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 #915 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 915 Thursday, 13 December 2001 Today's Topics: Completely out of Time Re: correction - The Crimson Court Odd Thoughts Happy accident in show re Michael D. and T. Lev ET up in flames Sid Smith - impressed and not LP Sale / Top Five Boomy sound? Re: Singing and silly lyrics "btrey gunn re tony levin"??? Robert Fripp on next Satriani record three-fourths of Crimson Was it a hoax? header confusion D.C. gig comments Re: Attendance *LIVE* music is a treasure.. the final word Level 5 EP/Dangerous Curves bootleg Discography Query Introduction/Sinfield etc. Fripp & Lloyd's of London ------------------ 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.shtml 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: Wed, 12 Dec 2001 18:28:25 -0800 (PST) From: Bill Messinger Subject: Completely out of Time There's something to consider in these posts about math rock and the "right" time. With enough Immodium AD, almost anything can be expressed as a mathematical equation. The one who contemplated the construction of light went so far as to form an equation on matter and energy being the same thing. This caused many repercussions for the definition of time, for when tied with space, it takes on a certain timelessness. Is this what prompted Freud to write "The Uncanny?" I think (NOT!) therefore I'm late. For musicians with too much "time" on their hands, it might be enough to think in terms of change. Otherwise, they loose the beauty of the melody until it sounds just like a song by K.C. That's why I go for that rock'n'roll music. ------------------------------ Date: Wed, 12 Dec 2001 21:39:06 -0500 From: John Trevethan Subject: Re: correction - The Crimson Court Hi Pierre, The link http://www.mp3.com/stations/crimson_court is the express URL for http://stations.mp3s.com/stations/251/the_crimson_court.html and both work for me on Netscape and IE. The express URL takes a while to resolve, maybe you used it before it was pointing to the correct place. Let me know if it still gives you a problem. Also you wrote: >Some of the groups/artists posted already have their own page on >MP3.com (maybe all of >them) and some with more than that one selection posted on that KC >alumni page. That is correct, The Crimson Court is an MP3.com "Station" which is simply a listing of any artist on MP3.com. My intention is to bring together in one place, all of the King Crimson related artists on MP3.com. The choice to include only one track per artist is intentional. Although several of the artists listed do indeed have many other tracks on MP3.com, some of the artists only have a single track available. My decision to include only one track per artist was to avoid any kind of favoritism, and present all of the artists equally. The idea is to guide those visiting The Crimson Court to each artist's MP3.com site for further exploration. This is easily done by clicking on the artist's name associated with each track. Also please note the "Goodies" area which features Sid Smith's book (with a place to order it online) and a links section which further attempts to bring a multitude of KC related elements together. Hope this clarifies things, John Trevethan -------------- www.mp3.com/john_trevethan ------------------------------ Date: Wed, 12 Dec 2001 23:03:38 EST From: Boobird at aol dot com Subject: Odd Thoughts Dear Folks -- Josette -- More "girly posts!" Love your unique perspective on the KC world... Collector's Club #18 (Detroit 1971) -- The best yet (and its 30th birthday tomorrow). This version of ITCOTCK is an absolute must! As RF states, the need for some folks to "move on" was around then, too... Current KC -- Better and better. Muse and musicians willing, no limits... -- Mark Newstrom ------------------------------ Date: Thu, 13 Dec 2001 00:33:11 EST From: Jdmack01 at aol dot com Subject: Happy accident in show I saw KC play in Washington, DC tonight. During "Vroom," it appeared that in one section, Adrian got 2 beats off from the rest of the band. The result was that during the "descending thirds" theme, wonderful dissonant clashes resulted. To my ears, it added a moment of freshness to this oft-heard piece. I hope that the band might consider this "mistake" to be an interesting addition to the arrangement - or maybe it was intentional to begin with? J. D. Mack ------------------------------ Date: Wed, 12 Dec 2001 23:53:49 -0600 From: "Tracy Family" Subject: re Michael D. and T. Lev Hey all, A quick response to the new "is Tony good enough?" thread Mike D. seemed happy to start. First of all, with KC currently on tour and most posts have concerned that particular event, I'm not sure what prompted Mikes post. I don't believe I've noticed much in the way of any postings about T. Lev of any kind recently. This makes me wonder if there is some unfulfilled promise or expectation he feels he is deserving of. Prompted by his post, I pulled out my copy of the live in Japan video and forwarded to Sleepless. My impression of that particular performance was, "Wow can he play!" His part consists basically of 5 min. of straight 16th notes with the slap bass riff coming in the middle of all of these notes. Mike may or may not be a musician but that is an incredibly hard thing to do. It's like taking an Arban etude and kicken' it up a few notches! In the last two years I have had the pleasure of seeing both Tony (on his waters of eden tour) and KC just a few weeks ago. And while Crimson is my favorite band, I walked away from Tony's show on a bigger high. I think it is his assesablility, and demeanor on stage. He was enjoying himself and established a rapport with his audience. The crimson show was simply fantastic musically but it was cold emotionally. I understand through et that Ade was under the weather which may explain some of the disconnect. That said, I'm glad I went. I enjoyed myself and the new music, and I got to see what a monster Mostelloto is!! He is incredible! And Trey taking the time out of his busy schedule to come to Tony's defense shows what a class act the Crimson family is. Keeping time is one aspect of the music but these guys past and present breathe life into it and make it groove. Thanks to all the Crimson band mates past and present. Curt Tracy ------------------------------ Date: Wed, 12 Dec 2001 22:54:43 -0800 (PST) From: Adam Subject: ET up in flames Hi all, I want to keep this short, so get ready there is plenty of ammunition packed in, and I know you are all ready to strike. Here are my points: 1.) This is a newsletter for fans of the Krim. I don't see where it says, "place to take out agression". 2.) Most of you are hipocrites (spelling?) and those who are not, are instead anal retentive, take your pick. I say this because in light of the recent T-Lev debacle, people are angry because this guy "doesn't get it" or "should not listen to King Crimson" When did this become a gang-mentality? huh, why does everybody feel so ready to tell everyone else what is wrong with how they enjoy music. I am no stranger to being burned, I took an anti-drug stance, and all of the posts written in response said that a KC fan should be able to enjoy music any way that they want, altered or whatever, point taken. AND NOW, YOU SAY THAT THIS GUY IS LISTENING WRONG?!!! I just don't understand. 3) OOH, Trey wrote in, let's all gather around him. He is a musician, yes a really really good one, but not a leader of the UN. The ripping that Signore Destefano is getting is similar to those doled out on the grade-school playground "told ya so, Trey said so, na na na na na na." (:p) So in conclusion, there is so much to talk about music wise, and why fight when we all should band together to praise music, and wonder about the intracacies. It is such a wonderful thing. (The definition of irony: receiving flames on this one. I hope I spelled everything correctly.) ------------------------------ Date: Thu, 13 Dec 2001 02:19:00 -0800 (PST) From: Akilles Juntunen Subject: Sid Smith - impressed and not I guess there's no denying that Sid Smith's Crimson book is an exceptional work. It is indeed so exceptional in all matters KC that one can but regret that it falls into the same trap as all the rock biographies. Whenever it steps outside the Crimson world, stupid mistakes are bound to occur, glaring errors that could have easily been avoided without a lot of detective work. For heaven's sake, it's PROCOL (not Procul) Harum, there's two M:s in Peter Hammill of VDGG fame (as opposed to Frank Sinatra's pal Pete Hamill), Rick Kemp was not "ex-Steeleye Span" bassist when he auditioned for Crimson (he only joined the band shortly after that in 1972), etc. Yes, I know these are minor issues, but in a book this good, one would wish everything to be as meticulously researched as the facts concerning King Crimson. Impressed, yet (a bit) irritated, [ We seem to be big on "errors" in ET recently. I'm sure everyone would be delighted were you to post a list of all the errors you think you have found in Sid's book, with page numbers etc. It would help Sid for a Second Edition, and generally be A Nice Thing To Do. -- Toby ] Aki J ------------------------------ Date: Thu, 13 Dec 2001 11:31:30 +0100 From: Gnad Markus Subject: LP Sale / Top Five Hi ETer's, in the sense of "moving on", I am selling my LP collection - at this moment 137 LPs (including Box Sets) are on offer. Though I will place many of them on Ebay throughout the next weeks, I wish to inform you in this forum. Some music may be found that could be of interest to ETers, including Bowie, Eloy, ELP, Rupert Hine, Elton John, KC and alumni, Manfred Manns EB, Drum'n'Bass samplers, a lot of Austrian singers etc etc.. Anyone who is interested please email me at the above address and I'll send the list out to you. Trade is also welcome - but only CDs please (no bootlegs). And while I'm at it, here's my Top 5 of this year's New Studio Albums: 1) YES Magnification 2) CARLOS PERON La Salle Violette 3) PRINCE The Rainbow Children 4) ASIA Aura 5) this one I dare not say in here *g* Wish you all a very happy Christmas & a wonderful 2002! Markus ------------------------------ Date: Thu, 13 Dec 2001 10:33:36 +0000 From: Matt Nolan Subject: Boomy sound? Live sound (and especially touring - new venue every night - sound) is notoriously difficult to get right. In recent years with more and more "hi-fi" going on in people's homes and on CDs and so on, we are a lot more accustomed to hearing a more full and extended bottom end. Live sound has to be larger than life and so this generally means an over-hyped, full and extended bottom end. Do this in a hall and you will get no end of strange boomy resonances. Some parts of the room will sound fine most of the time, other parts will be in a big maximum node at most of the notes the bass player comes up with, or on the kick drum or on the rest of the crazy electronic percussion. It's a nightmare! One way to minimise the hot and cold spots effect is to use more (yes more) sub-woofers and bass drivers. More, lower power cabinets, spread around the room. If you excite the room from multiple points rather than just 1 or 2, you are much less likely to get really strong hot spots. I haven't seen the system the Krims are currently using, but this theory is borne out to an extent by the fact that the double trio rarely had this problem. Probably because they had more of a "stage sound" - live acoustic drum kits, bass amps, loud monitoring - all these things providing more excitation points than just a pair of columns front of house. Forget modal scales, it's all about room modes ;-) Regards, Matt Nolan. ------------------------------ Date: Thu, 13 Dec 2001 02:44:53 -0800 (PST) From: Teofilus Kierto Subject: Re: Singing and silly lyrics I personally feel that lyrics (silly or not) are quite insubstantial. They're only there as a vehicle for vocal parts. Generally, the simpler they are, the better they are - it's easier to concentrate on vocals as a part of the music if one doesn't need to bother about the hidden meanings behind the words. In this respect, "Elephant Talk" is a great piece of writing and surely one of the best Crimson lyrics so far. (I only wish they'd had someone with his head screwed on when they wrote the tunes of ITCOTCK. I wouldn't mind if for the remasters they'd gone back and rewrote all the Sinfield lyrics.) As for the Wetton/Belew comparison, I find it a bit hard to stomach, them being so different stylistically. I think Wetton is the man for 1972-74 Crimson material just as Ade is for the later stuff. As for pitching, one should always remember the old adage: close enough for rock 'n' roll... Teo K ------------------------------ Date: Thu, 13 Dec 2001 11:08:17 -0000 From: "Nick Cook" Subject: "btrey gunn re tony levin"??? > To: "Thompson T. Terry, Jr." [ Due to my mistake, the post being replied to here was erroneouly attributed to Terry Thompson in ET#313. The post was in fact written by Michael Destefano" -- Toby ] Wow yerself! Thanks so much for the lecture on how we all ought to be doing music. I'm sure Trey and Tony would be similarly grateful. Couple of things though - and please forgive me if I'm not as verbose and, erm, knowledgeable sounding as yourself. "When a band records an album, they need to understand how to best represent (not recreate) the music in a live context." - Erm, I was kind of under the impression that, generally, when a band records an album in the studio, they make it sound as good as possible with whatever they've got. And if they don't have it, they get it in (if they've got the cash). And I'd imagine that, similarly, when a band rehearses for live work, they make it sound as good as possible etc. etc., which is usually a lot less than what was available in the studio. "When I look for mistakes..." - blimey. I think you said this before but I still have trouble believing that's what you do. "I offer no apologies..." - yes, you sound like that sort of person. "How valid were the comments?" - I think there's maybe only one person who would assign them ANY validity. "I believe that music is a relationship between the physical and the intellectual." - ok. I don't. I reckon that the soul probably ought to have something to do with it. I hope you'll tell me you just forgot that. "I am the last person to drool over technical prowess..." - hands up who believes that statement. "...when a performer works within certain contexts, he is obligated to keep up to the standard." - obligated to who? Who sets the standard? What the hell are you talking about? KC aren't amateurs! They may make mistakes. To err is to be human. You maybe aren't. Or you just don't like humans. "Everybody sucks" - your saying that surprises me not at all. "I for one don't care very much for... ...live shows..." - then PLEASE stop watching them, and please stop commenting on them. "Rather,spend a year in the studio, craft your art to its highest degree, infuse life into the pieces by becoming the parts." - how about a PLEASE with that? And maybe they don't WANT to do it that way. Why should they? "A composer infuses emotion into the notes and rhythms by isolating and mirroring his own inner conflicts, then using various techniques to represent what he feels." - is that a fact? I'd better get some inner conflicts or stop composing then. "If you believe in your music, then please have the sense to represent it with as much thought as went into recording it." - don't be so bloody rude. This is someone's whole professional life you are questioning. "Mr. Gunn, I am far from a souless dolt." - "to deny is to lie"!!!!!!! "I hold what you and the others do in high regard" - eh? which bit would that be? "but nobody is beyond criticism or opinion" - be afraid... "opinions, like words are only vehicles that take us to places we normally wouldn't go to" - ooooooh. Didn't know that one. Thanks for your time, Nick Cook ------------------------------ Date: Thu, 13 Dec 2001 13:19:48 +0100 From: Marchetti_Herve Subject: Robert Fripp on next Satriani record This is an exctract of the Joe Satriani online fan newsletter dated 12/12/01. "(...) I wanted to let you all know what I've been up to these days. Everyday finds me in my studio writing songs and making demos for the next CD project. This one is going to rock! I can't wait to hear the band playing these songs. There are 20 as of now, but, I will have to edit it down to a more manageable number before our January 7 start date. With me in the studio will be: Jeff Campitelli on drums, Matt Bissonette on bass, Eric Caudieux on guitar and keys, John Cuniberti engineering, and a few guests... Robert Fripp (King Crimson) has contributed some great performances already! (...) Joe Satriani." I think that might be of interest to ETers out there. ;) cheers. ------------------------------ Date: Thu, 13 Dec 2001 05:26:56 -0800 (PST) From: Wasser Dan Subject: three-fourths of Crimson Last night, at Lisner Auditorium in D.C., I saw three-fourths of King Crimson. I HEARD four instruments, but I saw only three persons. I must admit that I did see a sillouette of a shadow, playing what appeared to be a guitar. But that shadow might as well have been a cardboard cutout. Uh oh ... now I get it. That was Robert Fripp! Oh, Mister Fripp ... you must think that the music is more important than the person ... that people attend concerts just to hear the music ... that the "visual" aspect is not important. Well, you're wrong. You might as well have stayed backstage. Think about it: you wouldn't have had to dress up or shave or shower. Heck, you could have been naked. It wouldn't have made a difference. Because we couldn't see you anyway! In fact, with today's technology, you could have phoned it in. Frankly, it was a boring concert. All the guys appeared to have phoned it in. No enthusiasm. No spark. They looked tired. They looked as if they just wanted to get off the stage. And the "new" music sounds like the old. Elektric could be TCOL. And Level Five could be Larks' Part IV. Funniest moment of the show: (first a little background ... during John Paul Jones' set, an audient yelled out [several times] "We Love You!." Finally, JPJ responded: I Love You, too!.) So, after Crimson's first song, Adrian yelled into the mic: "We Love You! I figured I'd say it before you did." I thought that was a total riot ... clearly, Adrian's humour is still around. (reminds me of the 1996 tour ... when Adrian "played" his guitar with a power drill ... clearly an attempt at some Spinal Tap-ish humour.) Maybe it's time for the boys to take a break. Or maybe it's even time for Crimson to "cease to exist." Have a nice day. Dan (Scotty: get the shields up!) ------------------------------ Date: Thu, 13 Dec 2001 09:03:13 -0500 From: "Distri" Subject: Was it a hoax? This could be the final post about Michael Destefano" surprisingly harsh post about Tony Levin. I believe it's a hoax, and not just because its content is so unbelievable. Kayfabe is a term from professional wrestling that describes the act of "putting a work over", or to drop the jargon all together, selling a fiction. It is named after a beloved wresting fan of old, Kay Fabe, who swallowed every fiction hook, line and sinker. ------------------------------ Date: Thu, 13 Dec 2001 09:57:22 -0500 From: "Thompson T. Terry, Jr." Subject: header confusion Yo! A clarification, I wrote the post in ET#913 Subject: bashing T-Lev? but I did not write the following post Subject: trey gunn re tony levin. Must've been a minor error in the list processing. Don't want y'all to think I'm too schizoid. I assume it was a reply from Michael? Well, Michael, get a reaction you did. [ Sorry again, it was my fault. -- Toby ] TTT ------------------------------ Date: Thu, 13 Dec 2001 10:02:37 -0500 From: Joan Bull Subject: D.C. gig comments I want to apologize to King Crimson. I left the concert thinking they'd been unable to generate many sparks. A friend suggested maybe they were tired from touring (and tooth). But, after waking up this morning, and after listening to the Level 5 CD, I realize how much the poor use of the sound system affected the performance. After all, how can you set the place on fire when the audience - and perhaps the band - are sonically assaulted? The volume level for JPJ was criminal; I wondered if they were substituting volume for talent. The volume level for KC was more tolerable - but when did the decision get made to feature the kick drum over all else? I hope they put out a live concert CD so I can actually hear the music. JoanBull ------------------------------ Date: Thu, 13 Dec 2001 10:41:22 EST From: JasJohns22 at aol dot com Subject: Attendance Perhaps I should have been more explicit when I advised folks to "LEAVE your partners and children at home..." The point was not to discourage anyone from attending or enjoying a concert, but rather to not "impose" one's musical tastes/expectations on significant others. I couldn't imagine myself at an Nsync show any more than my daughter at a KC concert, but there's hope for us both. Cheers ------------------------------ Date: Thu, 13 Dec 2001 11:46:06 -0600 From: Craig Subject: *LIVE* music is a treasure.. >Improvising has it's place, playing and >weaving in and out of grooves is thrilling, when it works---when it doesn't >it can be a trainwreck. I for one don't care very much for trainwrecks, or >live shows for that matter.( give me forty minutes and no more) Then you are often missing the very life of music... Smoky club settings notwithstanding,.......*Live* music is every bit (if not more so), enjoyable, important & valid as is a sculpted studio recording (which has only recently come into existence). There is a wonderful thrill experienced by the live interaction of human beings who are masterful musicians. The rewarding experience of watching (and *hearing*) a live ensemble interact cannot be overestimated. There is an innate 'essence' missing or lost in a cold studio atmosphere........ It cannot be conveyed in a recording. Even a 'live' recording......... People of all cultures (well, except the Taliban....but I did refer to 'culture'..... 8^D)), have throughout history, found great delight, & a communion w/ the music created & experienced live. King Crimson excels at both forms. > Rather,spend a year in the studio, craft your art to its highest >degree, infuse life into the pieces by becoming the parts. A composer >infuses emotion into the notes and rhythms by isolating and mirroring his >own inner conflicts, then using various techniques to represent what he >feels. Sure. Also important. Depends on the music involved, & the situation . Sometimes the crafting process can have adverse effects. >When a band records an album, they need to understand how to best >represent (not recreate) the music in a live context. There are no rules. I personally prefer for studio versions to be radically altered in live settings. There is the composer, & then there are the musicians who perform those compositions. If you do it all yourself, then more power to you. My experience of Tony Levin is of a consummate artist & human being. ~C ------------------------------ Date: Thu, 13 Dec 2001 14:54:14 -0500 From: "Michael Destefano" Subject: the final word To all those responding to my Tony Levin post: Concerning Mr.Levin: You are a very good bass player. My negative statements were opinions that were neither meanspirited or uninformed. All of the readers were quick to defend Tony by proclaiming his uncanny ability to work within the groove like no other...Fine! My criticisms had nothing to do with that part of his ability... My observations have come from twenty years of seeing Mr.Levin perform live with both kc and pg ... there is something I find missing (I personally find Mr. Gunn to be more my type of player--no hard feelings!) Is everybody so blinded with "PC isms" that honest observations of faults are bad and mean and unnecessary and ignorant and I'm telling my mommy what you said? Do you believe that for me to notice mistakes means I have no ability to perceive the beauty of what is going on? I think and listen critically, I observe, and I have preferences..why are yours any more valid than mine? For a supposedly open-minded group of people, you certainly can't stand a differing opinion! LIVE PERFORMANCE:it seems that nobody picked up on the secondary theme of the letter, which was neither a slight nor a heartless attack on live performers. Creativity is something that is nurtured and fine tuned---I don't want to witness the work in progress.. I realize the direction kc is going is very much a free ensemble approach, but I'm sure that consistant and major mistakes would be taken care of as quickly as possible. And no! I don't agree with the statement about the music being so demanding that mistakes are bound to happen---what a bunch of crap! This particular type of music prides itself on technical precision, I know mistakes will happen, but they shouldn't be expected. I also remember the Pat vs Bill posts, some of them were pretty critical of Pats abilities (but then again he was the new guy, not the god). By the way, Gordon Haskell, Ian Wallace and Boz are nowhere near the level of player RF demands, yet all were members of kc(and on my fav two albums). Well lets end this and get on wih our lives...................... ------------------------------ Date: Thu, 13 Dec 2001 19:56:20 +0000 From: "Danny Anderson" Subject: Level 5 EP/Dangerous Curves bootleg Hi Guys & Gals, Guido Vacano wrote recently regarding the ability to download the Dangerous Curves bootleg, "It's a pity KC won't make any money off the download or the bootleg." I was the guy who originally made the compilation because KC wasn't making a stop in the Pacific Northwest and I wasn't going to be able to get the Level 5 EP. So I made my own. I even announced it on ET. I did some trades with some friends but I sure as hell didn't make it available for sale or download. I even told the people who made me money offers that I only trade. I don't record at shows. I buy and sell nothing. Well, chalk it up to either naivity or stupidity but I never thought I'd set up something to be sold later as a bootleg. Sorry Crim. The funny thing is that the guys that I trade with are all itching to buy the EP. I, for one, love trading but I also buy the official releases because I love the music. Hell, I even bought VROOOM VROOOM and I OWN the KCCC Broadway show (disc 2 of VV) and have a copy of the official download Mexico City 1996 concert (1st disc of VV). Trading for rare concert recordings only whets my appetite for the "hot date" and official "love letters." Anyway, I didn't make DC available for bootleg release but I'd sure like to know who did. Embarrassingly yours, Dan ------------------------------ Date: Thu, 13 Dec 2001 20:08:05 +0000 From: "Danny Anderson" Subject: Discography Query In Sid Smith's book on KC, the discography section list two entries which I haven't a clue about. One is a King Biscuit Flower Hour recording and the other is the 30th Anniversary disc. Anybody have any data on these, tracks, length, availability and the like? Please let me know. Dan ------------------------------ Date: Thu, 13 Dec 2001 15:37:44 -0500 From: Matt Endahl Subject: Introduction/Sinfield etc. Hi, My name is Matt Endahl and I'm a high school student from Michigan. I'm mostly into jazz music, particularly jazz-rock and avant-garde stuff from the 60's and 70's (Don Ellis is my personal favorite artist.) I've been into King Crimson for about a year now, and this is about the only post I'll make before I fade back into lurkdom: A while ago I had this assignment for my English class. We were instructed to research a particular poet and make a presentation about him. I chose Peter Sinfield. I emailed him and asked him a question, and he just wrote back to me today, at one point saying: " Suggest read Sid Smith's new book? " What is this book? Can somebody help me out? Thanks, -Matt np: Eberhard Weber - Colour of Chloe ------------------------------ Date: Thu, 13 Dec 2001 20:51:27 -0000 From: "Andrew Pitchford" Subject: Fripp & Lloyd's of London Coda: Marine 475 Now if I'm not mistaken the lyrics are the numbers of syndicates in Lloyd's writing (or probably long since gone out of business) Marine and Non-Marine insurance/reinsurance. Interesting, did Robert lose his shirt at Lloyd's or is it just a tribute to this fine British institution (ahem)? Andy ------------------------------ End of Elephant Talk Digest #915 ********************************