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 #692 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 692 Tuesday, 13 June 2000 Today's Topics: This night wounds time Re: KCONTROVERSY N.F. e i virtuosi dal pianeta talento The cuban cigarette butler did it Lalo Schifrin Re: Norbert Fragg: Endless Bleat Robert Fripp's video interview on eden Chords for "McDonald & Giles" No Australian Tour & ProzaKc Blues! Re: P or K & Larks Listen Re:Similarities Gatefold remasters Who is Gravity Tree and King's X where is Live in Mexico Gordon Haskell CD auction KC und Vinyl audience support Confused by DGM Club!! Observation, Q&A, Famous Quote On the "amnesty" of old crim bootlegs and DGM GIG REVIEW: Bonn Museumsplatz (sound problems) GIG REVIEW: helden in bonn ------------------ 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.htm You can read the most recent seven editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest system v3.7b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Thu, 08 Jun 2000 14:08:00 PDT From: "Martin Warin" Subject: This night wounds time "Starless and bible black" is probably my favourite KC album; "The night watch" for instance. Hoohaah what a song! The inside cover painting that says "This night wounds time" is also very cool indeed. But who made it? Has this person *connections* with KC or Mr Fripp? [ Please refer to the FAQ at www.elephatnt-talk.com about this -- Toby ] Talking about "The night watch"... I wouldn't think of myself as the greatest poets of history, though I think I might have *some* skill. But WHAT (?!?) does "so many years we've suffered here - our country racked with Spanish wars" mean? And also, was it too expensive for KC to tour in Sweden, or are there too few potential concert-visitors here (there you go, I'm a Swede)? -Warin ------------------------------ Date: Thu, 8 Jun 2000 17:26:34 EDT From: GenoTT at aol dot com Subject: Re: KCONTROVERSY >Date: Wed, 07 Jun 2000 16:40:19 -0400 >From: johnpellerito > >We all know now the "official" KC policy regarding taping. But is it not >ironic that RF continues to search out the best tapes (boots) from the past >to improve the Collectors Club series? Is there not subtle encouragement, >or at the least, acceptance of the practice of taping for the purpose of >archiving vintage KC? No. There's a difference. Fripp and the band can work with their own recordings and decide what material to release, and for what purpose. They have a right to it since it's their work. Whatever uses past audience recordings may have, any unauthorized recordings of current shows have been expressly forbidden countless times. It all comes down to one thing: courtesy. The band tries their best to make every show a great one, and it's only fair to expect the same courtesy from the audience. Period. Whatever their self-righteous rationalizations may be, audience tapers are still going against the express wishes of the band and negatively affecting the performance. Even if it's just a subtle "feeling" one of them gets on stage it's still affecting the performance. If you can't show a little respect, stay home. ------------------------------ Date: Thu, 8 Jun 2000 19:05:57 -0400 (EDT) From: dolcezza at cyberdude dot com Subject: N.F. e i virtuosi dal pianeta talento www.nfeivirtuosi.da.ru for fripp! ------------------------------ Date: Thu, 08 Jun 2000 18:57:36 -0500 From: "David F. Snyder" Subject: The cuban cigarette butler did it Greg Robinson states: > PS I don't smoke and never have, but I find self-righteous and ignorant > "health" zealots to be carcinegenous to freedom, So cigarette smokers should be given the freedom to needlessly expose me to the hazardous materials in the tobacco smoke? I choose to be smoke free; I don't begrudge smokers - I understand addiction, how satisfying a craving can often be more important than what those around you care about. Trust me, it's not about freedom at all; in fact, closer to the opposite. I suggest that smokers just shoot themselves in the head - it's faster and their loved ones won't have to watch them die a slow, painful death, like I had to watch my grandfather suffocate to death over a 6 month period. Me, I'll just stay self-righteous, but not ignorantly so. David Snyder ------------------------------ Date: Thu, 8 Jun 2000 21:44:54 EDT From: JasJohns22 at aol dot com Subject: Lalo Schifrin The connection between KC musicians and Lalo Schifrin would rather obviously be Bela Bartok, early 20th Century schizoid man whose string quartets have supplied many of the thematic elements found in the original MI and several KC offerings. Brevity is the soul of wit. ------------------------------ Date: Thu, 8 Jun 2000 22:41:45 -0400 From: "DR" Subject: Re: Norbert Fragg: Endless Bleat Wonderful. Absolutely wonderful. :-) Thx Bill ! DR > Date: Wed, 7 Jun 2000 23:33:35 EDT > From: Bknt at aol dot com > Subject: Norbert Fragg: Endless Bleat > ------------------------------ Date: Thu, 8 Jun 2000 21:02:53 -0700 From: "Larry Terrano" Subject: Robert Fripp's video interview on eden Hello ET er's around the world, I have only been receiving this digest for a month but I am really impressed. I would like to offer this link http://eden.vmg.co.uk/robertfripp/ to all who would enjoy a two hour video interview from April of this year of Robert. I found it fascinating and Robert, if you're reading, thank you for all the great music. Bon Voyage ------------------------------ Date: Fri, 09 Jun 2000 08:59:56 +0200 From: Valerie Le Goff et Mickael Vedrine Subject: Chords for "McDonald & Giles" Hi Eters, For those of you who should want to play songs from the legendary and excellent "McDonald & GIles" album, I posted all the chords and a few tabbed riffs on my website. I'm sure there are some mistakes and imprecisions, so fell free to (privately) email me your comments. The URL is http://www.multimania.com/mvedrine/songbook/mcdo&gil/mcdo&gil.htm By the way, I truly wonder what is Mr Fripp position about making available chords and tablatures of which you don't own any copyright. I shall post this question on DGM Guestbook. Have a good time ! Mickael ------------------------------ Date: Fri, 9 Jun 2000 22:10:20 +1000 From: "Tony Greig" Subject: No Australian Tour & ProzaKc Blues! Hello Crimophiles, Well, talk about prozaKc, man am I depressed! Fripp's diary (Wed 7 June?) states the regret at not being able to tour Australia because of freight costs! How close is that? Too close if you ask me, and now it's back to the video's, cds, etc. Reading gig reviews is interesting and enjoyable, but at the same time, very frustrating! In Australia we do get ripped off re: prices of a lot of things and I have no doubt as to the price of air freight charges from this place. Hang on, isn't Virgin Airways here now? TCOL came out on Virgin, hmmmm, maybe Branson could wave the freight costs, or not! It's amazing what crap you think up when frustrated. It's nice to know that Crimson were interested in touring here and I thank them for looking into it. How many artists are prepared to play for nothing, not too many I would think and the fact that Crimson are prepared to cover costs whilst touring, is common sense to say the least! Now for some construKctive criticism of TCOL. I have been listening to it for about 2 weeks now and have a few observation's to make, so here goes, (these are my own personal opinions and I am not saying Crimson should not do what they want to do, it's what I am disappointed in, that's all)! Adrian Belew is the BIG disappointment for me on TCOL, both from a vocal and lead guitar perspective. A Crimson album with very little lead guitar from Fripp is unbelievable as far as I am concerned, and I do not think Belew's solo's are very melodic or contain many references to the particular songs/ instrumentals etc! Sounds like a heap of doodly doodly, whammy bar, string bending type of playing to me and it could be many a lead guitarist waffling on there. (OOPS!) Belew is a sensational musician, composer and front man and I really have the highest respect for the man, but there seems to be too much Ade and not enough Fripp for what I like in the lead guitar category on this album. IMHO Fripp is one of rock's great lead players for melody, sound etc. (Not mentioning the piano type solo!) Don't get me wrong, it still sounds like classic Crimson and has most of the ingredients, but vocal melody helps steer a song in a certain way and Belew is one of rocks great vocalists! Excepting the title track, he does not sound the way he normally does and that, for me, is disappointing. I am still thinking of ProzaKc and Frying Pan etc with 'classic' Belew voice. Pat Mastelotto is a sensational drummer and has now secured a position in one of his all time favourite bands! What a dream come true for him and isn't that alone what a lot of musicians dream of? One day being able to jam etc, with your favourite band would be really something, and my hat goes off to PM for playing brilliantly, under what I can imagine could be a certain amount of pressure! Can you imagine it? My only critical comment regarding drums is the proverbial sound, an acoustic snare drum would be great with the rest of the kit comprising V-Drums etc. Trey Gunn grooves like no other and is 'off this planet' as a player of all things, including Crimson material. These guys are flying!!!!! I love the Bruford/Levin connection, but that is history and comparisons of different people is a waste of time as far as I am concerned! All the bass players and drummers in Crimson are 'out there' and having to rock with Fripp, well, need I say anymore? A note for mentioning, I have yet to hear any of the ProjeKcts and the four musicians currently in Crimson are providing a new direction in Crimson music for me at this moment in time! In some ways, I am glad that I have not heard any of the ProjeKcts and in others, a little frustrated. Cannot afford to buy everything though! Enjoy the music that greets you (depending on your mood at that moment of course!), enjoy the concerts all the lucky people in countries where you can enter The Court of the Crimson King. (keep the gig reviews coming in, it's all I have to hang on). Cheers, Tony Greig. P.S. Now to find those old razor blades to sharpen, cannot afford new ones, although I would have been able to afford a concert ticket or three, strange that! ------------------------------ Date: 9 Jun 00 09:48:48 MDT From: claus dot poulsen at usa dot net Subject: Re: re: P or K & Larks Listen Hello in the Basement, this is Kclaus of Denmark talKing, I Thanks very much for the good advice on where to put my ProjeKct CD's (we agreed on P, right?). But, then, where does the "King Crimson: The ProjeKcts" box belong??? - should I take out the CDs and put them at P and leave the empty box at K? (that would be cheating, wouldn't it?). [ Replies by private email only, -lease. -- Toby ] II I remember reading an interview (Robert or Adrian) just before the Double Trio got together - saying that Larks' tongues pt. IV would be on the new album, but has a NEW TITLE. My GUESS is that it is "VROOOM". And If I consider "Talking Drum" to be an intro or companion piece, the Ultimate Larks' Listen would be: Larks' tongues in aspic, part I (from LTIA LP) Talking drum Larks' tongues in aspic, part II (both from Circus) Larks' tongues in aspic, part III (from Abscent Lovers) VROOOM (from THRAK) Larks' tongues in aspic, part IV FraKctured (both from TCOL) III Check out Trey and Pat's diaries on DGM Best /Kclaus ------------------------------ Date: Fri, 09 Jun 2000 11:15:06 -0500 From: Chip Hughes Subject: Re:Similarities In ET#691 "Clive Lathrope" wrote: > Anybody else noticed the similarity between "Oyster Soup" and "Fantasy" > by Mariah Carey ? Sorry, I had to respond... Could be, considering... Mariah Carey's "Fantasy" heavily samples Tom Tom Club's "Genius of Love"... lead guitar/elephantosity provided by ADRIAN BELEW. ------------------------------ Date: Fri, 9 Jun 2000 14:32:07 -0300 From: "Joe" Subject: Gatefold remasters Hi ETers! I'd just like to know which are the differences for the new 24-bit remaster gatefold to their jewel case counterparts - I've heard that it contains an extra booklet. And is the sound really that improved? Thanks in advance. Joe ------------------------------ Date: Fri, 9 Jun 2000 11:23:22 -0700 (PDT) From: Brian Burch Subject: Who is Gravity Tree and King's X Gravity Tree and King's X. These are two bands that, until recently, I had not heard before. You see, at that Radio Free Kansas internet radio site, which plays all progressive rock, they had a link to something about Gravity Tree. I decided to check it out. it listed all the information about Gravity Tree and I noticed that the two main influences were King Crimson and King's X(the first I'd heard of King's X). Obviously I love King Crimson music(who here doesn't?) so I checked out the song they had on the site. It was alright, a little soft for my blood. I do, however, have to compliment them on their musical talent. Gravity Tree is made up of two guys, one plays drums, percussion, and keyboards. The other, get ready for this, re-strung his guitar so there are guitar strings and bass strings, and he plays bass and guitar at the same time. It's quite incredible. Even in the concerts it's only the two guys and no tracking over. Well, anyway, after I listened to the songs from Gravity Tree, I went to Napster and downloaded King's X(uh oh, here comes the FBI). I figured they were indirectly compared to King Crimson, so I'd give 'em a whirl. Now King's X, I like. Heavy stuff. I only have one song, Fade, to judge them on. It's heavy enough for me, but the musical talent, although artistic/progressive, does not quite meet the standards of being a heavy band. Well, anyway, this post in ET is mostly just to ask if anyone can give more information on either Gravity Tree or Fade's X. Has anyone seen either of them in concert? How do they compare, in your opinion, to King Crimson? How do their songs compare to eachother? You get the idea. ===== Peace out! Brian Brianman3 at yahoo dot com ------------------------------ Date: Fri, 09 Jun 2000 20:48:08 +0200 From: Lars Brondum Subject: where is Live in Mexico Does anyone know where "Live in Mexico City" on BootlegTV went? Its not there any more. I finally found a Mac on cable and was seriously looking forward to hear it... bummer Lars ------------------------------ Date: Fri, 9 Jun 2000 11:47:19 -0700 (PDT) From: Chelsea Snelgrove Subject: Gordon Haskell CD auction Hello All, I have a used copy of Gordon Haskell's CD "Butterfly in China" up for auction at Amazon.com, if anyone is interested in bidding on it. (It's in the "Rock" category.) Thanks, Chelsea ===== Ars longa vita brevis ------------------------------ Date: 09 Jun 00 11:55:34 -0700 From: "David Voci" Subject: KC und Vinyl Hello Friends, In 689 I posted a point about recording to CDR the vinyl version of Earthbound. I did this from my copy given to me by a cool coworker of mine awhile ago. After getting an audio CD Recorder last December, I found that it was great recording vinyl onto CDR's for listening ease and to further slim down a once much larger collection. I would only keep a marginal amount of LP's that made it to CDR. I would like to get a feel for the collectibility of Crimson on original vinyl. Yes, I am an ex LP monger and was very much into the whole allure of collecting vinyl in the 70's and 80's. Wasn't it a bitch lugging large amounts of vinyl to and fro when you moved? At the same time, I still have an affection for those 12 x 12 inch cumbersome relics of another era and find it hard to get rid of all my vinyl like some people I know when the CD craze first hit. Crimson vinyl used to sell at local shops in northern California(thru mid to late 90's) for between 1.99 and 4.99 max, in pretty good condition, and usually in original gatefolds on Atlantic in those cases of gatefolds. Had on vinyl: Court Of..../Wake..../Islands/Starless/Red Still have on vinyl: A Young Person's Guide To King Crimson(US)...How can you get rid of this, even though you have all cool tracks on CD, based on the great cover artwork and booklet?? Lizard(US)...Kept it for the better/larger images of the, once again ladies and gentlemen, fantastic artwork that adorns many of Crimson's releases. Earthbound(UK)...For obvious reasons. Is there any KC LP that has high collectible value? I would think that Earthbound, in near mint condition should/could command a pretty good price. Have a good one, dv ------------------------------ Date: Fri, 09 Jun 2000 15:09:00 -0400 From: John Ott Subject: audience support Warren Melnick writes: > Mr. Fripp has stated many things about taping. He has stated that KC > is one of the most taped bands ever. Given the high percentage of > shows tapes by bands such as Led Zeppelin that have surfaced over the > years, he must therefore realize that every show is being taped, it is > the logical conclusion drawn from his statement. Therefore to blame a > bad show on tapers is rationalization at its worst. You would have to > blame your best shows on tapers as well. > I don't buy your argument that every show is being bootlegged. But even If I give take that as a given, Ask this question: How much better could the shows have been if the tapers had been engaged in active listening and support of the artist instead of an act of violation? Even at shows where taping is allowed, it is a distraction. At last summers Allman Brothers show a taper put his microphone booms in MY line of sight, which made it more difficult for me to enjoy and support the band. So even though the band allowed it, it was a distraction and undermined the event. The Allmans were great, but could it have been better had there not been any distractions? I know the experience would have been better for me. If Robert Fripp can feel the violation occurring (as he has stated in his diary) and it effects his ability to connect to the music, why would you go to a show and then tape it and undermine the quality of that performance? It should be enough to know that it affects him that you would not want to tape the show. Unless all you care about is getting a tape rather than experiencing a good show. Music is at its best when the entire audience is being supportive and engaging positively with the performers. Any distraction to other audients or the performers undermines the music for all. The reason to go to a show is to celebrate and embrace the music. And when the music embraces you that is more valuable than any tape could ever be. later John DC-ET ------------------------------ Date: Fri, 09 Jun 2000 14:30:11 -0500 From: Lewis W Beard Subject: Confused by DGM Club!! Hi, Ramblings first: I just re-joined Elephant Talk after YEARS of absence ... since it first started up. Last time I was reading these things, I got my email on a mainframe at Ole Miss. :) I just got TCOL: Its pretty good; it seems overly familiar somehow, though, and I just dont think Pat and Trey get (in the studio) down enough ... everything sounds high and in the upper registers. I like more back and forth. Still, great album. I think it will grow on me, I've only heard it once so far. Real Post: The DGM Club confuses me. I read rave reviews of ProjeKct 4 Live in San Francisco 1998. I want it, but I dont want to shell out 96 bucks just to join an elite list of fanatics, when I'm not even sure if I can get something that is already released. Also, I dont know that I want to automatically get all the new stuff. I love KC and its incarnations, but the DGM Club approach puts me off. Can anyone explain it, comfort me, or somehow tell me if/when I can ever buy P4 - San Fran 1998 just on its own? I really wish Fripp had just let people pick and choose what they wanted. I suppose they save money on producing the number they need for the fans, and then being basically done. But its annoying. I wish I could just go on a simple page, enter a credit card #, and click the 3 selections I happen to want right now. Help? Lewis Beard -- Lewis W Beard ............... lewis at lwb dot org ............... http://lwb.org/ "Many people would rather die than think; in fact, most do." - Bertrand Russell ------------------------------ Date: Fri, 9 Jun 2000 15:24:06 -0700 From: jrunkle at pinnaclepeak dot com (Jeff Runkle) Subject: Observation, Q&A, Famous Quote I'm about 4 issues behind in my E.T. reading, but after skimming #691 there doesn't appear to be any mention of Bill vs Pat! Perhaps the drummer controversy is finally over. I certainly hope so. **************************************************************************** ************************************************************** Who is the only constant member of K.C.? Robert Fripp Who decides who is in K.C. at any given time? Robert Fripp Why are V-Drums used on TCOL? Because that's what was decided, for whatever reason. Why were those tunes written, recorded & mixed that way on TCOL? Because that's what the members of K.C. were inspired to create. **************************************************************************** ************************************************************** "I don't want to spend my life explaining myself. You either get it or you don't." Frank Zappa The same holds true for King Crimson. Jeff ------------------------------ Date: Fri, 09 Jun 2000 18:26:49 -0400 From: Joseph Shelby Subject: On the "amnesty" of old crim bootlegs and DGM Remember your Guitar Craft : Turn a Seeming Disadvantage to your Advantage. The collection of old crim audience archives and their release by DGM is to put the bootleggers (those who sell the shows) out of the King Crimson business. Sales of Crim music are fine, as long as its done legally and in a manner that guarentees the artists get their appropriate royalties (which normal bootleg sales do not), and the buying public is given quality reflective of some degree of expectation. In the case of the collectors club, its stated up front that the sound quality is poor in some cases (reinforced now by the "audio quality" ratings at the DGM website). By DGM taking this task on of handling the Crim archive collection, we are pretty darn sure we're getting something the artists (well, at least "Ton Prob") are sure is the best quality we can get at a decent price that sees the reproduction effort and the artists duly compensated. The current policy of not wanting shows taped by audience members reflects a modified attitude : the shows are already being taped for eventual release in some form or another via Bootleg TV. Since the work remains owned by the artist (King Crimson), they also have the right to distribute a particular show in another form (in-store video, or in-store, mail-only or CC cd), but even if they choose not to, the show is still archived. The sound of the evening remains to eventually be (or not be) music when given another audience. Why have a crappy audience recording when you can eventually have a decent soundboard mix? A little patience, and one can accept a gift of an evening, rather than "take" it from the artist and the rest of the audience. Yes, there are those weird ironies where the desire to not be taped is unbalanced against a positive effect of having been taped, even recently (Tony Levin talked about the "recovery" of a BLUE Night moment that was lost 'cause the tape machine died at just the wrong time). Again, that's turning a disadvantage into an advantage, but not necessarilly an endorsement of the practice by any means (and shouldn't be treated as such). I still wish BootlegTV would find some other mechanism besides Micro$oft. I'm a Linux user who's gonna have a hard time getting the shows. Also, I'm going to be compiling a database of the diary comments of the Crim members (Fripp has stated his are free for public dissemination, provided credit is maintained), and provide an online resource where you can read each performer's opinion of the evening. Crim addicts will likely eventually watch every BootlegTV show, but those with smaller pocketbooks might use this as a means to decide which shows they'd like to start with. I'll post here and @ the guestbook when its ready for public consumption. This is, of course, contingent on the idea that BootlegTV doesn't do it themselves when the shows become available. Joe ------------------------------ Date: Thu, 8 Jun 2000 23:27:43 +0100 From: removed at users dot request (GW) Subject: GIG REVIEW: Bonn Museumsplatz (sound problems) Just a short review (since the Bonn gig has been reviewed before): Venue: semi-open air (courtyard of a modern museum, with a tent-like roof). Nice. Weather: friendly at the beginning, but raining cats & dogs during the gig. Thanks to the tent-roof, nobody got wet (AFAIK ...). The Band: phantastic. Not of this world. A very powerful quartet. Sometimes more aggressive than the '96 double trio. Sounding fresh & new. Can't believe that they are in the business for such a long time. Really not the usual Rock-dinosaurs playing their greatest hits ... they re-construkcted the light, recycling some bits & pieces from KC's history. They are really a BAND, not just a shrinked double trio. Four remarkable musical personalities. Including PM (he _is_ a great drummer and a nice person, too). AB did a phantastic job in doing all the vocals (without the support of TL's background voice) and playing excentric stuff on his MIDI guitar at the same time. TG was rock solid. And RF ... I don't dare to write anything about KC's mastermind. But I really hope and pray that he don't get too involved in gardening and pet rabbits ... the musical world wouldn't be the same without him. The Sound: a disaster, at least in the first rows. The stage (or was it the tent !?) was resonating with certain frequences of the warr guitar bass strings und some of the V-Drum sounds. Sometimes all the other instruments (including AB's vocals) got completely drowned in this extremely loud resonances. My (aerobatic-proof) stomach nearly bursted. Another problem was the mix: sometimes AB's vocals got lost; parts of the 'Heroes'-vocals were just pantomine. But despite these sound problems it was a phantastic evening, worth the hours on the autobahn. This band deserves an open minded audience, but no prejudiced Kleingeister ... ;-) Ciao Gerd (Herne/Germany) ------------------------------ Date: Fri, 09 Jun 2000 14:47:43 +0200 From: Erik Matthysen Subject: GIG REVIEW: helden in bonn GIG REVIEW : Helden in Bonn Im not sure youll find much new in here after the previous two reviews, but here goes... I became a KC fan in the early 80ies, discovering the new material only shortly after I got into ITCOTCK and LTIA, but never saw them live until the double trio. Yesterday I saw the ` man with an aim ' for the third time in five years. A beautiful night for a concert (quote Belew), a beautiful place in the Museumsplatz in Bonn, and a great concert it surely was. The sound was mostly good (much better than Brussel 1996) except for some parts, particularly I Have a Dream was drowned in the lower registers and, to me, missed its impact. I cannot comment on the general atmosphere in the way that has been done for the Offenbach concert, but I at least only saw an enthusiastic, appreciative crowd, and left with a deep feeling of satisfaction and being happy to be part of the world of KC. No surprises in the set list : Frying Pan, TCOL, Sex etc, Frakctured, One Time, Dinosaur, Oyster Soup, instrumental, Cage, Prozakc Blues, Lark IV + coda ; and encores : ToaPP (Belew solo), DOTT (without Belew), Vrooom, and Heroes. In my opinion Heroes, and the style/period it represents, fits remarkably well with this band and its mood. Interestingly, Bowie used to do the same, including one cover in each particular record that matched perfectly with his own changes of style. Besides it was nice to hear Fripp play the original unmistakable guitar lines, together with Belew who must have played it nights in a row on tour with Bowie... As other people noticed, the band seemed to be in good humour. Belew was cheerful as always, smiling even during the more ` serious ' songs. He hardly played during one piece, I think it was Frakcture, instead wandering around a bit, wiping his guitar and posing on a stool in front of the drums (Fripp-wise). Fripp was as always, observing Belew closely most of the time, you could see the intense interaction between the two, particularly in the interlocking guitar sections. Gunn : reserved, but also laughing at times, and concerting quite a bit with the drummer. Mastelotto then, a beast at work, impressive to see, at times seemingly trying to shout over the music. At the end the three came to the front, waving goodbye, Pat even throwing his drum sticks in the audience, but Fripp typically standing in the back, and just as typically scanning the audience for a few seconds with hands above his eyes. Particular highlights to me were : Oyster Soup (a killer, the ` piano ' solo was done by Fripp), TCOL (starting to become one of my favourites), LTIA IV (if you have doubts on the CD whether it has the same impact as part II, hear it live it gave me schizoid goosebumps), Heroes, and most of the rest as well. No low points ! Prozakc worked a bit less well than on record ; I also wasnt sure about Cage and ToaPP, being great songs and played very well, they felt to me more like Belew-showcases than true KC. One thing that struck me is how many people applauded at the wrong moment in pieces like Dinosaur and Frakcture. Not everyone is a KC-addict. However, quite some people shouting ` we want heroes ' (in German) before the last encore, proved that word about previous concerts travels fast. Something that strikes me when reading other concert reviews is that some people overestimate the spontaneity and improvisation of a concert. I would also like to feel that a particular song is played just for the occasion, or that the third encore is only for this particular crowd... wake up, friends. There must be interaction with the audience, there will be differences between shows, but the Bonn show was 95% predictable in terms of which song was played and in what order. To sum up, my general impression is that this KC incarnation, live, shows many faces, more than might be expected from the relative stylistic homogeneity of TCOL and from the tight line-up. Compared to the double trio, this is more of a band and less of a proje(k)ct, let alone just another lin-up. Guys, give this band the opportunity to grow after such a great start ! ------------------------------ End of Elephant Talk Digest #692 ********************************