Reply-To: toby at cs dot man dot ac dot uk Sender: toby at cs dot man dot ac dot uk Precedence: bulk From: toby at cs dot man dot ac dot uk To: toby at cs dot man dot ac dot uk Subject: Discipline #91 Discipline, Number 91 Tuesday, 11 May 1993 Today's Topics: Re: The Problem with "Starless" Re: Fripp News Anyone? Take a laxative Re: Solos over frippertronics? Stick/gtr parts -- Starless debate why be a critic? The Value of Music Clueless and Slightly Slack sticks What's on Fripp's plate? Solos; Good Ideas? Poseidon live from issue 57 and some more stuff LTiA What's a stick? (& more) Bloomington, Indiana A drummer kinda question... Fripp String Quintet show at San Diego What does EG stand for? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 6 May 93 10:41:43 PDT From: Dennis dot Montgomery at EBay dot Sun dot COM (Dennis Montgomery) Subject: Re: The Problem with "Starless" >to anything that went before it. Ophir, explain to me why those corny, >mysterious voices in the coda have anything to do with the thumb piano idea >which opens up the whole song. Why do they have to? Fripp has said that rock and roll is a great medium because you can do *anything* and still call it rock. Why does a song have to revert back to a theme??? I like to think of Larks Pt 1 as a journey through a strange dream. You start in a tribal village (thumb piano:aka Kalimba and light percussion) which is neither threatening nor comfortable. Then a tension is building, you're preparing for a battle with a nearby village. The battle begins and the sound explodes into dark Frippery and crashing percussion as the battle rages on and on... The fighting stops and you wake back in your village mortally wounded...your chances are very slim as the medicine man tries to calm you (solo violin). The sound lulls you into a false sense of security...which crumbles amidst unknown voices as your spirit prepares for the next journey...somewhere in the distance you faintly hear the sound of the Kalimba...You are going home. KingCrimson*Beatles*Marillion*Tull*TerracedGarden*GentleGiant*Minutemen*Fish* * _______ *Sepultura*Queen*Pentangle*Eloy*801*TinMachine*Zappa*BlackSabbatH U / \ a n | (. \ \ "He'll charm your life 'till the cold winds blow w i \ >\ | then he'll sell your dreams to a picture show" k v-- > |< |Dennis Richards Montgomery:Software Engineer:Sun Microsystems w e / >/ | warlock at halloween dot EBay dot Sun dot COM i r | (. / / n s \_______/Greenslade*PFM*Pallas*12thNight*******SexPistols**Morbid Angel**d Zero*Aragon*CelticFrost*VanDerGraaf*SadLovers&Giants*ELP*IQ*Genesis*KateBush* [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: malcolm at wrs dot com (Malcolm Humes) Subject: Re: Fripp News Anyone? Date: 4 May 93 18:04:07 GMT Organization: Wind River Systems, Inc. charly at hal dot COM (Charly Rhoades) writes: >Just saw that the Robert Fripp String Quintet >will be performing around the San Francisco Bay >Area soon... >Has anybody else out there have any more information >about this latest incarnation of the Fripp Mobile >Unit? Yeah, they're due in town to practice in SF for maybe up to a couple of weeks, I think arriving next week. You might catch a glimpse of them hanging out somewhere south of market. >I thought I read that Bob was re-forming King Crimson >and that the band was gigging in Japan... Am I >confused? Probably. In march of 92 Fripp and Gunn and David Sylvian toured Japan and Italy. Since then Fripp/Gunn/Sylvian/Marotta recorded an lp last November. This is not the new King Crimson, just a side project, but of upbeat material in a Crimson-esque vein. More recently, maybe a month or so ago Fripp was touring in France and probably Europe and Japan with the Quintet - which is 3 guys from the Crafty Guitarists (they have a release of their own, called Three Guitars or something like that) plus Fripp and Trey Gunn on stick. Meanwhile Fripp has been planting media hype about the Crimson reformation for more than a year - the latest announcement in Rolling Stone has Fripp saying the lineup will be Fripp/Gunn/Belew/Levin and Jerry Marotta on drums. Some folks seem confused about the role of two sticks in the band, or 4 instruments in the guitar range. But Fripp's work with the Crafties and the Quintet seem to indicate that Fripp has spent the last few years exploring what many guitars can accomplish together. So, Fripp has a handful of projects going on: 1) The Quintet - already has been touring and now is practicing for a new tour. Maybe planning some recording? 2) Fripp/Sylvian/Gunn/Marotta - an lp already recorded. release presumably pending soon. 3) Fripp/Gunn - apparently there was a recent radio broadcast: titled "Pictures of Chapman Stick Men" on Echoes (a product of American Public Radio) which featured 2 Fripp/Gunn collaborations. Seems like Fripp has beenworking with Trey Gunn a lot in the last couple of years. (BTW, did anyone happen to tape this show? I'd really like to hear it.) 4) King Crimson reformed: supposedly on the back burner until Levin finished his tour with Gabriel. An EP and then lp are due eventually. 5) Fripp & Eno: supposedly they're working on a new collaboration, not a re-take of the classic ambient looping, this one is supposed to be a dance music project of some sort. 6) LIVE BOXES: not a new band or recording project per se, but Fripp has promised another 2 box sets of live King Crimson, from the 80's and the 69-71 period. A bit more than one handful... I'm very curious how they plan to pace and market all this stuff - Fripp can't be daft enough to think that all his fans have hundreds of dollars budgeted for "keeping up with Fripp" to follow all of these projects - with that in mind I'd be surprised to see all these various projects get released within a years time. Though the Quintet and Fripp/Gunn projects may not be planning any official releases, there's still a lot to sell us on the other 4 projects. >How does this quintet differ from the Sunday All >Over the World group? No Toyah on vocals. A totally different project though it might have some of the same personnel. > Does the "String Quintet" mean >(as it implied to me) an acoustic corpus, as with >the League of Crafties?? I think the Stick takes it out of the "acoustic" setting, though I suspect at least 3 of the guitars will be acoustic. Who knows what Bob's playing, but it seems to me the majority of his work with Gunn recently has been electric. - malcolm [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 6 May 1993 13:28 CST From: SANDERSO at gacvx2 dot gac dot edu Subject: Take a laxative I don't want to drag this out any more than necessary, but I just wanted to express my feeling that Chris King should simmer down. I understand his views, but presenting them in such an abrasive way is like pro-lifers making their statement by bombing abortion clinics--it DOESN'T WORK! Now I believe he had some valid points, as well as some "vicious thrusts" as Fripp might say (anyone recognize the reference?). For one, I agree that "Requiem" is of questionable quality. But "Larks' I" (in my opinion) is a progressive rock masterpiece, offering up not just the best in rock music, but the best in 20th century "legit" music. I won't even get into "Starless" because I don't want to beat a dead horse (or bother to resuscitate it). My point is basically that C.K. has to realize that his opinions are only opinions--and leave room for the opinions of others. Scott sanderso at gacvx2 dot gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Subject: Re: Solos over frippertronics? Date: Thu, 6 May 93 12:58:56 PDT From: Mike Trnka > > Are there any legitimate albums that actually do have the intact solos over > the frippertronics? The only recording I think I know about is the `Easter > Sunday' soundpage that came with Guitar Player magazine a few years ago. I > lost my copy -- :-( -- but I seem to remember that it was an acoustic > nylon-string solo over the 'tronics. There's also the frippertronics piece on the Robert Fripp and The League of Crafty Guitarists LIVE! album. I think it's called "the New World" and I've never figured out what this is doing on a crafty album. Personally I prefer the backing tracks without the solos the way they are on Let the power fall. Also I'm not sure that all of the pieces on LTPF originally had solos. Listen to "1984" for example, fripp is always adding new notes to the loop and i can't imagine where he would solo. sven [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: 07 May 1993 00:03:29 -0500 From: MOONLIT KNIGHT Subject: Stick/gtr parts -- Starless debate Two part msg: The higher Stick notes do often sound like a guitar. Best example I know of (not being a big fan of the song Discipline) is the live Satori in Tangiers on the box set from 1984. You can hear the two guitars going, one underneath, Fripp soloing like it's doomsday ... but wait! Belew is playing the god damn drums on that tune, just the basic acoustic groove. So whatever you hear while Bob solos is Tony Levin on the high end of the Stick. Another observation: on Usenet I've been complaining (without getting much of a response) about the mystery of the addition of Gunn -- why four guitar players? I have a theory as to the general trend of Tony Levin's playing recently that might shed light on how the bulk of new tunes will go. Tony has not been playing as much Stick lately! He peaked during KC 81-4. I assume as a session man he is well respected and has a decent amount of room to work with, creatively. ABWH in '89 is really the last album on which he played alot of Stick. Not with Gabriel since Security ('82). Recently with Gabriel he's been using a stand-up electric four-string bass, at some points ("Across the River") even bowing the thing! My point is that I believe that most songs will be bass (TL) Stick (TG) and gtr (RF, AB). Pure speculation though. Also probably b.s. to say "most tunes" as I think there will be even more instrument swapping than in the 80's. Belew may play more drums -- i.e. the different combonations we saw in the 80's will proliferate in the 90's with more multi-instrumentalists in the band. Where was I going? Chris, I agree to your distinctions between long sections without the theme and smooth chordal changes but not necessarily the value judgements you place on them. The middle of Starless may be cut for brevity's sake but it still works as part of the song. I think it also has to do with what you're looking for in a song -- I don't listen to Starless unless I feel up to it. Still there is some room for value judgement; those suites go out on a limb. Certainly Moonchild is not classic Crimson -- even in Yes's side long suites, some hang together and some don't, but it's only excessive if it doesn't hang together. I mean, if you want to criticize the Sheltering Sky as excessive and droopy, go ahead, but I will turn into a slavering maniac. Nothing beats that song! It hangs together. Enough from me. Jeff [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 6 May 93 14:12:40 CDT From: oskardma at ukraine dot corp dot mot dot com Subject: why be a critic? Chris King once again commits heresy :-) "Numerous Crimhead friends bruised and battered me over the last few issues because of my defense of corporate rock. ... Briefly, I think good music, especially longer pieces, need a good idea or theme and then a good expansion of the theme." Well, why don't we just batter you some more Chris? I think we are looking at music from the wrong perspective. I've been trying to introduce one of my coworkers--a very closed-minded musician-- to some of my CD's and typically get the response "Oh, this didn't sound right...he/she can't sing...couldn't stand the production...etc." But the question we should be asking is: "What can I learn from this music?" Basically, our criticism gets in the way of being able to listen to the music. When all I can think of is how much this piece would be better if... then I'm not listening to the music, I'm listening to myself think about it. In theory, I should be able to get something from listening to the New Kids on the Block if I can get past my bias against them, if only the experience of how a bunch of ultra-pasteurized hormone-raging boys sound. So what does this have to do with Crimso? It seems to me that on the 70's albums, during the instrumental meanderings and improvs, the band is looking to find something new in the randomness (or repetitiveness) of the sound. They're trying to discover music rather than create it. When we say "good music is..." it immediately eliminates any benefit we could gain from listening to anything that doesn't conform to our ideal. OK, I'll stop now. see ya, david [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: jtseet at tesla dot uwaterloo dot ca Subject: The Value of Music Date: Thu, 6 May 93 15:34:55 EDT I believe Chris King misunderstood the intention a paragraph of mine to which he refers. When I mentioned the four-chord structure of "Heat of the Moment", I was using it in *conjuction* with several other points attempting to find some immediate measure of substance of that song. Chris, your previous statement that "corporate rock doesn't pretend to be something it isn't" is ambiguous. You still haven't clarified what it is that KC is pretending to be. I don't buy that "overly clever" business. It's a cop out. Is it because you don't understand what they've done? Do you think it might be worthwhile finding out what it is they have done? I hope this doesn't go against any aversion to learning. I see value in making bodies move. I see value in making money. I see value in lyrics that make you wonder, whether you understand them or not. I see value in catchy licks and neat phrasing. I see value in good production. The value in "Heat of the Moment" is indeed immediately observable to those who agree with these values. My point in that paragraph however, was not that music has to have lots of chords to be a good piece. You are trying to pull the old straw-man thing on me if you expect readers to believe that I really think this. I agree with you that most KC songs rely on three or four chords. Some don't. Have you ever heard anything *different* from Asia?? I haven't...if you have please let me know. You might also consider that a lot of KC songs have a lot of original ideas (and unoriginal ideas used in original ways). It is this innovation that makes King Crimson so fascinating to listen to. However, I fail to find any innovation in Asia's music. All I can find in Asia's music is recycled licks and cliched lyrics. The advantage to this is that the listener doesn't have to be worried about the adventure of experiencing anything new; he doesn't have to break out of his little ready-made world of Asias, Plymouth Reliants, Swatches and all the assorted consumer-targeted/optimized goods. He can be sure that his world is carefully planned and made available to him by the executives of major corporations. The seeming meaninglessness of some lyrics also seems to rub against peoples sensibilities. Understand that love songs are meaningful to almost everybody and thereby are actually redundant. I'm not saying that love songs shouldn't exist. I simply mean that unless the lyricist is writing it in a different way or a different light he is not really contributing anything (take Brian Eno's line "I'll be your smallest room"). When you listen to a song and don't understand it, don't think that nobody understands it. It could be something like "Quatar emay", which apparantly *doesn't* mean anything. But it would be somewhat egocentric and self-important to think that one should understand everything everyone has to say. It may expand your horizons (oh no!) to try and figure out or find out what that person really does mean. If it means nothing, you have still learned something. The value of this is not countable in lyrics which you have already heard and know exactly what they mean. Also, I am not unaware that recycled love songs have that edge of familiarity to the swallowing public and may evoke some previously felt emotion which you may like and are comfortable with. One last question, Chris. I am still not certain by what you mean when you call 17/4 time pretentious. What *do* you mean? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 6 May 70 19:21:13 -0500 From: nash at chem dot wisc dot edu (John R. Nash) Subject: Clueless and Slightly Slack In Discipline #90, Chris King said: >Oh my final proof that Starless' extensions are excess? Bobby, himself, >chopped them off in the edited version found on "Frame by Frame". One >imagines he thought the original additions to Starless were as embarassing >and silly I'm afraid this "proof" is no good. The decision to edit Starless on the boxed set was not RF's. I don't remember the name of the man responsible, but there's a writeup by him in the Great Deceiver book, where he says that he appreciates the full version of Starless more now than when he chopped it off. I can look up the quote, if you like. And by the way, please don't feel too "bruised and battered" by the differences of opinion. The song in question is a favorite of many of us, and your statements are bound to stir responses. What's goofy and pretentious to you strikes others as well-done and fitting for the song. I personally think the mellow, melodic part of the song is strengthened by the tense and manic parts of the instrumental development. I agree that chord-counting is not a good way to judge music. The times that that method works are when the group doesn't know any other chords (or how to sing, or how to use dynamics, etc etc). Crimso has always drawn on a large palette of chords and sounds, choosing many for some pieces and very few for others. One last point. You compare the melody of Starless to those of Book of Saturday, Heartbeat, and Cadence and Cascade. To my ears, the reason Starless works is that in the "pretty theme" are elements of tension that hint at what's to come, elements not included in the others. I guess it's the chords and vocal line at the point "starless and bible black...." that have this quality to me. Enough of my commentary for now. The middle section to me is not "baubles, bangles, tinsel, aluminum siding, dancing girls, or mag wheels," but it certainly has fireworks! I like it. ------------------------------------------------------------------------- John Nash nash at chem dot wisc dot edu ------------------------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 6 May 93 21:59:17 EDT From: fischer at falcons dot ent dot ohiou dot edu (Chris Fischer ME) Subject: sticks Forgive my ignorance, but what *exactly* is a "stick?" ____________________________________________________________________________ | | | Chris Fischer | (614) 593-0415 | | fischer at falcons dot ent dot ohiou dot edu | US Mail: | | Graduate Research Assoc. | Dept of Mech. Eng. | | Dept. Of Mechanical Engineering | 251 Stocker Center | | Ohio University | Athens, OH 45701 | |__________________________________________________________________________| [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Thu, 6 May 1993 13:38:55 -0700 From: Malcolm Humes Subject: What's on Fripp's plate? I posted this synopsis to rec.music.misc but thought it worth sending to Discipline to sum up all the various projects we've been hearing about. 1) The Quintet - already has been touring and now is practicing for a new tour. Maybe planning some recording? 2) Fripp/Sylvian/Gunn/Marotta - an lp already recorded. release presumably pending soon. 3) Fripp/Gunn - apparently there was a recent radio broadcast: titled "Pictures of Chapman Stick Men" on Echoes (a product of American Public Radio) which featured 2 Fripp/Gunn collaborations. Seems like Fripp has beenworking with Trey Gunn a lot in the last couple of years. (BTW, did anyone happen to tape this show? I'd really like to hear it.) 4) King Crimson reformed: supposedly on the back burner until Levin finished his tour with Gabriel. An EP and then lp are due eventually. 5) Fripp & Eno: supposedly they're working on a new collaboration, not a re-take of the classic ambient looping, this one is supposed to be a dance music project of some sort. 6) LIVE BOXES: not a new band or recording project per se, but Fripp has promised another 2 box sets of live King Crimson, from the 80's and the 69-71 period. 7) this just in, 1st I recall hearing of it: Fripp also appears on the new John Wetton solo album which will be out on Virgin Records in September. (From: marwood at csri dot toronto dot edu (Simon J. Marwood)) A bit more than one handful... I'm very curious how they plan to pace and market all this stuff - Fripp can't be daft enough to think that all his fans have hundreds of dollars budgeted for "keeping up with Fripp" to follow all of these projects - with that in mind I'd be surprised to see all these various projects get released within a years time. Though the Quintet and Fripp/Gunn projects may not be planning any official releases, there's still a lot to sell us from the other projects. The consummate Fripp consumers had better start budgeting for it all now... - Malcolm [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 7 May 93 22:39 PDT From: ken%wet at netcom dot com (kenneth stuart) Subject: Solos; Good Ideas? Hello, First, I am not sure what the meaning is of the question "is there a legitimate album with solos over the frippertronics?" Don't all the albums (with frippertronics) others than LTPF have solos? Certainly the best example is "No Pussyfooting", the original discovery of frippertronics, which still has one of the best Fripp solos in " "Swastika Girls". ... Second, in response to the assertion that a good piece of music starts with a "good idea or theme" --- if that were true, I would have to throw out most of my favorite albums! If there is anything that close scrutiny of musician interviews has taught me, it is that they GENERALLY have no idea what music they have produced is good and which is not! (Which is why I am pissed off that God Save the Queen was never issued AS IS on CD; if Fripp wants to re-do it for a box set, that's fine.) Hence, the good idea or theme is not necessarily relevant; in any situation involving any degree of improvisation, the best part may be totally unanticipated (as in the No Pussyfooting album mentioned above). Cheers, Ken [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 9 May 1993 19:20 CST From: SANDERSO at gacvx2 dot gac dot edu Subject: Poseidon live from issue 57 and some more stuff I will make this brief, since it is in response to something from issue 57, from last September, but I just wanted to clarify that King Crimson didn't PERFORM "Cat Food" live on Top of the Pops in 1970--it was lip-sync. Also, a while back, Chris King was talking about John Wetton's work with Asia or something, and he made some derrogatory comments about the drawn-out improv section of "Moonchild" (which led me to sell my disc of "In the Court" when I bought "Frame By Frame." Sorry Chris, but Wetton was three years away when "Moonchild" was recorded. Blame that one on Greg Lake. 8^) Scott sanderso at gacvx2 dot gac dot edu [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 10 May 1993 10:44:34 +1000 From: keens at pitvax dot xx dot rmit dot edu dot au Subject: LTiA I have to join the debate over Starless etc. In earlier editions people have talked about 'losing their virginity', a fairly crass concept to my mind - I heard In the court first, bought the copy from my friend and left it at that. But then my sister bought me LTiA. The first time I heard that crashing chord powering through the tinkling bits, I was a fan. LTiA. S&BB, R and USA are my favourite KC albums - and are the music I think of when I think of KC. I enjoy the discipline period and the early stuff, but that middle period carries me. I can't explain it in terms of musical progressions, beats, chord dynamics (mainly cause I dont understand that) but emotionally. I feel somewhat vindocated by my (limited) experience of the live stuff. While not having heard TGD, the fact that so much of S&BB and R were from live improvisations seems to underline the musicianship of the band. While I have only heard two bootlegs from the discipline period (Unpronounceable and 81-99, courtesy of Steve James a fellow australian discipliner) they confirmed my dis affection with live albums - the band didnt seem to do much with/to the music other than generally try to reproduce the studio sound. On a couple of other notes I went back and listened to WoP recently, and apart from Cat Food which I dont like for some reason (perhaps sinfield lyrics at their most overpoetic - beaten only by the ones on his soloalbum Still), I really enjoyed, and found that some of the instrumentals prefigured the LTiA period. Does anyone know how the group photo insert happened in Islands (my non-LTiA period favourite)? There have been no others (apart I imagine in the boxset books). And why wasn't sunday all over the world a King Crimson? What is it about a Fripp-group that makes it a KC? Similarly League of Gentlemen. Or is it when Robert feels right? enough me thinks. jeremy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: ophir at math dot tau dot ac dot il Subject: What's a stick? (& more) Date: Mon, 10 May 93 13:09:34 GMT+3:00 Hi every1. I'll begin with a stupid,ignorant question. You're all welcome to beat me ,squeeze me , tell all the jokes you like etc... (Here it comes) WHAT THE ___ IS A STICK? I know it's generally a wooden object you throw to a dog ( it has other uses, like beating a stupid ignorant fellas that ask questions like "What's a stick?" ). I asked a friend of mine (Also a CrimHead) and he dunno. (Well in older issues someone asked what a mellotron is so I'm not the only 'brave' guy around). 2. Hey Girls,wake up? Is there a single girl on this mailing list or is this a gay club? 3. Note : In 'RED' album there R several remainders of the US: "... of cold New York City" (Fallen Angel) " asleep on the Greyhound " (as far as I know it's an american bus company) Can anyone explain this? 4. To c_king (great user name for a Crimso fun) about "The great Wetton debate" Alright,let's keep R heads. As you said we all have our likes & dislikes. I, for example don't listen to anything from Crimson with the digit 8 in the year of releasing (strange,regarding no. 1...),but if you don't like good old Crimso pieces you just can't say they R no good, @ least not when you have dozens of others (and I mean from this mailing list,which know , U can assume ,something about music and progressive rock). I don't agree that a musical piece has to be based on a single theme and development or variations of it. KC seem to like to put several themes & ideas in the same piece what makes it (in subjective opinion of course) more complex and interesting ((4 me). And they don't to musically link (resemble in any way). I also do not agree that a theme should be clear,nice humable (c_king didn't say that).Progressive Rock differs from 'normal' pop/rock in that issue. It's different ,more interesting and entertaining (for some) to listen to things that R usually not heard. Not that I support everything that sounds different. You have to listen VERY VERY carefully to detect some of the 'ping pong' game between the instruments on 'Moonchild'. 'Starless And Bible Black' and 'Providence' sound like an accidental collection of sounds to me (d'U like these 1s? Can any 1 explain'em to me?) By the way 'Starless' (w/o '& Bible Black') does have a theme and that middle section contains development all over (Guitar going up,more percussion,etc.),but enough has been said about this piece... There needs to be an idea (1 or more) behind a piece,I agree. What exactly it is , is the difference between musicians in general. Ophir ( he , not she) (ophir at taurus dot bitnet) (Tel Aviv university) (Israel) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 10 May 93 15:52:55 EST From: "Clay Housholder...5-8028" Subject: Bloomington, Indiana When is the Crimson (recently united) to play a run of pubs in the midwest??? In Bloomington, Indiana we have a loyal gang of fans who would nearly kill to be able to witness the majesty again. Adrian and Fripp both have played here recently to a packed place known as JAKES, the booking agent there is Lee Williams. Clay PS I thingk the new LP ought to have a GREEN cover... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: urgent at elea dot umd dot edu (gen) Date: Mon, 10 May 1993 17:04:32 -0400 Subject: A drummer kinda question... Greetings! I'm feeling a bit bewildered, as it seems the two music groups I pay the most attention to are reformin' as of late. Of course, I mean Fripp and Co., but also, Steely Dan are touring again for the first time in, oh, twenty years. The reason I bring this up is: the name Marotta (or Marrota or Marrotta or... hell, don't have any albums here at work). The last couple Steely Dan albums had drummer Rick Marotta. Normally, I don't assume correlations on a name only basis, but this is, well, not unusual, but a little odd to my knowledge (I mean, how many drummers/percusionist could there be out there with the name Marotta?) Anyone have a clue? (Anyone else in the world into both these bands as well?) ObLizard: 7:20 into 'The Sailor's Song', Fripp has, to my ears, outdown himself as a rhythym guitarist (or someone point me to a better example!) a little light readin' from gen ~~~~~~~~~~~~~~Don't waste your time trying to convince~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~the University of Maryland that I even exist.~~~~~~~~~~~~~~~~~~~~~~~ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: cs64sbt at sdcc8 dot UCSD dot EDU (Paolo Valladolid) Subject: Fripp String Quintet show at San Diego Date: Mon, 10 May 93 14:27:49 PDT If anyone is planning to attend the San Diego show (May 27) please email me or post to Discipline. Paolo -- ******************************************************************* pvallado at sdcc13 dot ucsd dot edu If you know you have an unpleasant disposition and dislike people, this is no obstacle to work. J.G. Bennett ******************************************************************* [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "J. Porter Clark" Subject: What does EG stand for? Date: Mon, 10 May 1993 20:28:39 -0500 (CDT) Okay, it's a newbie question. What does EG (i.e., E.G. Records) stand for? Maybe I answered my own question. 8-) -- J. Porter Clark jpc at avdms8 dot msfc dot nasa dot gov or jpc at gaia dot msfc dot nasa dot gov [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] To join this mailing list or have your thoughts in the next issue, please send electronic mail to Toby Howard at the following address: toby at cs dot man dot ac dot uk The Discipline archives are available on ftp.uwp.edu, in /pub/music/lists/discipline. The views expressed in Discipline are those of the individual authors only.