11 February 2004

DGM HQ The Sidney Smith

15.45

DGM HQ.

The Sidney Smith has just left, returning to Newcastle. Sid arrived this morning to discuss DGM Website II. It seems that Sid is likely to accept the position of DGM Website Vibrator.

Anyone interested in the UK train network (which is likely to exclude everyone outside the UK) might be interested to learn that Sid flew from Newcastle to London, then trained to Salisbury, with returns, for significantly less than half the sum quoted to make the complete journey by train.

Another arising - I have been offered promotion: from the position of G4 to G3. Mick Brigden, manager of Joe Satriani, e-wrote Joe and Steve Vai are going out as G2 but with you we can make it G3!!!

The G3 European tour is scheduled for approximately June 13-July 4 & possible additional dates including Spain and/or Eastern Europe. Current plans include shows in Holland, France, Italy, Germany and even 6 or 7 in the UK (all subject to final confirmation). I have happily accepted promotion. The G3 tour of the US in 1997 was my equal-happiest tour in 35 years' professional touring (the other equal-happiest was KC supporting Tool in 2001).

The Crimson TPTB recording sessions of 2002 were delayed by a month, causing me to miss the G3 US tour of July 2002. Much to my chagrin. This delay was a result of Machine's manager lying to DGM Management. Machine was straightforward: he let Pat know he wouldn't be available in the agreed time period. Meanwhile, the manager was assuring us that the sessions were fine as booked. The manager lied.

Soundscapes in a support slot is a very different bag of bananas to a Crimson headlining tour. The level of responsibility in Crimson is crushing. There are responsibilities to band history, band members, music & audiences; the overall quality of presentation, merchandising, venues; decisions regarding the tour planning & budgeting; then we walk onstage to the destructive presence of Mr. Clueless & his extended family. Yet probably any performer feels a responsibility for the "success" of the performance, even when most of the determining factors are out of their hands.

Soundscapes are an operation that is small, mobile & independent, aspiring to intelligence. I am responsible for myself, honouring the role, and the behaviour of the audience is (as always) the responsibility of the audience. But I don't have to undertake to "save" the show where audience-as-consumer behaviour undermines the evening's overall performance. Nor are there long rehearsals, elaborate soundchecks & sophisticated lighting.

Also of interest to the professional musician: Soundscapes provide an income. King Crimson is almost impossible as a professional venture, unless David & Robert leap backwards through hoops of fire to fill gaps between the available & the necessary (of which the band is usually unaware) and at significant cost to themselves personally & professionally. Two performances as G3 (or G4) will earn me more than the whole US tour of Autumn 2003, and this doesn't imply that I am overpaid for a lot of bleeping & droning. King Crimson is not a great career move; but it does provide opportunities outside the mainstream that arise when Crimson is not committed to conventional forms of working.

21.30 Bredonborough.

Home after a day at DGM.

Another significant development in two days of significant developments: the first recording session at DGM SoundWorld II. David set me up on guitar with a midi-feed into the G5 & Logic, with David operating the system. A good beginning & lotsa fun.

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