ELP Digest Monday, 2 Nov 1992 Volume 2 : Issue 22 The "Three Fates" Edition, featuring 1. "Happy Birthday, Keith Emerson" 2. "1st Anniversary of ELP Digest!" 3. "All Politicians Lie" (in honor of the USA elections tomorrow; thanks, Andy!) Today's Topics: Emerson's birthday, etc. ELP Mailing list (history of another ELP fan) Brain Salad Surgery... Last part of ELP European Tour... LOADS of ELP stuff! (contains SPOILERS) As noted above, today is an exciting day for the ELP Digest. One year ago, I sent out the 1st edition of the Digest form of this ELP Newsletter and this marks (I think) the 25th edition. Since then, we've seen ELP release a new album and tour and I've seen the readership of this newsletter grow from a few dozen to a 195 regular readers. Thanks to all of you who read and/or contribute for keeping our mailboxes full of interesting tidbits. Soon, I hope to have the time to put all the back issues of the ELP Digest into an ftp site so people can peruse them for past discussions. I hope the second year of the ELP Digest will be as eventful and fun as the first. Till next time, - John - j.arnold@bull.com ELP Digest editor and ELP mailing list administrator ------------------------------------------------------------ Date: Thu, 15 Oct 92 11:12:36 pdt From: Jim Smith Subject: Emerson's birthday, etc. Monday, November 2nd is Keith Emerson's birthday. He was born in 1944, so he will be 48 years old. Celebrate: Shake down a barrelhouse! :-> November 2nd is also the official first anniversary of this newsdigest. I know that it's been of great value to me, and have really enjoyed the ongoing conversation with other ELP-ites. Great job, John, and thank you! Last issue, Matt and John discussed the "Thrills and shocks" instrumental dropout during Karn Evil 9 1st Impression Part 2. While we're on the subject of sonic anomalies, what other ones have people noticed? The one that comes to mind for me is the "blip" at the end of the Aquatarkus lead. I doubt that this was intentional. It sounds like the lead synth's filter was wide open for one note. Anyone have any others? Steve Selick writes about "Rondo": >>>> Do you think Emerson himself may have done a jazz trio version of the >>>> tune? Perhaps he did a true rendition of the song? >>>> It really did sound too much like Emerson's playing... I've noticed before the similarity in playing style between Emerson and Brubeck. They both play "marcato," that is, tending to have short spaces between notes (as opposed to legato, where the notes run together), and they both have a very percussive piano style. Emerson has admitted to being a Brubeck fan several times over the years. For those of you interested in other neat piano music to play, there are several interesting ones by Brubeck on both "Time Out," and its successor, "Time Further Out." One 7/8 "twelve-bar" that I have enjoyed playing over the years is "Unsquare dance," from "Time Further Out." FISHBOY asks: > Can someone please tell me the length of the _Welcome Back, MY >Friends_ live set? The reason I'm wondering is that I don't want to >spend a good sum of money on a double disc import unless it has a decent >amount of music on it. (_Yesshows_, for example, is only 77 minutes long, >and thus could fit on one CD, but it was released as a double.) I don't have the actual length of "Welcome Back," but I estimate it to be around 100 minutes. It certainly wouldn't fit on 1 CD, and it certainly would fit on 2. I know that it's over 90 minutes, because it doesn't fit on a C90 cassette. It was originally a triple LP. > - The original "I Believe in Father Christmas." I never heard that >before, unless that's the version I always hear on the radio around X-mas. >Anyone know? I can't remember off-hand. As "The Atlantic Years" says, this is the original single release, so it is likely to be played by radio stations around Christmas. In addition, it is the version that is behind the video, which is usually played by MTV around Christmas. > - My major complaint (other than that they should have put out a boxed >set!) is that the set doesn't show much indication of the band's sense of >humor. Someone with only a little exposure to ELP who bought this would >never know the band has a lighter side. Personally, I'd replace "Tank" >with "The Sheriff" and "Are You Ready, Eddy?", but that's a matter of >opinion. I agree with this sentiment. As I mentioned before, I'd like to see "Hoedown" instead of the hacked-up "Fanfare." And a bit more levity would also have been nice. (and a third disc of unreleased tracks! Emerson and Palmer have both said that there is quite a bit of material in the can that has been "pending" for a long time. It would be nice to be able to hear some of this material! Cest La Vie...) > - The mislabeling of the tracks on disc two, and the omission of song >lengths. Again, someone who didn't know much about the band would be >totally baffled when listening to the second disc. Agreed. In general, recent albums by ELP, ELPowell, and Three have had quite a few typos on their covers and lyric sheets. Ron Chrisley writes: >As far as I know, this was the first ELP gig in the UK for 15 years! This was the first ELP tour anywhere for at least 14 years! I'm curious, Ron: Do you ever hear of "local" gigs by Emerson, Lake or Palmer over in England, ie, Keith decides to play at a local small club one evening, or sits in on the piano with some local band, or the such? >Lake was in the center, and I did not see the Persian rug. Does this mean that Palmer's drum set was not in the center? Mark McCarron-Fraser asked for a description of what is the concept behind Brain Salad Surgery, and I gave it a shot, which I thought I'd share with you: "Eh, 'Brain Salad Surgery' means the same thing as 'Whip some skull on me.' I don't know what that means. Do you know what that means?" - Keith Emerson Brain Salad Surgery is about the decline in value of human life. Brain Salad Surgery is not strictly a "concept" album, although "Karn Evil 9" is a concept piece, dealing possibly with a future where religious morals, the value of human life, and traditions have diminished. The First Impression seems to be a carnival (Karn Evil) sideshow hawker's spiel, speaking metaphorically about this decline, with emphasis on religious ("rows of bishops' heads in jars," "we pull Jesus from a hat") and sexual ("..in a glaze a Vaseline") themes. I think that this piece is a metaphorical extrapolation of modern society's "decline," and may be as much an indictment of the times (valid in 1973 and even more so now) as anything else. But the point is also made that rock and roll is fun, enjoy the show while you can. Or perhaps that's part of the problem... First Impression resonates with "Jerusalem," which is, of course, a real hymn. Interesting to me is the fact that this hymn is essentially a call-to- arms over the issue of whether Jesus ever actually touched British soil or not. This petty human argument, set in the grand, warlike arrangement of ELP, ties directly into the human dilemma that is demonstrated in "First Impression." As if to drive home the warlike theme, "Toccata" immediately follows "Jerusalem" on the album. This piece is unadulterated violence, in my opinion, and, as Jerusalem resonates with First Impression, Toccata resonates with the Third Impression, a dark image of a future war run by computers, where the value of humanity has fallen to the point where only the machine may sit in judgement, and the judgement is made against man. "Benny the Bouncer" is a light, funny piece, but also once again brings up the theme of the value of human life. Benny dies because Savage Sid poured whiskey on his boots. A meaningless death, perhaps a meaningless life. "Still... You Turn Me On," in addition to being a straight-ahead ballad, also brings up the aspect of the value of a human life, in terms of one's relation to another, or, more specifically, women as sexual objects. Lake seems to be addressing a woman, asking her what role she would like to play in the world ("You can be anything"), and what role she plays with him ("Still... you turn me on"), and how that relates to the decay of society ("Every day a little madder, a little sadder, someone get me a ladder"). Which, of course, resonates back to the decay of society theme in the First Impression. The meaning of Second Impression eludes me, but it is a great piece of music, and makes a nice break between the other two Impressions. Perhaps those people shouting in the background symbolize a primitive society, which is not that different from what we appear to be, basically gibbering apes that have learned how to make nasty machines. While I'm babbling about BSS, I have a few more thoughts: I know of NO music that sounds like that album, before or after. It is a genre to itself. I think that that style of music would make a wonderful soundtrack for a "Star Wars" type of film. Specifically, it evokes Fred Saberhagen's "Berserker" stories for me both in lyrical content and musical mood, and I'd simply LOVE to see "Berserker" done properly with music by ELP based on their work on BSS and Tarkus. The mood starts out dark, gets darker, lightens up a bit, gets darker, lightens up, and then goes all the way down to death. This album gave me real baad dreams when I first got it (when it was released). By the way, Tarkus is about proper lawn maintenance. Check it out! :-> - Jim smithj@hpsad.sad.hp.com ------------------------------ Date: Fri, 16 Oct 92 14:09:33 PDT From: Subject: Re: ELP Mailing list Wow! Thanks John! I enjoyed reading the report! I've been a die-hard ELP fan from the first time I heard any of their stuff. They are, without a doubt, three of the most talented musicians on the planet. I was devastated when they disbanded, and delighted to hear they had regrouped. I first saw them in concert around 1972 or so. It was the Brain Salad Surgery tour where Emersons Moog sprouted wings, started smoking and turned to face the crowd at the end of KarnEvil 9 Third Impression while the computer voice is saying it's "I'm perfect. Are you?" routine. Awesome stuff to a 13 year old aspiring musician! I've got some ELP stuff from their last concert tour (The Works tour that started with the orchestra touring with them). I've got an official ELP tour handbook with lots of pictures and stories and also an ELP pendant on a chain. I saw them in St. Petersburg, Florida in 1977 (I think!) after they had dropped the orchestra from the tour due to excessive expenses. It was during the days of festival seating and after nearly being crushed during the rush as the doors opened, I managed to get a spot (standing, no chairs in the area in front of the stage) within 10 feet of so of the stage. It was an incredible show, with no warm-up band. Just 3 hours of ELP, including Emerson flying above the stage along with and strapped to a grand piano! They were here in Houston last month, so needless to say, I had to go and see them! They put on a great show, although short. 'Bonham' was the warm up act. They were OK, but how any promoter ever put them and ELP together on the same stage is beyond me. Seems sorta like having a Michael Jackson and Hank Williams Jr. concert. ;-) After the show I strolled down to talk to the lighting guy while he packed up his stuff as I know a few people that used to be roadies (For Led Zep, Deep Purple, The Who and other bands of that era. Now those guys can tell ya some stories!!!). After we chatted for 10-15 minutes I was about to leave when the sound guy says "You seem like you're really into the band, and you seem like a nice person. Would you like to go backstage and meet the band???" AACCKKKKK!!!! Are you kidding? Is the pope catholic??? Next thing I know, I'm standing back stage wearing a $h!t-eating grin and feelin' like a little kid about to meet The Real Santa Claus for the very first time!!!! I got to meet them, live, standing right there in front of me, shaking my hand, autographing 8x10 glossies and just chatting about their music! I was on cloud nine!!!!! Truly one of those moments that will flash before my eyes as I leave this world, I'm sure. Looking forward to next months ELP report!!! Harry ------------------------------ To: Mark.McCarron-Fraser@corp.sun.com Cc: arnold Subject: Brain Salad Surgery... Date: Mon, 19 Oct 92 15:36:58 -0400 [ Readers: This is my entry in the unofficial "What's the theme of Brain Salad Surgery" question posed by Mark MacCarron-Fraser in ELP Digest V2 #21. If others would like to contribute their thoughts on the subject, please do! - John - ] Mark: Here's my entry in the "what's the theme of Brain Salad Surgery" competition. It's longer than 200 words with the explanation but the main treatise (the 1st paragraph) fits the 200 word constraint... ELP's "Brain Salad Surgery" may or may not have been intended as a "concept album" but it certainly can be interpreted as one. Though dismissed as pretentious `dinosaur rock' at its worst by some, a case can be made to say that Brain Salad Surgery represents a successful portrayal of mankind's struggle to retain its dignity and humanity. The diversity of the styles and approaches in Brain Salad Surgery (e.g., hymn, classical music, folk, barroom bop, and electronic music on the brink of chaos) underscore the idea that the human struggle to preserve humanity is timeless. England's "dark, satanic mills" were challenged by William Blake in what has become the hymn, Jerusalem. More modern classical music (some might call it almost atonal) has laid bare the fine line between "art" and the cacophony of modern life as demonstrated in ELP's adaptation of Ginestera (Toccata). "Still... You Turn Me On" is a bit tougher to justify (though it does satisfy the role of the obligatory Lake acoustic song quite well). However, I'll just proclaim that ALL love songs (even the bad ones) are attemts to better experience the human condition. (Well, maybe not "Feelings", but you get the idea.) "Benny the Bouncer" is not only a framework for a rollicking honky-tonk piano solo but (since we're stretching things a bit here) is a testament to the trials and tribulations of the "working class" at the pub. Benny's just trying to do his job (though he seems to do it with a bit more vigor than most peaceniks would condone). Savage Sid sees no place for Benny in his view of the human landscape and kills him. In what seems like a bar-turned-war zone, Benny is rewarded in his struggle not by being welcomed into the glory of God's kingdom but by being assigned (at least temporarily) as one of God's gatekeepers. All these are, of course, foreshadowing for the epic "Karn Evil 9". The First Impression's carnival-like quality replace the Benny's bar room and the most simple (blade of grass) and depraved (seven virgins and a mule) aspects of life on earth are to be exploited by the futuristic barker. (Seems more like cable TV than I thought!) The Second Impression is full-tilt classical music turned calypso that walks the fine line between beauty and chaos. The apocalyptic Third Impression shows the struggle for humanity becoming more confused as computers take more and more action in the human's world. The Third Impression starts out with a trumpet-like call to arms and theinstrumental break has always been the definitive musical `landscape' of a world called for its pastoral serenity to war without reason. And, in the end, humanity's contribution (the attempt to do what is right) is recognized by a list of names of some backup set somewhere. After all, the computer of tomorrow is perfect, are we? - John - ------------------------------ Subject: Last part of ELP European Tour... Date: Thu, 22 Oct 92 15:40:15 -0400 From: arnold Well, almost too late but here's the information about the end of the ELP European tour that I have learned: Nov. 5 Paris, Le Zenith Nov. 6 Brussels, Forest National Nov. 7 The Hague, Congresgebouw Nov. 8 Copenhagen, Falkoner Theater Nov. 10 Oslo, Centrum Nov. 11 Stockholm, Konserthuset Nov. 15 Dresden, Kulturpalast Nov. 19 Firenze, Palassport Nov. 20 Rome, Palaghiaccio Nov. 21 Milan, Palatrussardi Nov. 25 Bournemouth, Intl Centre Nov. 26 Newcastle, City Hall (wonder if Keith will sneak in a reference to the Five Bridges Suite?) Nov. 27 Birmingham, Symphony Hall Nov. 28 Bristol, Colston Hall Nov. 30 London, Royal Albert Hall Sorry I wasn't able to get the rest of the tour in time to be of use to our international readers. I'll dig harder and be more persistent next time. In the meantime, I'll keep listening for any rumors of other concert dates (US or non-US). - John - ------------------------------ Date: Sun, 1 Nov 92 15:01 GMT From: Toby Hart Dyke Subject: LOADS of ELP stuff! I've been Meaning to get back to you for ages with various things, but haven't got round to it (apart from a short message in the last list) - until now! So here goes: ELP rehearsals: You may remember, in June (or thereabouts) I said that I may be able to get to see the rehearsals for the current tour, as my brother (Adam) was working in the rehearsal complex that ELP were using. Although he did work there several more times during the rehearsal period, apparently it wasn't really on for me to turn up :-( Such is life. However, Adam did get friendly with some of the techs, and managed to get me a copy of the Black Moon tape, signed by Keith, Greg and Carl, and a pair of "Carl Palmer" drumsticks, used by the man himself :-) "Affairs of the Heart" Single: I said I'd have a look for this, I did, and I couldn't find it! There was no promotion for this (or the Black Moon single for that matter) and it wasn't in any of the shops I looked in. If you want a copy, you'd be much better off looking in the US. I'm afraid ELP aren't taken *at all* seriously by the music business in the UK. I expect the singles were deleted pretty soon after release. ELP Article in "The Observer": Last Sunday, The Observer newspaper carried the following article on the band.- I've typed it in, errors and all (plus any typos of my own!). The "humorous" Japanese-English was, unfortunately, in the original. [ Editor's note: Thanks for the warning about the "humor". I'll apologize in advance to anyone who finds the cultural stereotypes offensive. I have left this in the Digest, however, because it does contain some interesting info about ELP in Japan. - John - ] --------------------Cut Here--8<------------------------------ The Observer - 25th October 1992 ON THE ROAD - Emerson, Lake and Palmer The Leturn of Crassic Lock Twenty years ago Emerson, Lake and Palmer played a Tokyo baseball stadium during the passage, across that city, of a small but lively typhoon. I had attended that concert and, last month, travelled to meet them on their long- delayed return to Japan. Looking across the deserted hotel lobby I wondered if I had come to the right place. Last time it had been thronged with well-mannered Japanese groupies waiting patiently for a glimpse of the second Western rock group ever to visit their shores. Now it contained bowing businessmen; there was nothing here to indicate the veterans were back. Emerson, Lake and Palmer broke up in 1978 after a decade spent playing 180 cities a year in America, Europe and Asia. Leading popularisers of the classical and pop hybrid known as 'pomp rock', their concerts included a strident, freewheeling reworking of certain classics and, famously, Keith Emerson attacking his organ during the finale, plunging knives into the keyboard while still contriving to play chords written, a century earlier, by Mussorgsky. They dispersed at the end of the seventies. Then, a couple of years ago, they were asked to do some film scores. The scores became an album, the album a tour, so they were, 20 years on, playing Japan again. Greg Lake, sporting a large earring and a shiny metal briefcase, had put on weight and gravitas. Keith Emerson at 47 seemed much as he did at 28 - thin pre-Raphaelite face a little tireder, but still quietly spoken, courteous, slightly remote and, physically, as lean as a whippet. (Emerson, when he can find time, runs very fast marathons.) Carl Palmer looked younger in middle age than he had as a post-adolescent wonder drummer. A sometime practitioner of the martial arts, he holds a black belt in the Wadoryu discipline. "I stopped because my arms got hit and hurt when I played." I asked Lake what he had been doing during his years out of music. "Fly- fishing," he said. "I went home to Dorset and bought a Georgian mill house and a stretch of river. Fishing became an obsession. I also rebuilt the river, the sluice gates and even resculpted the river bed." Greg Lake is the most business-like of the three. He produces their records, makes the executive decisions - and writes the lyrics. The venue was a 3,000-seat suburban theatre, minor league for a supergroup who had packed Madison Square Garden. "All our Japanese venues are small this time," Lake said. "We have to be realistic. This is very much a toe-in-the- water tour; we're feeling our way back. The most intriguing question is the age of the audience. We've just come from the States where a lot were middle- aged - people who remembered us. We're very curious to know who's going to turn up here." A 50-50 mix of kids and soberly-suited men and women greeted them with polite applause and a curious restraint. The show, which somehow failed to get airborne, stalled comprehensively when Lake's computerised bass guitar system died midway through. He stalked off to effect repairs. Unrehearsed, Emerson and Palmer launched into a freewheeling, driving rendition of 'Honkytonk Train Blues' and, for the first time that night, the place came to life. Lake returned and, though the show concluded to acclaim, gloom pervaded the dressing room. The next show, in Nagoya, went like a dream, the respectful silence replaced by the kind of audience uproar the band relished, with closet head-bangers suddenly declaring themselves all over the hall. After the show and a solitary dinner, Keith Emerson bought beers for three earnest ladies who had been trailing since Tokyo, and talked patiently about minor chords, Bartok, Franck and Japanese Enka song cycles. "You are true crassical[sic] musician!" they breathed. "No, no," protested Emerson, "just an old rock and roller." Next morning fans arrived at the station with gifts of kimonos, flowers, saki, and wooden toys. Somebody cried: "Carl, what exactly is the circumference of your cymbals?" "You only get these specialist questions in Japan," said Palmer. In a few days they would be flying home to play three sell-out concerts at the Albert Hall - a homecoming which preoccupied them not a little. But they needn't have worried; the first two were hugely successful. Japan had confirmed that the old chemistry was working nicely. ELP were emphatically back in business. -------------------------->8--Cut Here--------------------------------- The article was accompanied by a large, rather fuzzy, colour picture of the lads (?) on stage. A couple of months ago, I neglected to tell everyone that there was an ELP article in "Q" magazine. Do you want me to type that one in and send it? ELP Concerts: I saw ELP twice at the Royal Albert Hall, on Saturday 3rd October and Monday 26th October. 3rd October: Should you ever go to the Albert Hall, DON'T accept a restricted view seat. I wish I'd gone to a ticket tout (scalper) for this one. I had a crap seat, from which (get this) I couldn't see Keith Emerson!! The Albert Hall is a circular building, that isn't really designed for Rock Concerts. For such events, they build a stage out into the arena. This means that, if you have a balcony ticket near to the stage (where I was) you are *behind* the flown speaker arrays, and looking down onto the stage from the side. Consequently, the sound was dreadful too, as I was hearing too much reflected from the back of the hall :-( I could just about see Keith if I craned forward, so I did see- some of what he got up to! The set was the same as the previous night (as reported in the last list). That means that Greg did "From the Beginning" instead of "Affairs of the Heart" and they added "Honky Tonk Train Blues" (which wasn't done in the US if I recall correctly from earlier postings). I won't bore you with the whole listing, as you probably know it by heart by now! I'll just put in a few thoughts. The show opened with a brief part of Respighi's "The Birds" (It was "The Cuckoo") and it was *very* loud. I could have done with more of Karn Evil 9 and Tarkus at the beginning of the show, though I suppose the show would have had to be an hour longer then (I think I could have put up with that!) When Keith did his solo spot, he absolutely *tore* through "Close to Home", which I thought was a real shame, as I think it's great on the album, despite that muffled tone. I suppose that in a concert situation, it's difficult to come down from the band playing hard (they'd just done "Black Moon") to play something a bit more sensitively. It just reminded me of *me* playing ELP, or just about anything really - I always storm through too fast (to hide the mistakes ? :-) I also thought that the strings layered with the piano were unnecessary, but what do I know ? Does anybody know what the other solo piece (Creole Dance) is from? Keith said that it was based on some music by Ginastera, but is it actually called that, or something else? He really gave the impression at the second show that it had been adapted (knowing Keith, rather freely too). I've always thought that Ginastera's "Estancia" ballet suite would make a good ELP cover, particularly the 4th movement, and I thought I heard bits of that, but I could be wrong. When Keith did the low bass parts on the synth solo from "Lucky Man", the building really shook! Now I know why Will Alexander called that Moog "The most dangerous synth in the world" After that, they did "Honky Tonk Train Blues". I can't say I've ever been particularly fond of this, but there was a nice moment at the end, as the "train" slows down. Keith was repeating the figure a few times too many, in an apparent attempt to put Carl off! There were some very odd looks from the drum stool as the piece *finally* came to an end! The one piece I'd wondered how a three-piece could pull off was "Pirates". I needn't have worried, as it was terrific - careful choice of keyboard sounds gave it the same feel as the original. I noticed here, particularly, that Greg was taking the "easy" way out with his singing. He would go down to a note, instead of up to the "correct" note an octave above. His voice did sound a bit "tired" at times, it wasn't just the deepening that happens with aging. As Carl came up to the drum solo in "Pictures at an Exhibition", he was obviously concentrating hard then, just as it began, he promptly dropped his drum sticks in his lap! There was quite a look on his face as well. I doubt though, if I hadn't seen it, whether I would have noticed just by listening - he recovered from it very quickly. I always thought that the rotating drum riser was controlled by a roadie with a control box, and that it was all motorised - wrong! From my vantage point, I could see two roadies lying on the floor behind the drum riser. When the moment came for Carl to rotate, they physically grabbed the thing and pulled! Another illusion shattered. When it came to the organ-molesting section of the show, I think Keith was used to rather larger stages. When he pulled the L-100 on top of him, he ended up with his head in the audience who had crowded at the stage-front. Of course, eager hands wanted to help him play, so he had to fight them off. All in all, it was an enjoyable show, despite the appalling view and sound. I'd only been waiting 15 years for this! I bought my first ELP record in 1977, and this tour is the first time they've played in the UK since 1974. However, it wasn't to be long before I got to see them again..... 26th October: I won't go through all that again! Suffice it to say that with a *much* better seat, the view and the sound were much improved. Maybe it's my imagination, but the band seemed to be a bit tighter, and to be enjoying it more themselves. The set list was the same for this show as for the earlier one. Keith took "Close to Home" at a slightly slower pace, but still too fast for my taste. Carl managed to keep hold of his drumsticks, but Greg's voice was getting worse. In "Pirates" he virtually spoke half the lyrics. The worst bit was in "Promenade" from "Pictures at an Exhibition" (The one where he sings solo the line "Lead me from tortured dreams" etc.) Because the line is so exposed, he couldn't hide the fact that his voice was cracking quite badly. It must be just the strain of touring, and doing all that singing every night, but I hope he makes it OK to the end of the tour. Unlike the previous show, Both Greg and Keith changed into black leather jackets - Greg in particular looked *very* cool! When Keith was bunging knives at the organ, someone from the audience managed to get hold of one - you should have seen the roadie dive into the audience looking for it! I think he managed to get it back. You'll be pleased to know that both of the shows I went to were recorded. The first was recorded by the BBC, and was also Videotaped. I don't think this was- the BBC doing this (none of the cameras had "BBC" on the sides which I would have expected) so there may be a live video in the offing. The second show was recorded by the Manor Mobile, owned by Virgin records (but hired out to anybody who'll pay) so who knows - maybe a live album? There weren't any cameras at that show though. That'll have to do you for now - sorry if I went on for too long! Toby Hart Dyke thart@cix.compulink.co.uk {A friend of mine has just come round and tells me that there's a review in "The Independent" newspaper today. I'll get it from him next time I see him. Do you want me to post it? He says it isn't a good review :-)} [ Editor's note: If it's not too much trouble, I'm sure some of us would like to read both the "Q" article and the review. Even if it's not a great review. Thanks for this contribution to the Digest. Lots of interesting stuff! - John - ] ------------------------------ End of ELP Digest [Volume 2 Issue 22] *************************************