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 #764 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 764 Tuesday, 14 November 2000 Today's Topics: GIG BIZ: Two tickets for 11/16 show at TLA KC at Tower Records Re: Bruford & BrandX Cage Heavy Construkction Heavy ConstruKction Shakti tour ET Europe Charles Hayward brand x - the truth is out there bruford in brand x European or U.S. tour merchandise Bruford-Gong Brand X/Collins What is the current complete list of remastered CD's? HDCD Remasters: Just my imagination? Re: GIG REVIEW: Really pissed at Fripp, & Drumming GIG REVIEW: Armageddon returns to NYC Supper Club 11/12/00 GIG REVIEW: SUPPER CLUB 11/12 RANDOM THOUGHTS GIG REVIEW: Cleveland 11/4 and DC 11/8 GIG REVIEW: 9:30 CLUB 11/8 ------------------ 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: Mon, 13 Nov 2000 16:32:45 -0500 From: "Burton, Richard" Subject: GIG BIZ: Two tickets for 11/16 show at TLA I have ended up with two extra tickets for the 11/16/2000 show in Philadelphia at the TLA. I am selling them for cost ($35 + $5 TicketMaster = $40 each). Contact me at richard dot burton at astrazeneca dot com. ------------------------------ Date: Sun, 12 Nov 2000 20:35:31 EST From: Roosterbrawl at aol dot com Subject: KC at Tower Records Dear Crim-Kcats, I'd like to say how enjoyable it to read the gig reviews -- I can't put into words how pumped I am for Monday's Supper Club show. Also, I commend those of you who have written negative reviews about the performances (ie: the last posting in ET #762); it's good to get as many perspectives as possible (though I do drool over everything KC, and know that this will be a milestone in my life as it's my first time seeing Crim). I was curious if any New Yorkers went to see the band at Tower Records (66th and Bdway) on Saturday the 11th do a signing. I was so set on going but being a car-less suburbanite... you know how it is. Did anyone get shunned by the Crimson King? Well, sometimes it's better to just leave your heroes be and avoid meeting them in person; the experience could ruin your perception of them. Besides, I already met Trey Gunn at the Knitting Facotry show and am meeting Adrian tomorrow at the soundcheck, granted they're having one. (I hate to boast) One more thing: someone asked recently about band merchandise being sold at the gigs. I haven't seen anything wrtitten on it. I want to know what kind of items are offered so I can be sure to bring exorbitant amounts of cash, as I hate purchasing over the internet. See you at the Supper Club and Theater of Living Arts! Cheers, Ben p.s. Thanks to Alfred, Suz, and Pete for enlightening me on the Cage song, and sorry about having to waste ET's space for the replies (since there was no address by which they could get back to me personally). It was my first posting on ET and as a young fan I was excited to see it here (never had anything of mine on the web). Thanks for maintaining such a great newsletter, Toby. ------------------------------ Date: Mon, 13 Nov 2000 11:08:58 -0500 From: Wally David Subject: Re: Bruford & BrandX >Date: Fri, 10 Nov 2000 14:38:00 -0000 >From: Clive Backham >Subject: Bruford & BrandX > >In ET #759, I had stated that I was 99% sure Bruford had never been in >BrandX, but was corrected by a couple of posters in ET #760. I do apologise >for my error. I guess Collins and Bruford must have known each other quite >well in the late 70's so perhaps it's not surprising. Presumably Bill >occupied the percussion seat prior to Morris Pert joining; yet another of >Bruford's many temporary gigs after the '74 Crimson break-up. Lucky I >didn't claim I was 100% sure :-) Hi, This is my first post to ET. As YES, Genesis and Crimson are my three favorite bands, the cross section is interesting. Just wanted to chime in here and . I didn't realize Bruford was involved at all with Brand X. I wish he had recorded with them. Anyway, Bruford I cracked open the booklet from the Genesis live CD, Seconds Out, originally released in November 1977. The notes list the band members and their instruments. It lists Phil Collins, Chester Thompson and Bill Bruford. However, it says "All Drums Chester except" and goes on to break down songs in which Phil Collins or Bill Bruford were involoved. It only listed Bruford as playing on Cinema Show. So,it seems as Bruford was on only one song on one actual Genesis recording. Does anyone know how much of that tour he appeared and why? Regards Wally David ------------------------------ Date: Mon, 13 Nov 2000 17:44:11 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: Cage >The song CAGE is from the VROOOM EP that was released just before THRAK. But the live rendition is much closer to Adrian's acoustic version on BELEWPRINTS. ___ Laurent Masse ------------------------------ Date: Mon, 13 Nov 2000 12:28:00 EST From: KB305 at aol dot com Subject: Heavy Construkction I spent much of last night listening to this, and hereby declare it the finest KC audio-document... well, since the Great Deceiver. I have enjoyed KC's recorded output in the 90s. I had mixed feelings about them when I heard them at Town Hall 7/1-2/95. They certainly played the music from Thrak very well, and revealed new things in the older repertoire. But they didn't spend a lot of time really stretching out, in my judgment. They were faithfully reproducing the music on Thrak, mostly, coloring inside the lines. It was fun to hear, but it didn't take me anywhere I hadn't already been to. I judge the current King to be superior, based on the evidence on HC. They're letting the music evolve and breathe now. And the spirit of improvising seems to be infecting the "tunes". As Eno said in his diary: when someone does NOT play, it's an arrangement. The larger the ensemble, the more freedom its members have. Sure, I miss the sonic presence of Bill and Tony, but they make themselves known in other places. This music is dense with the four. Pat is turning into KC's version of Teo Macero, recording various things and chopping them up, recontextualizing them, making stuff out of other stuff. I like this. Playing older music is a dangerous business, and a bit like trading on your baby pictures. When you do so, you risk saying: This is the best I have ever looked, and this is what I want you to see. This stance also says: I haven't done any better since. It's often a denial of learning. By taking the repertoire apart and reassembling it, KC makes it fresh to my ears. Kevin ------------------------------ Date: Mon, 13 Nov 2000 18:38:30 +0200 From: masse at geocean dot u-bordeaux dot fr (Laurent MASSE) Subject: Heavy ConstruKction After one weekend listening to Heavy ConstruKction, some remarks. The TCOL material is very close to the studio versions, but with Pat and Trey a little more in the light, we finally get to realize how HIGHLY DANGEROUS most of this material is. The most dangerous pieces ever performed by any KC incarnation. The heavy section of "FraKctured" is SO undecipherable. How do they get through it? The THRAK-era material is a good surprise. I didn't expect much as most live reviews said it didn't sound convincing. While "VROOOM" and "Dinosaur" are OK, the piano sound in "One Time" is really wonderful, and "Sex" is probably the most loose and convincing version yet I find the unedited (?) soundboard improvs on discs 1 & 2 much more exciting than the equivalent Mastelotto/Munyon collages on disc 3. As revealed by Pat's diaries, much of this material is indeed based on recurring pockets. "Munchen" is a killer version of "Seizure", complete with the original riff that was recycled as "Masque9/Frying Pan"; "Bonn" is 10 mn of "Blastic Rhino", and "Offenbach" is the "Heaven and Earth" coda trying to morph into "Seizure" but with "Cage" getting underway. As for disc 3, parts of "Munchen" are used in "ccccSeizurecc" (I love that title), parts of "Bonn" in "Blastic Rhino", and "Off And Back" is a remix of "Offenbach", while "7 Teas" recycles the P3 Masque5/8 pocket. The rest is not really identifiable. On first two listens, nothing really impressed me, except "Sapir" which is a killer high energy opener. If you still have any reservations about Trey and Pat, just listen to that one. As much as I like them, never with Bill and Tony still in the group would KC have come up with something remotely like this. There you get to measure the progression (for better or for worse) since VROOOM. And of course, both 'Thrushes" are magnificent. Not quite a song, just a planned flow of events. Never twice the same. I can imagine a Thrakattak-type of release based on this piece. Wouldn't it be cool? A nice listen to everybody. ___ Laurent Masse ------------------------------ Date: Mon, 13 Nov 2000 12:49:19 -0500 From: "ccoulterwsc" Subject: Shakti tour Sorry, pretty lame KC connection here - I remember Robert Fripp interviewing John McLaughlin in some guitar magazine - but... I saw Remember Shakti in concert a couple of days ago and WOW! This is a re-creation of the seventies band Shakti, blending McLaughlin's guitar with East Indian percussion and, in this incarnation, an electric mandolin player who is out of this world. Fans of virtuoso string-benders and complicated rythms (I'm sure there are a couple on this list) - check out this band! Date City Venue 11/13/2000 Portland, OR Schnitzer Hall 11/14/2000 Boulder, CO Boulder Theater 11/15/2000 Tucson, AZ Centennial Hall 11/17/2000 Escondida, CA Concert Hall 11/18/2000 Los Angeles, CA Royce Hall, UCLA 11/19/2000 Oakland, CA Paramount Theater [ I had the pleasure of seeing this band 2 weeks ago, at Kendal Leisure Centre, in the Lake District her in the UK. It was fantastic. An amazing venue -- basically the size of a school hall, and the band couldn't soundcheck until local kids had finished playing badminton. The new live album is "The Believer" and comes with a free video CD. -- Toby ] ------------------------------ Date: Mon, 13 Nov 2000 19:22:23 +0100 From: "Markus Gnad" Subject: ET Europe WG: E-ETGood evening Elephants. Last week saw the dawn of a new & very COOL ProjeKct: Elephant Talker Serge and I have been playing with the idea of an ET-Europe meeting... and certainly this idea is worth making is true: European Elephant Talkers shall meet at sometime in Spring 2001 somewhere in Europe for ... a certain amount of days, a weekend maybe (depends on how much we can stand each other ... LOL!) All we need is the right time and a place, but we may concentrate on Central Europe - France, Germany. (I can also recommend Austria, we have some very good restaurants on the countryside, some good bars ...) Of course, also Outer-European-ETers are welcome! Please email me with ideas & thoughts & stuff. If this things starts rolling we may also invite some King Celebrities! With best wishes & all hail the Crimson King! Markus Alexander Gnad ------------------------------ Date: Mon, 13 Nov 2000 14:05:48 -0500 From: "Camacho, Gabe" Subject: Charles Hayward Clive answering Bob Pascarella wrote: > Bob Pascarella said: > > > I'm surprised Clive. A true PotHeadPixie would know that Charles Hayward >> was a drummer on "Camembert Electrique" and "Continental Circus" with Pip >> Pyle. > > Huh? This is news to me. Hayward isn't credited on Camembert Electrique, > and it sure sounds like Pip throughout. Nobody is credited on Continental > Circus, and you're the first person I've ever heard suggest that Pip wasn't > the sole drummer on that album. Where do you get this info from? This is not correct. Charles Hayward joined in June '72, replacing Mac Poole, who was there for less than 3 months, replacing Laurie Allan. Pip Pyle joined in April of '71, and *definitely* played on Camembert Electrique, Continental Circus and Glastonbury Fayre, rejoining them in the 90's. During the time Pip was with them recording those albums, Charles Hayward was in the original Quiet Sun. ------------------------------ Date: Mon, 13 Nov 2000 14:53:40 -0500 From: "Brown, Ken" Subject: brand x - the truth is out there Les wrote: >>Brand-X had been around as early as 1974. Phil Collins was not the drummer on the first album, MASQUE. I believe, without checking, that it was Chuck Burgi. Phil did not join the band until the second album, Moroccan Roll.<< Wrongo on one point Les. Their first LP was Unorthodox Behavior (76), with one Mr. Phil Collins firmly in the drummer seat. Masque was released in 78 (their 4 release) with Mr. Burgi replacing Collins because of Phil's other band, Genesis, had commitments. In 1998 a cd was released of early recordings before UB was released, early versions of tracks from Unorthodox Behavior and Morrcan Roll that featured Mr. Collins. This is an excellent recording in hearing how some of the songs first sounded. Livestock and Morrcan Roll were sandwiched between UB and MR. Mr. Collins does not play on all the tracks on Livestock (which is half live/half studio). Kenwood Dennard plays drums on the studio tracks. As far as I know no recordings with Mr. Buford exist. Although John Goodsall/Percy Jones released a odds & sods collection called the X-files last year. On that Bill appears with John Goodsall in an aborted project. The sound quality on those tracks are awful! Also this year an excellent double live cd was issued called Timeline. Disc 1 is from 77 (Kenwood on drums) and disc 2 from 93 as the power trio of Percy Jones/John Goodsall and Frank Katz. You want more on Brand X check out http://www.teleport.com/~fluff/brandx.html Keep the Faith (in the Music) Ken ------------------------------ Date: Mon, 13 Nov 2000 11:56:37 -0800 From: "Eric Harris" Subject: bruford in brand x from the liner notes of Brand X: The X Files (1998) "Bill Bruford had an early association with Brand X. He rehearsed with us for a few weeks during the development of Brand X, but commitments with King Crimson forced him to drop out. When Phil Collins joined as drummer, Bill appeared with us on percussion for some gigs in England." Incidentally there are two tracks on this collection from 1977 credited to the "John Goodsall Project w/ Bill Bruford" called Measure The Sky and Here I Am Now. The lineup on these tracks is John Goodsall - guitar, Bill Bruford - drums, Bayete - vocals, keys, Donny Harvey - bass. ------------------------------ Date: Mon, 13 Nov 2000 20:29:26 -0000 From: "Scott Garden" Subject: European or U.S. tour merchandise Does anyone know where I can get a hold of European or U.S. tour merchandise for King Crimson. I would be grateful for any assistance. Regards, SCOTT ------------------------------ Date: Mon, 13 Nov 2000 16:18:21 -0500 From: Bob Pascarella Subject: Bruford-Gong Here's an interesting story I just heard. Laurie Allan joined Gong in 1972. Quit and then rejoined later for a European tour . During such time he was arrested crossing the Franco-German border with some dope and arrested. Subsequently not allowed in the country, Bill Bruford was called to fill in dates for Germany, Holland and Norway. unconfirmed information source. Bob Pascarella ------------------------------ Date: Mon, 13 Nov 2000 13:52:25 -0800 (PST) From: Chelsea Snelgrove Subject: Brand X/Collins Hello All, In response to Les in #762, Phil Collins is the drummer on the first Brand X album, "Unorthodox Behavior." "Morrocan Roll" is the 2nd album, if I'm not mistaken. Cheers, Chelsea S. ===== Ars longa vita brevis ------------------------------ Date: Mon, 13 Nov 2000 18:19:43 EST From: JMRosen at aol dot com Subject: What is the current complete list of remastered CD's? Can someone please email me with a complete list of all of the Crimson anniversary edition CD's that have been remastered/released in the past year. Thanks in advance. Joel ------------------------------ Date: Mon, 13 Nov 2000 18:47:59 -0500 From: "G. Emory Anderson" Subject: HDCD Remasters: Just my imagination? Steve Sullivan wrote.... >IMO, the HDCD encoding/decoding itself doesn't make all that much >difference; it's all in the mastering, and the selection of source tapes. >I doubt people could reliably tell a a 'normal' CD player and and >HDCD-capable player apart if they were both playing the same HDCD in a >level-matched blind test. In other words, the quality of the 'software' >matters more than the hardware. Pacific Microsonics (who has the patent >on HDCD) tries to sell it both ways: it claims that HDCDs sound better >than normal CDs on any CD player, and that all CDs will sound better on an >HDCD player. P M doesn't explain the former, but I suspect it's because >HDCD CDs tend to be mastered with more care and from better sources, if >only to maximize the difference between the 'old CD' and the reissue. The >latter is explained by the fact that HDCD players use the same >high-quality chip for digital filtering (which is applied to every CD) as >well as HDCD encoding (which works only on HDCD CD). > Theoretically, I largely agree with this. Peter Madnick (the engineer behind the wonderful Audio Alchemy cheap high-end products) once told me that he used the HDCD chip basically "because it's the best filter out there". So its conceivable that a lot of HDCDs benefits come from greater care in the whole mastering chain (years ago there was a similar debate here on ET, with similar conclusions, about Gold CDs). But in this case I think I may beg to differ. I compared both the "Compact King Crimson" version of much of ITCOTCK to the Remastered version in real time. This I did on two different CD transports but using the Mark Levison A/D which buffers, reclocks and entirely eliminates the jitter signatures of the two transports. The differences were noticable, but suprisingly small. But the LTIA, SABB, and Red remixes are a whole different ballgame, at least on an HDCD-capable A/D. Of course, I can not necessarily attribute this to HDCD technology per se, but I don't really care. The differences between these and the previous masters are significant, and i must say a definite improvement. -Emory ------------------------------ Date: Mon, 13 Nov 2000 11:01:16 -0500 From: Martin Bradburn Subject: Re: GIG REVIEW: Really pissed at Fripp, & Drumming Dear Mr RKTreemore, Instead of dissecting you review, which I had so many major disagreements with, may I humbly suggest that you take Robert's advice, and move on. This Krimson is obviously not for you. On a more positive note, my wife who is a teacher is doing a unit on drumming. Last night she asked me to throw together a CD of drum or percussion tinged pieces. In my continuing drive to poison young minds I ended up with quite a few KC related tracks. These were: Etude.. & Jewel from "World Diary" DrumBass & TornDrumBass from "BLUE" Prism from "Live in Mexico City" (This is just fantastic) The intro to Indiscipline from "Absent Lovers" (which has a riff that is also in Prism!!!) Breathless from "Exposure" ( One of Narda Michael Walden's best!!!) Some Shiver, While He Cavorts from "A Part yet Apart" Phew, some wild drums and percussion for sure!! 1 week to Berkley/Boston, I can hardly wait. - Martin Bradburn ------------------------------ Date: Mon, 13 Nov 2000 13:13:00 -0500 From: Chris Van Valen Subject: GIG REVIEW: Armageddon returns to NYC Supper Club 11/12/00 Hi EYMs ( & Ws) If anyone has questions if this band is not legitimately King Crimson, well, they should have been there last night. From the first crashing note of the opener --Red--until the last note of "Heroes", it was pure ecstacy. Talk about hurts so good!!! 110 minutes of habanero heat! The set list was the basic one, 90% of TCoL (sans ProzaKc), Elephant, Thela, Dinosaur, Vrooom, One Time, Ade's 3oaPP, P3's Thrush (Not in that order). I would have liked to seee this outfit tackle THRaK! Set highlights: The band comes on at the front of the stage and does the "fists together, jump, then break" routine , almost like a huddle before running a play in football. Two Clams Crimsonique: The opening of TCoL(second number of the evening) was lost and aborted before being picked up again with Ade's "Good Evening" thrown in for good measure. Late in FraKctured, RF lost the solo and threw his hands up before trying to recover it. After the song ended, he stood and slapped at his wicked hand. All four Crims were brilliant ( of course), but Trey was exceptionally incredible last night. Rocking, smooth, funky, soulful, he was the man! I can hardly wait for tonight!!!!! If you have an unpleasant nature and dislike people this is no obstacle to work. - J.G. Bennett And it's potato, potato, potato. - Mike Keneally ------------------------------ Date: Mon, 13 Nov 2000 15:00:57 -0500 From: "Richard R. Rossi" Subject: GIG REVIEW: SUPPER CLUB 11/12 RANDOM THOUGHTS GOD BLESS YOU NYC - NOT A FLASHER IN THE HOUSE!!!! But there was lots of love and jaw dropping - love for the musicians and their clams (which the audients took with a good sense of humour), and jaw dropping at the talent these men possess. I had never been to the Supper Club, and from what I read, expected it to be a dive. But it was actually a nice place - a slightly smaller and cleaner version of Irving Plaza. I stood at the railing of the balcony and was in the line of Trey's stage position. Thank God for balconies when you are height-challenged! Personal highlights: Trey played such a moving solo during one of the encores, and Robert gave him an extended round of applause, as did the audience. The memories of it still give me goosebumps. It was captivating to watch Trey and Pat work together. Of course I always had an eye on Ade and Robert, but I kept reminding myself to watch the rhythm section, and it was definitely worth it. Adrian continues to break strings (lighten up on the strummin', dude!), but everyone's ability to improvise and switch gears is almost a show within a show. Robert had what appeared to be volume problems whilst burning up the frets during parts of LT IV and FraKctured - don't know if they were guitar cable related or sound system related - but he slapped his hand at the end of LT as if to say it was his error. DIDN'T MATTER!! The songs worked. After the last encore, Heroes, they joined together at the front of the stage to a ROUSING, extended ovation (can't call it a standing-o, as we were already standing!). I think they were happy with the themselves, the audience, and the show in general. FINAL THOUGHT: It was an unfortunate distraction to have to be concerned that a camera flash might ruin an event that so many were looking forward to. I know - I was at the Bottom Line Soundscape show, less than 3 feet away from the idiot who flashed Robert and cut short that evening. So let me say it again, NY - I'M PROUD OF YOU!!!!!! Hope everyone enjoys the other shows. RRR Richard R. Rossi CMC CD-R Duplication 650 Rock Cut Rd Walden, NY 12586 (845) 566-6897 (208) 246-5904 (fax) www.cdrdup.com info at cdrdup dot com Member Chamber of Commerce of Orange County, NY ------------------------------ Date: Mon, 13 Nov 2000 12:51:08 -0800 (PST) From: KingChazs Subject: GIG REVIEW: Cleveland 11/4 and DC 11/8 I thought you might be interested in a "compare and contrast" review of these two shows, especially given Robert's, Trey's and Pat's comments on same. I agree with the band members that there was a problem with energy at the Cleveland show. I'm not sure what it was -- I suspect the venue or the audience, but there was definitely a kind of leaden feeling wafting about the hall. The crowd problems seemed fairly typical, though; we had a few "screamers" and one person who seemed to think getting a seat around the edge of the bar somehow entitled her to an unobstruKcted sight line to the stage. And we were packed in like sardines and it was hotter than hell. Other than that, there wasn't really any difference from other shows I've seen at the Odeon. The performance was excellent but the lack of uplift from crowd energy was noticeable. I think Trey said that the lack of energy became apparent to him during LTIA IV; interestingly, that's when I thought the concert became much more challenging from an audient perspective because the music was much more difficult that the opening crowd pleaser songs (Vroom, Thela). Perhaps this is where the gap toothed gaping of mouths began and led to the decrease in energy. I have to agree that Elephant Talk and Red were highlights of the show. But no Heroes -- wah -- sorry my expectations were in force but I looked forward to DC hoping for this song. The following week, I was in DC for a conference so I decided to drag one of my staff to the show and force her to become a KC devotee. Ok, she actually volunteered to go so off we went with dread in our hearts because we'd heard Shaw wasn't the world's best neighborhood after 11pm. Oh well, figured we'd deal with it when the time came to leave. So, we took a taxi from the Hinkley Hilton to find a huge line waiting outside the 9:30 Club. We were pleasantly surprised by all the females in the line. Hey, we like KC, too! Inside, no line for the bathroom - Yee Haw! Then we pushed our way upfront to stand about 7-10 ft in front of Trey. I decided since the Cleveland show that Trey is a pretty damn good player -- it was hard to tell back in '95 and '96 with six band members. Now I knew better. And besides, he's cute and I figured my staffer needed some eye candy to get through the show. The show started fairly promptly after Adrian came out prior to the show on the balcony over the stage and looked down on us -- we waved and a screamer behind me yelled HEY ADRIAN. Well, at least he didn't yell "Wetton". The energy for this show was very pleasant. I felt as if the crowd were linked in some kind of communal sharing and we were all connected by music chi (I study t'ai chi so bear with me if I get too new age for ya'll). I think the band felt it too (altho' one or the other said they thought the 11/9 show was better). At any rate, I thought FraKctured and LTIA IV were the best performances from this band I've heard to date -- hell, they were better than their performances back in 1995-96, too. Wow! I even liked the Improv (and I'm not the biggest fan of improvs, sorry) and thought it much improved over Cleveland (Pat kinda scared me in Cleveland with some huge drum sound -- made me jump). The DC show also included Into the Frying Pan and Heroes; Cleveland substituted Oyster for Frying Pan. I have to say, I enjoyed Frying Pan immensely. They slowed it down and made it into some funky, smokin' love groove. Lots of hip action on stage; we were definitely enjoying the moves during this song! I thought the energy flowing around was definitely coming through the mid part of the body and seemed sexual in nature -- the woman in the balcony doing the erotic dance must have been affected as we were on the floor. Not that we could move or anything down on the floor -- again, the sardine factor made erotic dancing pretty improbable altho I found myself bouncing off someone's butt pretty often -- sorry about that! Hope it was fun! I found the crowd rather more amusing than Cleveland; one fellow beside us was having hysterical hurky jerky fits to the music; I thought he was going to lose his hair, his head was snapping up and down so fast. Or else he was going to end up head butting us...hmmm. We had a couple of screamers behind us but they shut up eventually...I was struck by the fact that they seemed to want the crowd to listen to them rather than the music. Wonder why? And I was so happy that they played Heroes!!!!!!! I love that song. I felt like Adrian was channeling Bowie. My staffer was also pleased with the show and enjoyed Frame by Frame and Deception of the Thrush very much. The only downside to the night was leaving; all good things must come to an end. And there are no taxis in Shaw at 11:30pm. So, we thought about walking back down U Street to Dupont Circle but the police cordone kind of discouraged this (anyone know what happened?). I kept hearing "Thela Hun Ginjeet" playing in my head so taking this for a clue, we headed down into the Metro. Figured I would throw myself on the mercy of someone who could figure out green lines and red lines and get us back to Dupont. And fortunately, there were some kind KC fans there who pointed us in the right direction. I hope Thursday was as much fun! Your faithful correspondent, ===== Rochelle ------------------------------ Date: Mon, 13 Nov 2000 17:53:08 -0500 From: Dan Cooper Subject: GIG REVIEW: 9:30 CLUB 11/8 There have already been several excellent reviews of this show, so I will chime in only about minor details that caught my attention or my guest's attention during the show. 1. Though previous incarnations may have had more famous players, no KC show I've ever seen (I first saw the band back in the early '80s) seemed better cohesive as a unitn thanks, I think, to the presence of T.Gunn & P.Mastoletto. Mastoletto provided thunderous rhythmic accompaniment to the music, instead of more ornamental (for lack of a better word) percussion favored by Bruford. [NOTE: This is NOT a criticism of Bruford-they are different players with different styles!] By providing a more stable bottom, Pat allowed Trey, to weave more melodic lines from his baritone guitar, as opposed to themore percussive bass lines of TLev [AGAIN: NOT a criticism of Levin, who I had just seen 3 nights before in Annapolis - amazing show!]. 2. Adrian as frontman was his normal dynamic self; his guitar playing is masterful [the acoustic 3OAPP was a highlight] and his interplay with Fripp & Gunn is a real treat, whether in sync or deliberately out of sync. However, he deserves a more prominent sound mix, and there were times when his gimmicky playing seemed extraneous, as in "Red," when he could have walked off the stage and left the other three to perform as a power trio with no loss of energy or meaning. Love ya Adrian, but how many times a night do you need to bend the neck of your Strat? 3. Reading Elephant Talk, DGM Diaries, etc. over the past several months, I was afraid that the constant calling out for songs (my friend kept wanting to holler "Cadence & Cascade"!), the two kids midfloor with glowsticks, and the fellow in the front row center who blew bubbles towards the stage throughout the set would annoy Mr. Fripp and send him off the stage prematurely. Then the bar glass broke during a silent moment in "Fracktured". A collective gasp from the audience-panic about to set in-and Ade incorporated it into the piece with a flick of his right hand, and back into the song they plunged. Relief! Mr. Fripp, as a faithful audient who admires your technique, your willingness to challenge yourself, your fellow musicians and your audience, who does not purchased illegally bootlegged material, but does purchase nearly every official DGM release I implore you: Please lighten up a bit! If people are talking during your show, F#$! 'em. They are missing a truly magical live music experience. It's their loss. Let it not be the loss of all of us who love and respect your work. Thanks for a great night of music. It was a musical experience I will not soon forget. ------------------------------ End of Elephant Talk Digest #764 ********************************