E L E P H A N T T A L K
The Internet newsletter for Robert Fripp
and King Crimson enthusiasts
Number 963
Monday March 25, 2002
Today's Topics:
NEWS: David Cross playing in London Thursday 28.3.02
Logic and Turntables
Collectors Club No. 19: The New Band Comes Into Its Own
unusual instruments (was: Re: Turntables / Janab = Fripp)
Greg Howard show
SKIN
Elephant Talk #961
turntables.... is this a joke? are you guys all just kidding?
MMW/djs/hiphop/ narrowminded people
krimso ringtones
we demand banjo solos. lots of 'em.
mirrors or panes of glass
Fripp-Hop?!?!
A KC DJ? Why Not?
Club #19 - Nashville - Capsule Review
Turning The Corner
Old Ears=?ISO-8859-1?B?uQ==?= Second Descent to the Blatherboard
Another KC literary reference?
BPM&M insert art
Grand Master Fripp
The 21st century band
Bang on a can (musical instruments)
Sid Smith introduces CENTROZOON Live!
T-Tables
------------------ 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 temporarily being produced using Cheetah PRO Mailing Systems
(c) Black Cat Software Factory (info at blackcat dot demon dot co dot uk)
------------------ A I V I R T S I N I M D A ---------------------
Date: Sunday, 24 Mar 2002 22:27:27
From: David Cross
Subject: NEWS: David Cross playing in London Thursday 28.3.02
Hello there!
If you're in London on Thursday, you may want to drop in to a
wine-tasting with a difference in Hackney. I'll be playing solo fiddle
at this event also performing will be the new David Cross Band singer
Arch Stanton, who flying in from Dublin to perform two sets of his own
material. Geoff Serle, my collaborator on the Civilizations album, will
also be appearing as a DJ.
Best wishes,
David Cross
291 Gallery
sinestesi - an entire evening of multi-media performance and wine tasting
sinestesi is a live, site specific, improvised performance combining
painting, music, contemporary dance.
291 Main Gallery and Bar
Thursday 28th March 2002 7pm-2am
Italian visual artist Maurizio Pio Rocchi has invited David Cross (King
Crimson, The David Cross Band) and Verity Inge,( Motionhouse, Nightshift)=
combine forces to create a unique interchange between three art forms.
Contemporary dancers Marina Collard, Verity Inge and Jonathon Stigwood us=
sound, space and Maurizio Pio Rocchis emerging painting to create a uniqu=
movement experience as all of the performers work with the developing
interchange of stimulus and response. The music is performed by David Cro=
using two electric violins.
The sinestesi performance event continues with live performances and Djs
including Irish musician Arch Stanton, Geoff Serle and Zeljko Kerleta
(cosmic sounds) playing jazz, afro, Brazilian, leftfield and down tempo
rhythmical sounds.
Programme
7pm - Wine Tasting in the bar of organic Italian wines from the Artists
vineyard (while stocks last!)
8pm - Music Performances by David Cross (King Crimson) and Arch Stanton
9pm - sinestesi - a multi-media dance performance in Main Gallery
10pm - 2am Live music performances and DJs continue in the bar.
Entrance fee: =A36/=A35 (fantastic value)
For further information contact Lisa Jensen
291 Gallery Director Edwina Orr
291 Hackney Road London E2 8NA Tel:020 7613 5676
Fax: 020 7613 5692 email: admin at 291gallery dot com
------------------------------
Date: Wednesday, 20 Mar 2002 17:27:56
From: beth-el-sonj at att dot net (Congregation Beth El)
Subject: Logic and Turntables
Just wanted to get my say in on turntable usage. I am a big fan of DJ
Logic, at least live. There's been somewhat different people backing
him each time I've seen him, but I've been consistently pleased with the
results. It's all free jam. The drummer of bassist starts a beat and
the others join in. DJ Logic proceeds to process their sounds, remix
etc... while playing the turntable. The crowd is generally ethnically
different from a Crimson crowd, but there is certainly no exclusion. In
any case, the event always seems to be a musical exploration. I for
one, would not mind seeing someone like Logic on a Crimson album. But
on every song on an album? That's another question. But I would
certainly not rule out a turntable being used well with Crimson. I can
not recall who it was that said it (Matthew Shipp perhaps?), but I
recently heard someone prominent in the jazz world refer to the
turntable as the instrument to explore.
Scott
------------------------------
Date: Wednesday, 20 Mar 2002 16:57:56
From: jmoshier at maazlaw dot com (Moshier, John T)
Subject: Collectors Club No. 19: The New Band Comes Into Its Own
Hi Eters,
My Collectors Club No 19 (Memphis 2001) came 2 days ago. Since I
haven't read any posts on it yet, I figured I got lucky in perhaps
getting mine earlier than some of you.
What a treat you have in store if you are still waiting for your
copy! The disc is taken from two performances in November, 2001 and
includes the 4 newest pieces: Dangeous Curves, Level Five, Virtuous
Circle and EleKtriK. For those of you who have the Level Five CD,
EleKtriK will be a new piece to you. For those of you who don't have
Level Five, No.19 gives you all the new stuff from Level Five except
what the Elephant Talk releases page calls a "hidden track" Improv
(which I'd always taken as a continuation of Deception of the Thrush).
All in all, I found these performances tighter and more compelling
than the corresponding performances on Level Five. If you are primarily
interested in the all new material, No. 19 gives you everything Level
Five does together with EleKtriK (which may be my favorite new piece) in
performances which seem to have have benefitted from repeated honing and
refinement.
This line up really seems to be coming into its own. Pat throws
out a number of percussive devices which are reminiscent of the random
sound effects from the LTIA era. Trey's solo on Thrush makes me wish he
took the spotlight more often: his sense of sheer beauty is unmatched.
The band adds another beat to the familiar riff from Elephant Talk which
gives the piece a fresh new sound. The only slight disappointment was
that the Larks' 4 heard on this recording did not match the incomparable
intensity of the performance of Larks' 4 I witnessed live a few days
later. Maybe it's the difference between "being there" and listening to
a recording after the fact, but maybe I was just fortunate to be part of
a truly magic moment.
None of these new pieces has any vocals. Here's hoping it stays
this way. These pieces sound just right without them, and I never felt
Into the Frying Pan was as satisfying as the ProjeKct material it
emerged from. I also think Larks' 4 works much better the way it is
performed on No. 19 which is without the vocal coda. I'm sure Adrian
will have plenty of opportunities to pull out the ol' thesaurus in the
future, but I hope the band leaves these four songs alone. LTIA, SABB,
and Red were all primarily instrumental albums, and these four players
seem to have found a mode of instrumental expression which stands
complete on its own. The band will need to come up with additional
material to have enough for a full album, and Adrian may find or compose
a better vocal vehicle than exists in this new material.
Happy listening!
John Moshier.
------------------------------
Date: Wednesday, 20 Mar 2002 21:12:22
From: miguel at antonia dot nn dot cl (Miguel Farah F.)
Subject: unusual instruments (was: Re: Turntables / Janab = Fripp)
>Peter Clinch
wrote:
>
>> Courtney Pine made a point of saying how it really is just
>> another instrument, just an unusual one in many contexts.
>
>Yes, and so is a PVC pipe, if you stretch the definition enough.
>(The Blue Man Group uses such things as instruments.) I don't
>know whether "a turntable IS an instrument" is aimed at me, or
>not, but the logic is: A turntable is a device used to play
>records. A CD player is a device used to play CDs. A CD player
>is not an instrument, so a turntable isn't one, either.
When you've seen a water heater, a truck wheel, a W.C. and a ham can
used as instruments, you'll stop complaining.
No, I'm not kidding. Check out _Les Luthiers_, an argentinian band
that specializes in "informal insturments", as they call them.
>In response to "Schopf" , who suggested that
>Ali Janab might be Robert Fripp ... Perhaps, but then that raises
>the question: How do you know I'M not Robert Fripp? (I'm not, but
>you don't know that for sure.)
That's easy to determine. Take a picture of Mr. Janab WITH a flash.
If he complains, he's Fripp.
MIGUEL FARAH // miguel at nn dot cl
#include // http://www.nn.cl/~miguel
<*>
"- Y como sabe que este es el asesino?
- Porque yo soy Sherlock Holmes, y todo el mundo a callarse!"
- Gila
------------------------------
Date: Thursday, 21 Mar 2002 02:47:53
From: dibes at hotmail dot com (Matt D)
Subject: Greg Howard show
For all you fans of the Chapman Stick living in or near Philly, I just
wanted to let you know that Stick master Greg Howard and his band is
performaning at Doc Watson's on 216 South 11th Street in Philiadelphia
this Friday at 10:30pm. Not the best venue in town, but looks to be a
good show anyway!
Matt
www.spacestationintegration.com
------------------------------
Date: Wednesday, 20 Mar 2002 21:32:18
From: lizardluv at hotmail dot com (H b)
Subject: SKIN
Scott wanted me to speak to Erik Friedlander's "skin". Some of you may
already be familiar with his work with Zorn. If you haven't checked out the
'Music Romance" series, by all means do so! "skin", although credited to
Erik Friedlander, is really a TOPAZ effort. Besides Erik's excellent cello
playing, TOPAZ also includes Andy Laster on Alto Sax, Stomu Takeishi on Bass
and his brother, Satoshi Takeishi on percussion.
The music is brooding; definitely within the Jazz idiom, but drawing from a
variety of Ethnicities, and certainly the Classical realm.
An imaginary movie unfolds with every listen.They cover Mancini (Susan),
Mingus (Eclipse), Googoosh (Sahel Va Danya) Hemphill (Skin 1) and Santana
(Golden Dawn). When I saw them last year they played an incredible rendition
of Eric Dolphy's Out To Lunch!
OK, your turn: which LP is Chick Corea and John McLaughlin's
"Beautiful Love" on?
Peace, Dr Howard
"It's ridiculous: people sleep all their lives away. A big snooze while all
these wars are going on without stopping..."
--Don van Vliet (Captain Beefheart)
------------------------------
Date: Thursday, 21 Mar 2002 02:33:50
From: GrooveHolmes394 at hotmail dot com (Jordan Clifford)
Subject: Elephant Talk #961
>>I saw someone who
used it sporadically (strictly for percussive effects), live w/ Medeski,
Martin, & Wood. That *was* great...............
>That was a fellow by the name of DJ Logic, and he tends to do nifty stuff,
annoying or not.
>Steve
not necessarily... they have also used Kid Koala, and his fellow
collaborator DJ P Love. all three of them are really good, and all three of
them add a very good element to MMW.
------------------------------
Date: Thursday, 21 Mar 2002 02:42:29
From: GrooveHolmes394 at hotmail dot com (Jordan Clifford)
Subject: turntables.... is this a joke? are you guys all just kidding?
>There's a lot of new sounds to be explored, using this already
known (and not so great) sound is only justifiable if you WANT to sound
>like hip-hop. If that's what you want, either because you are in a hip-hop
band or want to make some comment about it, that's OK.
its only justifiable if you WANT to sound like hip-hop? WHAT? do you
know what you are talking about at all?
first of the turntable may have come through with hip hop music, but i
guess no one on this list has ever heard of techno and dance music? all
you folks talk almost positively about turntables , but you have to
first say like "its only ok if..." and "oh i once heard it with a
respectable group, so i guess THAT kind of turntablism is ok" medeski
martin and wood dont want to sound like a hip hop band, nor do they want
to make a comment about it. does fat boy slim look like a rapper to you?
does he produce hip hop music? no. a lot of dance music is heavily
influenced by hip hop.. but that isnt the point. his INSTRUMENT is a
TURNTABLE, he is a DJ, and he creates MUSIC with it.
------------------------------
Date: Thursday, 21 Mar 2002 02:30:57
From: GrooveHolmes394 at hotmail dot com (Jordan Clifford)
Subject: MMW/djs/hiphop/ narrowminded people
>Shame, because they are really excellent at
>funk and improv, and are a great and very original trio. Without the DJ.
what is wrong with you people? and that person who said that the day
crimson has a turntablist is the day they stop listening or whatever..
what stupid bullshit is that?
Medeski Martin and Wood: first of all why didnt you include "excellent
at jazz, funk and improv". i mean, in the height of their grooviest,
funkiest period they put out their only live album which takes them back
to the acoustics in an incredible display of talent, playing jazz
classics and showing they are still an amazing jazz band. not that i
think groove is bad, i love it.
second of all, what would make you stop liking them once they got a dj?
THEY ONLY HAD ONE ALBUM WITH A DJ! and it was great! and he is only on
maybe 4 songs! jesus, could you be any more close minded? if you have
Shack Man, the album before Combustication, what makes them different
just because there is a dj? there isnt that much of him on there, its
just some crazy sounds to give it another element, no different then the
crazy percussion Billy Martin uses. there are so many incredible songs
on that album, with or without a dj.
people on this list go on and on about loving music and being music
appreciators and amazing musicians and then they go and denounce and
entire form of music, and wont accept the turn table as an insturment.
do you accept the spoons as an instruement? cause i do. you can do far
less with spoons then you can with a turn table. i say if you can make a
sound with it, it can be an instrument of music.. spoons, turntables,
seashells, jugs, washboards, glasses, i saw a damn great band who used a
printer as part of their song.. they had the printer print out something
and the pattern of sound it made became a rhythm ...
and now this about not liking good music anymore because they have a
guest dj. he isnt even part of the band.
is it so hard to appreciate hip hop? when i say this i dont mean
appreciate puff daddy ripping off entire songs from the 80s and pulling
some bad rhyme over it, and im not talking about the cash money millions
and juvenille, or any of these other 'money and hoes bling bling'
bullshit no talent dime a dozen rappers, im talking about innovators and
talent like A Tribe Called Quest, The Roots and all the OkayPlayer
family, De La Soul, and so many others that im sure none of you care
about or have even heard of. are any of you out their hip hop fans? does
anyone out there actually like every kind of music the way i do? i dont
care if its hip hop, country, electronica and techno and all the
subcategories of that, prog rock, metal, classical, funk, jazz, garage
rock, soul, r&b, blues, punk, pop and everything else out there. to
dismiss something because it has a turntable is foolish.
------------------------------
Date: Thursday, 21 Mar 2002 12:49:28
From: rolfkl at stud dot ntnu dot no
Subject: krimso ringtones
> Date: Fri, 15 Mar 2002 13:26:49 +0000
> From: "poldo taylor"
> Subject: krimso ringtones
>
> Hey Krimsonites,do you know where I can get any krimson ringtones for my
> cell phone? Maybe RED ...
> Thank you all, Poldo
>
i made this one, for nokia, based on a guitar tab i found at
elephant-talk.com:
Red ringtone (nokia):
2#d1 4f1 4#f1 4#g1
2a1 4b1 4c2 4d2
2e2 4#f2 4g2 4a2 1b2
sounds really good to me...
------------------------------
Date: Thursday, 21 Mar 2002 07:14:42
From: OTotor0 at aol dot com
Subject: we demand banjo solos. lots of 'em.
>>The sound itself isn't that bad, but after decades of use it's not the
>>sound that really matters, it's the associated imagery and cultural
>>background. There's a lot of new sounds to be explored, using this already
>>known (and not so great) sound is only justifiable if you WANT to sound
>>like hip-hop. If that's what you want, either because you are in a hip-hop
>>band or want to make some comment about it, that's OK.
great! now we can not only decide which lead singer we like best and
flog the current one into submission, but we can specify which
instruments the band can use >and< how to implement them! ain't
technology wonderful?
even more troublingly, the "associated imagery and cultural background"
grenade that just got dropped in our lap is disappointing and ugly.
please, consider moving on.
yuck,
-thom soriano
www.novasocial.com
------------------------------
Date: Thursday, 21 Mar 2002 15:55:19
From: masse at epoc dot u-bordeaux dot fr (Laurent Masse)
Subject: mirrors or panes of glass
> >Also on the video, there seems to be a number of panes of glass around the
> >drummers. Are these mirrors or some sort of sound proofing device?
>
>Drummers use "walls" as echoing devices, so that they can hear themselves.
>A drummer I once knew played outdoors for the first time and remarked
>that he couldn't get feedback from his playing.
Well, with the double trio, Fripp was sitting just between Mastelotto
and Bruford, and the "panes of glass" were primarily designed fror his
sonic isolation. After the ProjeKcts, Fripp was for a totally electronic
drum kit partly for this reason, while Bruford wanted a totally acoustic
one. This is just one of the reasons why Bruford left.
------------------------------
Date: Thursday, 21 Mar 2002 11:02:02
From: BARLETB at Nationwide dot com
Subject: Fripp-Hop?!?!
Careful?strong message follows, It's an opinion, take it as such. If it
ruins your life?TOUGH, get over it!
I agree with Jan's statement that " there's a time and a place for KC"
(sans the Sunshine band) but there's also a place for turntables! (I
guess you have to do SOMETHING with them!) If I'm in a club, and there's
a DJ ""doin' his thang" it's the place, and it's an amazing thing when
they can work 2 totally unrelated songs into one, or segue 2 completely
different "vibes" without losing a beat, but when I'm in my car, or my
living room or any place OTHER than that, I just don't want to hear it!
And I don't consider "scratching" to be more than just an effect (and
one that's highly annoying after maybe one song at that) Don't get me
wrong, I LOVE the sound that a "flex-a-tone" makes, but I don't want to
hear it in every song. It's just an effect, nothing more!
The question; is a turntable an instrument? Technically NO, but if It's
used as one I guess it could be. Remember, Zappa once played a bicycle
on the old Steve Allen show, so I guess that COULD be an instrument,
I've seen percussion ensembles use "garden weasels" to make "tinkly"
noises, so I guess THEY could be instruments given THAT application. The
Guy in Jackyl plays a CHAIN saw fer krissake!!!(and if anyone has seen
STOMP or Blue Man group?.ad infinitum/nauseum/etc.)
Maybe there is and I haven't heard it yet, but I can't (for the life of
me) think that you can do much more than make the "scratchy" noises when
"playing" a turntable. I would have to hear what impact it had on a
Medeski, Martin, & Wood "creation" before I passed judgment, but I don't
see where or how it can be such a WONDERFUL thing. If KC stuck it as an
effect into one of their songs, I don't think I would discount it or
treat it any differently than anything else, but I would doubt that you
would hear it on more than one track! (maybe we would have another
contender for the WORST KC SONG argument!)
A MUSICAL instrument? I highly doubt it?an effect? Yeah, probably!(
where's my friggin' Flex-a-tone!)
Peace!
Ben
------------------------------
Date: Thursday, 21 Mar 2002 11:03:55
From: cirdec at brick dot net (Cedric Hendrix)
Subject: A KC DJ? Why Not?
Hey All,
Just wanted to throw my little hat in the ring re: this whole
experimental DJ thing. I'm all for it, myself.
Why, you ask? My reply: why not?
The turntable is just another tool to push KC's music into the 21st
century. I think the guys have made pretty clear that they want to make
the most of the technology that's out there, so why not try this as
well?
I think BPM&M pushed Crim's music in that direction already, with pretty
cool results. If not a full-time DJ (which may be a little much), why
not someone in the studio like Munyon, or P@, or David Torn who can
deconstruct songs, and put them back together in interesting ways.
Someone like DJ Logic or DJ Spooky could potentially do some really cool
things with Crim's music, as well.
The point is (for me, anyway) let's not get stuck in the past,
continuing to cry out for old songs at concerts. Not with the
possibilities that are abound in the here and now.
DJ ProjeKct ... has a nice ring to it.
Just my thoughts. Take care.
Ced
------------------------------
Date: Thursday, 21 Mar 2002 18:43:40
From: dannyleeanderson at hotmail dot com (Danny Anderson)
Subject: Club #19 - Nashville - Capsule Review
I've listened to Club #19 Nashville 2001 a couple of times now and two
things stick out in my mind. 1. The heavy sound of this Crim has been
balanced in two very (comparatively) relaxed tunes, eleKctrik and
Virtuous Circle. 2. Pat has become an incredible colorist. Prior to this
recording I envisioned Pat as "the hammer." He was more of a stadium
oriented drummer. This recording has him on a par (dare I say it?) with
St. William of Bruford. Not the same style but on equal footing with him
as a colorist. The three string players deliver awesomely, as usual, and
the clarity of the recording shows how they interweave with each other.
Trey continues to amaze me. VERY GOOD club release!
Dan
------------------------------
Date: Thursday, 21 Mar 2002 11:41:41
From: jonathan at dcsma dot org (Jonathan)
Subject: Turning The Corner
rone at ennui dot org (figmentality) writes:
>
> I definitely perceive a consistent sense of
> purpose behind the music starting off with _LTiA_ that wasn't
> there in previous albums.
FWIW, I agree. Fripp has said (more or less) that there were
enough unfinished musical ideas from the 1969 Crim period to
last through the Islands LP. The next Crim after that, by
necessity, invented new music from scratch. I'm sure there
is more to the story than that, but can only speculate.
In an effort to fit in with the ET "way of doing things",
I will. :)
One thing that struck me about the 1971 Detroit show (Club 18)
was the parody-blues version of In the Court of the Crimson King.
Here was a band that seemingly began (in 1969) with the idea of
moving fearlessly and inventively beyond the boundaries of
"rock music" only to find themselves, a mere two years later,
wallowing in self-parody.
Egad. It's nice that they don't always take themselves so
seriously, but that was (to my ears) embarrassing. I sometimes
wonder if the excesses and the friction of the 1971 Crim
provided a sort of "wake-up call" that inspired our pal Fripp
to seriously rethink Crimson from the ground up.
With Warm Regards to Mr T, his son E, and other ETers everywhere,
Jonathan
PS heard Club 19 for the first time last night. Great noise
from a great live unit. And the occasional comment from Adrian
to keep things from getting too serious. Wish they had some new
songs though (i.e., with lyrics). Also I'm thinking it would be
fun if Pat "played" samples of the Thela Hun Ginjeet recordings
("this is a dangerous place") instead of simply letting the tape
run in the background. Perhaps they are already doing this
and I haven't caught on yet.
------------------------------
Date: Thursday, 21 Mar 2002 21:00:14
From: jonbuckley at earthlink dot net (Jon Buckley)
Subject: Old Ears=?ISO-8859-1?B?uQ==?= Second Descent to the Blatherboard
Old Ears' Second Descent to the Blatherboard
As it has become tiresome to repeatedly come in contact with the widely
held and logically unsupportable subjective opinions of various
discjockeyusturntabulistmoronicusesetal regarding the alleged/supposed
seriousness of this, these and those Crims, I have gathered here for
your viewing pleasure irrefutable evidence of just how (yes even
intentionally) hysterical our King (and the big F) really is. These boys
are knee-slapers, punsters, jokers and funnyguys indeed. And I can prove
it.
This Kcatalogue, both non-subjective and logically supported, is an
effort to set-straight the prevailing opinion of a variety of yo-yos who
have opined at various times, or even of those that have they themselves
taken on an "air of inflation" regarding the alleged seriousness of Big
Red, simply through "contact."
Why, my boys, I once heard with my own organs of audio perception, one
discjockeyusturntabulistsmoronicuses report the following construction,
"They play more like mathematicians than musicians." Ehhhkhkh!
As I refuse to play the popular (and burningly popular here at this
Blatherboard) prepubescent game of
"Pouring-From-The-Empty-Into-The-Void," the aforementioned Kcatalog is
presented here in no particular order, rank or scale.
And so it is that I must now without fail discuss if only momentarily
this maleficent game, "Pouring-From-The-Empty-Into-The-Void," also known
today as
"Justin-Timberlake-Is-Cuter-than-Howie-D-No-He-Isn't-Yes-He-Is-No-He-Isn't-Yes-He-Is"
or in previous ages as "My-Dad-Can-Beat-Up-Your-Dad." This very game
has been played for so long right here that this very Slatherboard fills
to overflowing with it. One can only hope that the higher powers move
this game to the dead threads section, or perhaps even set up a
Thanksgiving-children's table for these noises only if the threat of
banishment wouldn't leave Elephant Farts completely void.
Anyway, without any further ado, and in no particular order except the
order in which the stated tune pops into my already madcap brain, here
is the:
SniKcerlist
Cat Food - Notable for the sheer audacity of following-up such a
"heavy," serious first album with this gem. What a "hoot."
Ladies of the Road - Also distinguishable for it's setting as much as
for it's content. I mean, really - here's a bunch of guys on the "make"
singing this little ditty before, surely, attempting to "score" with
same. What huevos!
Elephant Talk - Funny, pithy, and appropriately assisted by sound
effects. Pure Crimson, sophisticated, and a real charmer.
ProzaKc Blues - A riot in the guise of an alter-ego bluesman. Also,
highly self-reflective, so you have humor coupled with the exact element
that made Discipline the disc more than just music, but Art. Art is
good; funny Art is difficult to pull off well.
The World Is My Oyster Soup Kitchen Floor Wax Museum - Great word play
game
------------------------------
Date: Friday, 22 Mar 2002 10:32:19
From: jimb at ehmail dot com (Jim Bailey)
Subject: Another KC literary reference?
zGreetings folks,
For the benefit of those people who keep track of such things:
Some time ago I started reading a rather large sci-fi book called
"Revelation Space," by Alistair Reynolds. One of the alien species
mentioned are called the "Pattern Jugglers." It would take too much
space to try describing their role, not that I have really figured it
out yet anyway. There doesn't seem to be any acknowledgements section
either, so it's hard to say whether or not the idea is an original one,
or if it was copped from Mr. Sinfield's lyrics.
Jim Bailey
------------------------------
Date: Friday, 22 Mar 2002 23:24:15
From: bsherman at tiac dot net (Bill Sherman)
Subject: BPM&M insert art
Folks:
I'm trying to identify all the people who are caricatured on the CD
insert art for BPM&M's _XtraKcts & ArtifaKcts_. It's mostly obvious but
there are a couple of loose ends.
The front cover is obviously Cenk Eroglu, Pat Mastelotto, Fripp, Bill
Munyon and Tony Levin; I'm interested in the large art on the inside of
the insert (which you can see at
http://www.tonylevin.com/bpmgraphics/bpmwallp3.jpg).
The heads in the tubes are labelled, although you can't make out the
text on the on-line version. They are Cenk Eroglu, Belew, David Byrne,
Fripp, Levin, and Trey Gunn.
The fellow on the video screen at the upper right, playing a keyboard
with one finger, is presumably David Singleton, who is credited with
"one finger mellotron sax riff".
At the console are Pat M. and Bill Munyon.
To the right of the console, there's a King Crimson touring crate with
someone peering out, possibly wearing glasses. Is this a nod to
Bruford? I've seen photos of BB wearing glasses, and he's the only
member of the double trio who is absent from the actual CD.
Below the crate is some sort of robot or machine containing a
decapitated head, with red hair and a goatee. Who is this?
Looking at the CD for musicians' credits, I see all of the above, plus
the League of Crafty Guitarists (represented in the art at the lower
left), Hal Miltone (bass on 2 tracks), "B" (consultation, on the track
"Bonkers"), Aloke Dutta ("the lesson" on "Monkey Mind"), Yoko
("instruction" on "Your Head Is In My Hands"), and Mandy ("instructions"
on "Cranial Interium").
Can anybody confirm whether the red-haired guy is Hal Miltone?
Are some of the names those of pets? There are two dogs in the art; is
one of them Bonkers, or "B", or is "B" just a misprint for "BM"? Who
are Aloke Dutta, Yoko, and Mandy? The notes on the papabear.com site
say that Aloke Dutta gave a "tabla acupuncture lesson", so presumably
he's a tabla player. Anybody have any further thoughts or knowledge on
this?
-Bill Sherman
"As one could be tempted to say ... yo!"
------------------------------
Date: Friday, 22 Mar 2002 21:11:58
From: willm22 at yahoo dot com (Bill Messinger)
Subject: Grand Master Fripp
It seems that many of us were disappointed by the almost immediate
commercialization of rap, hip-hop, turntablers, etc., and it is a real
shame since there are so many possibilities for spontaneity, texture,
"voice," and the like - as you sons of Crim well know.
It is a mistake to imagine that a Crimson turn at the table would be
anything more than a nod to the street punk. Fripp & co. are much too
refined for that, although a cover of "Sabotage" by Beastie Boys would
be most entertaining. It is good to experiment, right?
------------------------------
Date: Saturday, 23 Mar 2002 12:08:27
From: Amos_Brailey at yahoo dot co dot uk (Amos_Brailey)
Subject: The 21st century band
Does anyone here have a forthcoming gig list for this group please?. I'd
love to go see them as I missed the 69 band. I've checked the festival
website but its not been updated yet!. I'm assuming they will do other
dates?. Amos.
------------------------------
Date: Saturday, 23 Mar 2002 21:28:14
From: proginoskes at email dot msn dot com (Proginoskes)
Subject: Bang on a can (musical instruments)
> it strikes me that a trash can isn't an instrument either, it is a
> trash receptacle. Until you turn it over and start banging on it.
... Which asks the question: how far can the definition of a "musical
instrument" be taken? If everything in the world is a musical instrument
(hit it with a stick and listen for sound!), then the term "musical
instrument" is meaningless.
-- Christopher Heckman
------------------------------
Date: Sunday, 24 Mar 2002 11:24:14
From: lee at fletchertronics dot freeserve dot co dot uk (Lee Fletcher)
Subject: Sid Smith introduces CENTROZOON Live!
Dear ETers,
CENTROZOON have made available the first full-length MP3 featuring the
new trio configuration: Markus Reuter (warr guitar & loops), Bernhard
Westheinrich (synthesizers & percussion), and Tim Bowness (vocals).
'Carpet Demon (live)' can be downloaded directly from the News section @
www.centrozoon.de
Of particular interest to some of you will be the inclusion of KC author
Sid Smith's impromptu introduction, recorded during the band's recent UK
tour
Readers in Germany, please note - There will be a one-off FREE
performance in Bielefeld on the 30th March. Please visit
www.centrozoon.de for further details...
Best wishes,
Lee Fletcher (CENTROZOON Representative) lee at centrozoon dot de
www.centrozoon.de
www.din.org.uk
www.burningshed.com
------------------------------
Date: Sunday, 24 Mar 2002 14:49:33
From: alevin at DarkAether dot net (Adam Levin)
Subject: T-Tables
Anyone who thinks a turntable can not be used to amazing effect as an
instrument needs to checkout either of the live Praxis albums.
-Adam
------------------------------
End of Elephant-Talk Digest #963
********************************