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 #774 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 774 Sunday, 26 November 2000 Today's Topics: T Lev TCoL review The Deception of Mechiko After thoughts of Boston 11-21-00 Re: Trey's little gadgets IT IS MY OBSERVATION...... Montreal Re: rubber bass bruford changing bass drum sound Trey's little gadgets King Crimson music scores Flash Photography.......SECURITY?!?!?!?!?! Re: Rubber Bass Off The Deep End?????????? Re: rubber bass The Great Deceiver Revealed Flash cameras R.I.P. Gong Funky Behavior Rubber Mac Wax Museum Re: GIG REVIEW: MONTREAL GIG REVIEW: Toronto Nov.24/2000 ------------------ 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, 26 Nov 2000 13:42:45 -0500 From: "Donnon Murray" Subject: T Lev Was cleaning out my Hotmail account when I found this Draft from three weeks ago that I never sent: Hi kids. Just getting back from the Tony Levin Band show at the Ram's Head Tavern Annapolis. A wonderful warm up to this week's festivities at the 9:30 Club in DC. We briefly spoke to the man himself though, as he was greeting people on the way out and alas,despite the fact that the Levin Tour ends tomorrow in Alexandria, just outside DC, there will be no guest appearances this week at the Crimson shows, as many internet pundits have speculated. It's just as well, the new Crimson material doesn't really lend itself having a new musician just jump on in during the middle of a tour. The band consisted of: Tony Levin stick, 5-string basses,bowed stand up bass, vox Jerry Marrota drums, garden weasel, coil drum, saxophone Larry Fast Synthesizer Jesse Gress guitars Marotta and Fast both worked with Levin in peter gabriel's band in the early 80's so it was really cool to see them al working together again. Especially for me who missed it being in 6th grade at the time, my energy more focused on KISS and AC/DC. Jesse Gress was from Todd Rundgren's band. As far as a set list goes, a lot was from Levin's new CD, Waters of Eden which I'm not at all familiar with unfortunately. It was all very good though. There were many surprises and highlights though: "Elephant Talk" very tight, Larry Fast duplicated Fripp's solo on Synth, Jesse tore up Adrian's solo, Levin on vocals closed the first set "Sleepless" Jerry Marrota on vocals, Tony broke out the "funk fingers" cool arrangement opened up the 2nd set "Back in New York City" from Genesis, The Lamb Lies Down on Broadway. Gabriel taught it to them for their first tour to appease those who wanted to hear Genesis on a peter gabriel solo tour, Jerry Marrotta on vocals "Black Dog" that's right, the Led Zeppelin Song instrumental, Tony Levin playing the vocal melody on bass "I Go Swimming" an instrumental version, Jesse played the vocal melody on guitar. An instrumental blues rock number to feature Jesse Gress which seemed to be based on Re House and turned into a surf-rock version of Red. Over-all a great show. ------------------------------ Date: Sat, 25 Nov 2000 00:33:31 -0800 From: "R. Jackson" Subject: TCoL review http://www.mediasieve.com/king_crimson_tcol.html ------------------------------ Date: Sat, 25 Nov 2000 02:38:15 -0800 (PST) From: jan geerts Subject: The Deception of Mechiko evening all, For all the people who'd like the Mexico DT concert : the bigger part of it is available on the 'Cirkus' cd, which features live songs from the whole KC span. I also read that one reader thought that Gunn normally does the improv right after the talker bit in 'DOTT' : I've got 9 versions of the song by now, and it's always Fripp doing his stuff at that point. I wasn't able to go see KC2000, so all this reviews (and Heavy ConstruKction) are very welcome. Though I have to keep a bucket and mop at close hand ; Homer J Simpson would pale next to my drooling:) Jan ------------------------------ Date: Sat, 25 Nov 2000 07:21:42 EST From: Campiglio4 at aol dot com Subject: After thoughts of Boston 11-21-00 After reading comments of the shows and digesting what I saw, I am in agreement of the new lineup. I am totally impressed with Trey, I was a little cynical when he came on the scene, but since Projekt Two, he has become one of the highlights. I think the band is a little looser and jamming more because the present material is more instrumental. Not the traditional song structures, not that it ever was, but Adrian was more of a front man and I feel he resides more now as a cog in the machine. As much as I love Pat's playing, I miss Bill's presence. He brings a certain aura to the music. Knowing the band was going to mix things up like they did, I wish I went to both shows. ------------------------------ Date: Sat, 25 Nov 2000 10:36:55 -0500 From: Geordie Robertson Subject: Re: Trey's little gadgets What a coincidence! I saw the band in Toronto last night and spoke with Trey afterwards about this very subject. He said that "the little box he holds at the back of his Warr" is only an amplifier. Now I'm no techie, so I don't know any details. Hope this sheds some light on the subject... ------------------------------ Date: Sat, 25 Nov 2000 16:01:43 -0500 From: "Caruso, Josette" Subject: IT IS MY OBSERVATION...... THAT TREY LIKES TO PLAY..... ------------------------------ Date: Sat, 25 Nov 2000 17:07:09 +0604 From: Alain Proulx Subject: Montreal What a great concert we had there. Depend where you were in the place but at my point of view the sound was clear and neat. The setlist was powerful and the band burnt the audience. What a surprise with Mastelotto, great drummer very punchy. Yes, there were some flashes during RED. In the line up before the show I heard some guys talking about the photos they would take, so I told them to forget it. The lads were surprised to hear this, they just didn't know about it. I understand the position of Robert and I share it. But, I can't admit the fact he didn't come to wave the crowd after the show just in order to be polite. Often we don't forgive the weaknesses we have ourselves. Yes there was an idiot in the crowd, but after 3 hours of road, 50$ and two hours of a deep cold line up, like a couple of thousand folks, I think I deserved a little sign of respect. A show is a relationship between the artist and a crowd....., a flash and 3,000 people are eclipsed by an egoist fan?????? Can't admit it. I am according with Fripp's point of view. Myself, I never take any photos of the shows. Only one Idiot over all a crowd, I think it's exceptionnal. I don't think we deserved to be treated this way. You know M. Fripp, like all the other respectful and well educated fans, I think we deserve respect from you. A last goodbye to us (ignoring in your mind the idiot) was the least you could do. We are not on a stage like you are, night after night, but we're more than numbered tickets and this is how I feel at this moment. So, thank you to Belew, Mastelotto and Gunn for their high class and very great professionnalism. You gave a wonderful concert and I appreciate it, probably the best show of my live including the 1984 concerts at the Spectrum. M. Fripp still in my mind one of the greatest musician ever but probably a bit self oriented. Any healthy relationship requires compromise from both sides. I can admit lots of things like seeing you leave the stage during the song (I was in rage like you were against the photograph), but a lack of good manners toward me is something I really don't accept. I write now what lots of shocked fans said around me when they saw you in escape, leaving alone the three other guys on the front of the stage. So, what a sad ending for a so great show. Al ------------------------------ Date: Sat, 25 Nov 2000 14:36:00 -0800 From: chipsf Subject: Re: rubber bass What they are referring to when they speak of a "rubber bass" is an instrument called the De Armond Ashbory Rubber Bass (originally it was made by Guild). It is a four string, fretless instrument, with a very short 18" scale (instead of the standard 34" for most basses). It has 4 rubber strings and uses a Piezo Electric transducer pickup instead of an Electromagnetic pickup. It has a VERY unique sound to it, quite like an upright bass, believe it or not. And it is surprisingly cheap, I've seen it on sale for less than $300. Here is a link for more info if interested: http://www.musiciansfriend.com/ex/shop/home/001125142605063028086008438432?b uy&type=t&q=DE+ARMONDR+ASHBORY&linenum=1&csel=0&netpid=510832 PS I have nothing to do with Musicians Friend, link is purely informational ------------------------------ Date: Sun, 26 Nov 2000 01:46:05 From: "Matt D" Subject: bruford changing bass drum sound >>>Bruford has two distinct bass drum sounds that change >>inexplicablywhile >>he is playing, seemingly to his demand. The first is a >>typical "thump," >>nothing special, used for his playing in 90% of the material in the >>concert. Every once in a while, such as during the show's opening >> >>improv >>and the first section of "B'boom," his bass drum sounds like whatever >> >>had >>been muffling it was suddenly taken off.... Bruford has a electric bass drum trigger on a second pedal to the left of his normal bass drum pedal. He can trigger any sound with this electronic trigger. I believe the sound that he triggers is a gong bass sample with heavy reverb. *********************************************************** Matt Deibert Check out Spacestation Integration MP3's www.mp3.com/SSI *********************************************************** ------------------------------ Date: Sun, 26 Nov 2000 01:53:11 From: "Matt D" Subject: Trey's little gadgets >>A little question for you techies out there: >>There's been a bunch of discussion about e-bows and all, but I'm >>curious >>about the little box Trey uses behind the neck of his Warr, plugged >>into >>his axe during that majestic tune "Deception of the Trush," where >> >>everyone >>drools over his solo. I was talking with Pat before a Supper Club show >> >>and >>he was telling me about it but I'm still unclear as to what it >>actually >>is. >>All i know is that it's magnetic and it has to do with a cigarette box. I had talked to Trey about it after the Knitting Factory Trey Gunn band show and he told me it was one of the mini speakers that looks (and is the same size) as a pack of cigarettes. He creates some kind of magnetic feild on the strings that gives that odd sound. It can also be heard on track 6 or 7 on the new trey gunn band cd. *********************************************************** Matt Deibert Check out Spacestation Integration MP3's www.mp3.com/SSI *********************************************************** ------------------------------ Date: Sun, 26 Nov 2000 13:28:22 +1100 From: "Carl Justin" Subject: King Crimson music scores I want to find as much written music scores for any KC recordings, especially 'In The Court Of The Crimson King', 'Larks Tongue In Aspic' 'Islands' and 'In The Wake Of Poseidon". Where can I find an index? I know I can get downloads of various MIDI files people have done but the actual arrangements would be great.Thanks for any help... Bye from Carl. ------------------------------ Date: Sun, 26 Nov 2000 00:41:33 -0500 From: "Luigi Giugliano" Subject: Flash Photography.......SECURITY?!?!?!?!?! After reading more of these Crimson Gig Reviews, especially the ones about Robert Fripp walking off stage in anger from flash photographers taking pictures. If Crimson specifically requested that no flash photography is allowed, then why doesn't security confiscate the cameras before people enter the venue? Doesn't security receive these orders? Just for the sake of The Crimsos and especially Frippy walking off stage happy without disappointing the crowd because of some dumb schmuck(s) who can't follow rules and/or lousy security. OPINIONS?!?!?!?!?! Luigi Giugliano SCRUTINIZER981 at hotmail dot com "There's no way that what I do can fit within a corporate format. In the United States, radio is a cultural embarrassment. Most of the music that's broadcast is harmful to your mental health." -- FRANK ZAPPA "Music is the cup which holds the wine of silence; sound is that cup, but empty; noise is that cup, but broken." -- ROBERT FRIPP Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ------------------------------ Date: Sun, 26 Nov 2000 01:30:12 -0600 From: "Don Hosek" Subject: Re: Rubber Bass Actually the phrase is "Rubber Band Bass" which doesn't quite explain what he's playing. It's the reissue of the Ashbory Bass by DeArmond, a relatively cheap instrument (299.99 at Musician's Friend). It's a very short scale (18") fretless bass with thick silicone strings which allegedly has a very URB-like tone. I may pick one up just because it's so cheap (although first I'm getting a Stingray fretless 5). Another instrument which Trey plays with King Crimson is a Danelectro Baritone Guitar (also around 300 bucks). It's a long neck guitar, tuned a fifth lower than a standard guitar (so that it's low string is the same A as the standard bass A string). Little-used these days, it was commonly used in the 60s for recording the "tic-tac" basslines (the regular bass line up an octave so that it could still be heard on cheap car stereo speakers). -dh ------------------------------ Date: Sun, 26 Nov 2000 08:46:55 EST From: PR1955 at aol dot com Subject: Off The Deep End?????????? God this guy Nick does'nt stop. I feel like I am in a scene from"Brazil"........ Now he is cutting and pasting ebay stuff for all to see...... I will not repeat myself (cause it distreses me) and I really think this whole thing is very laughable. I will state this------The email to me so far is 1 in his favor and 5 in mine and my opinion.Oh did I mention the one in his favor was HIS>>>LOL alot. So thanks to those who supported me-you know who you are....... Peace/Love/And Catfood to ya alllllllllllll............ Paul PS: The real answer is for f**king Fripp to release this stuff.Would'nt you agree?!?! ------------------------------ Date: Sun, 26 Nov 2000 15:10:27 +0100 From: Holger Patsch Subject: Re: rubber bass The famed Rubber bass... Well, yes, originally it was a quite innovative instrument by a firm called Ashbory featuring shorter scale (18") and strings made of rubber (actually a silicon and ? mix). The instrument itself was made of carbonfibre (someone correct me if I'm wrong), not of rubber. It produces a sound similar to a double-bass. It was recently reissued by Fender-owned DeArmond with an agathis body and is not too expensive. http://www.dearmondguitars.com/ashbory.html ------------------------------ Date: Sun, 26 Nov 2000 09:11:02 EST From: Mpverba at aol dot com Subject: The Great Deceiver Revealed Go here to see just who that magician on the "Great Deceiver" box really is: http://www.kovarimagic.co.uk/ ------------------------------ Date: Sun, 26 Nov 2000 11:20:28 -0500 From: "Martin Miron" Subject: Flash cameras R.I.P. Obligatory salutation, As an avid ET reader for several months now, I can't help but remark on the inane controversy over flash photography at live concerts. Aside form the entire issue of annoying the performers, I must tell you amateur photographers that it simply won't work. The flash unit on your camera was designed to supply illumination at a distance of perhaps 6 to 10 feet in low light situations. A rock and roll stage, you might observe, generally does not fit the description of a low light situation. Just climb up there (no, not literally) and sample the heat from those kleigs. If your pictures developed as anything other than a shadowy mess, you were lucky, and they would have looked the same sans flash. If you really must insist upon playing at James Bond, use the plentiful light that is available. I suggest a high quality lens of whatever focal length, set to a low f-stop for maximum light gathering potential (i.e., f2), and a high speed film (ASA 400 or above). Film at ASA 1000 is readily available. There is an increase in graininess at the higher speeds, but motion is stopped quite efficiently. By the way, slide film generally will give better results than print film. Even a pocket sized point-and-shoot camera will have a control to shut off the flash manually. This may very well work, as most of these will continue to meter the existing light and adjust accordingly. Experiment at home first. The decision to sin is, as always, upon your conscience. Perhaps if you follow these guidelines it will not be on ours as well. Not having seen my favorite musicians live in twenty years, I have little sympathy for your excuses. Marty Miron Gainesville, Florida "No one understands my potato." ------------------------------ Date: Sun, 26 Nov 2000 11:37:48 EST From: Biffyshrew at aol dot com Subject: Gong Funky Behavior Rubber Mac Wax Museum Paul Schulz wrote: >Also, regarding the Bruford/Gong connection, I think that period was when >Gong was going by the name Paragong. A two song live Paragong CD does not >have Bruford on it, but I have read that a Virgin compliation from that >time contained a studio (?) cut by that line-up. Is it possible that Bruford >played on that song? The short answer is no. The longer answer is that, in the first place, the lineup that Bill Bruford was in was not Paragong. Paragong existed in 1973, when Daevid Allen and Gilli Smyth had temporarily left the band between _Flying Teapot_ and _Angel's Egg_. Bruford, of course, was still in Crimso at the time. Bruford's brief stint with Gong came after Smyth and Allen had left the band for the second time, after _You_, circa 1975. By his own account, Bruford was with Gong for seven weeks, replacing Pierre Moerlen, who was in and out of the band several times during this period. (Bruford: "I liked Gong because it was one of those fairly loose groups, where people come and go.") In the second place, although "Pentagrammaspin" from the Virgin _V_ sampler has been identified as a Paragong track, on the record itself it is credited to Steve Hillage and the "Sky Drunk Heart Beat Band" (essentially Gong minus Allen and Smyth, but plus David Stewart--there's your Bruford connection). It is an outtake from the September 1974 sessions for Hillage's first solo album, _Fish Rising_ (Stewart's organ is unmistakable). AFAIK there is still no officially released recording of Gong with Bruford. *** Sylvan wrote: >Anyway, trawling Napster for random rare tracks, I came across a song called >Funky Jam. It's not from any of their albums, but it's studio. It sounds like >80's era Crimson. Someone had it listed as the eighth track from Discipline, >which seems highly unlikely. ;) A track titled "Funky Jam" appears on the KC Collectors' Club release _The VROOOM Sessions 1994_. *** David Schipper wrote: >This is >easily the worst thing about seeing King Crimson in concert. People just do >not know how to behave anymore. Did they ever? Seriously. I've just been listening to disc four of _The Great Deceiver_--how about those audience cries of "Fripp's a wanker!" and requests for "Hocus Pocus" (I guess "Free Bird" hadn't come out yet), eh? *** Dennis Wiens wrote: >Could some one enlighten me. What is a Rubber Bass? >I play bass so my next question is .... Why? >I don't understand the concept of a string instrument made of rubber. Trey Gunn's tiny instrument is an Ashbory bass, originally made by Guild in the '80s and recently reissued. The strings (not the body!) are made of silicone rubber. If you want a "string instrument made of rubber," though, check out Adrian Belew's guitar in Laurie Anderson's _Home Of The Brave_! *** Dan K. wrote: >I was wondering if any Mac users who have been able to view the video on >Heavy ConstruKction could email me about what it was they needed to do to get >it working. (I am assuming that some of you have been successful.) Attempting to view the video component of HC on my Macs has been a big exercise in frustration. One contributor to the DGM Guestbook stated that he was able to play the video on his G3 Powerbook after installing the Apple CD-ROM 5.4 extension. Yet on my own G3 Powerbook, installing this extension did no good. I still get the message that the disc is unreadable. (As far as I can tell, the CD drive is ignoring the added extension and using only the original CD/DVD Driver extension. If the latter is disabled, the drive will not play at all.) My older Mac (a Performa 6115) at least recognizes the files on the HC disc, but for some reason (possibly having to do with the older versions of the browsers installed on this computer?) I have been unable to download Windows Media Player on this machine either via Netscape or IE! Any help on this would be greatly appreciated. Get on down, Biffy the Elephant Shrew http://members.aol.com/biffyshrew/biffy.html http://www.mp3.com/michaelpdawson ------------------------------ Date: Sun, 26 Nov 2000 12:34:17 -0500 From: DR Subject: Re: GIG REVIEW: MONTREAL I'd like to add a couple of things to what was said about the Montreal concert. 1- The tickets displayed a 'No recording, no photographs, no smoking' request. 2- While wating in line outside the venue, people were asked not to take pictures. 3- Entering the venue, we were asked to open their bags and were searched. I didn't mind. 4- Entering the venue, we were asked again not to smoke. Still, someone did not get the message and smuggled in a camera and a flash. Still, some people crept up right in front of AB and began to light up joints under his nose. No wonder Adrian looked drained half-way through the performance. I left before the 'Heroes' encore as I felt the King Crimson performance was over. Denis Robitaille Quebec City, Canada ------------------------------ Date: Sun, 26 Nov 2000 13:43:19 -0500 From: "ccoulterwsc" Subject: GIG REVIEW: Toronto Nov.24/2000 KING CRIMSON GIG REVIEW: Toronto Nov.24/2000 by Christian Coulter Wow. King Crimson retains the title of Heaviest Band in the World. This is vintage Crimson. Trey and Pat are fantastic. Adrian and Robert are sounding better than ever. Trey - The way he strokes that thing - oooooo! Fretboard-wide (and that's a wide fretboard!) acrobatics, antics, magic, mania, and mastery. From joining his crafty fellow Crims in their insane, intricate, interlocking interludes to his blazing multi-scalar solo pieces, the sound effects wizardry, the laid back, slow soul, Trey Gunn is one helluva player. Last night's performance showed that he compliments the rest of the band perfectly both in performing the material and in adding his own musical personality. He projects a focussed intensity and really seems to be enjoying the music. Musically, I think Trey brings something really magical to the band. At times he seems to make King Crimson "swing" like never before. Someone asked in an online diary (was it Trey?) "Is King Crimson becoming a dance band?". In many of the old and new songs, the rythms Trey was playing had extremely danceable grooves. I found my hips swinging more than usual and searched for the root. Trey. Cool. Listening and seeing Trey play, conjuring forth some of the most mind-boggling music I have ever heard - I was really moved. Thanks, Trey! Pat - Animal used to be my favourite drummer. Now I'm not so sure. How does anyone play in this band, let alone play the drums with three maniacs bending strings faster-than-light and changing keys and time at the speed of sound? An absolutely incredible job! Pat did not let up, playing with a solid intensity throughout. The feel was great. Light, heavy and in-between all felt beautifully placed. On a couple of occasions (can't remember which songs, sorry) the precision of the drum figure really stood out as something wonderful in its own right without being seperated from the piece. The figure is something like the "industrial" beginning of THRAK - but was played during more melodic pieces to very interesting effect - anyway, what do I know - it sounded cool. Pat made great use of his big kit, electronic and acoustic, but all effects aside, his talent, precision and suppleness shone through. Truly one of the greatest drummers I have ever seen. Thanks, Pat! Adrian - The voice, the words, the smile, the Twang Bar King. Truly awesome, top of his form, can't say enough. And was that Belewps or something similar during the Thela solo? Really wild sound! Insert every good thing said about Adrian Belew here (it's all true) or I'll go on forever. All I could have wanted more was...well, more! Thanks, Adrian! Robert - The fingers and the fury - the dazzling Mr. F zoomed through those scalar passages with the precision of a surgeon's laser at the rate of an out-of-control bullet train. Whew! My eyes and ears were ragged with exhaustion and amazement. His phenomenal playing - certainly his speed, dexterity, and endurance is as awesome to behold on stage as on album. After more than 30 years, his guitar skills just keep improving. Certainly an inspiration to all musicians to continue to strive for excellence. I watched and I still wondered - how does he do it? Truly a virtuoso performance. Thanks, Robert! Material - A great blend of old and new. Beginning with new material allowed the audients' ears to open up to the Crimson sound, then bringing in THRAK and Discipline stuff to satisfy that desire to here old favourites played true to form. All in all, I thought the set was well put together. The first words were from "I Have a Dream", and to hear them in an "opening" context - the words fit perfectly - a great lament - truly moving - TCOL material has really grown on me in the last few weeks (was I cramming?!) and this song is certainly a highlight. Sorry, I don't remember the exact order of the set list (shame, shame) but it was obviously similar to those posted on ET of recent concerts. My three (out of a zillion) favourite moments: 1. Robert Fripp on FraKctured - jaw dropping stuff, the music sounds so cool, so blindingly fast and so relentless. This was certainly discipline-in-action above-and-beyond any possible expectation. Sometimes the notes were so rapid and well-phrased that the differentiation of the change in note seemed to disappear and the music became totally fluid - a real joy - an ear and mind-opener 2. Adrian Belew solo Three of a Perfect Pair - a beautiful, musical, emotional moment - that sweet voice gets a case of the Acoustic Spiderfingers and a solo spotlight - great choice/arrangement - great talent 3. The whole band on Frame by Frame. It just seemed to work best on this song, to really come together and gel into one phenomenal, omnipotent sounding unit - and that's really what I love about a great band. On a drum part that is very much personality, Pat played beautifully with a personality all his own - solid, tight, playful, experimental and loyal to the song. Trey's part was great, keeping the beauty of the Tony Levin parts and adding even more harmony! Adrian's vocal was powerful and beautiful - Oh, those high notes! Got 'em! The never-fail-to-bring-a-big-smile guitar interlock was in fine form. Robert's oodle-doodle-oodle-oodle - exciting, relentless, balanced - this performance may finally be the cue for me to give up trying to play this song on guitar. Such a good song, though. Drama - Typical of the dozens of various concerts I've seen, there is at least one twit who's managed to smuggle in a camera. During a peaceful and melodic solo by Trey (was it Deception of the Thrush?) I see a flash go off in front of me and the brief silhouette of someone pointing a camera at Trey (who is looking at his fretboard at the time). Shit. Did Robert see? Did Trey see? Who took the photo? Too dark to see. Everyone is standing (no seats) in a crowd of 700(?). I am standing behind about 15 people between Trey and Adrian. I look back at Trey, who's still playing beautifully, seemingly unfazed, I look over at Robert, well who can tell with him? He's as expressionless as when he first sat on his stool. I'm starting to feel quite annoyed at the action of the photographer - absolute disrespect for the band, especially Trey at that point, and an absolute disrespect for me, who now had a sinking feeling in my gut that the band might leave the stage and not return. I push negativity away - there is no way I'm going to let this ruin my enjoyment tonight! The band is gracious, and like the true rock and roll troopers they are, they continue on. Even returning for an encore! Whew! Also, one minute into TOAPP, some guy three people in front of me (obviously overwhelmed by Adrian's sheer talent, though I might guess he was aided by some beer) slowly crumbles to the floor. Great. Two people on either side of him (his friends?) quickly lift him up and hold him aloft, where, give him his due, he remains for a good five seconds, before going down again. It takes another 20 seconds for him to be lifted up and brought out of audience. He looks to be okay, in that too-drunk-to-stand way of being okay. Some flashlights dance around the floor, looking for ? There is very quiet murmuring for a few more seconds and then the return to the enjoyment of the song. One technical glitch: during an instrumental piece, the staticky voice of a woman seems to leak into the mix, quite loudly. I couldn't make out what it was but it sounded something like a security walkie-talkie or radio commercial. The band pauses, starts again in mid-gear, then revs right back up after a minute or so. I notice one tobacco and two hemp cigarettes throughout the evening but only notice because of the glow. This is a big room, and any smoke is unnoticeable except for a fraKction-of-a-second whiff of hemp, which is not unpleasant, and all too brief. Shouts heard from the audience: "You're a God, Fripp!" (in-between songs) "ProzaKc Blues!" (after the opening strains of PB - I can name that tune in...) Lots of "Woo!"s and applause after each song and some of the crazier solos. The band puts down their instruments, Pat walks to the front of the stage to join Trey and Adrian, accepting the applause, throwing picks and thanking the audience. Robert walks straight off stage and out of sight, never acknowledging the audience. The remaining three are smiling, but seem somehow uncomfortable. Oh, this is a King Crimson concert! The last date of the tour - I'm sure the band members are exhausted, frustrated, and awash with emotion. I think that flash may have really upset Robert and the others, and maybe there were other violations I didn't see. I was thinking - Well, they sounded great and played their hearts out, I'm guess I'm happy if that's it. But I want more. I hooted and clapped and, yes! The band returneth! They played two more songs without showing signs of discontent - consummate professionals all. The instruments are put down again and Robert walks off stage as fast as any man can while maintaining a composed back posture. The others look sadly his way and again assemble at the front of the stage to throw picks and bask in the appreciation for a minute before waving goodbye and leaving the stage. That's definitely it. My friend turns to me, big smile on his face, "Wow! That Robert Fripp's a weirdo, eh?" I respond, with an equally large grin, "I think maybe he's just really sensitive." In closing- Thank you King Crimson. This band sounds great. Yes, there is a void left by Tony and Bill, and after seeing this show, I'm assured that this void has been filled by Trey and Pat. I only wish that the band could have enjoyed the show as much as I did. ------------------------------ End of Elephant Talk Digest #774 ********************************