in FFWD with Fehlmann, Weston and Patterson. Gong fans may be interested in the 'YOU - Remixed' double CD which came out about 3 years ago with remixes of the original album by electronica artists, incl the Orb, Youth, Shamen, Steve Hillage (System 7), 808 State, Electric Skychurch, Astralasia etc. In my view, generally not as good as the original but there are some interesting interpretations (so long as you don't mind electronica!). Chris ------------------------------ Date: Tue, 7 Nov 2000 17:41:19 -0600 From: "Grant Colburn" Subject: Christian's IRE Christian wrote: >2. Re. Audience shouting requests, flashes, recording, etc. > Ya, there's always a coupla goofs at a concert who need to be told to >shut up, stop bootlegging, take off their hats, but come on! >Stopping the song or show because of it? Big babies. Bad manners. >Period. And I'm talking about the band. I think the analogy I've seen that best describes this situation is the comparison to the Japanese custom of asking guests to remove their shoes before entering their homes. If you are asked to respect a certain custom then it is YOU the guest or audience member who is showing bad manners if you refuse to honor the request. It would be one thing if a Japanese home owner threw you out or refused you admittance without first stating the "shoeless" request. Its another if you know from the start your host's requests or requirements for admission only to refuse to abide by them after you have gained admittance. Same with Crimson. EVERYONE at this point should know the parameters and requests by the band before they attend. As an audience member at the Milwaukee show, I know that the requests were not only printed on the ticket, but also stated by a band representative to the line waiting to attend the show, and I think announced over the loudspeaker before the show. Anyone needing to go against these clearly stated wishes is clearly the "big baby with the bad manners." >And many here seem to be supportive of this attitude. Is this Rock music? Does it matter? Is it music you like? Are you willing to follow the "customs" established to hear the music presented? Is there any ethical reason NOT to support the band's requests or attitude? >Everyone has to baby Fripp otherwise he won't tour, is that it? Possibly :-) Is not taping, not photographing and not recording that big of a hindrance to endure to see one of the greatest live bands in person? My own opinion is that if the audience seemed unwilling to at least try to establish an environment in which Fripp wishes to play, he would not tour. Why should it come to that? >Is he really that great a live performer, anyway? "Performer" is a questionable title to give Fripp. He doesn't perform, he plays guitar, and he probably plays guitar as well as ANY guitarist that exists today. Could he outplay Vai or Satriani or Van Halen? Probably but you won't know for sure because I'd guess Fripp has little interest in such competitive ideas. Chances are though if you asked Vai or Satriani how easy it would be for them to "cover" Fripp's playing, especially on new works like TCOL, FraKctured or Lark's IV they'd be a bit stressed! >3. DGM will seemingly do anything to milk you of your money.The idea is >great, no question about that, but Fripp's quality control? I dunno... >Some of these collector's club releases are SO bad, one wonders about >the artistic vision that allows them to be released by the band. Its called a "Collector's Club!" Those interested in such recordings KNOW what they are getting. The band doesn't hide the fact that these recordings are below the quality that the official releases usually have. Often the recordings are of one of a kind performances like the Mole's Club from 1981. Good or bad recording quality its the first and probably ONLY recording of these shows. Obviously these releases appeal to someone. They don't appeal to me so I'm not a member. That doesn't mean that they shouldn't exist though, does it? >Would anyone buy these from a bootlegger? Probably not. But adoring fans >are loyal and the official seal makes it legit in their eyes. You're (pardon my French) talking out yer ass here. Many of these recordings HAVE been sold as bootlegs for years just like Zappa's Beat the Boots series. If the "official" seal makes someone think these recordings are anything but bootlegs or specialty releases which may have limited appeal, then they are ignorant of the purpose of the Collector's Club. Secondly your use of the word "legit" is questionable. These recordings ARE legit. The music is owned by the band, the copyright is owned by the band, the recordings are released by the band, and the income generated by sale of the disks goes to the band. What does "legit" have to do with the quality of the recording? >Okay, I've only listened to TCOL three times and I guess I'm willing to >give it another chance because I do so LOVE many of Crimson's albums, but >really folks, it seems really rushed, unfinished, and boring. Technically >brilliant, of course, some nice spots, but overall - yawn. Maybe I was just >too hyped-up after the incredible Thrak and B'Boom. Are Adrian and Fripp >taking the Belew-bashing to heart, and toning down Belew's songs and lyrics? >BIG mistake in my books. You're entitled to your opinion not matter how incomprehensible it may seem to me! I share NONE of your opinions. I didn't think Thrak was incredible, I don't think TCOL boring or rushed or unfinished nor do I think Belew was toned down. To me he fits more into the band than I've thought he has at times in the past. >Looking forward to the next release and the Toronto concert! Hmmm, something tells me that if Fripp reads your post he'll be DREADING knowing you're going to be there. He'll probably send you your official "Time to MOVE ON" papers in the mail shortly...... ------------------------------ Date: Tue, 7 Nov 2000 19:02:35 EST From: Hocow at aol dot com Subject: Play Elephant Man!!!!Bruuuuford Rules!!!!!!! Wassup........ In ET 758 Frank writes: >It seems there >have been a few posts of late regarding Mr. Fripp stopping performances >during the middle of an improv because some ass is screaming "Starless"or >"Cat Food". First let me say that I agree 100% that Mr. Fripp has every right >to request no photos/recording. I am not at all arguing that point. What >boggles my mind is why should the rest of the audience be punished because of >one or two drunk assholes who have no respect? I think there may be a nuance to these events that is being misconstrued as Fripp punishing the audience by ending an improv interupted by an overly zealous fanboy. I attended the third show in San Francisco where the band has generally given the audience favorable reviews. Even at these shows people yelled at the quiet moments. I personally think every improv and Thrush were cut short due to exuberant applause when the band dropped down to a quiet moment that had the potential to evolve into something else. In the Lark's era improvs the band often dropped to next to nothing and built gradually to a cresendo. This also happened in many performances of Thrak. It worked in Thrak because everyone knew it wasn't over until the written bookend was played. I think when the new band attempts this, the audience thinks the song is over and starts yelling and clapping. The improv ends because the audience says it's over. This is just part of the give and take at a live performance. It is neither positive or negative. It just is. Fripp may have stopped because individually or collectively the audience ended the song. Brad Wilmot ------------------------------ Date: Tue, 7 Nov 2000 19:10:51 EST From: GenoTT at aol dot com Subject: Connections, Kid A >KC/Captain Beefheart Well.. Adrian played with Zappa, who collaborated with Beefheart on a number of occasions.. is this close enough to count? Also: I've found Radiohead's latest release to be an extremely intriguing piece of work, and very Fripp-like in places (I'm referring to Fripp's work outside of KC, especially Soundscapes) with a good helping of Brian Eno and David Sylvian mixed in. And both of them have done projects with Fripp... coincidence? I haven't heard OK Computer, but I'm glad Radiohead have progressed so far beyond that hideous "Creep" single that had me ready to write them off as another generic grunge band. I realize this isn't quite ET material, but here's my opinion: if you like the ProjeKcts or any of Fripp's work outside of Crimson, you'll very likely find Kid A worth several listens. Feel free to let me know if anyone disagrees... -g ------------------------------ Date: Tue, 7 Nov 2000 17:07:01 -0800 (PST) From: eight binks Subject: Enough about Bruford! Bruford is a good player but highly over-rated in my book. Isn't anyone else bored with this long, drawn-out idol worship? Has anyone every heard of Pat Mastelotto? He's the KC drummer now. Move on people. ------------------------------ Date: Tue, 7 Nov 2000 22:14:47 -0300 From: "jose poggio" Subject: Mailing List about masters of guitar Hey crimsonites: i modrate a mailing list about the great masters of guitar.Discussions about their works, techniques, innstruments, production, etc are the main subject matter of the list. It is hosted by egroups. There are quite a lot of Fripp fans and great musicians on the list. You are invited to join and participate. To subscribe you can just send a blank mail to guitarmasters-subscribe at egroups dot com. Other way is to use a link from the official Steve Hackett site www.stevehackett.com. Then you can make a choice to receive all mails, to receive only a digest, or choose to dont receive mails and read the posts on the web. Hope to see you there! Jose ------------------------------ Date: Wed, 8 Nov 2000 12:21:23 +1100 From: "Brian" Subject: Re: Australian Tour Hello All! The "Will King Crimson tour Australia?" thread has been started many times in the seven or so years I've been following Elephant Talk. I'd like to add my voice to the growing choir of Australian Crimson fans in saying that I would LOVE to see KC tour down under. (A group of friends and I came close to flying to Japan to catch them in October -alas a lack of funds prevailed.:--( ) Music stores are constantly replenishing their KC stocks -as well as expanding their range, surely this indicates a definite interest in the band. As the post in the previous edition suggested, now would be a great chance for overseas band to capitalise on Australia's hideously weak dollar and arrange a "cheap" tour. I'd be more than happy to put the band up and feed them when they were in Melbourne -I do a mean lasagna :-) Bring on the re-releases of USA & Earthbound!! Brian Polli Brian Polli bpolli at bigpond dot net dot au ------------------------------ Date: Tue, 7 Nov 2000 20:40:28 -0500 From: "Josh Chasin" Subject: I Promise I'll Behave If You'll All Just Shut Up! In ET # 758, ChalkPie88 at aol dot com beseeches: >>>>>If you are planning to attend next weeks shows in NYC, I have but one request -honor Mr. Fripp's wishes and please don't spoil the show for the rest of the us. >>>>> You know what? (And Chalk, dude, I don't mean to come down on you specifically) I'm getting sick and tired of being lectured by ET-ers about how to behave at Crim shows. I posted something weeks ago, but I see now I'm going to have to reiterate it: 1. Yes, the 600 or so of us, spread across six continents and I don't know how many countries, all know the rules. This no longer need be debated. 2. On occasion, and against all odds, someone besides the 600 of us actually manages to sneak into a Crimson show. I am going to take the liberty of making a promise on behalf of the 600 of us. Yes, we all know the rules and will (and indeed have been) obeying them. So it is therefore likely that the offending parties at Crim gigs number among the, oh, let's make up a number, 40,000 other people who have foolishly wandered into the hall at one show or another. So please, all of you, for the love of God, stop lecturing the ET community on how to behave at the shows. We all get it. ------------------------------ End of Elephant Talk Digest #759 ********************************