Date: Tue Feb 8, 2000 4:31 am
Subject: CALAMITY

Hello friends,

And welcome back to a next issue of The Official David Cross newsletter.

As you already know, this year we are expecting two brand new releases from David Cross. The first one is a new Radius album called “Civilizations”. The album is already recorded and right now it’s passing a mixing phase. Last weekend David was busy selecting from different takes of the recorded material and mixing the album. One of the finished tracks is called “Floating”. There is still no confirmed date of the “Civilizations” release, as soon as I have any information I’ll let you know.

David also keeps on working on his 5th, yet unnamed, solo album. The first set of lyrics from Richard Palmer-James is already received and, according to David, they are excellent. What else could we expect from the man who wrote the lyrics for “The Night Watch”? By the way, I hope to prepare an interview with Richard for the next Calamity issue, so stay tuned...

At last I have some information about a line-up for David’s forthcoming album to share. Here are some words from Mr.Cross himself: “On DC5 I will be recording with Mick Paul (bass), Paul Clark (guitar) and a drummer as yet to be decided. I hope that Pete McPhail will play some soprano sax and I am now looking for a singer.”
(Just wanted to remind you that Pete McPhail is a composer/flute/sax player who is well known in England as an improviser. David worked on some projects with him when he was in his 'jazz' phase. They had a trio with Sheila Maloney called Beckett Music, which interpreted the plays of Samuel Beckett as music. He played on some tracks on “Memos from Purgatory”, “The Big Picture” and “Exiles”.) Probably, the new album will feature a guest appearance from Robert Fripp.

By the way, I received some questions about different versions of David’s latest album, “Exiles”. There are some differences between European, American and Japanese versions of the album. The USA version of “Exiles” has “Duo”, the European version has “Cakes” and the Japanese version has both compositions. Both are Cross/Fripp instrumental duets.

And once again I remind you that on-line credit card sales are now available from the Noisy Records website at http://www.noisy.co.uk

Here is another interview with David Cross for the "Music Box" magazine (Russia).

Q. Was it your decision to learn violin or your parents' insistence?

A. I had the opportunity to start learning in a group at school (at the age of 9). My parents were supportive and bought me a quarter size violin for £1 from a second hand shop. It had no bridge but after we sorted that out it was fine.

Q. The violin is a quite unusual instrument for rock'n'roll. How did you decide to play in a rock band?

A. I wanted to be a pop star and playing in a rock band was the nearest I could get to that.

Q. What was your first band?

A. A group while I was at school where I played an acoustic guitar with a microphone dangling inside it. We tried to play 'The House of the rising sun'.

Q. Did you hear King Crimson music before you joined this band? Did you like their music?

A. I didn't listen to any King Crimson before I met Robert, but before the day when the band formed I had listened to some. I thought it was like film music and it didn't seem to have the directness of the rock I had heard. I don't think I'd heard 'Schizoid man'.

Q. How the King Crimson material was written? Was it created from the band's improvisations or some of the members just came with ideas and then the whole band worked on them? How Larks' Tongues In Aspic I was written, for example?

A. Yes it was written in all the ways you have suggested and others (e.g. created from recordings).

Q. What did you need to stay with the band? Was your departure inevitable?

A. I think it was inevitable.

Q. Did you keep in touch with your KC colleagues after your departure?

A. Only Bill for a short while.

Q. Have you heard 80's or 90's King Crimson recordings? If so, what do you think of them?

A. Yes I've listened to some and they are very impressive. I'm glad the sense of humour has survived.

Q. Are any recordings from your middle-seventies projects available? What kind of music did you performed in Clearlight Orchestra or ASCEND, for example?

A. The Clearlight Orchestra made an album with me called 'Forever Blowing Bubbles'. Ascend did not record much although somewhere there should be a pilot video of a Thames TV programme featuring the band.............

Q. What was the main reason for your going over from rock music to the theatre? And since the majority of the readers have no idea on this period in your life could you, please, tell us more about your work in theatre? At what kind of theatres did you work? What kind of plays did you stage? What are your favourite role and/or play in theatres?

A. This should be in my biography... I have enjoyed playing all my theatre roles.. Particularly a short lived production (called 'That World' co-written/produced/directed with English Actor/writer Dean Allen) in October 1995 in which I played 'Shades' (Hades) in a reworking of the Orpheus and Eurydice story in collision with a Japanese traditional tale of love and death. I also wrote music for the production, some of which formed the basis of 'Hero' on the 'Exiles' album. I love 'playing' in most of its forms.

Q. And back to the music. After leaving King Crimson you worked as a session musician from time to time and formed David Cross band only in the end of 80's. Why did it take so long? How did you get acquainted with DC band members?

A. A long story. In musical terms.. I formed a large band in Ireland and did some concerts, in England I spent a few years confirming that I couldn't play jazz, I studied violin, I extended my improvising skills, I worked with community bands, I formed a jazzy kind of improvising group called 'They came from Plymouth' which I realised ought to be a rock group and then formed a rock group. Dan Maurer found me playing in 'They came from Plymouth' in a pub in North London and eventually I played with him and others on 'Low Flying Aircraft'. I had met Sheila Maloney whilst teaching a course. We advertised for everybody else in Melody Maker and auditioned them.

Q. Please, tell us about another important project you were involved in, Radius. How did you join this band?

A. Geoff Serle asked me to play at a WOMAD festival with 'Research' and then created Radius....

Q. By the way, is there any unreleased project featuring your playing?

A. Not as a complete album. There are a number of unreleased tracks that I and others have.

Q. What kind of music do you listen to?

A. I rarely listen to music now.

Q. And what kind of music do you prefer to play: avant-garde, progressive rock, jazz or classic?

A. I'm not sure how to answer this question. I enjoy improvising with other musicians, whatever the context. I also enjoy being part of a well organised band delivering original well rehearsed music.

Q. What kind of equipment do you use? And what equipment did you use in King Crimson?

A. Now: Zeta violin, Art processor, Peavey combos. Then: Barcus berry bridge pick-up on a Vincent Violin, Pete Cornish pedal board, H and H stack.

Q. How did you come to the electric sound? Is it current technology that influences your style or do you choose the equipment for your musical ideas?

A. Both.

Q. Why did you choose to establish your own record company, Noisy Records?

A. To establish a more direct link between myself and the musicians I work with and our audience. To seek to define what I mean by Noisy music.

Q. Do you plan to release the works of other artists through Noisy Records?

A. In the first phase I will be making available the music of other Noisy type artists by presenting their CDs and downloads on the Noisy Website. Later I hope to release suitable performers on the Noisy Records label.

Q. What are you plans for the nearest future?

A. I am working hard at my computer skills in a number of practical areas. I am working on a final track for Civilizations, the next Radius Album with Geoff Serle. Mick Paul and I are well advanced on writing the next David Cross album.

Here are some places to buy David Cross works: http://members.aol.com/noisynoisy - Noisy Records (DC's recent solo albums); http://www.disciplineglobalmobile.com - DGM (King Crimson albums feat. David Cross); http://www.artist-shop.com - Gary Davis Artist Shop (King Crimson, David Cross solo works and some other Cross-related albums).

All the best,
George Khouroshvili
 

Date: Wed Feb 23, 2000 5:53 am
Subject:

Hello friends,

I'm happy to announce that "Calamity" archives are now available at the "Demos From Purgatory" site owned by Eugene Polyakov. All you newcomers now don't have to search Onelist archives to read the previous issues - just follow the link: http://www.geocities.com/SunsetStrip/Theater/5775/cross/

At this site you'll also be able to find many interesting and useful information about David Cross and his music. Enjoy!

Many of you asked for any information about Paul Clark, the musician who did all those "guitar acrobatics" on David's albums. Please, find the bio from the man himself.
 

Paul Clark
Lead Guitarist
Of the David Cross Band

Full name: Paul James Clark
Born: South East London, UK
Date of birth: 12th October 1965

Principle Instrument:
Lead / Rhythm Guitar

Additional:
Lead / Backing Vocals, Song Writing, Composition, Programming / Sequencing, Sampling, Drums and Percussion.

Musical History:
The first instrument that I learned to play was drums at 9 years old. It became the foundation for my sense of timing and although drums are no longer my main instrument, I still enjoy getting behind a drum kit when I can. I learned to play guitar when I was 12 years old and here is the story. I have an uncle called John and he could play guitar. He could play ‘House of the Rising Sun’ and nothing else. On 4th November 1977 my uncle showed me the chords to this song and gave me the guitar. It was a cheap old nylon strung acoustic. I played it over and over but I got it in the end and this was the beginning of a love affair that has lasted ever since. I still have that guitar and I’m teaching my eldest son Alex (7 years old) to play it. He’s trying to learn the James Bond Theme and not doing too badly. I’m sure he’ll get there in the end.
I was too young to actively follow progressive music during the early 70’s as I was between 5 and 11 years old when it was at its peak. This means that I was a little too young to go to gigs. As it turns out it was the same uncle that was listening to Yes, Genesis, Deep Purple, PFM, Trace and ELP and this was where a 5-11 year old acquired an ear for progressive rock. At the time all of my little friends were into David Cassidy, The Osmonds and Sweet etc, something that I could not understand. Also, my grandfather was introducing me to Classical music (particularly Eastern European composers).
Give a young boy a guitar with a head full of Yes and Tchaikovski and an independent streak that is contemptuous of fashion and see how he turns out.
That sounds like all of the ingredients for a rock guitarist to me.
It wasn’t long before I was learning more on the guitar and playing along with Genesis bass lines on my acoustic.
A year later it all changed.
I discovered electricity and Motorhead, AC/DC, Black Sabbath, Judas Priest, Hawkwind, UFO and Led Zeppelin. Don’t laugh I was only 13. But this is where I learned to ‘riff’ and find my way around a few blues rock licks.
I joined my first rock band at this time called ‘Aquila’. We had no songs so I wrote them. We had no singer so I ended up doing it. I played my first gig at this time. “No turning back now”.
In 1978 some older friends took me to see Black Sabbath play in London. The support band was Van Halen. This was a ‘life changing’ event. I didn’t know weather to give up or go home and practice. It took until the early 80’s to learn to play ‘Eruption’. It was one of those ‘try it, leave it and go back to the Sabbath, get a little better and try it again’ things that lasted for a few years. Once I’d figured it out I was so proud of myself that I called a friend “come ‘round to my place and check this out”. He came to my place but he brought an album with him. It was Rising Force by Yngwie Malmsteen. Once again I was blown away. That set me on the technique trail. I was hungry for all of it, Malmsteen, Satriani, McAlpine, Vinnie Moore etc. The Mark Varney stable of advanced ‘shredders’. I know that people cringe at these names now but I did learn an awful lot about discipline, accuracy, trickery, theory and I developed a taste for learning Baroque music and applying it to the electric guitar.
After playing in several rock and metal bands I became disillusioned with the whole shredder thing. I felt as though I was being judged on every guitar solo in the same way as a gymnast. It was as though a good solo had to contain the complete set of techniques available to be a good one. I found this constraining and I needed a change. That’s when I discovered Jazz Funk. I spent the following years playing Funky Rock and then pure Funk. Clean rhythm guitar sitting in the rhythm section as an extension of the percussion. I threw in the odd solo but it was not stuck in a set formula. It was fresh and great fun. There was no need to impress, just get into the grove and enjoy it. It was here that I really learned a great deal about playing across the beat and phrasing. It brought out the drummer in me. Eventually I needed something extra. I found myself missing rock music but I still enjoyed the grove. In the early 90’s I found Yessongs on CD. I hadn’t heard it for years but as the live version of ‘Yours is no Disgrace’ is one of my favourite songs of all time so I thought that I’d get it and give it another listen, all be it for the first time in ten or more years. The thing that amazed me was that it was rock with a funky rhythm section and it was so beautifully written that I was blown away all over again. It was like going back home. This time I was a much more developed instrumentalist and musician. None of the original substance that attracted me to it had disappeared. If anything it sounded better than before. The next step was to go back through all of that stuff and I found that I love it more know than ever. Albums such as Yessongs, Going For The One, Relayer, Foxtrot, The Wind and the Wuthering, Chocolate Kings, Trace, Strangers in the Night, The Trick of the Tail, 2112, Permanent Waves, etc. This music contained everything that appealed to me. It had really great drummers that could grove, there would be heavy and light moments, tempo shifts, unusual time signatures, key changes and in some cases, all of this in the same 15 minute song. What more could I want.
In the early 90’s I did get into Dream Theater. The technique is all there but I’m not so sure about the song writing. Their good bits are really good but there is a lot that is not to my taste. These days I still listen to the old stuff but I do like to mix it with Satch, Vai, One Minute Silence, classical, blues, be-bop, fusion, trance, funk. If I like it, that’ll do for me. Although it’s mostly rock music that ‘flicks my switches’ I’m not constrained to just one thing. That’s not healthy for a musician.

Let’s talk Cross.
I think it was 1994 (or 93 I’m not quite sure) that I’d had a little bit of a falling out with one of the guys in a band. It was a funk band. I’d had enough. I got a music paper and saw an ad for a rock guitarist. It was time to go home to rock.
I went for the audition in London.
I wasn’t quite sure if I liked what I heard as it was not quite what I was looking for.
I do recall the old guy with the electric violin making some great sounds and I thought that he was a great player.
It was John Dillon that really did it for me. How could someone with such a terrible looking technique play so well and generate so much energy. I still don’t understand how but it works. At the time I had no idea if they thought I was good or bad or indifferent. Johnny was helping me load my kit back into my car when he said to me “do you know who you’ve just auditioned for?”
“No” I replied.
“David Cross.” He said.
“Who’s he?”
“He used to play for King Crimson.”
“Oh, the 20th Century Schizo crowd. Very clever stuff but it’s not really my kind of thing.”
A few days later I got a call saying that they’d like to try me out for a while and see how it goes. I like progressive but I’ve never been a big fan of the experimental stuff as I like to work things out. After a while I felt as though I began to get my head around the way that David works and I really enjoyed it.
Working with David is hard work, inspiring, soul destroying and just ‘out there’.
Hard work because he’s always searching for that something which is very hard to find. When that something is found it really can be quite something but the searching isn’t all that easy but worth it none the less.
Inspiring because of the times that it really comes together. I’ve been on stage with David many times and I know what to expect. His playing standard is very high and he can be very unusual and unorthodox (sometimes more like a guitarist). Every now and again David has a great moment (considering his own standards) and when they occur it is a truly great experience. On those occasions it’s easy to get the “I’m not worthy” vibe and it makes you feel so proud to be part of the same band.
Soul destroying because, I guess, the nature of the music. Writing and playing with David is never going to be easy. That’s why there is only one David Cross. When things went well they went really well, but sometimes things did not go quite so well and the whole thing could get quite painful. I’d just hang on in there waiting for the ‘really well’ bits.
‘Out-there’ because of the times that it all came together. I do recall playing Learning Curve on more than one occasion and getting ‘out of it’ on the music alone. For all of the music that I have in my collection, Learning Curve is one of my favourite songs of all time and I feel proud and fortunate that it was me playing on it.
Eventually, I felt that I needed to write with more order and composition and the band tended to do a great deal of improvisation in a manner that was not to my taste. I think that the band sensed this and would have found my writing style too constraining considering the way that they go about their business and what they stand for.
I was beginning to write in a style that does not suit David so I was keeping it for another time and another band. I’d expressed to Sheila Maloney a few times that I was not comfortable with the way things were and I guess that the rest of the band got together and figured out that I was no longer the ‘right man for the job’. When I got the bad news I was a little sad but in another way it allowed me to carry on with my own music which made me very happy. I formed a band called Siberia (which I’m still in today) and I’m really enjoying it.
The really great part is that no feelings were hurt and I’ve remained friendly with all of the band members. I still record with David as I ended up doing most of the playing on Exiles although I was out of the band by then. When David records his next album I think that I’ll be playing on that too, which is something that I’m really looking forward to.
If David decides to ‘go live’ again he knows that I’ll be there if needed.
To sum up, although David’s music was not the kind that I imagined that I’d end up playing, I really enjoyed it and I learned a great deal in the process.
How can you not.

All the best,
George Khouroshvili
 

Date: Thu Mar 23, 2000 10:52 am
Subject: Richard Palmer-James interview

Hello friends,

This issue of Calamity is dedicated to the 1972-74 King Crimson lyricist Richard Palmer-James who is going to write lyrics for the forthcoming David Cross album. Here is the interview with the man and there are tonns of interesting info in it. Enjoy.

********************************************

C. When did you start to write lyrics? Who was your major inspiration?

RPJ. I started to write lyrics when I joined Supertramp in 1969, because nobody else in the band wanted to do it. It was a little bit like having to do school work, you know... in fact, it still is. I didn't really take it seriously at first. Playing guitar is a lot more fun. I wrote the words for Supertramp's first album; after that, I began to listen to what real poets were doing - Paul Simon, Dylan, Lennon, Joni Mitchell. Most of all, I wish I could write words like Chuck Berry did.

C. Please, tell us about your first band.

RPJ. I started playing guitar at 13 or 14 and followed the musical trends of the sixties with a group of school friends, which included John Wetton. Apart from the Beatles, and then soul music (which has always been very big in England) I learned a lot of blues stuff, the music I still enjoy playing most. My first professional attempt was called Tetrad. John Wetton played bass and sang. A guy called John Hutcheson played Hammond organ - he's now an aeronautics engineer and lives in California. Bob Jenkins played drums; I haven't seen him since 1969 but I understand he is a respected session player. We didn't dare to play original material, so we stuck to our heroes: Vanilla Fudge, ELP, Traffic, Graham Bond stuff - the prog rock music of the time. It was very loud. We drove all over England for very little money and gave up after a year.

C. What was / is more important for you: to write lyrics or music? Do you feel yourself a poet or a musician?

RPJ. I think words and music should - ideally - be inseparable. The lyrics to a song are of no interest standing there on the page. They should engage in, and profit from, the mystery of the music and the singer's voice. I'm not a poet. I'm a bad musician. I try to express in words things that are impossible for me to articulate on a musical instrument.

C. You played in Supertramp for several months. How did you join this band?

RPJ. I answered an advertisement in the English pop newspaper Melody Maker in August 1969, right after Tetrad had broken up. I went for an audition in London. Rick Davies had chosen Roger Hodgson as guitarist the day before, but the three of us seemed to understand each other, and Roger decided he would learn to play bass - which he did brilliantly. Incidentally, I auditioned for Wishbone Ash on the same day.

C. Why did you leave it?

RPJ. I left eighteen months later because our initial understanding had disappeared, sadly. I didn't really fit in that musical situation. Although I thought at that time that I knew everything about every- thing, I was in fact a late developer, a slow learner. I admire Rick and Roger greatly as performers and songwriters, but most of all I admire them for NOT GIVING UP in the early seventies. They worked very hard indeed for their success, which came after five difficult and frustrating years.

C. Correct me if I'm wrong but I think that at that time you moved from England to Germany. What was the reason for such a decision? And why did you choose Germany?

RPJ. Supertramp had played in Germany for several weeks in 1969-70, and I found at the beginning of 1971 that I had more friends here than in England. So I thought I would come over for a while, not having anything else to do. I soon found that I could - more or less -make a living in Munich, playing guitar here and there, and writing music for films. I was very interested in cinematography, and I even tried to get into the Munich Film and TV School; but my German wasn't good enough. Munich was booming culturally in the seventies. I just sort of stayed. I had not had any connections or affiliations with Germany beforehand.

C. You knew John Wetton from the 60s and it was he who invited you to write for King Crimson. Was Robert Fripp aware of your previous works?

RPJ. No, I don't think so. Robert was already a legend as a guitar virtuoso in our home area (Bournemouth, on England's south coast) in the late sixties, but he and I had had no personal contact.

C. Your predecessor, Pete Sinfield, had a very unique writing style, which brought a mystery to King Crimson albums. Your lyrics were very different, there weren't any fantasy or fairy tales at all, I may be>wrong, but your poetry seemed to be closer to the European existentialists. I wonder if you felt comfortable writing for King Crimson for the 1st time?

RPJ. I had absolute carte blanche; I could write whatever I wanted; wonderful! I haven't had that kind of freedom very often since. And it was clear that simple love songs would not be required.

C. Did you hear KC music before John asked for your assistance?

RPJ. Oh yes, the marvellous first album was a sensation in musician's circles at the time I started playing with Supertramp.

C. What was the first song you wrote for King Crimson?

RPJ. EASY MONEY or BOOK OF SATURDAY, I can't remember which.

C. The Night Watch is one of the most beautiful songs ever and your lyrics for The Night Watch were always making me wonder, how on Earth could you choose such a subject for a song?

RPJ. I wrote this piece along with LAMENT and THE GOOD SHIP ENTERPRISE in the early seventies as part of an album project of my own which never got beyond the demo stage. John took over the words for King Crimson songs, fitting them to existing ideas he was developing with Robert, re-working the music accordingly. Nobody understood the song at all when it appeared. But there's nothing mysterious about it, it's just a brief historical commentary on Rembrandt and his situation in 17th-century Holland. This is probably not an ideal subject for rock music.) More people seem to realise what the song's about nowadays. Rembrandt's supreme genius has enriched my existence since schooldays. I eagerly went to see the exhibition of his self-portraits last year at London's National Gallery, and was amazed to discover that although the collection had been on show for three months, I had to wait inline for an hour to get in. Even when seen over the heads of crowds of people, the late self-portraits are awe-inspiring and sublime works of art, which make the passing of centuries meaningless.

C. You contacted with the band via John. When did you meet the other band members for the first time?

RPJ. I visited them in Command Studios, London, while they were recording LARKS' TONGUES early in 1973. Later I accompanied them on tour in Germany for a few days. We had no regular or intimate contact.

C. I know you had a project called Emergency in the 70s. Please, tell our readers about it.

RPJ. This was a jazz-rock formation led by the Czech saxophonist and arranger, Hanes Berea. We toured extensively and played very fast and complicated pieces which were beyond my technical ability as a guitarist. I learned a lot about the mechanics of music from Hanes. He was killed in a car accident a few years later.

C. Are there any more albums from that period you participated in?

RPJ. Diez and Bischof - DAYBREAK; produced by Dieter Dierks; I wrote most of the words. Also for two albums by MUNICH, a mainstream rock band from the town of the same name; in the mid-eighties I played guitar with this outfit and wrote two more albums with them. By the end of the seventies I was working full-time as a lyricist, and was involved in dozens of pop albums and singles productions.

C. Most of our readers have no idea on your work in 80s and 90s. Could you give us some information, please?

RPJ. During the 80s I wrote literally hundreds of lyrics for all kinds of productions in Germany, France, and Italy. I was lucky enough to participate in chart successes with La Bionda, Gilbert Montagné, Mireille Mathieu and Patrick Duffy, Moti Special, Michael Cretu, Sandra, and Munich (the band I played guitar with in the mid-80s). More recently I wrote some stuff for Haddaway, but mostly I've spent the 90's teaching myself computer-based production and sound editing techniques; I moved out here to the Bavarian countryside about ten years ago, to spend more time with my wife and two sons. At the moment I'm trying to produce two very talented singer/songwriters from this area. In the past two years I have at last returned to regular guitar-playing, concentrating on the blues and country styles which seem to have been at the roots of my career. I probably have more enthusiasm than talent, but playing in clubs and bars is one of the joys of my life. When I was writing for Crimso back in the early 70s, I certainly had no idea that I would ever become involved in mainstream pop music; nor did Pete Sinfield, I presume. But there's really no other way to earn a living as a lyricist. And the main thing is, I have been able to make music my profession.

C. The Wetton + Palmer-James album became a pure delight for many Crimson fans. Your "Good Ship Enterprise" impressed me very much. The liner notes say it was written in 1972 but recorded by John and Bill only in 1976. Was it intended for King Crimson? Please, tell us about this song, how it was written and how to interpret it?

RPJ. John wanted to do it with Crimso but Robert disbanded the group before that could happen. It's about the survivor of a shipwreck, drifting on the open sea in a small boat with a dead companion, not knowing whether he or she will be found and saved. It's about the meaningless of human vanity in an indifferent cosmos (a Russian theme?).

C. This album also features the 1st ever-released studio version of Doctor Diamond, which was only available on The Great Deceiver box and numerous bootlegs. Is there any more unreleased King Crimson song with your lyrics?

RPJ. There are two or three, but they are only fragmentary. If they had been listenable, we would have put them on the MONKEY BUSINESS album.

C. You still work with John Wetton from time to time. Is there any news in this field?

RPJ. We spoke last autumn about doing an album of new songs together, but right now John's busy with Qango and the project is postponed.

C. How did the idea of you writing lyrics for a new David Cross album appear? Did you keep in touch with him after King Crimson had disbanded?

RPJ. David simply phoned and asked me if I'd like to do it. I was very pleased. No, we had not been in touch at all. We met for the first time in 25 years at the King Crimson Royal Albert Hall concert in London. A year later I saw David perform with his group at the London Astoria, where John also appeared, and we briefly discussed the possibility of a collaboration. Also, I was in the studio when John sang EXILES for David's last album.

C. Have you heard his previous albums? What do you think of the music? Oh, and the lyrics, of course?

RPJ. When I've finished writing the words for David's new album I'll look forward to hearing all his stuff from the past few years.

C. Can you describe the lyrics you wrote for David's forthcoming album? Can you give us an idea what are they about?

RPJ. It's a bit too soon to say, but the lyrical themes seem to concern identities, the roles we all play. (I haven't finished yet.) The pieces are extremely difficult to sing (and write) - David is searching for someone who has the required phenomenal vocal technique. But because of this, the album will be very unusual and I'm proud to be part of it.

C. What are your plans for the nearest future besides the work with David Cross?

RPJ. Producing other people's work. Recording a bluesy album of my own. More Stratocaster. More trying to sing. More badly-paid gigs in bars.

********************************************

PS. By the way, David is still looking for a singer to perform on his forthcoming album. If you have any thoughts, proposals, etc. feel free to contact him at noisynoisy@aol.com

All the best,
George
 

Date: Thu May 25, 2000 5:12 am
Subject: New Radius album

In this issue:

1. New Radius album is out
2. Noisy Records mailing list

Hello friends,

Some exiting news this week! "Civilizations", the new album by Radius, is finally released and available from the Noisy Records web-site.

The first track from the album 'Floating' can be heard or downloaded at mp3.com/radiusdownload (there's a link on the Noisy Records site). Though it's hard to judge the music from mp3 files I must admit the track sounds very impressive. Right now I only can say that if you like the previous works by Radius you won't be disappointed. As soon as I get my copy of the album I'll share my impressions with you all.

I was also very pleased to find out that Sheila Maloney was among the musicians who recorded the album. I know many DC fans missed her badly.

Here is a track list:

1. Floating : 8.53 (Cross/Serle)
David Cross : Electric Violin
Geoff Serle : Beats, Keyboards

2. There is no peace (Tok-sin remix) : 10.24 (Cross/Serle/Maloney)
David Cross : Electric violin
Geoff Serle : Electronics
Sheila Maloney : Keyboards
Maxine Braham: Voice

3. The Prairies : 4.46 (Serle)
Carlo Lucius Asciutti : Voice
Geoff Serle : Keyboards

4. Ether Dreams : 10.25 (Cross/Serle)
David Cross : Electric violin
Geoff Serle : Beats, Samples, Keyboards

5. New England in the Fall : 6.31 (Serle)
Geoff Serle : Keyboards

6. Ebbs and Flows : 5.36 (Cross)
David Cross : Electric violin

7. Casale Valley : 4.08 (Serle)
Carlo Lucius Asciutti : Voice
Geoff Serle : Keyboards

8. Civilizations : 18.45 (Cross/Serle)
David Cross : Electric violin
Geoff Serle : Beats, Samples, Keyboards

By the way, Noisy Records established its very own mailing list. You can join it by visiting the Noisy Records web-site and submitting your e-mail. To avoid any misunderstanding I'd like to drve your opinion that while "Calamity" is focusing on David Cross' activities the new mailing list is dedicated to Noisy Records releases and various information. As you already know David intention is to release some other artists through his label so in the future some albums from Noisy may not include his violin at all.

And another important note: Artist shop is now featuring Noisy Records at its "New Labels" page. Follow the link: http://www.artist-shop.com/newlabel/index2.htm

All the best,
George
 

Date: Mon Jul 10, 2000 5:10 pm
Subject:

Hello friends,

Some exciting news this week.

David Cross has found a singer for his forthcoming album! They have recorded his voice on two tracks already. The new singer is Arch Stanton from Dublin in Eire. Here are some words from Arch himself:

"I was born in Dublin City on April 2nd 1975, avoiding a Fool's Day birthday by mere hours. My mother's daily piano practice during the pregnancy must have had a significant effect on my budding synaptic connections, as I expressed a keen interest in music as soon as I could talk. At the age of four, my letter to Santa contained an urgent plea for a "guitar with a light in the middle". I'm still waiting, by the way.

After several aborted attempts to learn piano in the conventional fashion, ("Let's try... 'Three Blind Mice'. "Let's not"), I decided to teach myself the instrument, and later studied the saxophone... primarily because women seemed to like it.

I began performing around Dublin venues in my late teens as a singer and keyboard player, regrettably sporting a mullet. Seeing sense and with mullet snipped, I took up the guitar, attended singing lessons with the distinguished Frank Ecock of the Royal Irish Academy, acted in a number of festival-touring plays and placed myself in numerous & contrasting musical endeavours. For the sake of experience, I played in all sorts of groups (whose repertoires ranged from jazz to, unforgivably, country & western), wrote a few soundtracks for short films, took part in choral recitals in the National Concert Hall, gave lessons and began to forge my own solo work.

I have now whittled away the activities that were really only beneficial in terms of experience, and concentrated on the "real stuff". I front my own band in the city and play guitar & sing in progressive group Magnum Opus (who should be releasing their first album in Italy later in the year). I am a member of a fusion trio yet to gig called Pavilion, and I have started working with ex-Nine Wassies from Bainne guitarist, Giordai Ui Laoighaire and ex-Pet Lamb drummer Dave Lacy under the project name, Morgan the Bouncer. Sometimes, I schedule an hour off to get a bite to eat.

I consider it a rare privilege to have been brought on board for David Cross' fifth album, and I'm staggered by the sheer luck of it... oh, every four minutes or so."

There is no news about more guest appearences on the forthcoming album yet. Robert Fripp is ready to participate but at the time David hasn't decided which tracks are best suited for his guitar.

******************************************************
From: Gary Davis

Hi, folks:
The latest Artist Shop newsletter is out an you'll find it in its entirety at . Here's an excerpt specifically for David Cross fans.

Newly released from David Cross' Noisy Records
Radius/Civilizations
The latest release from David Cross' Noisy Records is from the band Radius.
Featuring former Crimson violinist David Cross and Geoff Serle on keyboards and other electronics, is a very satisfying combination of progressive, ambient and improvisation! Guests on this release include Sheila Maloney (from the David Cross band) on keyboards, and Maxine Braham and Carlo Lucius Asciutti on vocals. The 19 minute title track is especially good!
soundbite -

Gary

**************************************************************
Gary Davis
The Artist Shop The Other Road
http://www.artist-shop.com artshop@artist-shop.com
phone: 877-856-1158, 330-929-2056 fax:330-945-4923
INDEPENDENT PROGRESSIVE MUSIC!!!
**************************************************************
 

Date: Wed Aug 30, 2000 6:37 pm
Subject: Calamity. The Official David Cross newsletter

Hello friends,

First of all, I ask your pardon for the lack of updates lately. The only thing that excuses me (at least I hope it does) is the fact I'm terribly busy preparing for the marriage :-)
I promise to provide you with some interesting items right after I'm back from a 2 week vacation (there will be interviews with Mick Paul, Arch Stanton & Paul Clark).
Please, feel free to send your questions to my e-mail address. If you want to ask David Cross or Richard Palmer-James some questions don't hesitate to contact me.

And here are some exciting news from Gary Davis:

===========================================

From: Gary Davis
Subject: Forever Blowing Bubbles; Crimson Remasters

Hi, folks:

The latest Artist Shop newsletter is out and you'll find it in its entirety at . Meanwhile, here are some excerpts to delight fans of David Cross.

Coming Soon from Clearlight Music Clearlight Symphony/Forever Blowing Bubbles. This album followed the heady success of Symphony by charting into new territory. Forever Blowing Bubbles is also based on keyboardist Cyrille Verdeaux's piano and synthesizers but incorporates a more cohesive group sound featuring bassist/vocalist Joel Duregenot (ex-Zao), violinist David Cross (King Crimson) & guitarist/flutist Jean Claude d'Agostini (Magic Circus). Shorter songs with more variety are featured with pronounced synthesizer textures and a strong symphonic/psychedelic ambiance. Long a favorite of certain Clearlight fans, Bubbles was remastered to provide the best sound quality possible.

Coming Soon on our Discipline page
King Crimson/Lark's Tongue in Aspic
King Crimson/Starless and Bible Black
King Crimson/Red

Slated for an October release are King Crimson's phenomenal '72-'74 albums featuring Robert Fripp, Bill Bruford, John Wetton, David Cross and Jamie Muir. Red also features a guest appearance from Crimson founder Ian McDonald! Digitally remastered by Robert Fripp himself using 24 bit technology plus HDCD encoding, they come in unique, limited edition, cardboard stock sleeves just as the original vinyl LP's with the original artwork & sleeve notes intact. These newly remastered versions will eventually revert to a standard jewel case packaging, so get these limited editions while you can. As this period of King Crimson tends to be the most favored by Crimson fans, demand will be high. Pre-ordering them is highly recommended.

Gary

**************************************************************

All the best,
George Khouroshvili
 

Date: Thu Nov 23, 2000 7:06 pm
Subject:

In this issue:
1. New album – a letter from Paul Clark, the David Cross band guitarist
2. Emergency – mid 70’s project feat. Richard Palmer-James
3. King Crimson remasters from Noisy Records

Hello friends,

I bet you all are wondering about the forthcoming David Cross album. And there are some exciting news today.
Recently I’ve contacted Paul Clark and asked him several questions regarding DC5 and Paul’s personal plans and projects.

*****************************************

GK. First of all, are you still a part of this project? If so, can you tell me how the process is going?

PC. Yes, in fact, I recorded all of the guitar parts in late summer in London. Although I've not heard any 'fully mixed' tracks yet [because the album is not quite complete] I personally think that this is shaping up to be David's best album yet. This time around, David's instructions and ideas gave me a greater freedom than I'd previously had. For my part I'd say that there is a greater energy coming from the guitars in the rhythm section.
Additionally, for the first time, I used a 7-string guitar. This coincidentally, worked out very well because many of the songs were in keys below E [so I could 'get down there' into the deep stuff]. The result is that the rhythm section has greater power than ever before. The solos that I've recorded are, in my opinion, among the best that I've ever done. The greater freedom that David gave me allowed me to play the way that I like to play. On previous albums I was kind of 'herded' a little into not sounding like a 'refugee from an LA guitar store'. This meant that my playing style was more forced [in an attempt to be different] which I found a little constraining and un-natural. You'll definitely hear a big difference. My solos have far greater energy and fluidity and are more expressive than anything that you would have heard from me before. This is the way that I love to play, naturally and passionately. [David, if you're reading, thanks for 'letting me off the lead']. My sound has changed as well [I think for the better and hope that you will think so too when you hear it] on this album as I've completely changed my rack and taken to the 7-string. All in all from what I've heard so far, I'm expecting this to be my favourite album when it's finished.

GK. I also wonder if you take part in writing and / or arranging new material.

PC. The only time that I took part in he writing officially was for 'Tested To Destruction'. On the 'Exiles' album I threw in a few little ideas here and there but not anything significant enough to be considered a co-writer. The new album is kind of half way between the two. The writing will be credited to David and Mick and after all they did write everything. I have added stuff [mostly within the rhythm section] to enhance what was there to a much greater degree than I did with 'Exiles'. In fact, some of it was a little drastic here and there but it was always intended to improve things.
However, never at any point did I make changes to the song structure or themes etc. Think of it this way; David and Mick baked the cake, I just put on some of the icing. If I had any impact beyond actually playing, I'd say it would be the orchestration / arranging. Mick and I did a few experiments , which had some very surprising results. I reprogrammed the drums for one of the songs to experiment with the 'groove' and fiddle with the backing track sequences. The result was that a song that we felt was possibly a little on the weak side just sprung to life. That was fun, kind of like watching a dying relative suddenly jump out of bed and go 'sky-diving'.

GK. And one of the most important questions is if there is "a band" this time. I know that many people that attended DC band shows in 1994-96 were very disappointed with the fact there was no tour after ‘Exiles’ (there was no real band on this album but David Cross and friends so there was no live performances - that's how I see this, correct me if I'm wrong).

PC. To the best of my knowledge so far, no band will formally emerge to tour this album [and I agree it is a great shame]. Personally I'd love to tour again with David but I think that the biggest single problem would be actually getting all of the band members’ different schedules to align for long enough to tour together. Also, around February / March time in 2001, I'll be most likely moving my home to Dallas, Texas. So, unless my plans take a radical 'U-turn' [which is a possibility all be it a remote one] I'll be ending my working relationship with David and my own band Siberia [and this makes me very sad]. However, Mick and I are exploring ways to exploit technology to allow me to continue to record for David and write / record for Siberia. If there is a way we'll be trying real hard to find it. Gigging / touring?? I can't see that happening [at least with me anyway]. David could form a band to do this but it would have a different guitarist ["which may be a blessing in disguise" ] and it'll most likely be a different singer as he lives in Ireland. [David; maybe you could shed a little light here]. It's a shame really because I think that this is not only the strongest material yet but also the most 'compatible' band line-up. If this line-up could tour it would have been, in my opinion, very special [a bit of a shame really]. I don't know if Robert will be adding to this album, you'll need to ask David that one.

GK. By the way, what about Siberia? Do you have any news on this field?

PC. As I've stated earlier, my move to the USA will kill all chances of Siberia touring but we intend to find a way to record. Before I leave for the US I will be completing the recordings [at least my parts] with the intention that we can build a web-site for the band and distribute our music that way [so, fingers crossed, I hope and expect Siberia to release something in the mid to late summer time-frame]. If we can crack the problem of recording me in the US and the rest of the band in the UK then I'll be rolling up my sleeves and putting pen to paper with plenty of new stuff. I don't think that it is an impossible problem to solve, just a difficult one.
I'm moving to Dallas because I think that it will be good for my family. [Nice climate for most of the year, low cost of living but a high standard of living] If it don't work out, I'll be back home within two years but we fancy something different and it seems like a good thing to do [you never can tell until you've tried it so we'll see].

*****************************************

Well, sounds intriguing, doesn’t it? I’m looking forward to find out what this beast may sound like… To tell you the truth, though I’d be happy to see Robert Fripp among other musicians participated in recording of DC5 I don’t think it’s necessary for this album (as well as recording more King Crimson covers). ‘Testing To Destruction’ lacked neither Robert nor KC tune but it’s a great album anyway (maybe even better than ‘Exiles’). Personally I don’t believe David can record / write a weak material at all.

I also received a letter from Richard Palmer-James a couple of days ago.
After we did the interview (see ‘Calamity’ archives or ET ‘Interviews’ page) I received some letters where you asked about the band he played with during 70’s. The answer is in the letter, enjoy.

*****************************************

Dear George,
E m e r g e n c y: This was originally a group of Czech musicians who had been working in Munich as the house band for the musical HAIR. Hanus Berka from Prague was the bandleader, a classically-trained multi-instrumentalist, a very talented musician, and a forceful but charming personality. Hanus had already recorded two jazz-rock albums - EMERGENCY and EMERGENCY ENTRANCE - for CBS in 1971 and 1972. He put together a completely new line-up for GET OUT TO THE COUNTRY. I was very glad to get the job, because in Autumn 1972 I had no income at all and was discovering what feeling hungry actually means... In 1973 Emergency toured all over Germany; meanwhile I was writing lyrics for King Crimson, and getting a few film-music commissions too... Hanus helped me with the arrangements... I worked hard that year, especially as the style of guitar-playing required by Emergency's live show was more a matter of technique than of feeling, and I was often a bit lost.

GET OUT TO THE COUNTRY is a mixed bag of influences, reflecting the six very different tastes of the musicians involved. Peter Bischof, the singer - now an internationally successful lyricist (Milli Vanilli, No Mercy) - is still a close friend.

Tragically, Hanus, who suffered from narcolepsy, died after falling asleep at the wheel of his car only 100 metres from his home and crashing into a tree. This was 20 years ago; I often think of him.

GET OUT TO THE COUNTRY was released on CD in a limited edition of 1000 a couple of years ago but I haven't got a copy. The original vinyl cat. no. was Brain 1037 (Metronom, Hamburg).
.. And, incidentally, that's Donna Summer singing backing vocals on the GET OUT TO THE COUNTRY album. She worked in Munich as a studio singer for some years before becoming the first disco diva.

Thank you for your interest.

Greetings from Lower Bavaria,
Richard

PS. I have now completed all but one of the lyrics for David's album.

*****************************************

Important note from Noisy Records:

The new 30th Anniversary 24-bit Remastered versions of LARKS' TONGUES IN ASPIC, STARLESS AND BIBLE BLACK and RED are now available from the Noisy Records website (http://www.noisy.co.uk).

These CDs are a Limited Edition and are produced with a special gatefold cover. They are available at £11.99 including FREE DELIVERY to anywhere in the world!

You can buy on-line by credit card or by telephone or fax on (44) 20 8922 7254.

Don't forget we are also offering THE NIGHTWATCH (KING CRIMSON), 3 DAVID CROSS CDs including EXILES (featuring Robert Fripp, John Wetton and Peter Hammill ) plus CIVILIZATIONS the new Progressive Electronica CD from RADIUS.

All are available autographed by DAVID CROSS (on orders of 2 or more).

Don't leave it too late, this is a limited edition! - and please tell your friends about the site!

That’s all for now. As soon as there is something new to report I’ll let you know. Stay tuned.

All the best,
George Khouroshvili