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 #1216 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 1216 Sunday, 16 October 2005 Today's Topics: (none) (none) Re: Bob Fripp in Chicago Tribune Current Soundscape Tour, Wash DC. Exposure Re-Issue Inclusion Suggestions Re: ETers tribute to KC My Somerville experience, and a little more New Soundscapes Tour of US? Fripp at Town Hall Crimson Queen? Between-song banter Re: Chromatic FAntasy (tab) Hello ET Adrian Belew article in San Jose Mercury News GIG review RF 10/1/05 Town Hall NYC ------------------ 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 ** Posts intended for the newsletter should have a subject prefix of ETPOST ** Posts intended for an individual newsletter contributor should have a subject prefix of their ET 'Ticket Number', shown at ETxxxxx in their 'From:' line in the newsletter. 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) ET presents the view of the authors of posts in good faith, in a spirit of free and open discussion. The views expressed herein are those of the individual authors of posts. The ET TEAM accepts no responsibility for the views of authors of posts. 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: Wed, 28 Sep 2005 18:21:01 +0200 From: charles Subject: who is playing this? Adrian or Robert? Hi from France folks. If I may for once write something about KC I will choose something that had certainly been well discuss in the past so sorry. Plus I write a weird english so please bear with me. For me Fripp is someone for who each notes count. Robert's very complicated harmonical pattern is shown in every of his playing be it solos or just a little passage, even when playing extra fast (fairy fingers) you can hear every single note. I would compare Fripp to the 'Serial movement' composer Alban Berg. Because Berg had the minimalism that Schonberg doesn't have and well it suits rock esthetique the best. And because the composition style of Fripp is as sophisticated as Schonberg's style. But with Adrian it is completely another story. He plays more like Iannis Xenakis when doing his solos you ear more something like a texture, a nuage of sound. The notes don't count has much and you can't distinguish when ends or begin a note. I believe one significant charateristic in the receipe for KC is that duality in the singing voice, the soprano guitars.. The opposing style of composition: 'serial' and 'clouds' is strong and pertinent. Interesting to notice that when Fripp is playing his soundscapes, you can also feel like it is a texture, like a cloud of sound but based on strict and well define notes so Fripp meets Schonberg and Xenakis. And also IMHO you can distinguish Robert's sound among all guitar players, he has a particulary clean picking technique, that's a joy to listen to. Well long live the Krims! ------------------------------ Date: Thu, 29 Sep 2005 11:59:15 -0400 From: BARLETB Subject: concert recording I think the operative word is "illegally" recording the concerts, as opposed to him having it recorded..He claimed that he knew when it was being done, and it bothered his performance (easy call, I would say most shows were being stealthily recorded!) A few years back Fripp gave "amnesty" to the bootleg recording heathens and called some performances back in..now he's doing the "Beat the Boots" (Collector's Club)route to make some money off of it! My guess, can't speak for him though, is that he still hates it because I don't see them advertising a "tapers" section...a lot of artists still don't like the trading concept because the "bootleggers" (defined as those that make money off of other people's work) still grab the good recordings, produce them, and sell them to the unsuspecting people that don't know that there is a trading community out there. It has slowed, but it hasn't stopped...a lot of people beat the bootleggers by pooling their money and buying a copy, then putting the shows out there for mass distribution on the bittorrent circuit or trading communities. The bootlegger can produce his recording, but the masses won't need to buy it if it's out there free! I personally don't see Mr. Fripp caving on this one no matter how much people tell him that it's all "free trade", it's his product, it's his artistic/intellectual property, so he wants explicit control. After all it's his livelihood, and I don't see people lining up for his releases when they come out. Ben ------------------------------ Date: Sun, 9 Oct 2005 23:55:38 -0500 From: Charles Stack Subject: Re: Bob Fripp in Chicago Tribune I shall be attending Porcupine Tree's concert in Chicago, 13 October, and this bit was published in the Chicago Tribune regarding the show: TUESDAY Robert Fripp, (also Wednesday) at Park West, 322 W. Armitage Ave. $25. 773-929-5959. Guitarist Robert Fripp has played on some of pop's timeless tracks, David Bowie's "Heroes" and Brian Eno's "St. Elmo's Fire" to name just two. Eno and Fripp resurrect their off-on partnership on the atmospheric "The Equatorial Stars" (Discipline Global Mobile), where the King Crimson leader shows off his "Frippertronics" system of layered guitars amid a flood of loops, netting shimmering results. Here, look for Fripp to increase the intensity and collaborate with headliners Porcupine Tree. (Safe Bet) --- Goodness me!!! Looking forward to the show & the collaboration, Charles Stack Charles Stack c dot stack at sbcglobal dot net ------------------------------ Date: Wed, 28 Sep 2005 08:40:40 -0400 From: Allan Okada Subject: Exposure Re-Issue Inclusion Suggestions I hope Robert reads this... Here's some suggestions... 1) I heard in a Q & A session with an audience during your 1979 Frippertronics tour that you had actually recorded a backing track with Blondie of Donna Summer's I Feel Love intended for release on the original Exposure album, but due to management and legal issues it never was completed with Debbie Harry's vocals and never released. Why not get her to sing it now and finish off the track ? It would provide closure to that unpleasant incident as well as the Daryl Hall one. Surely she would be willing for this re-issue and that "old dinosaur" management cannot still be in place. Even if they were, they have probably grown "new brains" by now to realize that this could not possibly hurt her career and if anything...would only add credibility to her work and reputation. Just a thought. 2) Include on the Appendix disc, the full and unaccompanied solo Frippertronic versions of Water Music I and II and Urban Landscape without the end truncation. Would be lovely to hear them in their entirety as stand alone pieces. 3) On the liner notes...disclose track by track, who performed what. As a listener and fan of many or all of the contributing musicians (including your own contribution), it is fascinating to imagine unique clusters of "famous" artists getting together and playing. This contributed greatly to my personal appreciation of Brian Eno's Another Green World for example...even if the never were actually in the same room together. This would really enhance this album in particular in my opinion. 4) The "Mary" trio version with Fripp, Daryl Hall and Tim Capella on sax Hopefully it's not too late to consider some of these ! Al Okada ------------------------------ Date: Tue, 27 Sep 2005 23:26:49 -0700 From: Daniel Kirkdorffer Subject: Re: ETers tribute to KC George wrote in ET 1215: > I remember that long time ago there was a section at the ET web-site with > King Crimson covers made by ETers. Some of those covers were quite good. Is > it possible to locate them now? This is a question that has me digging back into the recesses my memory, ET archives and old Web pages to answer it. Matt Walsh originally took this project on over 8 years ago, but eventually passed the buck to the Elephant Tape site that Jeffrey Weinberger created where he hosted audio files ET enthusiasts had produced of their own music. Elephant Tape is defunct as far as I remember, but if you go to this site, http://www.geocities.com/Vienna/9984/index.html, the page is still there, although many of the links, if not all, probably don't work anymore. In fact the Tribute page is still accessible at http://www.elephant-talk.com/tribute.htm, although we don't have a menu link to it anymore. Another update not listed on that page can be found at http://et.stok.co.uk/articles/436-3.html Unfortunate the Tribute content that E-Tape was hosting seems to be long gone. Looks like the question was also asked a few years back: http://et.stok.co.uk/articles/1045-8.html I seem to recall that the Elephant Tape site had a bumpy existence. Ken Mistove was also involved, and Ken, Matt and Jeffrey are all listed in the ET Web Credits for their efforts. Archive searched reveal some of this history. Perhaps these tracks can be found somewhere still. Maybe Matt or Jeffrey still read ET? If not, perhaps they still are accessible at the email addresses found at on the Web pages above. Cheers to all! Dan Kirkdorffer --- On The Road To 2008 http://www.kirkdorffer.com/ontheroadto2008/ Commentary on issues as we countdown to the next opportunity to change the direction of America ------------------------------ Date: Wed, 28 Sep 2005 21:16:58 -0400 From: ago Subject: My Somerville experience, and a little more Hi All, My experience was somewhere between Dan and Eric's. I enjoyed the show and was able to concentrate to exclude most of the non-musical noises from the crowd. However, there was one man who kept reaching into a bag of chips and made an annoying rattling sound. This was the same man with longish hair who when he raised his hand, Robert Fripp called on him as a young lady, and then professed that his eyesight wasn't good enough in the darkened theatre. I kind of thought that Fripp knew that the man was making the noise, and Fripp was taking a mild dig at him. I was fortunate enough to see the Providence show also, and that seemed more intimate, and the audience more respectful in general (although the bar in the middle of Lupo's kept the cash register ringing). During the intermission at Lupo's, I spoke with a man who was standing on the side, observing events. He had gone up to a group who may have been recording the show, and asked to see what they were doing. He gave some cryptic answers to my questions, until I refined my questions. He was involved with Guitar Craft, and also was participating in this show as an observer. A few days later, while researching some totally unrelated topic, I came across Gurdjieff and something called "the four corner watchers". This struck me as an odd coincidence. Would any Guitar Craft members be able to explain a little more about how and why they may be asked to participate as observers, and if they are four corner watchers? And lastly, I went to see Sigur Ros in Boston. During one song there was a pause, a lengthy pause. It really took my breath away. The best thing about it was that there was not a single noise in the whole Opera House to interrupt the beautiful silence. Unfortunately, in my experiences at Crimson concerts, these types of pauses are often interrupted with some inane shout for "Schizoid!!" or some such. With a little self restraint, I think all of us could enjoy things a lot more than we do. Regards, ago ------------------------------ Date: Fri, 30 Sep 2005 13:31:05 -0400 From: "DerKazarian, Alan" Subject: New Soundscapes Tour of US? Uh, I guess so. Just read in the Boston Globe that Robert Fripp is playing with Porcupine Tree TONIGHT (Friday, September 30) at the Berkeley Performance Center in Boston. I can't find any info about this anyway, but there you go with the latest. ------------------------------ Date: Mon, 03 Oct 2005 07:03:35 -0400 From: Hitomi Blumberg Subject: Fripp at Town Hall Robert opened up for Porcupine Tree. Using a slide show of the highlights of his life, he gracefully introduced us to the next generation. ------------------------------ Date: Mon, 03 Oct 2005 20:52:27 +0000 From: Bob K Subject: Crimson Queen? Yo- Dave (from Downunder) wrote: "I have just enjoyed listening to a version of "The Court of the Crimson King" with a female singer, it was great!" Perhaps it was the Lana Lane version ~Bob Long Beach, CA ------------------------------ Date: Thu, 6 Oct 2005 17:33:21 +0100 From: "REES-JONES, Richard" Subject: Between-song banter There's been a debate on another online forum about which artists are the best, and worst, at communicating with the audience between songs. This got me thinking about the extent of RF's on-stage banter. Surprisingly, for such a cold and aloof performer, he seems to quite enjoy talking to the audience, in the live recordings I' ve heard. There's a particularly good one on (I think) The Night Watch. Something along the lines of "I respond to enthusiasm." Are the re any other examples of Fripp engaging with the audience in a light-hearted, humorous way between songs? Richard ------------------------------ Date: Mon, 10 Oct 2005 18:28:53 +0200 From: Cyril Subject: Re: Re: Chromatic FAntasy (tab) Oh my god ! I even never thought about checking who was playing that so smoothly (i've spend nights trying to find the fingers, even with new standard tuning) ! i'm not sure i'll publish the 'tapping' version, but one can try so my apologizes for Trey Gunn for having given the credit to Robert Fripp Then, is the Kan-non power version played by Fripp ? Happy that the tab is of some interest for someone ;) cyril ------------------------------ Date: Sat, 3 Sep 2005 17:18:40 -0600 From: Nick Bennett Subject: Re: Chromatic Fantasy (Tab) Actually, on "The Bridge Between", Bach's "Chromatic Fantasy" was played by Trey Gunn, on Chapman Stick (this was before he switched to Warr Guitar). Nonetheless, nice job on the tab! Nick Bennett ------------------------------ Date: Thu, 6 Oct 2005 14:43:11 -0700 (PDT) From: Carlos Zaragoza Subject: Hello ET Hello, I am from venezuela, Iwould like to know when King Crimson come to South America and specially to Venezuela, the 17 of september I was in the concert of Adrien Belew in the Aula Magna and was magnifique, very good concert, good sound a special night thanks for these space in where can tell the what the fanatic of King crimson feel...bye ------------------------------ Date: Fri, 07 Oct 2005 23:01:24 -0700 From: Darryl Eugene Alford Subject: Adrian Belew article in San Jose Mercury News Here is a profile article about Mr. Belew I found in the October 7 issue of the San Jose Mercury News. He will be appearing Saturday night at Slim's in San Francisco. Be seeing you. Darryl ** ** King Crimson's frontman makes time for himself ** *By Shay Quillen* *Mercury News* When Adrian Belew started painting in his 50s, he didn't sign up for classes or read a book on the subject. He just bought the tools and dived in. ``I dearly love it,'' Belew says. ``It's so exciting because you keep finding all these new techniques and discovering things.'' It's the same exuberant experimentalism that has made him the guitarist of choice over three decades for adventurous artists from Frank Zappa to Nine Inch Nails. Belew, 54, comes to Slim's on Saturday to promote his first solo recordings in nine years, ``Side One'' and ``Side Two'' (``Side Three'' will follow early next year). The CDs are part of Belew's bid to recharge his solo career after focusing in recent years on his work as a guitarist and lead singer for King Crimson, which he joined in 1981. ``Side One,'' released in January, is heavy, progressive, power-trio rock, with three tunes featuring the monster rhythm section of Primus bassist Les Claypool and Tool drummer Danny Carey. ``Side Two,'' released in July, finds Belew exploring what he calls ``DJ music,'' using drum machines, loops and keyboard synthesizers along with his trademark guitar and some minimalist lyrics. ``Side Three'' will be a mix of pop songcraft and wild guitarcraft with more contributions from Claypool and Carey. Each disc was recorded at Belew's home studio in Nashville, each cover is adorned with acrylic paintings by Belew, and each is just more than 30 minutes long. ``The shortness of the records has to do for me with the fact that they're high-information,'' Belew says. ``And I would rather people play them again and again, rather than just keep adding in things that are just filler.'' *`A natural balance'* Taken together, the records paint a picture of an artist who sees no barrier between ``pop'' and ``progressive.'' ``You know, for me it's not a conflict to have both sides of that in your music,'' Belew says. ``I guess my main influence was the Beatles. I loved the pop side of the Beatles naturally -- who doesn't? -- but I really was drawn to the opposite side they had. They had an avant-garde side, with songs like `Tomorrow Never Knows.' . . . So when I grew up, that to me was a natural balance you can strike in music.'' In the mid-1970s, Belew was performing in a Nashville cover band called Sweetheart when Zappa invited him to join his band. ``My style was certainly in its infancy,'' Belew says. ``I was just discovering things that I felt no one else was yet doing, making funny sounds in songs, trying to make the guitar sound like other instruments and things.'' Belew developed an intensely modern, off-kilter style -- based more on exotic sounds than on typical hot licks -- that left an indelible mark on such landmark recordings as David Bowie's ``Lodger'' and Talking Heads' ``Remain in Light.'' In nearly a dozen solo albums since 1982, he has mixed heartfelt love songs, small pop gems about ecology, bad puns, guitar freakouts and even an MTV hit, 1989's ``Oh Daddy.'' The sound of ``Side Two'' came about when Belew acquired some new keyboard synthesizers and drum machines. ``As I always do, I started experimenting with them, seeing `What can I do with this?' '' Belew says. *Weighty material* Belew also returned to a technique he tried on the 2003 King Crimson album ``The Power to Believe,'' writing terse lyrics inspired by haiku. They deal with serious themes -- the nature of God, the meaning of life, the certainty of death. The album closes with ``Sunlight,'' whose lyrics read, in full, /``You start out wrinkled, and you cry/You end up wrinkled, and you die.''/ But Belew isn't aiming to depress. ``I'm very happy with where my life is,'' he says. ``Accepting the idea of death is just a part of that as it has to be for everyone.'' Next year will bring a fourth studio album from the Bears, Belew's pop band from the '80s that has re-formed on a part-time basis. But until King Crimson heats up again, tentatively in 2007, Belew's solo career will be his main focus. Belew's current band consists of two old friends. Mike Hodges, a high school pal, has been his preferred drummer for years. Mike Gallaher is an accomplished Nashville-based jazz guitarist whom Belew persuaded to pick up the bass. Expect a set list heavy on material from ``Side One,'' with some Crimson tunes and Belew solo favorites as well. Belew says he might add a live ``Side Four'' to the trilogy. ``I've never put out a proper live record,'' he says, ``and I think this is the best solo band I've ever had, so this would be a good time to do that.'' Adrian Belew With Teja Gerken *Where*: Slim's, 333 11th St., San Francisco *When*: 9 p.m. Saturday *Tickets*: $25 *Call*: (4Posted on Fri, Oct. 07, 2005 King Crimson's frontman makes time for himself By Shay Quillen Mercury News When Adrian Belew started painting in his 50s, he didn't sign up for classes or read a book on the subject. He just bought the tools and dived in. ``I dearly love it,'' Belew says. ``It's so exciting because you keep finding all these new techniques and discovering things.'' It's the same exuberant experimentalism that has made him the guitarist of choice over three decades for adventurous artists from Frank Zappa to Nine Inch Nails. Belew, 54, comes to Slim's on Saturday to promote his first solo recordings in nine years, ``Side One'' and ``Side Two'' (``Side Three'' will follow early next year). The CDs are part of Belew's bid to recharge his solo career after focusing in recent years on his work as a guitarist and lead singer for King Crimson, which he joined in 1981. ``Side One,'' released in January, is heavy, progressive, power-trio rock, with three tunes featuring the monster rhythm section of Primus bassist Les Claypool and Tool drummer Danny Carey. ``Side Two,'' released in July, finds Belew exploring what he calls ``DJ music,'' using drum machines, loops and keyboard synthesizers along with his trademark guitar and some minimalist lyrics. ``Side Three'' will be a mix of pop songcraft and wild guitarcraft with more contributions from Claypool and Carey. Each disc was recorded at Belew's home studio in Nashville, each cover is adorned with acrylic paintings by Belew, and each is just more than 30 minutes long. ``The shortness of the records has to do for me with the fact that they're high-information,'' Belew says. ``And I would rather people play them again and again, rather than just keep adding in things that are just filler.'' `A natural balance' Taken together, the records paint a picture of an artist who sees no barrier between ``pop'' and ``progressive.'' ``You know, for me it's not a conflict to have both sides of that in your music,'' Belew says. ``I guess my main influence was the Beatles. I loved the pop side of the Beatles naturally -- who doesn't? -- but I really was drawn to the opposite side they had. They had an avant-garde side, with songs like `Tomorrow Never Knows.' . . . So when I grew up, that to me was a natural balance you can strike in music.'' In the mid-1970s, Belew was performing in a Nashville cover band called Sweetheart when Zappa invited him to join his band. ``My style was certainly in its infancy,'' Belew says. ``I was just discovering things that I felt no one else was yet doing, making funny sounds in songs, trying to make the guitar sound like other instruments and things.'' Belew developed an intensely modern, off-kilter style -- based more on exotic sounds than on typical hot licks -- that left an indelible mark on such landmark recordings as David Bowie's ``Lodger'' and Talking Heads' ``Remain in Light.'' In nearly a dozen solo albums since 1982, he has mixed heartfelt love songs, small pop gems about ecology, bad puns, guitar freakouts and even an MTV hit, 1989's ``Oh Daddy.'' The sound of ``Side Two'' came about when Belew acquired some new keyboard synthesizers and drum machines. ``As I always do, I started experimenting with them, seeing `What can I do with this?' '' Belew says. Weighty material Belew also returned to a technique he tried on the 2003 King Crimson album ``The Power to Believe,'' writing terse lyrics inspired by haiku. They deal with serious themes -- the nature of God, the meaning of life, the certainty of death. The album closes with ``Sunlight,'' whose lyrics read, in full, ``You start out wrinkled, and you cry/You end up wrinkled, and you die.'' But Belew isn't aiming to depress. ``I'm very happy with where my life is,'' he says. ``Accepting the idea of death is just a part of that as it has to be for everyone.'' Next year will bring a fourth studio album from the Bears, Belew's pop band from the '80s that has re-formed on a part-time basis. But until King Crimson heats up again, tentatively in 2007, Belew's solo career will be his main focus. Belew's current band consists of two old friends. Mike Hodges, a high school pal, has been his preferred drummer for years. Mike Gallaher is an accomplished Nashville-based jazz guitarist whom Belew persuaded to pick up the bass. Expect a set list heavy on material from ``Side One,'' with some Crimson tunes and Belew solo favorites as well. Belew says he might add a live ``Side Four'' to the trilogy. ``I've never put out a proper live record,'' he says, ``and I think this is the best solo band I've ever had, so this would be a good time to do that.'' Adrian Belew With Teja Gerken Where: Slim's, 333 11th St., San Francisco When: 9 p.m. Saturday Tickets: $25 Call: (415) 255-0333, or see www.slims-sf.com. 15) 255-0333, or see www.slims-sf.com . ------------------------------ Date: Mon, 3 Oct 2005 14:32:06 -0400 From: Chris Subject: GIG REVIEW: RF 10/1/05 Town Hall NYC Had the pleasure to see Fripp open up for Porcupine Tree Sat 10/1/05. I guess it was the most enjoyable Soundscapes I have ever herd him play. He even soloed over the last one near the ending. Didn't "burn" the solo like I would like to hear, but it made it very complete. He seems to have new racks of equipment too that got rid of the digital grit from the last tour. There was a visual montage that was looped on the screen behind him as he did his thing. Some of the best Crim pics I have ever seen, as well as others from his career. God I miss the afro days. CJK ------------------------------ Date: Wed, 28 Sep 2005 07:59:10 -0700 (PDT) From: Ross Mohan Subject: GIG REVIEW: Current Soundscape Tour, Wash DC. Folks, I'd like to share thoughts and feelings about the show two nights ago in Wash, DC, wherein Robert Fripp opened for "Porcupine Tree" at the 930 Club. The Good News was very, very, good indeed: the soundscape was lovely, in spirit, a dynamic balance between the grinding horrors of Gates of Paradise, and some parts of Blessing of Tears, and the 'microsoundcapes' in, say, ConstruKction of Light. Fripp was very...smooth?..in the sense that he walked in and played (the guitar, the pedals, the electro-rack) very...erm...smoothly, but it was as if he, the person, just came in and stepped into an ongoing flow of soundscaping...it was seamless and conscious, without being self-conscious. The Bad News is much the same as always. I'll spare us all a long, achey diatribe but simply have to issue a small bleating: Why can't folks who don't wish to hear music stay in the bar..or home..or in cars...or somewhere else? Just WAY too much talking. We were collectively getting this wonderful gift of a soundscape...and while there were a goodly number of us there deeply enjoying and revering the music and space and time, at the same time, there was much -- too much! -- invasive gibbering going on all around. . I've made a decision..after several shows like this at 930 (and I have to thanks KC/DGM/RFripp for this sea change), I am now less willing to hear music from musicians I respect in venues where there is no chance they will be respected; I'll still go out and hear Fripp, but the difference is now I'll be more willing to pay $75 at the Strathmore (say) in Bethesda, MD to hear Fripp headline. I'll likely not hear Mr. Fripp open for any more 20-something bands at rocker bars...it's just too painful. Last night's show was truly great, but...I am not a Zen Master, and had difficulty controlling my inner turmoil about the crowd behavior. I was "spun up" for hours afterwards. I must salute Mr. Fripp. He presented himself and his music masterfully last night and did so with unwavering intent and creativity. "A pointed stick", indeed! Please come back -- but possibly to headline alone, and/or to a different venue! Thanking you for your time and attention, -Ross Mohan > __________________________________ > Yahoo! Mail - PC Magazine Editors' Choice 2005 > http://mail.yahoo.com > Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ End of Elephant Talk Digest #1216 *********************************