Setlist at Town Hall New York, NY on Nov 14, 2000
Set One
VROOOM
359
Thela Hun Ginjeet
361
Interlude
103
Larks' Tongues in Aspic (Part IV)
531
Coda: I Have A Dream
181
ProzaKc Blues
334
The ConstruKction of Light
548
Improv I
188
FraKctured
458
Into The Frying Pan
380
Improv II
143
Improv III
275
Dinosaur
330
Frame By Frame
327
Red
465
Three Of A Perfect Pair
241
The Deception Of The Thrush
685
Elephant Talk
369
Heroes
380
Town Hall
New York, NY
Nov 14, 2000
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Setlist at Town Hall New York, NY on Nov 14, 2000
Set One
VROOOM
359
Thela Hun Ginjeet
361
Interlude
103
Larks' Tongues in Aspic (Part IV)
531
Coda: I Have A Dream
181
ProzaKc Blues
334
The ConstruKction of Light
548
Improv I
188
FraKctured
458
Into The Frying Pan
380
Improv II
143
Improv III
275
Dinosaur
330
Frame By Frame
327
Red
465
Three Of A Perfect Pair
241
The Deception Of The Thrush
685
Elephant Talk
369
Heroes
380
Show Notes
This is an interesting gig and again some of the surprises are found in the smaller moments. After LTIA Pt IV the band move into an improvisation interlude that, not for the first time on this tour, invokes and summons the spirit (and hints of the melody) of The Power To Believe Part II. The piece subsides and Robert brings in the moto perpetuo section of FraKctured. Was the decision to truncate the usual chiming introduction of the piece due to an equipment malfunction from Ade’s rig. This seems likely as Ade is absent from the piece and the climb out before the metal running lines are somewhat uneven as though Fripp were trying to compensate. Only on the last section does Ade seem back in the game.
Writing to ET, Michael Russell astutely notes “The level of musicianship in this band is stunning. I found that I did not miss any of the half dozen past heroes of this band who have moved on, and who still remain dear in their own right. Instead, I was stuck at the degree to which the current unit functions as a whole. At this level of technical skill, it isn't Bill Bruford or Pat Mastelotto or John Wetton or Tony Levin or Trey Gunn playing a particular line in a particular piece, it is a collective person named King Crimson, whose appearances, sometimes a full decade apart, can be electrifying. In this sense, the continuity between where Crimson has been and where Crimson is going seems as natural as breathing.”
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