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 #706 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 706 Monday, 3 July 2000 Today's Topics: Growing Popularity sunday all over the world chatting during soundscapes Re: US opening act LIZARD BITS Regarding Daniel T.'s concerns.... King Crimson And Forward Movment Re: Odd Time Signatures Re: US Opening Act Re: more TCOL-ing from Iscander Re: Concerns The Song Remains the Same THRAK and stuff Cin AlayI Fripp's traveling guitar GIG REVIEW: KC in Barcelona june the 27th 2000 ------------------ 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: Sun, 2 Jul 2000 14:13:32 -0400 (EDT) From: "Weissenburger - Jeremy S." Subject: Growing Popularity Two notes of how Crimson may (or may not) be gaining popularity: 1) I picked up a free CD in a record store called _Monitor This!_ from "The Music Monitor Network." It had a good range of new music being released, including A Perfect Circle, Def Squad, Ani DiFranco, The Jazz Mandolin Project, and King Crimson! It had "The ConstruKCtion of Light" on it, but only the second part. Still, if this helps turn anyone onto the CD, I think it's a good thing. 2) I was solving a puzzle in Games Magazine (I get subscriptions to both Games & World of Puzzles but usually don't get to answer any of them until the summertime, as I'm a HS teacher), and one of the clues was: "King Crimson guitarist/singer" The answer was, of course, Belew. So now I guess immortality is his. --Jeremy ------------------------------ Date: Sun, 2 Jul 2000 13:05:08 -0700 From: "Sparky" Subject: sunday all over the world about a year ago I read in the DGM news that Sunday all over the world were releasing a new album and possibly touring behind it. Am I nuts.? ------------------------------ Date: Sun, 2 Jul 2000 21:47:07 +0200 From: "christian skina" Subject: chatting during soundscapes Ah gentlemen, I suppose there has been a misunderstanding: I did not go to Paris to discipline the French public. No matter what Mr Fripp has advised the public to do during his performing of soundscapes (see also November Suite), I still don't like to listen to music while someone next to me is using a hairdrier. Since I'm not in the position to pay KC or anyone to perform in my livingroom, I must go public places to listen to the music. I have expressed, and I think I have the right to, the displeasure of having to share the same space with people that come to concerts in order to chat. That's an expensive way to do it, I suppose any street corner would offer a cheapper environment to engage in such activities. ------------------------------ Date: Sun, 02 Jul 2000 17:04:30 -0500 From: Craig Subject: Re: US opening act >To quote one review: If the bandname Uz Jsme Doma sounds >like a riddle worth solving, just wait till you hear their music. This >schizophrenic band from the former Czech Republic moves >effortlessly from avant-garde dark piano solos to hyperspeed >ska to operatic arias to punk rock to a wacky hybrid of all of >the above. Huh? There is NO piano OR keys in Uz Jsme Doma. I`ve seen them twice now. They are excellent, though. Kinda like a progressive Czech Oingo Boingo on massive amounts of amphetamines. Nice guys, too. The drummer is particularly staggering. Craig S. ------------------------------ Date: Sun, 2 Jul 2000 19:59:54 -0700 From: "Matthew K. Smith" Subject: LIZARD BITS My CD collection got ripped off a few years back, and I haven't gotten around to replacing Lizard. (Still have a tape however) So, in response to Michael Irish's offer of his '89 edition, I would welcome it. And it doesn't cost any more to send one CD to Kent, OH than anywhere else in the country. So e-mail me if the offer still stands. Personally, I think all this remastering crap is just that, and I have very good ears. Except in extreme cases (Aqualung comes to mind), I believe the difference is negligible, and you can only make something that was recorded 30 years ago sound so good, no matter how many bits you convert it into. Unless the packaging is a new treat, I'm not inclined to buy an old CD just because it's remastered...MARKETING. As for the record itself, I have wanted to say this in a semipublic forum for years: I thought Eric Tam's book, Robert Fripp, From KC To GC was very good, but it lacked the POV of a seasoned listener, and this really showed in reference to critiquing Lizard. He said relatively good but skewed things about it, but admitted he had only listened to it 2 or 3 times. When I first heard it in about '73 I didn't know what the hell to make of it. It took about 15 concerted listenings before I could say I genuinely liked it! Since then I've probably listened to it 200 times, and like you too I feel it is a real gem. And to the gentleman who wants to know why Fripp won't play old stuff, I dare him to play Cirkus or Happy Family these days. (Besides he would only have to pay Sinfield royalties on the words, and he probably is in such an obscure place he can't be found anyway.) No, you can't take a record as pleasantly oblique as Lizard and form any kind of introspective, meaningful opinion of it in a few listenings. However, I only needed to hear TCoL once to know I LIKE IT. I will have a plethora of new and different feelings about it ...as time goes on. later ------------------------------ Date: Sun, 02 Jul 2000 20:10:53 CDT From: "Trey Five Winds" Subject: Regarding Daniel T.'s concerns.... In the Last Elephant Talk, I ran into something I could not ignore. Please forgive my overindulgence, however, I feel this is a topic worth expounding upon. My thanks to Daniel T. for bringing the subject up. > Dear ET moderators and readers, > I have been disturbed by Robert Fripp's behavior towards older King > Crimson material. It seems as though he has no longer has any interest > in playing classic Crimson material anymore. I must decline. And, with much sympathy to your position, I will state, on a point-for-point basis, why I do and why perhaps other would, as well as the band. "It seems he no longer has any interest..." Well, yes, and, with all due respects, who would? There are simply too many options and possibilities for playing "new stuff," as opposed to "old stuff." Quite a bit of the "old stuff" has been heard for a generation; let this new material have its own time in the light. If we all agree that music is timeless, and sometimes seems to have a sentience of its own, then isn't it just possible that perhaps this material has been waiting just as long (if not longer) to be played as any other material? Without being offensive (and indeed, I state this with the utmost respect), All of our Messrs here, Robert included, aren't getting any younger. They are ageing gracefully, but they are ageing. If you were in their position, ask yourself: Would you want to be burdened with 30 year-old business, no matter how "timeless" it is? (And let's not forget -- some of that material, to paraphrase Adrian Belew and Robert Fripp, isn't so "timeless." In fact, as often as there was a great track, there was, admittedly, some duds as well. We all know this and should be able to admit it. Besides not playing "good" old stuff, why would you want to repeat earlier mistakes LIVE IN FRONT OF AN AUDIENCE? Isn't this what "learning experiences" are for?) "Could it be that he doesn't want to pay royalty monies to other members?" Ah, slicing the cake where it now sits in the plate, are we? Well then -- I suppose we should all get up and ask Messrs. Giles, McDonald, Lake, and Sinfield whether or not they received their royalties from the LIVE GROOVE (ProjeKct Two) release of "21st Century Schizoid Man!" And if they didn't, then perhaps you might have a case. But, as I recall, music is not about this. Business is. All in all this boils down to accusing our boy Fripp of not playing fair...I suppose the head of DGM, a company based on strict business procedures in which equity and fairness are the top tenets of their mission,would know absolutely NOTHING whatsoever about playing fair, would he? :-) No, I suppose not, and it's just too bad Wetton and the others got no royalties for "The Great Deceeiver," eh? (I'm sure I have belaboured the point...) (It should also be pointed out here -- for those who LOVE to pick a nit, that when a band goes out and "covers" someone else's songs, then there is no real payment expected unless a recording is manufactured and sold to others as product and the song appears on the recording. If royalty monies were the case for unrecorded (or at least unreleased) covers, then EVERY SINGLE PERFORMING MUSICIAN AROUND OWES SOME PRETTY BIG DEBTS! {I wonder how Bowie will spend the money King Crimson will give him for doing "Heroes..."}) And anyway, these songs were all recorded under the name King Crimson. Robert has been in every incarnation, this is true, but he has never been the LONE member -- just the one who was there from the word go. To any common interpretation, this also means that the current group HAS THE RIGHT NOT TO REST ON THE LAURELS OF THOSE WHO CAME BEFORE THEM. And if I were in Crimson, I would sure as hell want that option. Wouldn't you? "Mr. Fripp once said to Vic Garbarini (Guitar World July 1995) 'One is governed by one's future at least to the same extent as one's past.' Well if that hold true, then shouldn't the older Crimson material be played in order to pay homage to it? I would think so!" Why? You just proved my own point. Look at the words "at least" in that little quote. This was Robert clearly stating that the future is more important, or at least, more immediate. If this is the case, again, why go back and do old retreads? This isn't what Crimson is about, and we have 31 years of music, commentary, and media coverage to support this. To better demonstrate the point, imagine, if you can, Fripp, McDonald, Giles, and Lake playing "The ConstruKction Of Light." Doesn't seem to work, does it? It may in the imagination (to those who have good ones) but in all pragmatism, I would have to estimate that this feat wouldn't be exactly as possible, not to mention, as good. Leaving aside the possibilities of life, there are reasons why Lake, McDonald, and Giles are no longer in King Crimson. And there are reasons why Gunn, Belew, and Mastelotto are. Let's allow this band to develop its own language -- no matter how old that language is in the musical ether, down on this little mudball it's less than a year and a half old. And, comparatively speaking, it's NEW! Isn't that the defining quality of the words "progressive" or "avant-garde" ? And again, isn't this pioneering quality what King Crimson is about? While, like you, I think it would be lovely to play some of the older material (the only thing I haven't heard the 90's band do that I personally would like to hear is "Lark's Tongues, Part I), that era is passed. It's dead and gone. The music will live on, but the era itself won't. Let it go gracefully -- this new Crimson has way too many things to accomplish. And, if you find yourself at a King Crimson concert, angry and displeased because they refuse to pay homage to something that is not completely them anyway, there's always the door. With much respect and best wishes, Trey Five Winds. ------------------------------ Date: Sun, 02 Jul 2000 21:18:27 -0400 From: leslabb at ptd dot net Subject: King Crimson And Forward Movment In ET 705 Dan T. was concerned about the following: >I have been disturbed by Robert Fripp's behavior towards older King >Crimson material. It seems as though he has no longer has any interest >in playing classic Crimson material anymore. >Well if that hold true, then shouldn't the older Crimson >material be played in order to pay homage to it? One of the many reasons I like King Crimson and KC shows is that I know that I am in for a truly fresh and amazing performance. I for one would rather hear them play something new and unexplored. I feel this is where Crimson shines. It's nice to go to a YES or Pink Floyd show and hear them perform older material, but I also wished YES would have played Mine Drive when I saw them last, which is why I would not travel to see a YES show, but would not mind flying out to see a Crimson show. Also I belive that the only way a true performance of the older material could take place is if the orginal lineup would reform to perform the songs. Otherwise it is not the same. Les ------------------------------ Date: Sun, 2 Jul 2000 22:05:08 -0600 From: raviduck at mindspring dot com Subject: Re: Odd Time Signatures One that always seemed easy to recognize ; the intro to Cream's "White Room" in 5/4 , the other two parts are in 4/4 . ------------------------------ Date: Sun, 2 Jul 2000 23:24:13 -0400 From: "Randy Moss" Subject: Re: US Opening Act I've never heard of the band you suggest, but I'd be interested in hearing them. I've had the band Primus in my mind, specifically Les Claypool WITH the former drummer, Herb as my dream opening act for King Crimson. During Crimson's encore I'd like to hear those two along with Krimson performing something from the 70's incarnation, perhaps Red or Lark's Tongue.... ah.. I can only dream.... > From: "T.J. Mathews" > Subject: US opening act > > I think the Crim should have a sharp refreshing sound board > testing opening act for the US leg of the tour. And I'm going > out on a well worn limb of the locust tree of my own front yard > to suggest that band be - > > Uz Jsme Doma. > > To quote one review: If the bandname Uz Jsme Doma sounds > like a riddle worth solving, just wait till you hear their music. This > schizophrenic band from the former Czech Republic moves > effortlessly from avant-garde dark piano solos to hyperspeed > ska to operatic arias to punk rock to a wacky hybrid of all of > the above. ------------------------------ Date: Sun, 2 Jul 2000 22:49:28 -0500 From: "Grant Colburn" Subject: Re: more TCOL-ing from Iscander Iscander the Aquarius wrote (>) in response to Grant (>>). (Plus my new commentary, of course!) >>songs sound like Belew music arranged by King Crimson on earlier releases, >>especially Thrak and TOAPP. I'm happy to say that to me these sound like >>actual King Crimson songs! >Huh,you don't seem to like "Belew music" THAT much :) Actually, no I don't. Is that a crime? Do you think all fans of ELP love Greg Lake's solo albums from the 80's? The only Belew solo album I actively listen to is Op Zop Do Wah. King Crimson is my source for having an interest in Belew. >>I thought Thrak was like "King Crimson Lite," mostly in 4/4 and fairly >>unadventurous. TCOL is WAY more complex, challenging and technical. All >>good IMOP! >So,good song is a 7/8-5/4-17/16 song.Ah,THAT'S what was all about :) Nope, not it either. I don't really like Dream Theatre and their ilk regardless of whether they play in odd times or not, same with Yes. But....do I listen to Crimson in hopes of it being complex, challenging and technical? YOU BET! Plus challenging, complex and technical don't refer to time signatures alone. Its also the 20th century classical chromaticism and the element of "doom and evil" for want of a better word. Other bands may have odd times, but that's just one element of Crimson that appeals to me. >I used to think that MUSIC AND LYRICS AND THEIR INTERCONNECTION makes >a song,not a complex rythmic pattern. I was wrong ? Oh my :))) ... No, you're just assuming that what you enjoy out of music is what everyone should enjoy. Personally for me I care very little what the lyrics mean as long as they don't sound overly simplistic or stupid. Its the music that matters most. >Grant,when you listen to KC,do you close your eyes and relax,or concentrate >and keep on countin' odd beats all CD long? What, you mean you actually DO "relax" when you listen to Crimson? If I want relaxing music why would I pick Crimson to listen to? Pink Floyd, Eno? Yes. Crimson, no. I don't need to concentrate all that hard really. Being a rock musician and composer myself, I NEED music to have some type of complexity or originality to it to hold my interest. If it doesn't make me think, I don't enjoy listening to it. >>For me its the songs of TCOL which are the most forward looking pieces on >>the album. I think they are a clearer idea of where KC is headed than the >>instrumentals. >Well,maybe.But it's a fact that ,for example,Into the Frying Pan(one of your >favs :) is a derivative of an INSTRUMENTAL "ProjeKction"(or ,at least, its' >main idea had been used ). Derivative? Wasn't the purpose of the projeKcts to guide the way toward the next Crimson? Do you mean that somehow they weren't supposed to actually use the ideas that came out of the projeKcts for Crimson? >And vocals were not meant to be there from the very beginning,I guess... Considering there were no vocals in any of the projeKcts what's your point? Again, because no one improvised vocals somehow these ideas should have the vocals be off limits in all future uses? >And if you don't fall asleep while listening "The world's my..." Is THIS where KC is >headed ?To the one-chord-many-meters songs? No music there,man.Admit it :) >The only musical part of it is Fripp's piano-sound solo. NO! I won't admit it! Its like admitting that the members of Crimson are complete idiots who didn't know any better than to write that song. Do you seriously think that if Crimson believed there was no music in Oyster, they would have recorded it or would be continuing to perform it? Plus, why is Fripp's piano solo more musical than Belew's guitar solo? Just because its piano? >Anyone can invent as many songs as you wish based on this composing technology. >>Let's see you try, smart guy! :-) >Well,let's try this one: you play it by thirds up; I will play it fifths >down.And,of course,let's choose 5/4 for this brand new song.It's gonna be >great (because we use odd meter-a sign of a great song )...Together we'll >make a hell of a great band... :)))))) Are you a musician or do you just play one on T.V.? :-) If you ask me, only someone who doesn't know much about music would seriously try to describe composing a song in such simplistic terms. >It just seems to me that KC is kinda low on musical ideas.They can take one >of my ones,and jam with it and jam on it and into it until it's Crimson >enough :) Again, it still sounds like delusions of grandeur to me:-) !! >By the way,can you put it clearly what do you mean when you say "King >Crimson song" ? Hey, its definitely a personal subjective thing. I like what I like, you like what you like. >I think Markus was right(to the certain degree) that this is NOT KC >anymore.The main concept of the band has transformed into "ProjeKct n" >(n:integer).Remember this-'when there is music that only KC can play then >there appears KC" or something? Today there is music that only PROJEKCTs can >play.Let they play it by THEMSELVES,and NOT KC ! You're running out of logic to me, there. Are you saying that even though the ProjeKcts were comprised of ONLY members of King Crimson that somehow just due to the name they were no longer Crimson or playing on Crimson's behalf? To me the actual name projekct refers to the fact that these shows and recordings were "projects" of KING CRIMSON. You don't think they were named after slummy high rises in New York, do you? >I wonder,is Belew still a fan of Beatles :) ? I'm sure he is, what's your point? >>Its always odd to me that people seem to think that if they like an artist, >>that the artists MUST share the fan's taste in music. >God bless you...If Mr.Fripp begins to listen Dream Theater,Massive >Attack,Tiamat and U2(some of my favs)-GOD only knows what could happen to >our King Crimson THEN :))))))))))))) Well, hopefully he'll avoid Dream Theater :-) I can't see him being too into their music. However I wouldn't be surprised if he has heard and enjoyed U2. Again, what's your point in saying this? Why would you want King Crimson NOT to sound like King Crimson? If you don't want to hear Crimson music listen to a different band fer Christ's sake! When I'm not in the mood for Crimson I listen to a DIFFERENT band! Why should Crimson need to encompass all music for all people? To me they are great at what they do. And what is it they do? KING CRIMSON! ------------------------------ Date: Sun, 2 Jul 2000 23:11:46 -0500 From: "Grant Colburn" Subject: Re: Concerns Daniel T. wrote: >I have been disturbed by Robert Fripp's behavior towards older King >Crimson material. It seems as though he has no longer has any interest >in playing classic Crimson material anymore. When I say classic, I am >referring to timeless albums such (~insert favorite old album here!~) >Let us look at some possible ideas of why Mr. Fripp has refused to play older >material. Could it be that he doesn't want to pay royalty monies to > older members? Nope, I doubt it. >Could he possibly want to keep King Crimson modern instead of an old >dinosaur? Mr. Fripp once said to Vic Garabini (Guitar World July 1995) >that "One is governed by one's future at least to the same extent as >one's past." Well if that hold true, then shouldn't the older Crimson >material be played in order to pay homage to it? Come on now, you know you just want to hear old Crimson for your own selfish wants and desires:-) Do you think for a moment how many times Fripp has to have played some of these songs? If you were an author and wrote your first book when you were 21 would you want to have to recite from that book when you are in your 50's? Maybe his old music just doesn't interest him as much as it inteests YOU anymore. You and others need to let go of this concept that somehow Fripp "owes" you something. I think your quote of Fripp being governed by one's future at least to the same extent as one's past, is the main reason he gives for why FraKctured and Lark's IV exist. From what I've read Fripp knew at the outset of recording TCOL that he wasn't planning on playing the old songs anymore so as a compromise of sorts he worked out FraKctured and Larks IV as an offering of old and new at the same time. I'll agree with you to some extent that in some ways Fripp may well be shooting himself in the foot by removing the old songs from the live sets. It may well be that it will affect the fan turnouts, but from what I've read this hasn't been the case. To me its the same concept as his refusal to play larger venues even though he knows full well that they could sell more tickets and make more money. Obviously money and attention are not what Fripp's purpose for writing and performing are at this point. If you ask me Fripp could have made himself much more wealthy and well known numerous times if he had so chosen to follow that path. We the fans are not the purpose of what Fripp does, we are only the witnesses. If no one showed up at the gigs and the disks stopped selling and DGM closed its doors, maybe Fripp would rethink his positions. But then again, maybe not! It may well be that if he couldn't function in the music business on his own terms, he would just abandon it all together. Be glad that ANY King Crimson exists after 30 years. Think of how many bands from that era you won't be seeing this year or this century. Be happy and content without begging for more, ok? ------------------------------ Date: Mon, 3 Jul 2000 01:14:13 -0400 From: "Josh Chasin" Subject: The Song Remains the Same In ET 705, FOOLIOX2 at aol dot com writes, in part: >I have been disturbed by Robert Fripp's behavior towards older King >Crimson material. It seems as though he has no longer has any interest >in playing classic Crimson material anymore. You know, I have been thinking about this very issue lately, and I may be wrong, but I expect that Fripp and Crimson will indeed continue to explore the back catalogue in future endeavors. It seems to me that Fripp tends to work by defining a project (in this case, the double duo) and then establishing parameters (in this case, only 90's-on material). But Fripp's and Crimson's projects are finite in terms of duration; they have beginning, middle, and end. I fully expect that after the double duo, Fripp and Crimson will undertake a new project-- OK, projeKct-- and the parameter of "no catalogue" will no longer be in force. ------------------------------ Date: Mon, 3 Jul 2000 12:05:35 +0200 From: Gnad Markus Subject: THRAK and stuff Hi there! I'm back to wake up your minds with stupid little thoughts about music. Ahm.... one asked me about my name. OK my full name is Markus Alexander Gnad. First name Markus. FIRST IMPRESSION - Part One Driving through the city yesterday evening I once again listened to THRAK. First of all, it's definitely KC's masterpiece. Nothing to do about it. This one and TCOL back to back stand for the greatest examples of KContratemporary rock music. And second, it's really cooooool driving through town listening as loud as can be to this music. But then, I have always been cool. FIRST IMPRESSION - Part Two These thoughts came up that night: - Anybody noticed that the bass line in "SSEDD" is nearly the same as in "VROOOM"? - Tony Levin played on Lou Reeds "Berlin", 1973 - It's not fair to see Pat Mastelotto as a replacement for Bill Bruford. They formed the drum duo during the THRAK period, and they did their job twogether. Pat had his duties then. So he has now. He's been long on the job and he knows what he's doing. SECOND IMPRESSION In recent times people talked about adoring heroes and things like that. It's not wrong to believe in the likes of Fripp or Ade. The relationship artist-fan is based upon trust. Hey, I trust KC - because when I got to know them I listened to records from every period and each one sounded great. And they haven't disappointed me yet. I can trust them. I can't trust Mike Oldfield anymore. THIRD IMPRESSION After the war that's been caused by the release of TCOL I think we can go back and stop saying: God, this is my opinion, hey, these are just my thoughts! The opinions expressed herein are those of the individual authors. We don't have to justify our opinions. With love Markus "It's More Fun To Compute!" ------------------------------ Date: Mon, 03 Jul 2000 14:06:41 +0400 From: "Vladimir Kalnitsky" Subject: Cin AlayI Any ideas about the meaning of the title "Cin AlayI" from "ProjeKct X"? Not to litter ET you can answer on my private address. Waiting for replies, Vladimir. ------------------------------ Date: Mon, 3 Jul 2000 06:54:36 -0400 From: "Robert Hults" Subject: Fripp's traveling guitar Dear Sirs; I was talking to a friend of mine who not too long ago had seen Robert Fripp perform. He told me that Mr. Fripp was not playing a Gibson Les Paul but some other guitar he could not identify from where he was sitting. I'm curious, when he goes on tour does he travel with a different guitar ( he has been known for playing the Les Paul Black Beauty) and if so what is it? Thank you for your time, Rob ------------------------------ Date: Sun, 02 Jul 2000 23:57:51 +0200 From: Ferran Nogues i Tolnay Subject: GIG REVIEW: KC in Barcelona june the 27th 2000 Gig review: Barcelona june the 27th 2000: Venue: Zeleste. 22:00 p.m I'll make it short. Gig started with ten minutes delay. Sold out. The sound was good except for Trey Gunn (we heard the bass sound but not the notes with clarity) and Fripp (too many effects on some of his guitar sounds). Belew was superb, specially on Three Of A Perfect Pair. Mastelotto pleyed very good too (specially the impro and Deception Of... I have to say that I like this band most when plays impros or songs from TCOL. Songs from THRAK don't sound that good. The audience response was superb. Everybody enjoyed the new sound and line-up. The set list, from memory (not accurate) is: Frying Pan TCOL ProzaKc Improv (long and very interesting) Dinosaur VROOOM One Time Cage Deception Of The Thrush Three Of A Perfect Pair (only Belew playng acoustic guit. & vocals) Larks' IV I was expecting Heroes but they did not play it this night. Ferran Nogues Barcelona (Catalonia), ------------------------------ End of Elephant Talk Digest #706 ********************************