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21st century mix
:: Posted by diffraKction on February 09, 2010

picked up KC- ITCOTCK 5:1 at local record shop saturday, had a chance to enjoy it turned up, today. You’ll fall in love with it all over again.

Looking  forward to Larks...

Under the sky.....
:: Posted by david55 on February 09, 2010

.... also crops up on Pete Sinfield’s Still, where it’s definitely credited to McDonald-Sinfield

Under The Sky
:: Posted by JudedelaB on February 09, 2010

.....was written by Ian McDonald and Peter Sinfield. At least I always thought so

Fripp Lyrics
:: Posted by PapettiIncident on February 09, 2010

To JeffTruzzi:

Under The Sky was wrongly credited to RF in the GG&F CD sleeve notes.
It is actually a M.Giles+P.Giles song.

best!

guilty as charged...
:: Posted by concentricfridays on February 09, 2010

...for desiring a piece of my pet store song! I hope Mike + The Mechanics are getting at least a slim dime apiece in royalties. But that was the 80s; I should probably know better by now. If indeed I was hearing internet and not a Muzakesque service, then the song has actually been "purposed" twice:

 1) playback for internet streaming
 2) playback in retail environment

I recall Mr. Mister anecdotes here some time ago and the spin of never breaking even! Not sure if even a miracle could help many of those contracts. Andy Partridge and Colin Moulding of XTC seem to walked through quite a fire.

G-Man Hoover

music for shopping
:: Posted by concentricfridays on February 08, 2010

I found myself buying birdseed in a local pet shop that always has internet music streamed through its speakers, at a pleasant volume level. Ah, there it was again, a familiar tune I’ve never owned, but one that, like a frisky puppy or kitten, is so disarming, it’s almost hard to hate; a tune as if a burst of sunshine on the dankest of days, transforming all frowns into smiles. I opened my pocketbook.

The air was engulfed with the voice of Paul Carrack, accompanied by Mike + The Mechanics, proclaiming exuberantly, "All I Need Is A Miracle", guaranteed to put me in a right mood for wanting to buy something -- buying anything. As I entered the parking lot, I thought, "I wish I had a dime for every time I’ve heard that song in a retail store. A little corker, that one."

Red Bear
:: Posted by PyramidHead on February 08, 2010

Hey, in my ongoing quest for a perfect guitar pick, I came across this company: www.redbeartrading.com. They make some pretty cool picks with interesting bevels and grips. Most of their picks were thick and heavy. But way down at the bottom was a black triangular "ultra light" gauge pick called The Crafty. Does anyone at Guitar Craft know about this, or have any opinion on it?

Incidentally, what is the thinking behind such a broad, thin pick? Many players use thick, stubby picks for speed (and in general) their greater mass produces a louder, fuller tone with less effort. Plus, a thick pick is optimal for fast runs because it "glides" better across the strings, or so the reasoning goes. Now, obviously Robert Fripp and the LGC have no problem whatsoever playing intricate, toneful often rapid music with a flexible rubbery pick. It just surprised me when I learned RF did not prefer heavier, beveled-edge picks given his stellar picking technique. 

G3 Jam
:: Posted by abhitaranath on February 08, 2010

Saw G3 w/Fripp in San Diego sometime during the end of ’97 (I think).  They all jammed on My Guitar Wants To Kill Your Mama and Red House.

RF was off in the back and to the left with a faint red light on him.  As soon as it was his turn to solo (on Red House in particular), his notes came sizzling out of those speakers (louder than any of the other "main" guys) and even Kenny Wayne Shepherd had to just stop playing, turn around, and watch RF go nuts on his Les Paul playing the bluesiest solo you’ve ever heard him play.  Safe to say that a good many people at the show did not know RF’s work prior to arriving, but you better believe they sought it out after that night.

It might have been "the moment" or whatnot, but my memory is that his solos at that show were right up there with some of the most visceral guitar work he has recorded for the ’72-’74 Crim along with his solos on Eno’s and Bowie’s records.  Just a fantastic night all around.

 - Abhi -

GuZheng madness
:: Posted by nungboy on February 08, 2010

As an avid but very amateur GuZheng (Chinese Zither) player I was very intrigued to see the photo of Jakko’s GuZheng in Robert’s recent diary. What really threw me was the fact that there are movable bridges on the left AND the right. For those not passionate about Chinese music, the movable bridges of the GuZheng, the Japanese koto, and all other Asian offshoots are only on the left side of the instrument because there is a straight, immovable bridge on the right side. One moves the individual movable bridges for each string to set the pitch of each string (one can also fine tune with the pins and a tuning key). When one plays, one plucks the main portion of the string with the right hand and with the left hand one tensions and releases the string to the left of the movable bridge (on the non-speaking portion of the string) to obtain the characteristic rising and falling pitch bends that the Zheng is known for. But Jakko’s has bridges on both sides which effectively takes the regular bridge out of play. Weird! Any ideas as to why he has this going on? I myself do not use a strictly traditional technique so I understand and approve of non-traditional approaches to the Zheng but this is, um, kooky!

leonmanescu
:: Posted by paulwelsh on February 08, 2010

When I saw G3 in London the encore was "Red", with Fripp seated a little behind the others. And the whole evening rocked. Shame about the idiots calling out during the scapes. 

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