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 #850 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 850 Wednesday, 20 June 2001 Today's Topics: GIG BIZ: King Crimson and other prog acts in Mexico City GIG BIZ: KC July shows Gee, And I Was Expecting Greg Lake! Fripp and Ferry/Fripp and Bowie 'Heroes' on "Heroes" Re: A Crim Without a Fripp! Muir Band? Re: Chocolate And Peanutbutter Together!!!! Re: "Camping for tickets" and Ticketmaster... GG & F - Metaphormosis Remastered Starless and Bible Black Tool, Crimson and fan friction. young person's guide & i talk to the wind Brian Eno/Peter Schwalm Live Mellotron M400 Ian McDonald Flute Demo Fripp w/ Gabriel 11/4/78 NYC Palladium - A question GIG REVIEW: Saturday, June 16 GIG REVIEW: King Crimson, 12th & Porter, June 14th, 2001 ------------------ 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.shtml 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: Sat, 16 Jun 2001 10:42:43 -0500 From: "Gerardo Liedo" Subject: GIG BIZ: King Crimson and other prog acts in Mexico City Hey Eduardo It will be 17th not the 27th and the tickets are available now at http://www.ticketmaster.com.mx/eventos.asp?searchname=KING_CRIMSON_TEATRO_ME TROPOLITAN_(D.F.) Be sure to enter the whole URL including "(D.F.)", if not enter http://www.ticketmaster.com.mx and click on King Crimson Also there are two confirmed concerts for YES at the National Auditorium October 9 and 10, Steve Hacket at "El Gran Forum" July 19 and the second MEXPROG 2001 September 8 and 9 with CARAVAN (UK), ARS NOVA (Japan), DFA (Italy), EQUINOX (Panama), NEXUS (Argentina), GOBLIN (Italy) and CABEZAS DE CERA (Mexico). Saludos Gerardo ------------------------------ Date: Sat, 16 Jun 2001 11:57:30 -0700 From: "Brian Kelley" Subject: GIG BIZ: KC July shows On 6/15/01, Susan wrote: >I see King Crimson shows listed on Ticketmaster (US) for the following >places: >GA: Atlanta >FLA: Orlando, West Palm Beach, and St. Petersburg > >I had no notion about them coming here (Atlanta) other than by a chance >visit to the TM site and subsequent "King Crimson" search. I hope I'm not >hallucinating. > >Thanks, > >Susan > Nope, Susan. You are NOT hallucinating!! KC are INDEED headin' down to the Good Ol' South in July. Here are the official dates: Wed 7/25 Atlanta, Variety Playhouse $25 Showtime: 8pm TIX ON SALE FRI, JUNE 15 Fri 7/27 West Palm Beach, Carefree Theatre $35 Showtime: 8:30pm TIX ON SALE FRI, JUNE 9 Sat 7/28 Orlando, House of Blues $?? Showtime: 8pm TIX ON SALE SAT, JUNE 16 Sun 7/29 St Petersburg, Jannus Landing Showtime: 7pm TIX ON SALE FRI, JUNE 15 All of these dates are on TicketBastard, like Susan stated. Got my Atlanta tix today!!! :) Starless and beyond, Brian ------------------------------ Date: Fri, 15 Jun 2001 20:15:43 -0400 From: J A Sontag Subject: Gee, And I Was Expecting Greg Lake! Noticed in passing: In keeping with the overall sophistication of the music business, the ticketmaster.com King Crimson tour page is nicely illustrated with a picture of the band - the 80s band! Or is Robert keeping a secret from us? Do Pat and Trey know they've been fired yet? Jeff ------------------------------ Date: Fri, 15 Jun 2001 23:46:30 -0400 From: "Albert Oller" Subject: Fripp and Ferry/Fripp and Bowie Does anybody have any information on a Bryan Ferry 45 with R. Fripp? I have a "Scary Monsters (and super creeps)" LP printed in the Philippines. The song 'Heroes' is sung half in English and half in French. The CD version I have is only in English. I greatly prefer the LP version. Does anyone else have the 'French' version? Is it my imagination or does it include a different guitar performance by Fripp? I haven't seen much mention of "Heroes" or "Scary Monsters" on ET. What are your various opinions? p.s. Just the title 'Blastic Rhino' makes my day every day, then I listen to it and ... ------------------------------ Date: Fri, 15 Jun 2001 23:54:48 -0400 From: "Albert Oller" Subject: 'Heroes' on "Heroes" Apologies to ET. I meant to write: I have a "Heroes" LP printed in the Philippines. The song 'Heroes' is sung half in English and half in French. The CD version I have is only in English. I greatly prefer the LP version. Does anyone else have the 'French' version? Is it my imagination or does it include a different guitar performance by Fripp? ------------------------------ Date: Sat, 16 Jun 2001 09:22:22 -0400 From: "Craig J. Clark" Subject: Re: A Crim Without a Fripp! >From ET #846: > > Date: Fri, 1 Jun 2001 23:05:04 +0100 > From: "jeremy.rowden" > Subject: A Crim Without a Fripp! > > Don't know if anyone knows anything of this rumour I've just seen in the > June issue of Classic Rock magazine. On the Hemispheres page by Nick > Shilton the opening paragraph kicks off with a story about "former > members of a major name prog band threatening to hit the road without > the band's eccentric guitarist and leading light" under the name of > "Crimson". Hired hand unknown guitarist for the trip, one Steve Hackett > (whoever he is). I don't know about the validity of this rumour, but I do know who Steve Hackett is. He was Genesis's second lead guitarist (after Anthony Phillips and before Mike Rutherford took over the role), coming on board for 1971's "Nursery Cryme" and staying until 1977's "Seconds Out" and "Spot the Pigeon." In other words, he's hardly an unknown. -- Craig J. Clark "I believe -- so strongly -- in mayonnaise." cjclark at earthlink dot net --Elmo Oxygen, http://home.earthlink.net/~cjclark denizen of Schizopolis ------------------------------ Date: 16 Jun 2001 12:54:36 EDT From: James Dusewicz Subject: Muir Band? Having just gone through, in sequence KCCC #'s 1-15(12, being on hold), I must say that in general terms the audio is very good. There is a marked favoritism in releases of the LTIA band and the ISLANDS band. But I'm really getting into the ISLANDS band stuff. I find that band highly influenced by Miles Davis' BITCHES BREW and the early Mothers Of Invention(see "King Kong" on UNCLE MEAT[1968]). Does DGM have plans to release a KCCC release of the Jamie Muir version? The one that actually recorded LTIA? jim campaigner at usa dot net James Dusewicz ------------------------------ Date: Sat, 16 Jun 2001 13:59:51 -0400 From: "Miguel Farah F." Subject: Re: Chocolate And Peanutbutter Together!!!! >Date: Fri, 15 Jun 2001 19:48:11 EDT >From: RLTOWLER at aol dot com >Subject: Chocolate And Peanutbutter Together!!!! > > Being a long time Chocolate fan (almost 30 years) I cringe at the thought of >Chocolate and Peanutbutter going out on Tour together. I feel it would be a >disaster for several reasons. >[...] > Will the younger audience react to a new set of new, never >before heard music or will the shouts of "Play Chunky Style" drown out the >newer music. Cat Food! 'nuff said. -- MIGUEL FARAH miguel at nn dot cl ------------------------------ Date: Sat, 16 Jun 2001 14:07:11 -0400 From: "Dennis Parrott" Subject: Re: "Camping for tickets" and Ticketmaster... > ------------------------------ > > Date: Fri, 15 Jun 2001 10:48:29 +0100 > From: "Stephen P. Goodman" > Subject: "Camping for tickets" and Ticketmaster... > > Does it not present a conflict of interest somehow, that though DGM has > presented before us a positive, productive business model for other artists > as well as listeners, it still became the same old game when it came to > ticket sales? Ticketmaster continues to do to the ticket business what the > Big Five do to the music business. It would have been encouraging to see a > divergence from that mafia-like model with the Tool-KC tour. Was this then > because of the collaboration with Tool on this? Or is it accepted as a > normal manner of doing business? Lottery my eye. > > Stephen Goodman IIRC, little of this ticketing-related stuff is at all dependant on the ARTISTS. It has EVERYTHING to do with the venues they are playing. The venue signs on with Ticketmaster and then to play there you are stuck, period (unless you have the financial clout of, say, Pearl Jam during the mid-90's). KC doesn't have the financial wherewithal to "buy" the arena for night and then sell their own tickets, no matter how much we would like them to. While I agree with you that Tickmaster is, at best, a corrosive influence on the business of concerting, there is little you or I or anyone else can do UNLESS we flat out boycott the suckers. We have NO other leverage. dennis parrott ------------------------------ Date: Sat, 16 Jun 2001 20:34:43 +0100 From: Andrew Diane and Adam Robertson Subject: GG & F - Metaphormosis I'm glad to see that the new GG & F LP is starting to get some attention. Personally I think it's excellent - more interesting and more important than anything that's been released by the KC Collectors' Club [the sound quality is better than some, too], charting as it does the evolution of GG & F towards King Crimson following the arrival of Ian McDonald and Pete Sinfield. It's closer in feel to "Cheerful Insanity" than ITCOTCK, with a similar leaning towards jazzy pop, but along with the bonus tracks that appeared on the CD of "Cheerful Insanity" it helps to bridge the gap between that and ITCOTCK. Listening to it and "McDonald & Giles" also makes it easier to understand how Ian McDonald and Michael Giles felt uncomfortable in KC. The version of "I Talk to the Wind", with Ian McDonald and Michael Giles on vocals, is closer to the ITCOTCK version than the one with Judy Dyble which appeared on "Young Persons' Guide". "Why Don't You Just Drop In" is also excellent - much better than "The Letters". Buy it before the limited edition is sold out! Are there any more GG & F archive recordings lurking anywhere? -- Andrew Robertson ------------------------------ Date: Sat, 16 Jun 2001 22:45:02 +0100 From: Mr Tea Subject: Remastered Starless and Bible Black This from Elephant Talk - dateline 16-06-01 3.19 PM: > I seem to remember a lyric sheet on the vinyl... Your memory does not fail you, John. The lyrics to 'Great Deceiver', 'Lament', and 'The Night Watch' were reproduced on the inner sleeve of the record (although the words to 'The Mincer' are anybody's guess). As to why they were omitted from the remaster, it looks like a case of format inflexibility. All the 'miniature album' style reissues have been given gatefold sleeves, regardless of their original packaging. For the single-sleeve albums (Islands, Larks Tongues, Red, etc) this has created extra space which has been filled with bits & bobs from the original printed sleeve-liners, including lyrics. The sleeves that were already gatefolds (Court, Poseidon, Lizard) had the lyrics printed in the middle anyway, apart from S&BB, which had the Tom Phillips 'accident in a stencil factory' design, retained for the mini-gatefold remaster. But, oops, that means there's no place to put the lyrics... Can't put them in the booklet - that's already filled up with clippings and ads. Can't put them on the inner sleeve either - already ordered a job lot of black ones. Oh well. Never mind. P'raps no-one will notice... I could always dig out my vinyl album, scan the inner sleeve & shrink it down to CD size. I could even make a PDF template for crafting your own replica inner sleeve if anyone's interested... Mr Tea -- Brew of the day: African Blend ------------------------------ Date: Sat, 16 Jun 2001 15:19:40 -0700 From: "R. Jackson" Subject: Tool, Crimson and fan friction. At 02:19 PM 06/16/2001 +0000, Adam Levin wrote: >Whether you liked or hated the album is not the point. The point is that >your album review had little value as an album review since you didn't >spend any time speaking about the music, rather you felt it more important >to spend several paragraphs expounding on your perceptions of the >psychological state of the band and their fans. Like I said, if you don't care for my review, write your own. >I've been kicking around the internet for the last 11 years (and BBS >systems for 8 years prior to that) and I've seen as the ability to create >and post one's own web pages has become easier an overwhelming rise in the >number of "qualified expert opinions" we all have to choose from to help >us in our daily life decisions. I, too, go way back with personal computers, having bought my TRS-80 Model II in '79, my Apple II+ in '81, my Amiga 1000 in '85, etc. There's no need to be condescending. You obviously take offense at my opinions about the new Tool album. That's hardly surprising. I've had quite a bit of erratic feedback since I first posted it to Usenet and added it to my page. Oddly, it's the only review added to my site that's garnered such negative feedback. >All of you experts out there, please join in. The only credentials you >need are a decent HTML editor. > >-Adam As evidenced by "T h e D a r k A e t h e r P r o j e c t http://www.darkaether.net/ http://mp3.com/darkaether/" ;-) This tour with Tool is bound to foster some friction between KC fans and their Tool counterparts. It's the nature of the beast, unfortunately. Now, I suggest you get busy writing that Tool review. You'll obviously do a much better job than I have. -Rob P.S. I use Notepad to compose my pages most of the time. ;-) http://www.mediasieve.com/ ------------------------------ Date: Sun, 17 Jun 2001 01:25:08 From: "Donovan Mayne-Nicholls" Subject: young person's guide & i talk to the wind I read a petition three newsletters ago for Fripp to rerelease THE YOUNG PERSON's GUIDE in the same 24 bit remaster mini LP sleeve. A couple of months ago I posted the same suggestion without arousing much interest. I regularly check the newsletter and one problem I see is that people that should read every issue don't and a lot of questions that have already been answered keep being repeated. If there's any more people out there who'd wish YPG were rereleased, well it's been proven that the way to reach Fripp is by petitioning, so start sending e-mails! Fripp has already threatened with rereleasing THE ESSENTIAL KC FRAME BY FRAME and after the exquisite gatefold series I see little point in doing so. It's got loads of wasted space and reprises the most popular albums almost in their entirety. An alternative would be a new compilation through Virgin, covering all studio albums (THRAK and CONSTRUKCTION) into a two disc set. Honestly, Crimson's studio recordings are rather scarce and even a three disc set would mean merciless repetition of tracks we've already got. Also a new compilation would give Fripp the opportunity for including the alternate single mixes that have never made it onto CD: THE NIGHT WATCH (mono), ELEPHANT TALK (dance mix, actually the full length version) and HEARTBEAT (mono), plus GROON, the YPG's mix for EPITAPH (without crossfades from I TALK TO THE WIND) and FRAME BY FRAME's remixes for CADENCE AND CASCADE and BOLERO. Incidentally, does anybody know who authorized the new Giles, Giles & Fripp vynil? I remember Fripp saying that a possible release for the collector's club would be the GGF demos. Is the current release getting the digital transfer? ------------------------------ Date: Sun, 17 Jun 2001 10:24:10 +0100 From: antonio_cebola Subject: Brian Eno/Peter Schwalm Live Hi Just to keep you informed about Brian Eno/Peter Schwalm's concert last might in Oporto... Boy, was that a surprise! They had a band with 5 members: guitar, drums, bass, percussion and violin! They played a lot of new material (Eno actually SANG in 6/7 songs, and only one of them has already been released (HCTWJ or TTMBS, not sure). Actually he said that most of the material in this concert was new to everyone, except for the other six players onstage. They also played some material from Drawn from Life. No special effects (except the fact that they looked like Wall St. executives, all dressed up in dark grey suits), no multimedia stuff: just music. All in all a great show. BTW, I read on a portuguese newspaper an interview with Eno: this is not the first of a series of concerts. There will be just another one in Tokyo (no date mentioned). Bye Antonio ------------------------------ Date: Sun, 17 Jun 2001 19:18:41 GMT From: crimson at blackcat dot demon dot co dot uk (Mike Dickson) Subject: Mellotron M400 Ian McDonald Flute Demo crimson63 at katamail dot com wrote... > If you like Ian Mc Donald flute try this link: > http://www.crosswinds.net/~kenmerb/songs/Ianflute.ram As played by your ET Administrator on his M400, may I add. :-) Mike Dickson, Elephant Talk Administration : Mellotron M400 #996 ------------------------------ Date: Sun, 17 Jun 2001 16:35:31 -0700 (PDT) From: Jay+ Nittoli Subject: Fripp w/ Gabriel 11/4/78 NYC Palladium - A question Hello Fellow ET Kindred Spirits: Will someone please help me clarify this memory. I recall seeing Peter Gabriels second tour at The Palladium in NYC on 11/4/78. I also recall an encore of The Kinks - All Day And All of the Night. I seem to recall that Fripp joined the band on stage and ripped an amazing solo. I think?? Those were pretty hazy days for me. Any help would be appreciated with regard to RF behind the curtain etc... on PG's second tour. Thanks, Jay ------------------------------ Date: Sun, 17 Jun 2001 02:26:33 -0500 From: Tom Law Subject: GIG REVIEW: Saturday, June 16 OK, here's the set list: 1. Mars, or maybe Devil's Triangle, w/o the snare drum 2. Frying Pan 3. Heavy ConstruKction 4. Nuovo Metal (I'm guessing here) 5. FraKctured 6. Dinosaur 7. Thela Hun Gingeet 8. Improv 9. Oyster Soup 10. Level 5 11. ConstruKction of Light and Coda (w/o vocals) 12. New blues 13. Lark's Tongue pt. IV Encore 14. Deception of the Thrush 15. Heroes 2nd Encore 16. Elephant Talk Excellent show. My cohort and I saw the show Friday night too, but didn't memorize the set list. (But they didn't do Thela, Heroes, or Elephant Talk, and they did do ProzaKc and One Time.) We were actually rather disappointed at that show, because we'd had the impression they'd be doing a lot of Projectile improvizing, and they didn't (in fact NO improv that night). After CD #3 of Heavy ConstruKction, and all the Project X and 1-4 and whatnot, we thought they had started doing alot more improv. And would maybe start featuring stuff like Seizure and Blastic Rhino. But I guess they only do those in Europe... But Saturday, they did do one improv, although it never seemed to really get off the ground. But we were very pleased that they at least made the effort. The sound seemed much clearer Saturday, and the crowd was even better than before. It was great to find enough enthusiasm in the room to entice the band back for that 2nd encore. Also great to see KC in such a small room. (After seeing KC in auditoriums, then clubs, then small clubs; I figure that in 10 years, it'll just be a private performance in the living room for my friend and me.) The band still had their clams, but nobody seemed to mind too much. ------------------------------ Date: Sun, 17 Jun 2001 01:39:28 -0500 From: "Trey Five Winds" Subject: GIG REVIEW: King Crimson, 12th & Porter, June 14th, 2001 Take the following: A few young people, quite a few older people, people who had seen this particular group a few times and other incarnations of this band many other times, some who have never seen the band before and others who could quote you facts and stats from memory. Mix them together in a smoky dingy room at a club in a part of town where cleanliness hap- pens on an infrequent basis. Throw them all together in front of a stage lined up with enough gadgetry to form your own one-man technocracy. Enter the four people who will pick up this gadgetry and attempt to manipulate it so that Music might pick up a signal and come say hello to those of us stuck in this terrestrial world, knowing that the audience is just as im- portant as the band is. Watch, with interesting, concentrated expressions and hear whether or not Music actually entered. Facing a few technical foul-ups (always a possibility with any performing unit) and a few environmental difficulties (although Adrian asked that everyone please refrain from smoking - and I never saw a lit cigarette - there was enough leftover smoke from years and years of existence in that room to breed it's own form of eye-watering haze), a few good things were on the band's side: no flash photography -- for which I am personally grateful -- and no recording devices that I could see, hear, or sense. The event, to me, felt like it was contained in all of that one space, and the energy output was incredible! Everything cooked, and not just in sweat, either. Although that too was present. Face it, if you want to stay anywhere in an odourless state, don't go in that room with that many people. The energy was incredible, and the sound was 85% spot-on - I attribute the other 15% to my own location, which was right near Adrian and Trey, but mostly in front of Trey, so I didn't quite hear ALL of Robert's gui- tar parts; I heard it all completely after "Frakctured," however, and, despite the sheer volume and power, I could hear things very CLEARLY. Being so close to the PA, I did not expect to hear ALL of the sonics that well. Whoever did the mixing did a superb job. A few errors were made. Well, okay, a few clams, even some big ones, were baked. And as far as the cooking went, the band was firing on all four cylinders. I was struck by two things: 1) how the errors mainly occurred (where I could tell) in pieces that the band had been playing for a year already - the "ConstruKction Of Light" material. Perhaps they had been working so much on the new stuff that the TCOL material might not have gotten as much "Brush-up" time as it called for. I also think Adrian had some problems breathing in that room - I know I did - so some vocals were missed. Which brings me to 2) how the band handled the errors. They were so gracious and accepting of their errors, no matter who made them or for what reason. Though I saw some wickedly little fun games go across the stage, and little devilish grins as bandmates thought "let's see how THIS plays out!" It was wonderful to watch the band have so much fun while playing this material, no matter how complicated or simple, and they all seemed to just relish the moments. These moments were among the best to actually see. It occurs to me that SOME people forget something: these are just four regular guys doing what they love to do, and lucky enough to be perfor- ming with (and for) others who enjoy it as much as they do. There were no pretensions, there was no conflict, there was nothing but the honest effort to become played by music, and though I didn't feel Music walk in- to the space, I felt and heard it calling from not too far away. The new stuff, even as just a group of drafts for the new pieces, were astonishing. A few static sections for future use, a few powerful moments that hadn't quite been tamed or finely-tuned, and a lot of potential were heard that night. No matter what changes are made or steps taken, I was glad to have taken the opportunity to see this music unfold. Their new album will definitely be interesting if this gig was any indication. The one improvisation they did was one step away from the stuff of magic. It had the potential to get farther out. I'm not sure what happened, but I'm not disappointed; it was a great moment to leap out. Had it happened elsewhen in the set, it might not have happened at all. I wasn't too sure about "Frame By Frame" or "Elephant Talk," although the band had played these two songs to a T. They were good moments, and I think the band enjoyed playing those songs, but the energy changed; it wasn't the energy of discovery, more like the power of comfort, although they were good performances with nothing amiss and most everything solid. To me, they were the only "low" point of the show, and not because of the songs - I love those songs - it just seemed like the energy flagged after "Lark's Tongues' In Aspic, Part IV." To be fair though, it was a diffi- cult place in the set for those two songs; perhaps that's where the "obligatory/comfort zone" feel came from. I don't know, and I highly doubt, that anyone else felt the same thing. A quick note on "Lark's IV, by the way: Adrian didn't sing the Coda portion, but I could feel that it was either to keep it all instrumental or because the room's air had finally beaten him into submission once again. He seemed to be unsure as to whether or not to sing it; this is why I mention it here. Even as all- instrumental though, it still sounded great, though the collapse early on in the piece was a sight to behold! The "Encore" section started out on a good note, but I think the effort was distracted by a few of the more noisy participants, who, although they didn't smoke inside the club, might have smoked something before coming, and not just Camel Dung either. Trey's solo on "The Deception Of The Thrush" was quietly restrained and would have been the perfect mo- ment for Music to step in - except for all of the talkers behind us. But P3 gave it their best. "Leg of Dinosaur" and "Gyros" - you would had to have been there to get the joke, and it really was a good joke -- were good enders, with Adrian doing his best to fully participate in the singing while not blowing out what was left of his poor throat. Adrian was more than a pro that night; he hung on like a hero, and his playing (on a few different instruments, to rather hilarious effect at some points) was so spontaneous and energetic that his throat problems seemed to disappear while he was playing. But, in that room, I don't think anything short of divine intervention could have helped his throat. My own throat, and that of quite a few other people around me, had taken a beating too. Robert was humourous, engaging, and seemed to enjoy him- self while still submerging himself into the playing - not always an easy task, and, like Adrian, he fumbled and dropped the ball, grinningly accepting his own errors and moving past them in an unhurried, relaxed manner. Trey was a veritable powerhouse playing like a man possessed by alien beings; even his eyes seemed to be staring into some distant ether at times. The bottom end was always powerful and boomy, but never lost any clarity, a good point to make, I feel, since he wasn't playing a bass guitar per se. If Trey made any errors (I think I heard one), he had the good sense not to be caught outright! Most of all, I think I enjoyed watching Pat more than anyone else - what I could catch of him. And he tried to catch everyone too. I have no idea how many times I saw him put a stick in his mouth while trying to get a drum pad working, but he didn't lose a beat, though he might have dropped one or two on purpose. His kit now containing a few acoustic drums, like snare and bass, was loud and yet, not overbearing. His dynamic range was impres- sive in the build-ups, and no matter what facial antics he was up to (Animal would have been proud) he never lost the feel or the music, though he did trip over the others at times when they lost it. But hey, this is performance! Sometimes, you blow it. You don't have to be a rocket scientist to play this material - but it's...a good start? :-) All in all, a good, solid show, with a wonderful energy. I only hope the rest of their shows do as well, or better. The Set List (compiled from memory only): Dangerous Curves The ConstruKction Of Light Into The Frying Pan Response To The Stimuli FraKctured ProjeKct X (improvisation) ProzaKc Blues Crimson Blue Heavy ConstruKction The World's My Oyster Soup Kitchen Floor Wax Museum Level Five Lark's Tongues' In Aspic, Part IV Frame By Frame Elephant Talk The Deception Of The Thrush Dinosaur (picked by a member of the audience) Heroes (picked by a member of the audience) To anyone interested, while this was only what I perceived, I did my best to be objective. I hope this review gives anyone an idea of what I got when I was there, and how the music was felt and heard. Best Wishes, Trey Five Winds ------------------------------ End of Elephant Talk Digest #850 ********************************