Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #1157 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1157 Sunday, 23 November 2003 Today's Topics: Re: Adrian briefly leaving the stage in Boston and viral dancing Thanking Robert free bird Re: 21st Century 4/4 Man Live Improvs 73-74 East Coast KC Sid Smith's book for sale Lark's Tounge Puzzlement Orpheum Theater AZ Billy Stuff Interpretation Fripp's diary A drop of healthy cynicism Trey quits?! Trey Gunn leaving the Crims GIG REVIEW: NYC NOV 15 GIG REVIEW: November 15th 2003 - Beacon Theatre - New York, New GIG REVIEW NYC 11/15 GIG REVIEW: November 16, 2003 - Toad's Place , New Haven CT GIG REVIEW: New Haven, CT, a flashy performance on 11/16/2003 GIG REVIEW: Another St. Louis Review at last... GIG REVIEW: Beacon Gig GIG REVIEW: A few thoughts about KC at Toad's Place, New Haven, 11/16/03 ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com or use the DIY list machine at http://www.elephant-talk.com/list/ To ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.shtml You can read the most recent ten editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Mike Dickson (ET Newsletter distribution/subscriptions) Nadim S. Haque (ET Webmaster) Toby Howard (ET founder and Newsletter Moderator) Dan Kirkdorffer (ET Webmaster Emeritus) The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest system v3.7b. If you'd like to donate to the upkeep of ET, please press the "Donate" button at ETWeb. ------------------ A I V I R T S I N I M D A --------------------- Date: Tue, 18 Nov 2003 08:55:17 -0500 From: Michael Kelly Subject: Re: Adrian briefly leaving the stage in Boston and viral dancing In a recent review of the Boston show posted here, the author asked why Adrian announced to the sound board guys a change to "Thrush" and left the stage. This is pure speculation but I did notice some facial expressions from him hinting at frustration during the song prior to his exit. One of the stage crew came out fiddled (a technical term) with the monitor during "Thrush". Following the song after his return, Adrian handed the guitar that had been used off to the crew guy. Based on all of the above I would guess it was monitor and/or guitar problems. I personally did not notice any change in momentum following the set change. I was very happy with both the Boston and New Haven shows. I do think the smaller audience in New Haven was much more responsive and the set included Elephant Talk in addition to the full Boston set (I think). In addition Robert addressed the audience which I am sure will be detailed in another review. I also saw a Gong t-shirt and a Magma t-shirt in the audience which may seem irrelevant but I fully enjoy the people watching and interesting conversation before the show. Little things which enhanced the New Haven experience for me. One odd observation I will make is that there seems to be an increase in male interpretive dance at KC shows..... and I seem to somehow find these people and choose to stand behind them. Is there some kind of sign I should be looking for? Can they all bend their pinky fingers? Do they only respond to number designations Vs names? Would those cheesey 3-D rave glasses help? Are these folks orphaned Dead Heads? Fortunately with each member of the band being worth watching, it was possible to sway in counter point in my own kind of........... interpretive dance.... oh god....... you don't think it could be a viral thing do you????????????? Number 6.......................... oh god (visualize arm flailing and obvious hand gestures here) ------------------------------ Date: Tue, 18 Nov 2003 19:08:57 -0000 From: "Manek Dubash" Subject: Thanking Robert >Another way to thank Robert is if you happen >to sit near him on an airplane, refrain from >excessive throat clearing, fidgeting and nose picking. ;^) That goes for me too! I'd accept that kind of thanks... - Manek - ------------------------------ Date: Tue, 18 Nov 2003 14:03:59 -0500 From: "Steven Paul Rewa B.S." Subject: free bird This has to have been discussed before, but I'm out of the loop and don't care for it. Can someone please tell me why anyone would call for "Free Bird" at a King Crimson Concert? We are talking about the Skynyrd tune, right? Since it seems to be common knowledge, go ahead and reply to me off list so we don't bore everyone else. Anon, -Steve ------------------------------ Date: Wed, 19 Nov 2003 08:53:20 -0600 From: "Sarah Metivier" Subject: Re: 21st Century 4/4 Man RotateyDiskers at aol dot com wrote: >... and to Ian Wallace I say this : "Schizoid unison section written in 4/4 >eh?"... To which Kevin Holm-Hudson replied: >Sure it is. How else can you explain Boz keeping up with the rest of >the Islands lineup in that passage? ;-) Kevin is correct. On one of the Young Person's Guide to Discipline compilation CDs (either Sometimes God Hides or Sometimes God Smiles, I forget which) there is a short version of the blazing unison section of "21st Century Schizoid Man" played in a very obvious 4/4 with a nifty little dance beat behind it. It's great fun on its own, and also illustrates very clearly how that riff fits into 4/4 time. Whether you're interested in counting out 21stCSM or not, I highly recommend both of the Discipline compilation CDs. I'm not even sure if DGM still carries these CDs, but if you can find them, I urge you to pick them up. They offer a great variety of samples from the Crimson-related artists from DGM. FAQMaster Sarah ------------------------------ Date: Wed, 19 Nov 2003 11:41:22 -0500 From: "Richard Romeo" Subject: Live Improvs 73-74 Just found out about rumored releases of either a 2nd edition of The Great Deceiver box or a collection of unreleased improvs from 73-74. I can't tell you how much I'd love to see these as future releases in whatever form (though the latter seems more attractive). The Great Deceiver box is my favorite Crim release. I hope to see more from that period. Hopefully, other Crimheads would concur. Best Rich ------------------------------ Date: Wed, 19 Nov 2003 22:04:10 EST From: Stamperdanny at wmconnect dot com Subject: East Coast KC Please let King Crimson tour the East Coast before RF gives it up. The last time I got to see them live was Nashville, November 9, 2001. Awesome show, but was nearly ruined for me because I made the mistake of taking a friend along who doesn't share the same passion for music as I do. I pray that I may see them live again to make up for that Great, but horrible, night. ------------------------------ Date: Thu, 20 Nov 2003 09:04:48 -0500 From: "Girard, Claude" Subject: Sid Smith's book for sale Bonjour, I don't know if I can use this erudite forum for mercantile purposes, but I have a used copy of Sid's great book for sale. The book is in perfect condition and the price will be fair...from a fan to another fan! Private email at cgirard at videotron dot ca Thanks Claude Warning bad taste joke...................................... .......................................................................Miche al Jackson's title for his new CD???...."Larks tongue in Aspen"...... "It's bad it's bad..." ------------------------------ Date: Thu, 20 Nov 2003 11:12:32 -0500 From: "Bret Woolbright" Subject: Lark's Tounge Puzzlement Someone please help me. For a while I always thought the title was Lark's Tounge in Aspec and for some cheeky reason they simply dropped the T and meant aspect, which to me makes sense. However looking closer at the title, I discovered that the word was actually aspic. Driven by my curiosity, I learned aspic means: a clear jelly made from meat or fish stock and often used as a mold for meats. Now, I have no clue exactly how that title relates, I try to ponder it but to no avail. Does anyone have any clue? Maybe Fripp could help with this one. How the heck do you decide on that title? -Bret Woolbright ------------------------------ Date: Thu, 20 Nov 2003 19:49:03 EST From: Stamperdanny at wmconnect dot com Subject: Interpretation Can anyone explain to me what RF is saying if I may quote: "Crimson is presently in the completion stage of a small cycle; the next step is a completion of a large cycle. A completion is a new beginning a something becomes available to the future. But this is not a mechanical action & there is nothing inevitable in continuation. What is available may be actualized, or may remain in potential. The next step in the world of Crimson is to conceive & present a view of Crimson as SMIU to the members & see whether it appeals to them. In the life of DGM, mobility is now mostly achieved. Crimson, however, has become locked into the functional restrictions of a professional touring & recording band. This is probably inevitable and has happened before, on a regular basis. Unfixing is the strategy that has conventionally followed fixing." Sometimes I have trouble understanding exactly what he is trying to say. ------------------------------ Date: Thu, 20 Nov 2003 17:20:16 -0800 From: "Scott Steele" Subject: Fripp's diary >From Fripp's diary: >Crimson is presently in the completion stage of a small cycle; the next step is a completion of a large cycle. A completion is a new beginning * something becomes available to the future. But this is not a mechanical action & there is nothing inevitable in continuation. What is available may be actualized, or may remain in potential. The next step in the world of Crimson is to conceive & present a view of Crimson as SMIU to the members & see whether it appeals to them. In the life of DGM, mobility is now mostly achieved. Crimson, however, has become locked into the functional restrictions of a professional touring & recording band. This is probably inevitable and has happened before, on a regular basis. Unfixing is the strategy that has conventionally followed fixing. There it is, and it has an important feeling to me, but I can't quite get my arms around the actual words, because my handle on the English language is a lot more colloquial and decidedly more North American. So, at the risk of revealing more about myself and my basement-perspective and less about Mr. Fripp's actual plans for the future, let's see if we can break this down and figure out what he is actually saying in a language that we can all understand. >Crimson is presently in the completion stage of a small cycle; the next step is a completion of a large cycle. They have just finished touring in support of two albums of new material, one live compilation, and a 2-disk DVD set. The next step is . . . completion of something bigger than all this? I wonder what that might be? Could it be that this lineup has finished its work, and the next Crimson that we see will be a substantially different one in personnel? Or maybe just a slight difference in personnel? My feelings on this subject: I like this lineup a lot, just the way it is. But I would also welcome a change where Trey doesn't have to be the bass player all the time. >A completion is a new beginning * something becomes available to the future. But this is not a mechanical action & there is nothing inevitable in continuation. What is available may be actualized, or may remain in potential. Now that they are finished with what they have just completed, they can continue with another small cycle (release of product), or do nothing. Here's the real crux of the biscuit: >The next step in the world of Crimson is to conceive & present a view of Crimson as SMIU small mobile intelligent unit >to the members & see whether it appeals to them. Fripp is going to think about a way to make Crimson smaller so that Crimson is less susceptible to input from external sources. He has big plans for the DGM website, some of these might have a direct effect on the Crim future. Perhaps he wants to get out of his existing distribution deal - maybe he thinks that he gets too much input from BMG or whoever. I wonder if the other three members of Crimson are also going to consider ways to make the band a smaller, more mobile, more intelligent unit, and if Mr. Fripp is susceptible to input from them. >In the life of DGM, mobility is now mostly achieved. He is more comfortable with a small, nay, minuscule list of artists on DGM. He is more comfortable trying to be a good steward of the Crim catalog rather than trying to be a conventional record label in an unconventional way. >Crimson, however, has become locked into the functional restrictions of a professional touring & recording band. Surely some of this is because Crimson needs to function on a big-business level in the music industry, in order to (financially) succeed as it has in the past? >This is probably inevitable and has happened before, on a regular basis. Unfixing is the strategy that has conventionally followed fixing. We are back at the spot where they usually "unfix" (break up) and reassemble with a different lineup "when music appears that only King Crimson can play". Sigh. - S. np: BayProg sampler from Expose scottst at ohsu dot edu ------------------------------ Date: Sat, 22 Nov 2003 17:10:24 +0300 From: "Andrei Rouliakov" Subject: A drop of healthy cynicism Hello fellows! Now that the "double duo" is history, I wonder if they re-release TCOL and TPTB on 30-th Anniversary Mini-Vinyl 24-bit remastered CDs. Andrei n.p. Gambale-Hamm-Smith "Show Them What You Can Do..." ------------------------------ Date: Sat, 22 Nov 2003 09:05:57 -0500 From: "ytrewq" Subject: Trey quits?! Please, Tony Levin! Please, Tony Levin! Please, Tony Levin! Please, Tony Levin! Please, Tony Levin! Please, Tony Levin! Thanks, Gago Puppy ------------------------------ Date: Sat, 22 Nov 2003 09:24:12 -0500 From: "myeck waters" Subject: Trey Gunn leaving the Crims I just saw the announcement that Trey Gunn is leaving KC. A real shocker, coming exactly a week after seeing them play at the Beacon Theatre in NYC. But my initial dismay was calmed by reading Trey's announcement on his web site, which lays it out pretty clearly. I suppose it should be no surprise to see that the people who find themselves part of KC would not be content to repeat themselves and stagnate, and I'm glad that the parting of ways appears to be on terms of continued friendship and respect. It's the nature of the Crim-beast to be restless and mutating anyway - one of the things that make this band so interesting to me. I've only seen the Crims live four times, starting in 1981, but I love the fact that I can go into a show without having a real clear idea of the set list or how the band will sound. ------------------------------ Date: Tue, 18 Nov 2003 08:22:26 EST From: MDJSocial at aol dot com Subject: GIG REVIEW: NYC NOV 15 I will not even attempt a detailed set review. I have seen both bands 4 times. I have seen this incarnation of Crimson twice. Saturday night was the greatest show I have ever seen. Both bands came ready to burn. Living Colour was one of the first of the "Nu - Metal" bands, and, for my money, are still the best. This version of King Crimson has achieved the depth of a string quartet with the power of, well, the greatest rock band in the world. Michael Jeter ------------------------------ Date: Tue, 18 Nov 2003 12:30:11 -0500 From: bill Subject: GIG REVIEW: November 15th 2003 - Beacon Theatre - New York, New I can't really add anything to any of the positive reviews that have been posted here about this tour. I haven't seen Crimson for about 10 years and I was absolutely floored by the show. I was literally wobbly from excitement and stimulation (alas no stimulants) on my way out of the theater. I would like to say two things. 1) If Mr. Fripp must sit in the dark at a 90 degree angle to the audience to do what he does, so be it. It will not deter me from future attendance. My only problem with the situation is that (IMO) it doesn't allow for a complete appreciation of the unparalleled dynamic of the band. In most cases, it is very evident what he is doing but at times I found myself "subtracting" what I could see happening w/ with the rest of the band to really pin down what he was doing. In spite of this (very minor) misgiving, I haven't been as blown away in many, many years. 2) Does anyone know where I can a fatigue pant/skirt outfit like Vernon's? I thought Living Colour's set was outstanding as well. ------------------------------ Date: Tue, 18 Nov 2003 19:08:33 -0500 From: "philip m. quirk" Subject: GIG REVIEW NYC 11/15 HELLO ALL & GREETINGS FROM BROOKLYN, I was one of the lucky ones to see KC on 11/15 at the Beacon Theatre- they completely smoked the house! Living Colour opened the show, and in contrast to a previous poster, I was quite moved by their set. Vernon Reid(Note: he grew up in Brooklyn so I may be a bit biased)is a tremendous guitarist, even though he did go a bit overboard at times with the chops. The bass player, Doug Wimbish was also excellent, and the drummer(Will Calhoun) was very solid throughout. Their music is difficult to describe in a short-handed way, as they combine elements of pop, metal, fusion and other stuff together.If anybody in KC heard their set, and Fripp has been sighted listening to their sets, then they in KC knew that the bar was set rather high. KC did not disappoint at all, and they showed that they can deliver the goods in spades. I don't know what the setlist was, but on every piece they were outstanding both as a whole and individually. I've seen this particular incarnation of KC three times, at this same venue in Dec. 2001, and also at Town Hall earlier this year. This show was the topper of the three by far. RF in particular must have been very happy(I saw no flashes, and there were of course idiots who needed to yell), as his playing was quite inspired, with flurries of notes ringing out and slicing the air to bits. Why, he even smiled and took a bow(to thunderous applause). My only quibble, and this is a small one, is that RF was never in the spotlight, so one had to stare intently to see RF's hands at all. Perhaps the lack of spotlight helps RF to play better, or maybe he just feels more comfortable with no spotlight,but it is not a big issue if it helps him to play better. For an encore they did play Dinosaur(very well!!!) and then closed with a rip-snorting Red where I thought RF might fall off his stool, he was so involved in his playing! If you possibly can, GO SEE THEM LIVE-THEY'RE GREAT!!!!!!!!!! ------------------------------ Date: Mon, 17 Nov 2003 21:44:57 -0500 From: "Robert Wilcox" Subject: GIG REVIEW: November 16, 2003 - Toad's Place , New Haven CT Set List Power to Believe Part I Level 5 The ConstruKction of Light Facts of Life EleKctric Power to Believe Part II Dinosaur Happy to Be Happy One Time Dangerous Curves LTIA Part 4 Encore 1 The Deception of the Thrush Elephant Talk Robert engages the audience Encore 2 Red This is probably the 12th time I seen the band starting with the Philly show on the Discipline tour. This is right up there in the top 3 shows I have seen of any line-up (it is hard to pick from the eighties Pier and Toads Place shows I saw). Cramped on the tiny Toad's stage, Trey had barely enough room to maneuver. This is one on the few shows where all the boys were in top form. Lots of grinning on stage throughout the show. Adrian looking very relaxed and healthy and showed some range restored to his voice that seemed to gone during the last few shows I saw in recent years. Toad's place is a fairly small venue located near the Yale campus and the crowd was a curious mix of geezers and students. Adrian joked about playing to a wedding and wanted to know which 2 guys were getting married. During Happy, balloons were being bounced in the air by the audience and coming real close to Adrian and Robert. Robert seemed to be taking it in stride. At the end of Happy, Adrian held up a bra which landed on the stage and presented it to Robert. Some highlights Level 5 pinned the audience. Fripp cut loose on the Facts of Life in a way I had not heard him do since the eighties. Several Adrian solos were mind-blowing - Level 5, Happy, LTIA. Deception of the Thrush had very extended mellow ending. At the end of Red (I think), a lighting effect imitated many flash bulbs going off and Adrian held his guitar up in a Kodak moment pose. Fripp seemed amused. I think a few real flashes occurred as well but no crisis ensued. Adrian thanked the audience and announced that it was the end of the US tour. Robert came to the microphone. It was heard to see at this point but I believe he was trying to offer the bra as a prize for answering a Wake of Poseidon trivia question. All in all, a very memorable show. Although the sound was overpowering at times in the small venue, the performance was outstanding and often surpassed those captured on the recent DVD. Bob Wilcox ------------------------------ Date: Mon, 17 Nov 2003 22:16:46 -0500 From: "Frank Santagada" Subject: GIG REVIEW: New Haven, CT, a flashy performance on 11/16/2003 Some of us made the show at New Haven. I decided to go, after attending both the Kingston and NYC shows. Witnessing this exceptional performance in the small venue was exceptionally satisfying. A level of ensemble performance had been acheived that I had previously been convinced was merely theoretical. Considering the degree of difficulty inherent in the compositions, and the apparent ease (and degree of professionalism) with which this artistic accomplishment was rendered, it was apparent that King Crimson has fulfilled it's (current?) mission. HOWEVER: If you were there, I would like to ask if you happened to notice the "battery of flash photography" during the very last part of Red? Furthermore, did anyone else happen to notice that these "flashes" came from several strobes that were embedded along the stage lighting truss located directly above the stage barricade and obviously under complete control of the lighting operator? If you're interested, check out Robert Fripp's Diary entry for 28 Oct 2003 "During the final encore, Red, a battery of flashes erupted. They were probably not aimed at me, but my show was killed stone dead" I noticed the strobes when I first got there and was checking the place out. My 16 year-old son, who attended the NYC show with me the night before, mentioned that he saw a flash during Red, but... It didn't come from the audience! (I began to wonder...) Speaking as a former professional musician for 20-years (and occaisional roadie for a stage-lighting company) now gainfully employed as an IT Systems Analyst: these flashes came from the light truss. I was looking directly at one from about 12 feet away when it fired! What's going on with this flash-bulb thing? any ideas? Could somebody be up to something ethically questionable? Frank fsantagada at hvc dot rr dot com ------------------------------ Date: Tue, 18 Nov 2003 11:07:58 -0600 From: Paul MacFarlane Subject: GIG REVIEW: Another St. Louis Review at last... I'd have posted sooner, but YOU try typing when you want to rearrange your keyboard in to the New Standard Arrangement, when you can't get The ConstrucKtion Of Light or The Deception Of The Thrush out of your head (and really don't want to) or while trying to figure how and if you want to come back down to this silly, freakish earth after that concert. But I'll try. I got there around 2 pm to try to meet the lads as I did last time in St. Louis (Ade, Trey and Pat anyway) but aside from a briefest of brief meet with Pat where I nicely handed him my last two ET posts and off he went as did Trey and Robert. Ade came in a rented van and I missed him altogether... for now. I talked briefly with Vernon Reid about their version of "Tomorrow Never Knows" and a stunning BET Jazz studio jam session I saw. It was getting cold and if not for my years of t'ai chi, I'm not sure how I could have stood from 2 pm 'til midnight so well. I pressed my ear to the garage bay door and heard warm ups of TCOL, Dinosuar and others. I was among the first seven to enter the hall of the Pageant via their Halo Bar "early entry" door and quickly set myself directly in front of Trey and Ade's spot with a view into Robert's hands and unfortunately, mostly obscured from Pat's battery. But the real devil of the night were the Micro Wedge speakers placed on the rim of the stage, facing out into the crowd and directly into my headspace. Those little bastards push the entire band mix in deafening velocity into the audience- and into my sizzling aural openings. My ears buzzed and rang from Friday night's barrage until Monday. I noticed the steel bar barricade-left over from an earlier hip hop (?) show, that was not there last tour. So I was kept another foot or so further away from the boys. But had a place to hang my coat. LC was loud, heavy, funky and quite repetitive. The smart socio-political lyrics were my favorite element. Glover's voice was enormous, and passionate--even during his criticism of the then-sparce crowd. ( I actually panicked, hoping that KC wouldn't decide to skip us in future tours from a less-than fervent turnout). But Vernon's flurry of notes solos seemed to appear in every song and though impressive and heady, I'm glad it wasn't a 2 hour opener. A stand-up bass moment seemed quite unnecessary, yet, Doug's playing was really, really sweet, and at times threatened to rip my heart out of my thorax at such deadly range. I enjoyed LC and was uproariously glad they were back and more powerful--check out their new CD and hear some heavy stuff with stinging commentary lyrics. KC came on and played an expected set of tunes, but the energy, passion, thoughtfulness and grace of it all was so sublime. Often, I decided to forget what the beat, the solo or words were, and instead, to attempt to become dissolved in what was going on at that micro-moment: were they playing off the beat? Were they pushing the melody aside a bit? was the formerly lush solo now jarring and brick-ish? Was the formerly crashing solo now thick and velvety? Exactly--I was happily lost on whet the band was laying out there--I gleefully noticed a few slightly bum notes which made me smile and relax (as a musician who holds KC quite high above me)--but overall, the fact that the crowd got louder and more appreciative (I was pleased that so many St. Louisans know the words to Prozac Blues) so that the exchange from audience to band and back again got more heated, more fluid and more alchemical. Three encores were fantastic, but it was the chance for Trey to shine in his TGB/Double Trio way of soloing beyond bass playing that made me weep as he and Robert did their exquisite TDOTT musical flower arranging. I enjoyed playing off of Ade's note shaping, pushing him on with my own energy and love as he was only four feet above me. Robert was again, the figure of quiet control and amazing chops. As my Nashid band mates were alongside me, it was curious to note that I was lost in Ade and Robert more this time and my guitarist was in thrall from Trey's work. Pat's electronic hammering is just getting better and better--any memories of Mister Mister are lost in the acoustic and heavily-treated percussion he wrung from his kit. A delight, A crowd that surprised me no end--although a very long haired, goth-looking fellow insisted on headbanging during Red, beating my back with his hair. Hmmm... Another KC experience that reminds me why I listen, why I play and why I live. Thanks for coming to St. Louis. Thanks for being born and for choosing to play what you play, when and where you play it. Paul MacFarlane Co-Owner/Managing Director t h e 1 1 . 0 3 e x p e r i m e n t 415 North Tenth Street 3rd floor St. Louis, Missouri USA 63101 voice: 314 621.0220 fax: 314 421.5954 my personal wireless number: 314 398.1453 www.the1101experiment.org ------------------------------ Date: Tue, 18 Nov 2003 19:42:56 EST From: RLTOWLER at aol dot com Subject: GIG REVIEW: Beacon Gig I had the pleasure of seeing the boys last Saturday night at their New York performance. I haven't been to the Beacon in quite a few years (John Mayall show where the teamsters roadies shut off the power in the middle of the third or fourth encore. He motioned the audience to quite down and kept playing his harp without amps or mikes) and the place still holds up fairly well. Not quite two hours early I was part of a small group that had the pleasure of meeting Mr. Belew. He seemed to be in good spirits and spent a few minutes talking to the crowd and talking about his solo projekcts. He said he'd like to spend the next three months off working on his solo album and relaxing with his family. He shook everybody's hand and told us that he hoped that we would enjoy the show. The set list: Power to Believe Part I, Level 5 The construction of Light EleKctric Power to Believe Part 2 Facts of Life Dinosaur Happy to Be Happy (or Happy then Dino I forget which) One Time (surprise) Dangerous Curves LTIA Part 4 Encore The Deception of the Thrush Red I don't remember exactly how long the show was because I was transported into a different place. (wow huh?) The lights worked very well especially during the chaotic parts. Robert's soundscapes added a great texture to the Krim material and it was fun watching Adrian and MR. MR. (Caps a sign of respect) both handle the percussion. (Miles said all great musicians are percussionists at heart) There was a nasty (good nasty) chorus intro during Facts of Life. Robert was shredding wallpaper during LTIA and what can I say about Trey. He has taken Thrush and made it something special (even if there were a few loud fans in attendance ( WHOO, WHOO, WHOO) . All of the guys came to the middle of the stage after the encore and Robert was applauding the audience. Thanks for a memorable Evening. It kept me wired during the subway, LIRR and Bus transfer, then car ride home. Oh well Happy with what you... Bob T. ------------------------------ Date: Fri, 21 Nov 2003 03:40:50 EST From: Wilcox660 at aol dot com Subject: GIG REVIEW: A few thoughts about KC at Toad's Place, New Haven, 11/16/03 Please forgive my rambling. This was a very "friendly" set, as all 4 musicians seemed in good spirits. Many lovely moments: One Time was a thing of beauty, with an ethereal middle section by Fripp that took me to a serene space - 100% bliss. Dangerous Curves gave me chills. Fripp smiled alot - that was wonderful. Everyone onstage smiled alot - equally wonderful. There are moments when I feel like a little boy - no easy feat at 43. I will leave it to others to analyze what occurred on that stage. For me, I was a little boy - laughing, singing & tapping my feet. There are no better things and no better explanation. John Anthony Wilcox - Westport, CT ------------------------------ End of Elephant Talk Digest #1157 *********************************