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Re: Hey hey hey -- goodbye?
:: Posted by markmmarkm on November 15, 2014

 albemuth wrote:

"I do not understand the recent discussion about lying.  Is the idea here that great artists are great people?  And what is the worst kind of lying?  About drugs?  About money? ..."


R Fripp stated:

"Do you think John Lennon lied for money? Dylan? Hendrix? When we lose faith in our artists, our culture is extinguished."


So I posted a link to a Rolling Stone article that has Dylan lying early on in his career about running away from home and joining a carnival (or something untrue like that) and the heroin stuff and a remark by a Dylan expert (Heylin, as I recall) saying a chapter in Dylanís Chronicles is apparently completely made up.

Since I doubt Dylan wrote the book for free, it appears, yes, he will lie for money.

Here, I again found the story:

In many interviews he gave in the early Sixties, Dylan claimed to have dropped out of school at a young age to work in a traveling carnival.
Some Dylan experts feel that many of the fascinating details in his 2004 memoir Chronicles: Volume One are completely made up. "Jesus Christ, as far as I can tell almost everything in the Oh Mercy section of Chronicles is a work of fiction," Dylan biographer Clinton Helyin recently said.
Read more: http://www.rollingstone.com/music/news/bob-dylan-admits-heroin-addiction-in-newly-released-1966-interview-20110523#ixzz3IbAN7jj9

Farewell Johnny
:: Posted by rogadaire on November 14, 2014

I echo the sentiment of random element 2 in that seeing the LOG for the first time as a teenager also changed my whole attitude to music and the concert-going experience. In that sense, the LOG performance at the Russell Club, Manchester in May 1980 (the first of 3 occasions I was to see them - the final being the Futurama festival in Leeds) was the most important gig I have ever been to. More important than seeing Discipline and the subsequent King Crimson a year or 2 later, and more important than seeing last incarnation of KC to play in the UK, at Shepherds Bush,a decade or so ago. When I hear discussions now about the best gigs people have been to, I cannot help but reflect that the significance and, indeed, enjoyability of any gig depends as much on the mindset of the person witnessing it as it does on the nominal musical qualities and abilities brought to bear by the people who happen to be on stage. Indeed, more so. In 1980 in a small and rather inauspicious club in Manchester my mind was ready to be changed, and changed it was. There was a rawness and directness to the LOG performance - not to mention a considerable unpredictable element given that no-one attending these gigs had any idea what to expect - to a degree I have not experienced by any band or performer since. Johnny was a big part of that. In terms of physique, he actually seemed too slight and wiry to be able to mount a sustained assault on his drum kit - but that impression quickly turned out to be a false one. Such a shame that his energetic clattering of drums was never properly captured on record. I shall not forget it.

Too bad, Johnny
:: Posted by randomelement2 on November 14, 2014

Sorry to read about the passing of Johnny Toobad. The League of Gentlemen changed my concert going experience forever. Up until that point, all of the concerts I had seen were by artists I knew playing music I knew. This was the first time I went to a concert of totally unfamiliar music (and, this being before the age of instant information, I didnít even know until 2 days before the concert that it was going to be dance music), and I had an awesome time. The LOG spoiled me for most other concerts though, unless theyíre totally improvised or the band takes major liberties with the music. So long, Johnny, and thanks for being part of a music altering experience.

Hey hey hey -- goodbye?
:: Posted by albemuth on November 14, 2014

I do not understand the recent discussion about lying.  Is the idea here that great artists are great people?  And what is the worst kind of lying?  About drugs?  About money?

This comes to mind after reading recent articles about Bill Cosby.  If the accusations turn out to be true, then I probably will not be able to enjoy his monologues anymore.  But does that make him any less skilled?  Any less of an artist? 

:: Posted by KantspelldiKc on November 13, 2014

Syd Barrett lied............but never for money

:: Posted by schizoidman on November 13, 2014

Noel Gallagherís dead right!

Peter Frampton has stolen Robert Fripp's wife!
:: Posted by mtrathen on November 13, 2014

One local radio station in Cornwall has a quiz and somebody gave Peter Frampton as a guess. The Presenter proudly said "ah yes Peter Frampton, Toyahís other half. Wasnít he in Crimson Tide?"


:: Posted by randomelement2 on November 12, 2014

Perhaps Iím contradicting what I wrote earlier, but I decided to check out Kyma after reading some posts. I was totally blown away. It just sounds so organic. I prefer synth sounds that are organic as opposed to sounds that are obviously synthetic (which is why I really like granular synthesis). Much more depth of sound, to my ears.

More contradictions to come...

Greg Lake Moments
:: Posted by Turumarth on November 12, 2014

Iím late with this, but Happy Belated Birthday, Greg!

Now, best GL moments: Iíd agree that as far as GL on studio recordings with KC it is CATFOOD that stands out as a great performance.

On the live front itís hard to pick. But the fact is that GL had an absolutely amazing voice. Any live version of Epitaph, Schizoid Man, or Drop In shows it in its majesty. I really love that ascending almost grace-note thing heíd do at the end of the words "schizoid man" live. I wonder why it wasnít sung than way on the record.

After Crimson, well theseís the beautiful acoustic guitar and vocals of "The Sage" from "Pictures at An Exhibition".

For Gregís most memorable electric guitar solo: Iíd pick the version of "Battlefield" on "Welcome Back My Friends".

And on the same album, same song, at the very end thereís an echo-enhanced tidbit of "Epitaph" that is almost spine-tingling. And the performance of Lucky Man from that album was out of this world.

Post ELP there was the awesome version of Schizoid Man live with Gary Moore! Yeah!

And recently, his version of People Get Ready was really quite moving. His voice is sounding rich and resonant these days.

In another life and with the right training Greg Lake would have been an Opera Star not a Rock Star.

Re: Robert's guitar rig
:: Posted by SnakeCained on November 12, 2014

Undoubtedly Mr Fripp has a complex (although not complicated) guitar rig.

I saw this article in the UK Guitarist mag, along with a nice Jakko interview.

I have used Kyma in film sound design and agree it is unlimited in its sonic potential. However as regular readers of Mr Frippís diary will know, he seems to have such little time for actual music making (excluding the necessary daily practice) Iím worried it might prevent him from wonderful composition of new KC material.

Also, as you will have noticed, the ancient GR-1 synth is still used. Perhaps one of the issues of with living with a piece of equipment for years and years, is constantly refining and tweaking the sounds which means you are reluctant to give it up.

That is why I was pleasantly surprised to see the appearance of the Axe Fx processor (the current emperors new clothes of guitar toys), This means retirement of the venerable and also ancient GP-100 guitar processor.

In fact as this has been gracefully replaced, perhaps Mr Fripp would kindly send me a copy of his GP-100 presets for my own unit. Or post them for us all to download. This is not entirely as cheeky as it sounds as within the Axe Fx processor community a lot of pros do this. (Although I can understand his reluctance due to the aforementioned investment of hard work in sonic tweaking.)

Apologies to the non technically obsessed readers of this forum.

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