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 #770 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 770 Tuesday, 21 November 2000 Today's Topics: NEWS: Crimson and related releases Ebow Use on The Bridge Between Crimson in CT Bruford vs Genesis Re: Chester Thompsons Re: Translated Polish Interview Re: chester thompson Kc/RF videos DVD Players for Deja Vroom? So how was Hartford? E-Bow or Sustain? Re: Translated Polish Interview E-bow on 'The Bridge Between' Chester Thompson MIddle-aged fucks - (Keith Adams) Re: ET 768 Re: Pat's Snare Drum Mystery re : VH1 Tool + KC eBow Wanted: Damage by Sylvian/Fripp GIG REVIEW: Hartford 11/19/00 ------------------ 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: Sun, 19 Nov 2000 19:48:25 -0500 From: Gary Davis Subject: NEWS: Crimson and related releases Hi, folks: The latest Artist Shop Newsletter is out and you'll find it in its entirety at . Meanwhile here are some excerpts for Crimson fans. Available now from Discipline King Crimson/Heavy ConstruKction ....3 CD set A limited edition 3-CD set commemorating the recent King Crimson tour of Europe. The first two CD's feature a complete set list including unique rearrangements of classic King Crimson songs. The third CD is compiled from the live improvisations which regularly proved the highlight of each performance. A free CD-ROM on the second disc contains exclusive live footage. A must for all King Crimson fans. Released to coincide with the autumn King Crimson tour in the US. soundbite - And, of course, the remasters of Lark's Tongue, Starless and Red just came out last month. All the Crimson remasters in mini-LP sleeves released thus far are still available, but will eventually be replaced by gem box versions in the near future. So get them while you still can. Coming soon on our Manticore page Greg Lake/Greg Lake Greg Lake/Manouevers Slated for a November release and the first time available on CD - Greg Lake's two solo albums initially released in the early 80's on the Chrysalis label. Greg was working closely with guitarist Gary Moore during this period and has always spoken highly of their collaboration. More information coming soon! Emerson Lake and Palmer/Brain Salad Surgery ....DVD-Audio New DVD Audio version of Brain Salad Surgery Helps Launch Historic New Audio Format! With a release date of November 7th, in time for the holiday shopping season, Warner Music Group (WMG) becomes the first of the major music companies to offer albums in the DVD-Audio format. The new format, which features Advanced Resolution(TM), multi-channel audio that dramatically enhances the listening experience, is the most significant industry format launch since the introduction of the CD nearly twenty years ago. Among the first releases are ELP's classic, Brain Salad Surgery! All of the recordings have been remixed from the original masters to take advantage of the optimal surround and stereo sound quality. All albums released from WMG labels will offer consumers the flexibility of being able to be played in three ways: first, in Advanced Resolution surround sound; second, in Advanced Resolution stereo; and third, for those who own a DVD-Video player but have not yet upgraded to DVD-Audio, DVD-Video compatible DolbyA Digital surround. This last feature will enable the discs to be played in the nearly 10 million DVD-Video players already in U.S. homes. With a sampling rate and bit depth that at least doubles the resolution for the current CD standard, DVD-Audio discs deliver sound quality that is significantly closer to the master recording than is possible with CDs. Beyond this enhanced listening experience, DVD-Audio discs offer many other unique features to increase the enjoyment of this new format: in addition to brief DVD-Video quality music videos and artist commentary, when played on new DVD-Audio players, ``visual menus'' with remote navigation may also offer access to ``photo gallery'' still pictures, artist bios, discography and credits or song lyrics viewable during Advanced Resolution playback. On our import pre-order page you'll find: WETTON,JOHN-WELCOME TO HEAVEN + 1 Latest record from this bloke whose been in King Crimson amongst other groups. This Japanese pressing is scheduled to include one bonus track as well as earlier availability. ASIA-LIVE Live release for the progressive rock supergroup, recorded in Detroit in 1983. This 70 minute recording comes from Carl Palmer's personal archives and features the last performance given by the original Asia line up of Steve Howe, John Wetton, Geoff Downes and Carl Palmer. The recording has been digitally remastered and will be released with special artwork and extensive liner notes. TIPPETS,KEITH & JULIE-COUPLE IN SPIRIT Remastered reissue of 1975 album for the talented duo. Eight tracks including, 'Daybreak', 'Morning Psalm' and 'Brimstone Spring Lullaby'. Available on our Fie! Records page VAN DER GRAAF GENERATOR-THE BOX '68-'78 ....import 4 CD box set Four disc retrospective for the UK progressive rock act featuring singer/songwriter Peter Hammill. Compiled by Hammill and past band members. It covers the years 1968 through 1978, it's the comprehensive document of the band's career from beginning to end. Drawing on material from various BBC sessions, studio albums, long deleted singles, live 'bootlegs' and Virgin Records archives. A veritable treasure chest of previously unreleased material and collector's favorites. All tracks have been remastered by Hammill. Packaged in a long box complete with a 48 page booklet featuring previously unpublished photos, a reminiscence by Tony Banks (Genesis), a comprehensive gig listing and discography, memoirs of the four main band members (Hugh Banton, Guy Evans, David Jackson and Hammill) and an insightful fan's retrospective. VAN DER GRAAF GENERATOR-AN INTRODUCTION-FROM THE LEAST Retrospective for the UK prog rock act, a single disc collection taken from the recently released box set. Gary ************************************************************** Gary Davis The Artist Shop The Other Road http://www.artist-shop.com artshop at artist-shop dot com phone: 877-856-1158, 330-929-2056 fax:330-945-4923 INDEPENDENT PROGRESSIVE MUSIC!!! ************************************************************** Artist Shop Radio Check out the latest Artist Shop newsletter at http://www.artist-shop.com/news.htm ------------------------------ Date: Sun, 19 Nov 2000 20:15:56 EST From: Termiteac at aol dot com Subject: Ebow Use on The Bridge Between Re: Ebow use on The Bridge Between/Heavy ConstruKtion According to RF's and Paul Richard's diary awhile back, RF gave PR the ebow that was given to RF long ago. PR used the ebow in The Bridge Between as can be seen on the page sited. He's also been using it on other CGT tracks like Punta Patri. Mr. Fripp stated that he never used it. He was particularly referring to his solo in Heroes where someone had said that he must have used the ebow for the sustain. Its all in his technique. Trey used it in his DOTT ending solo which was fab live in DC on 11/8. I'm still feeling the power of that show! Heavy ConstruKction was from the European tour where Pat used the V-Drums exclusively. He added acoustic drums on the Japan tour and has continued with the acoustic/electronic combo in the US. Looking forward to purchasing Heavy ConstruKction this weekend. Alan Coyne ------------------------------ Date: Sun, 19 Nov 2000 20:32:26 EST From: Obelisk123 at aol dot com Subject: Crimson in CT Just thought I would pass it along that The Webster venue in Hartford Ct Is a good place to see a show. I just saw the Ozric Tentacles there this past thursday and it sounded great !!! KC should rip it up in there.. I am going to see fripp in NYC at the end of the month.. Ar ethose soundscape gigs still goin on?? Ozric Tentacles really amaze the crap out of me.. Excellent grooves and solid guitar playing.. Insane Keyboard n flute notes swimming on waves of delay.. these guys can deliver.. What I like about em is there is all ages at the shows.. Not just a bunch of prog freaks .. I am one of those so please don't flame me.. Anyway.. Check em out... U might like em.. U might not... ------------------------------ Date: Mon, 20 Nov 2000 14:04:46 +1100 From: "STUDER, Andrew" Subject: Bruford vs Genesis I was interested to read this: >They tend to stick more or >less to the album versions of songs live, and Bill really put his OWN stamp >all over the songs!!! SO it was not seen as a good fit by EITHER camp. The >band has since gone on record saying they were "beastly" to Bill. as I can remember reading a Bruford interview where he shows a humorous self-deprecatorial attitude about the whole thing. Broof's take seemed to be that he should have realised that he was essentially in a "session man" position and not try to interfere so much. He was certainly not ungenerous towards the band. Sorry, can't give a proper attribution to the interview. The only Broof articles I've read, though, are the recent Crimson related ones in whatever drum magazine during the double trio tours, and the Innerviews articles, so you might find them there. Andrew ------------------------------ Date: Sun, 19 Nov 2000 22:07:10 EST From: Drumsforme at aol dot com Subject: Re: Chester Thompsons In reference to the person who asked if the Chester Thompson that played drums with Genesis has anything to do with the Chester Thompson that played keyboards with Tower of Power (and now Santana)....no they are NOT the same. They are both afro- american and that is the only similarity. Chester Thompson (drummer) played with Weather Report and other Jazz Fusion projects befeore hooking up with Phil Gollins and Genesis. The keyboard Chester Thompson was in Tower of Power from '73 till '82. He has also been in Santana for the last 10 years or so. By the way, being a drumer for 30years and still playing, it looks like the acoustic drums that Pat plays in the DVD Deja Vroom look to be Tama......in the world of drmmers Pat is known to be a DW endorser. Any Crimso drummers have any info on this? Thanks, Mad Marc! ------------------------------ Date: Sun, 19 Nov 2000 22:24:44 EST From: AndyAcunzo at aol dot com Subject: Re: Translated Polish Interview "Justin A. Kolodziej" wrote: >As far as Tony Levin goes... >I do, however, miss his part in VROOOM. I missed his bass, upright bass, and especially backing vocals in Dinosaur. I loved the show I saw, but that's one song that I didn't care for with the new lineup. It was interesting on some of the others to hear the differences in the way the new lineup played them. For example, I'd never heard Red without Bruford. Pat did a nice heavy job on it. It's funny noticing the differences - Bruford's all in the wrists; economy of motion. Pat looks like Animal from The Muppets when he attacks the drums. :) Nothing wrong with that, it's just quite a contrast. I also noticed that Pat didn't seem to play anything resembling a normal rock drum part during the entire show, except for Heroes to some extent. Very exciting to watch him in action (that goes for all of them!) Andy Acunzo ------------------------------ Date: Sun, 19 Nov 2000 23:10:24 -0500 From: Mark Rehder Subject: Re: chester thompson "Tracy Family" wrote: > Hey Crimfans, > Chester Thompson was brought up in a recent ET and it brought to mind a > question I have had for a long time. > Is Chester Thompson of Genesis, Phil Collins solo stuff, the same as the CT > that played keyboards for Tower of Power in the mid 70's? Simply inquiring > from the ET group, because of the vast musical knowledge many of you have. > Thanks! Curt Tracy Nope, completely different fellow. I had wondered about that myself years ago, though in reverse, as I had heard of TOP before I heard Chester play drums with Zappa. CT the (phenomenal) keyboard player has been playing with Santana for many years now... Mark - -- +++++++++++++++++++++++++++++++++++++++++++ "When I see an adult on a bicycle, I do not despair for the future of the human race." -- H.G. Wells Come and visit my Webpages at: http://home.istar.ca/~marker/ +++++++++++++++++++++++++++++++++++++++++++ ------------------------------ Date: Sun, 19 Nov 2000 23:53:18 -0500 (EST) From: DANNYSTAMPER at webtv dot net (DANNY STAMPER) Subject: Kc/RF videos Can anyone tell me where I can purchase video performances of the early King Crimson and or performances/interviews with Robert Fripp? (i.e. Beat Club, Top of the Pops, Midnight Special, etc.) Please email me at this address; dannystamper at webtv dot net Danny ------------------------------ Date: Sun, 19 Nov 2000 22:57:14 -0600 (CST) From: david craig Subject: DVD Players for Deja Vroom? A while back I dimly recall some discussion of which DVD players worked well with the special features of Deja Vroom in particular, and the special features of dvd's in general. Time has passed, DVD has plummeted in price, and it's time for me to get one. What makes of DVD players these days are desirable for high-quality playback of feature-filled DVD's like Deja Vroom? I don't want to buy one that can't access all of its special features like the schizoid mixes and such, so I'd really like to hear about personal experience with players which work. This may be one of those discussions for which it would be approrpiate to respond to me directly, and I can then summarize the useful responses to the list. Thanks, David ------------------------------ Date: Mon, 20 Nov 2000 03:22:54 -0500 From: David Vella Subject: So how was Hartford? Fellow Crimsomaniacs, A little story, for your amusement: Just 5 years and 3 days ago, I saw King Crimson perform as a double trio in Springfield, MA, and it brought a great deal of joy to my head and heart. For although I have been an ardent enthusiast since 1970, I never actually had the opportunity to see a live show until 1995. (Every time I listen to the Great Deceiver box set, it gives me the willies what I missed.) Since joining this list soon after that concert, I have followed the progress of the band, dutifully purchasing all the projeKCt CD's and KCCC CD's, just waiting for a chance to see them again. (Of course, take the word "again" with a grain of salt; each incarnation, each show, is as unique and beautiful as a separate region of a fractal landscape.) When TCOL & PRojeKT X came out, they were in my collection within days, and for me, they bode well for the future. I like the pair of them better than anything else Crimso has put out since TOAPP, quite possibly since Discipline or Red. So when the TCOL tour started...I was aghast that no venues were scheduled closer than Boston or NYC - both about 4 hours drive from where I live. With my wife & I both working full time and two young kids, it was out of the question. [I recall even whining about this in a previous post, which did elicit at least a sympathetic response from one of the several friends I have made on this list (hello Brad!)] Imagine my surprise and celebration when they added a gig not originally scheduled (one of only 2 such additions) for tonight (11/19) in Hartford, a mere 2 1/2 hour drive from here. Yes! I was psyched - and liked to even pretend that the additional gig was specifically for my attendance. The gods were with me - so I thought. I purchased my ticket immediately, and convinced several of my old buddies from the Hartford/Springfield area to join us. Did I say Us? Yes, that's another story. My wife, who was with me at the '95 show, likes the band, but for reasons too complicated to go into here, could not attend this time. In fact, the arrangements were for me to bring my two kids to a relative's house that night so that my 15-year old niece could watch them while I was at the show. [At ages 3 & 5, my daughters aren't ready for a live Crimson show, yet, but they are familiar with a good chunk of the Crimson repertoire.] Problem was, my niece had grown up a bit, was a fan of Tool, and heard that KC was some sort of influence on them. On her last visit to my house, I played LTIA for her - she had never heard any Crimson. All I can say is in that moment a new Crimson enthusiast was born. You see where this is heading? My niece was suddenly unavailable for babysitting.....If I had been more selfish and wanted to keep a potential babysitter....nah! I just can't resist being the catalyst for a new Crimson fan... In the end it was resolved, it being my birthday on 11/20, a different set of relatives offered to watch the kids, which freed up both my niece & me to go to the show. In the weeks as the date approached, I dutifully prepared for the show. I studied the set lists. I bought Heavy ConSTruKCtion (GET THIS 3 CD set! If TCOL doesn't convince you of the pedigree of the current lineup, HC will! And thank you for Tomorrow Never Knows!). I even got all that "bad fan behavior" out of my system. Indeed, just a week before the Crimson show, I attended a classical concert of the Albany Symphony. I was treated to a wonderful world premier performance of a cello concerto by one of Canada's finest composers Peter Paul Koprowski. It was very avant-garde and performed very enthusiastically by cellist Maya Beiser. [The second event of the evening was a more straightforward (read: boring!) piece by Bruckner.] So what was the "bad behavior" I referred to? Well, during the quiet break between 2 movements of the Bruckner piece, I felt compelled to yell out "Cat Food!". Strange - nobody got it (ha ha!) And after the performance, I met Koprowski at a party at one of the sponsoring institutions - an art gallery where my wife shows her work - and nagged him for his autograph. Unfortunately, I did not record the event - I sure would like to hear that Cello concerto again! In any case, I was now ready for the main event. Tickets purchased, babysitters lined up, and calm in my demeanor, not given to photographing, autograph hounding, recording or yelling out favorite numbers from past incarnations (but I STILL would like to hear what Fripp can do with Keith Tippet's part to Cat Food on his guitar/piano/synth...) Well, 2 nights before the show, I came down with a serious case of influenza. Yup. Missed the show, which has been over for just about 3 hours now. So I ask: How was the Hartford Show? Did anyone write down a set list? Was KCTV filming? Well, at least my niece was there. Hope she enjoyed it as much as I would have. Well, you know, at least I'm laying the groundwork for the next generation of fans. Don't forget, besides my niece, there are my two daughters. That's 3 fans of the female persuasion, too. So Bob, Adrian, Tray & Pat, thanks for a great set of CD's and what was apparently a great tour. But if you feel like coming over to my house sometime and showing me what I missed, well we'll feed you...plus extra tidbits...you know, unlimited supply of cappuccinos for Bob, cheesecake for Adrian, whatever... Just give me enough notice to stock up and invite a couple friends - no I mean just a couple - I prefer to be SEATED at concerts I attend. Actually, that leads into a nice question with which to end this post: Referring to my last statement -- I was really puzzled by the decision to use so many venues without seating. If you say it is because I'm obviously over the hill, well, I see your point. Except that I felt the same way in my 20's & 30's too. C'mon, Bob's famous for sitting while he's performing, I think it is just fine to want to be sitting while watching/listening, too. So here's the question - do you think that the fact that there was no seating had a tendency to encourage bad audient behavior? Or was it irrelevant to such behavior? Back to lurk-mode... - -David Vella ------------------------------ Date: Mon, 20 Nov 2000 09:17:55 -0000 From: "Stephen P. Goodman" Subject: E-Bow or Sustain? (Still settling into life in Kensington, London, I take up where I hopefully left off...) This one from ET #768 and previous... David Isaak" put forth... >>Final question! Has Fripp ever used an E-Bow? I think maybe he has. In "Requiem," I can hear the string buzzing against the drive channel (the part where the E-Bow vibrates the string), and there isn't a strong pick noise until later in the piece...anybody have a clue what I'm talking about?<< > ...Fripp has specifically said that he was given one once as a present but has never used it.< After going back and listening, and recalling what I thought when the Beat album came out, I'm fairly sure that the buzz at the end of "Requiem" was on the part of Tony Levin's stick - which as we all know is capable of some awesome sustained notes as well. I recall that, at the time of one of my first several listenings to it, I was wondering if that very effect wasn't some kind of homage to the ending sustained note from "The Heavenly Music Corporation," from "No Pussyfooting." Connected with this tidbit, if I might further recall memory from the 70s and early 80s (yes, it's still there, despite all reports to the contrary!), I spent quite a lot of spare time in music stores talking with technicians, in the hopes of gleaning knowledge pertaining to DIY effects (read: Too poor/cheap/Scottish to buy it, so make it if you can!). On more than one occasion, I heard references to a device that probably predates the e-Bow conceptually, described as a "large magnet nearly the size of your hand, that you'd have to take off your watch to use if you ever wanted to use the watch again"; and that more than one of these techs had seen or read about RF using this magnetic device to obtain incredible sustain times. We should all know of course that RF also used a volume pedal at times to achieve the bowed effect, and thus the possible confusion about this. I was given an e-Bow in 1991 by a dear friend and have exploited it to hopefully good effect on both acoustic and electric guitar; and at one stage years before I experimented with a modified wah-wah/volume pedal attempting to achieve the same effect. Alas, without amplification one cannot really get there using the latter, and when the e-Bow arrived in my life, I needed not much else beyond modifying the battery cables so that I wouldn't tear 'em out just replacing the 9V battery (this mod also made it possible for me to use an electric power supply instead, thus saving valuable resources). ...is that your FINAL question? :) * Semi-Shameless Plug Follows * I'm about to release an MP3 DAM CD entitled "Club Meditation," 15 pieces composed between January and August, 2000, and specifically for the use in meditative / relaxation activities, with no hard edges to distract or deter you from your intended goal-at-hand. At the URL below... Stephen Goodman http://www.earthlight.net/Studios * The free Loop of the Week! http://www.mp3.com/StephenGoodman * New MP3 Releases! ------------------------------ Date: Mon, 20 Nov 2000 07:00:33 -0500 From: "blake Ultranet" Subject: Re: Translated Polish Interview In ET #768 "Justin A. Kolodziej" wrote: > Anyway, I thought the real reason Bill Bruford isn't in the current > Crimson is that Mr. Fripp wanted an all-electronic band, including > (V)drums, and Bruford wasn't down with that. Therefore he and Crimson > parted ways. I think that was actually in Robert Fripp's diary, though > a long time ago. Much was written in RF diary entries during this time. There were disagreements between electric and acoustic drums, new vs. older material, nature of material and and BB's focus on Earthworks. All was documented, including (parts of) Fripp's letter(s) to BB. Fripp acknowledged the differences of views and supported Bruford's Earthworks - after attending a show Fripp stated "this is the right thing for him to do (paraphrase). > This is pure speculation, but I wouldn't be too surprised to see either > a five-piece Crimson with Tony Levin, or even the return of the Double > Trio, the next time out. I spoke briefly w/ BB at signing after an Earthworks show when the discussion of KC w/out BB was flaming online in diaries and ET. The short of it was Bruford said about KC "I'm really not too keen on it without my friend Tony." Tony was committed to the Seal tour at the time. I would expect either or both back from time to time. As we all know by now, this is a musical idea kept aloft with a fluidity of musicians. ------------------------------ Date: Mon, 20 Nov 2000 13:12:59 +0100 From: John Sowerby Subject: E-bow on 'The Bridge Between' >his page, http://www.ebow.com/record.htm claims that an ebow was used on - >The Robert Fripp String Quintet: The Bridge Between. >Is this true? I assume not but do not know for sure so I can't email them >(recordcuts at ebow dot com) and let them know. There is indeed an e-bow on 'The Bridge Between' but it's used by one of the California Guitar Trio on an electro - acoustic, and not by RF. I forget exactly who, but it's listed in the sleeve notes. John. ------------------------------ Date: Mon, 20 Nov 2000 14:12:35 +0100 From: BUISSEZ Laurent Subject: Chester Thompson Curt Tracy wrote : "Hey Crimfans, Chester Thompson was brought up in a recent ET and it brought to mind a question I have had for a long time. Is Chester Thompson of Genesis, Phil Collins solo stuff, the same as the CT that played keyboards for Tower of Power in the mid 70's? Simply inquiring from the ET group, because of the vast musical knowledge many of you have. Thanks! Curt Tracy" No, the Chester Thompson who played keyboards for Tower of Power is the one who now plays keyboards with Carlos Santana. But the other Chester Thompson (the drummer)also played for a while with Santana, so for a moment both Chester Thompson were members of the Santana band at the same time. Laurent Nom : BUISSEZ Laurent Mel : buissez at culture dot fr Tel : 04 72 00 43 12 Adr : DRAC RHONE-ALPES 6 quai St-Vincent 69283 LYON CEDEX 01 ------------------------------ Date: Mon, 20 Nov 2000 09:19:20 EST From: "Richard Warner" Subject: MIddle-aged fucks - (Keith Adams) Re: ET 768 Dear Mr. Adams: Seeing any incarnation of King Crimson IS truly a wonderful experience, even if it isn't a particularly good one, as in the latest line-up. The quality of muscianship is INVARIABLY more than worth the price of a ticket, even if the MATERIAL is weak. It is such a rare opportunity to see adventurous and risk-taking music making happen "in the moment" "In Situ" as it were. I am glad that a younger person, yourself, has the good taste and audience maturity to appreciate the unique environment and adventure of a King Crimson concert. Like you, I am appalled by the lack of generosity and sensitivity shown by some audience members at such events. It is an afront and a disservice to ALL present, without exception, and can spoil the delicate balance that is required for the successful exchange of energies insuch endeavours. Anger and resentment can, and ususally does, somewhat understandably, arise. This is the OPPOSITE of what is intended to happen and in that context then qualifies as the truly tragic result. However, as long as I have been seeing Robert Fripp solo, with David Sylvian, and SEVERAL King Crimsons, there has ALWAYS been some element of this "energetic travesty" ocurring. I have many, many stories to tell of some of Robert's more infamous rejoinders to the psychic "beasts" of the audinece, some are actually quite funny. Unfortunately, it is to be borne as an inevitability that whenever you get a group of our species together, it seems that it is the "lowest common denominator" that is always the loudest and most disruptive. Sensitivity and energetic generosity are, sadly, a refinement not shared by all. So I completely undertand your feelings, having been "there" MANY times myself. I would, though, like to caution you about the "demographic" that you choose to target, name and insult, namely "middle aged fucks". Ignorance knows no demographic. Truly. I have seen an entire "Frippertronics" concert, summer of 1979 in Toronto, screach to an appalling and abrupt halt because of a quite young "gentleman's" serious inablitity to keep his, drug-saturated mouth shut. Rude people are. Please don't succumb to the strategy that marketers use to "divide" and conquer (for the sole purpose of generating profits - which your age group has been specifically singled out for) and subscribe to the unfortunate perception of irreconcilable generational differences. Those "gentlemen" were rude fucks. That they were so has NOTHING to do with their age or amount of life experience. Ignorance is rampant\, a sad and seemingly irremovable aspect of life. To meet it with more ignorance only " fans the fire" so to speak. This runs contrary to what Messrs. Fripp, Belew, Gunn and Mastelotto seek to achieve. I'm sure that they could tell you about the endless variations of "energetic clods" that they've had to endure. Wishing you many years of musical enjoyment - Richard Warner (age 45) ------------------------------ Date: Mon, 20 Nov 2000 15:21:18 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: Re: Pat's Snare Drum Mystery >I just picked up "Heavy ConstruKction" and noticed that Pat's snare seems to >be an electronic one (as on TCOL). Pat seemed to have been playing an >acoustic snare in the two NYC shows that I just saw. Perhaps it sounded >differently live in the house versus the way it sounded on the DAT mixing >console. I'm wondering if anybody else has noticed this and is it possible >that Pat changed his snare to an acoustic one recently? Hmmmm.... Yes indeed. Pat played a 100% electronic kit (or was it nightmare?) on the euro leg, but reintroduced some acoustic elements for the Japan/USA leg. ___ Laurent Masse ------------------------------ Date: Mon, 20 Nov 2000 15:25:50 +0100 From: "Girard, Serge [JanBe Extern]" Subject: re : VH1 Tool + KC Michael Britt wrote: >Is there a number we can call to complain that tool and king crimson didn't >get above 40 in the alleged top 100? At first I was thankful that they even >showed up in the first place, but now I'm outraged that they didn't get higher. >Who the hell picks these things out? Is there an email address or a number >to call and complain? Thank God they aren't at the top 3 otherwise they weren't as GOOD as they are today. I mean if they were so popular that they became "number 1", I probably wouldn't like it anymore.... To me they are number one and that's fine. Serge ------------------------------ Date: Mon, 20 Nov 2000 08:57:21 -0600 From: "Loren W. Claypool" Subject: eBow In Issue 768 Michael wrote - >This page, http://www.ebow.com/record.htm claims that an ebow was used on - >The Robert Fripp String Quintet: The Bridge Between. >Is this true? I assume not but do not know for sure so I can't email them >(recordcuts at ebow dot com) and let them know. >Michael Britt >www.duophone.com Paul Richards from CGT used an eBow on The Bridge Between. You can also hear Paul with the eBow on CGT's Punta Patri. Loren http://www.theclaypools.com ------------------------------ Date: Mon, 20 Nov 2000 15:57:20 +0100 From: "Girard, Serge [JanBe Extern]" Subject: Wanted: Damage by Sylvian/Fripp I'm also since long time searching for 'Damage' (legal version). Which company can I contact? Private email: mailto:serge dot girard at realsoftware dot be ------------------------------ Date: Mon, 20 Nov 2000 01:17:46 -0500 (EST) From: Art Cohen Subject: GIG REVIEW: Hartford 11/19/00 Greetings; Just got back from Hartford and had a great time. My first Crim concert since I dashed out to Springfield in late 1995. Looking forward to 2 nights in Boston. Taking notes and/or writing down the setlist seemed contrary to the idea of being in the moment, so here are my recollections, ex post facto: They played LTIA 4/Coda, TCOL, Frying Pan, Frakctured, ProzaKc, Thela Hun Ginjeet, Frame By Frame, Dinosaur, Elephant Talk, 3/Perfect Pair, Red, Heroes. Maybe one or two others. At least 3 separate "blows" (jam sections), although the first one (pre-Frakctured) was kind of short and aimless (the shouts of "Freebird" probably didn't help). The crowd: Loud and sometimes chatty, but for the most part there for the show. Very responsive. The band: Loose and enjoying themselves. They seemed more like a "real band" (if you'll pardon the expression) than the Double Trio. The DT was probably more intense overall, but everything seemed highly staged and orchestrated compared to the feel tonight. This band seems more like "just a rock band on the road", cutting up, having fun, kidding each other, screwing up occasionally but putting on a great show. There was a lot more room for each player to stretch out in this band, and while that sometimes meant (very minor) clams, it also meant that there was a spontenaity that I doubt the Double Trio ever could have acheived. Pat and Trey? Stellar. Pat is more of a time-keeping drummer than Bruford (who isn't?) but he's no less powerful. Trey was a masterful bassist, and took two or three great "guitar" solos as well. Their foundation was solid and appropriate whether they were playing new material or "classics" and they proved (to me at least, in case there was still any doubt) that they deserve to be "in King Crimson" as much as anyone who wasn't there in 1969. Fripp and Belew were, well, Fripp and Belew. Fripp came close to cracking a smile at times and played like a madman. Belew was his usual ebulliant self, mugging ferociously during the "I drink all the time" line from "Heroes" and even striking a faux-arena-rock-idol pose (fist in the air) to go with it. How can anyone not be satisfied with these two onstage, playing their hearts out? They've been doing it (on and off) for almost 20 years, and the rapport that showed between the two of them really gave the show a "heart". A special note on the (free-form?) instrumental improvs from this show. I haven't been listening to "Heaven & Earth" enough to know whether any of them were based on previously-released "songs", but it was a real treat to see a version of King Crimson who are, once again, willing to go off on flights of musical fancy at multiple times during the show. The first one, as I mentioned, was a little listless, but the others were generally great. Sometimes Belew would leave the stage; at one point I think it was just Fripp and Gunn... these were the sections where Trey got to take the lead for extended periods, and his soloing was superb. Nit-picky fanboy/critic complaints? The new material still seems to suffer from a certain sameness of feel. The fact that they opened with five songs from the new album and then played nothing but older material didn't help the new songs make a great impression either. Even though LTIA and Frakctured were both very intense, the overall energy of the concert seemed to jump up a notch when they broke into the straight-ahead 4/4 of "Thela Hun Ginjeet". (As an even more picky aside, I should say that the tape voice-over for THG doesn't seem to work very well... the band seemed to be standing there riffing during that part, afraid to really cut loose for fear they'd get out of synch with the tape. Am I imagining it or did they perform this song without any voice-over in the past?). Several of the older songs were slightly re-worked -- slight tweaks to the arrangements that might have been spontaneous or planned (e.g. reharmonizing certain guitar lines) -- and that helped keep the material fresh, without turning the show into a "best of" show (although it must be said that they are still milking pretty much the same "core" repertoire that they have since 1981). The improvs helped break things up, but at the same time, they amplified (for me) the sense that the new composed material on TCOL is a little disappointing compared to the ProjeKct material. It still seems odd to me that they would spend so much time exploring dance grooves of various flavors (in the ProjeKcts) and then fail to integrate any of that influence into the new album. The 80s material was *very* danceable, a fact that tonight's setlist made readily apparent, and very tuned into the music of that period ("new wave"). In the context of the various ProjeKcts, King Crimson seemed to be trying to tune into some of today's dance (and experimental) music (dare I call it "techno"?), but when the TCOL album came out, the music was more abstract than almost anything with the King Crimson name on it (this side of "ThrakAttack"). But all quibbles aside, this was a great King Crimson show, well worth the trip from Boston. I don't think I've seen the very best that this configuration can play -- hopefully that will happen at least once during the next two nights in Boston -- but the mere fact that we can see KING CRIMSON playing live, with all the guitar fire and thunder you could ever hope for, is cause for rejoicing. - --Art ------------------------------ End of Elephant Talk Digest #770 ********************************