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:: Posted by DrDick on April 20, 2016
Hi indoorgames - my take on those lyrics are "Now he lies buried in metaphors and allegory wonít let him breath"
:: Posted by emmapeelfanclub on April 20, 2016
Thinking about indoorgamesí enquiry about the GG+F lyric. the first thought that sprang to mind about the line "Palaces of plastic listening to the funny stories" was the masterful Scott Walker. In 1968 he released his second solo album and one of itís highlights is a peculiar song called "Plastic Palace People" which is definitely one of the strangest numbers which has provoked many a debate and musing as to just what itís all about. A rather surreal story involving a balloon called Billy floating over a town of plastic palace people... amazing song, dark and disturbing. Maybe GG+F were referring to that.
DGM Tickles on the iPod...
:: Posted by DanAnderson on April 19, 2016
I put the tickles on my iPod under the "album" name DG tickles. I accidentally created one of the best tracking sequences in some time for any collection.
Lizard Prince Rupert Awakes
Three of a perfect pair
Strum and solo
Sus Tayn Z ProjeKct Four
The flow of these tunes back to back is amazing. Just sayiní...
Live in Toronto review in Polish
:: Posted by rzachol on April 19, 2016
in one of The main Polish dailies
:: Posted by indoorgames on April 19, 2016
I have a puzzle for you. In Giles, Giles & Fripp song "Plastic Pennies" there are such lines: "Popping shiny pennies into knickerbocker glories / Palaces of plastic listening to the funny storiesĒ. The first line seems to be about spending money for desserts? Knickerbocker glory, if you donít know, is a traditional English dessert consisting of ice cream, fruits, jelly and cream layers. The second line is much more mysterious. What it is about? Palaces of plastic are listening to the stories, or maybe palaces are used for plastic listening? In this case what it is Ė plastic listening? Maybe it is listening of LPs? And what are these funny stories? Iím very interested in what do you think about this.
:: Posted by indoorgames on April 19, 2016
Hi, guys! Whether somebody knows the meaning of the word INDALICREE (or something like this) with which the second line of the Meltdown lyrics begins:
"Now he lies buried in metaphors
INDALICREE wonít let him breath
Distorting the truth..."
I will be very grateful for the help!
One interpretation of Prog
:: Posted by jhessel on April 16, 2016
:: Posted by point_moot on April 15, 2016
Ask and I shall receive!
Many thanks indeed!
Fwiw I was holding out on these downloads hoping they would see release (in part, at least) on physical disc, possibly a 2CD best of collection as part of the Collectable King Crimson series. I assume that is very unlikely at this point.
I guess now I can compile my own though. So, win!
:: Posted by point_moot on April 14, 2016
Happy 45th birthday to the Zoom Club residency!
Is now a good time to ask if the recordings of those shows could be bundled together for a special price for us slackers who have yet to grab them?
Ben Monder Windowpane
:: Posted by albemuth on April 14, 2016
Today, by chance, I noticed that there was a video for Bowieís last song from the last album. The video for "I Canít Give Everything Away" uses simple graphics (with no image of Bowie) but is weirdly affecting. As many will know, Ben Monderís wonderful guitar work appears in the last passages, reminding us of Frippís contribution, and guiding us toward the infinite. The video responds appropriately (stick with it) and feels like a perfect farewell to our good spaceman.
Ben Monder appears to be a very significant guitarist. He is a "jazz" player, I suppose, but that label does not well describe what he does Check out his composition "Windowpane," which overlaps a bit with the meditative sounds and discipline of master Fripp.
As influential as Fripp has been, I do not see him as an easy collaborator. I cannot imagine him working with either Frissell or Frith, although it is not hard to imagine Frissell and Frith working together (as they did). That said, I was pleasantly surprised by the Amlehn-Fripp-Jeanrenaud collaboration.
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