ELP Digest Saturday, August 12 1995 Volume 5 : Issue 20 The "Eroded By Time's Rivers" Edition Today's Topics: Japanese Interview with Keith Search for CD by ELP clone bands Gulda Dokken covers ELP ELP fingering chart... BSS Cover Tarkus lyrics Greg Lake CD Re: Greg Lake CD Re: Works 3 (ELP tribute band) ELP sheet music (for trade) Re: Abaddon's Trumpets, GX-1, death of ELP? ELP & Silent Night at Madison Square Garden Prelude ======= Just a quick note before I leave my email behind for a few days away from my computer. Thanks to Bjorn-Are for the translated interview in this issue. Also, please remember that this is a translation so if parts of it don't sound "just right", it could be a mistake. I'm updating the ELP Web Site pretty regularly. There are now the beginnings of Keith, Greg, and Carl "solo" pages. The Keith page is where I'm keeping the updated Emerson "quote source list". I'll be keeping the latest version of the "fingering" chart there, too. Discographies, etc. are a project for this fall. So, look there every week or so. Steve Plotcyzk has been sending me updates to his lists and I'm putting them on the Web site rather than eat up ELP Digest space with them. - John - ------------------------------------------------------------ From: Bjorn-Are.Davidsen@s.prosjekt98.telenor.no Date: Sat, 15 Jul 1995 23:16:56 +0200 To: John E Arnold Subject: Japanese Interview with Keith Here's an extremely interesting interview I received from Liv Whetmore today. It tells a lot of the story behind the lines of "In The Hot Seat" and explains very much of why it all came out the way it did. And it shows that Keith is still on the progressive side! It's translated by Atsuku Sasaki - a Japanese (I think) - who has done us a great favor, even if the wordings does sound a bit strange in some places. I have corrected some grammar and put some suggestions in parenthesis, but there are still some unclarities. However, it's a great job by Atsuko and I hope he and others from Japan can do the same with later interviews! Bjo/rn Are INTERVIEW WITH KEITH EMERSON Keyboard Magazine, Japanese edition October 1994 Q: Question A: Answer (Keith) Q: It is surprising that you have only a few suitcases now although so many records were sold A: Much money has gone. Albums of the past have been selling good, but that was while we were touring. After the tour... Q: Music industry has changed a lot. A: Indeed. I appreciate that it isn't necessary for me to start a career as a musician now. I would be a part time musician if I started in such a situation. Q: How is the band going? A: First of all I hope you understand congeniality between members of the band. It has been said that the relationship between Greg and me was always difficult (or delicate?). Carl was in-between and took a role as referee. I wouldn't think I would play again in ELP without Carl. Although I said so. I told that I wouldn't play in ELP without an outside producer to avoid the pressure. I hated to persuade someone to write lyrics, sing and something like that in the studio. I did not want to do it again. Looking back upon the past, a problem of partner is incidental to a good band. For example, Paul McCartney and John Lennon, Roger Daltrey and Pete Townshend. But they respect each other at some distance. Our case is the same. So we needed a producer to make this album. Q: How did you choose Keith Olsen as producer of this album? A: To be honest, we didn't have much room to choose because there were few who wanted to produce. Greg's name had appeared as a producer on past albums. There were days when we struggled about who held the real power. I agreed reluctantly, "OK. You (Greg) can give your name as producer if you sit in the seat." Q: And give your name as arranger. A: Also mine as composer. But it was also taken away, gradually. Well... composing itself wasn't taken away, but I realised I had to struggle about what I'd like to do musically, even after agreeing with a producer and a record company. Q: Did you struggle with the record company or producer? A: It's rather a difference in opinion than a struggle. I felt a difference of direction. I agreed with Greg in on thing on day but it was changed the next day. The viewpoint of the album was changed totally. Q: When did it happen? Didn't it happen while you were recording in the studio? A: Yes, it did in the studio. It also happened before that. I understood what our audience wanted and what they loved. That were conceptual pieces like Tarkus and Karn Evil 9. I thought we had better play more those kind of pieces. But my opinion was not listened to by a record company which wanted pieces suitable for playing on the radio. Q: Was those kind of things stronger on this album? A: Yes, it was. Every piece is suitable for playing on the radio. It may be better but I don't think.... I hope I am wrong. Q:"Man in the Long Black Coat" is a Bob Dylan song. It's arrangement is nearly the same as the original. A: Maybe. But the structure of the chords differ much from it. I did it in a more melodious direction. We wanted to express British sense. I wanted to make my arrengement like Western film music. When I tried to do so first, it became a 15 minute long song. I added som parts I wote. Keith Olsen and the band told me that I added a different song to Dylan's when they listened to it. Then they suggested me to take out the part I wrote and make that into another song, because we had to pay a royalty to Dylan. I said I didn't do it in that sense. I was inspired by Dylan's song and as a result I wrote the song like this. So it shouldn't be taken away. Q: Did it become a different song? A: Yes. It is "One By One". You may wonder what I am saying when you listen to the two songs. But the two were one song at a certain time. Q: In that way, a part of your more complicated and conceptual song was taken away, wasn't it? A: Yes. And one of the things I don't like is the text of the lyrics. I think we shouldn't sing about changing the society. If we did so, we'll become Bob Geldof. Q: But you don't write lyrics... A: If I would've written lyrics... However, Greg defends his lyrics very strong. It is his territory and he doesn't like someone to break into it. I understand him in some sense. After all the person who sings is Greg. I would be embarrased if he stood by the piano and told me how to play. Q: But did you feel frustration when you weren't satisfied with the lyrics? A: Yes, I did. But it happens that a wonderful thing may be made in a miserable situation. In short, this album may end up like "Love Beach" or better than "Love Beach". It is complicated. Only time will tell if this album was in the right direction for the band to take. So I refrain from expressing my opinion. What I'd like to say is that my idea that at least one long conceptual song was necessary, was voted down by the majority. Q: As to songs which Greg wrote, I think, your keyboard wasn't featured much. Did you arrange it in that way with Greg? A: No, it's Greg own carefulness. He doesn't express himself until he gets the idea. And he completes his song before one knows and he works with someone else. But he has been doing it this way since the early days. It was the same with "Lucky Man". He made the song alone in the studio. In the case of "In The Hot Seat", Greg found the other persons and worked with them on some songs. To me, I couldn't do my best because I had just had the operation. I didn't want to insist he should stay so I told him that he might look for someone else. Then Greg brought Rick Barker with him. Q: Was you arm so bad? A: There are enough time to relax when I am in the studio. I can play the piano and take my time. It is different from a live concert in which I have to continue to hit the keyboards for two hours. Fortunately, being in a studio is like a cure to me. I could at least move my arms and do other things. Q: What did you do when recording? A: I could play again many times. Q: Did your doctor say that you would recover perfectly? A: It depends on me. Even a doctor can't tell how it would be. I can't forget those days. I had to change my style and it was like hell. I was sad when I watched how I played. But I believe I can recover. Q: Was your play the cause? A: Yes, it was. Several accidents were also causes. Q: I think "We have the Power" ("Hand of Truth") sounds like ELP used to sound in the old days, although the sound of the keyboard is more gentle. A: I told Greg, "Is it `We have the Power'? Give me a break." That guy must have read a book. It's true. How embarassed I was when I listened to the song! The lyrics of the other parts aren't bad because it fits to the music tolerably. But why such a title? My son was disgusted with the title, too. He asked me if there was a song named "We have the Power". Q: Was the organ's sound in "We have the Power" intended to mute? A: Yes, it was. I don't know why. That was Keith Olsen's mistake. He was the producer. I didn't take part in the mixing. Q: Could you tell me about "One by One"? A: This song is intersting because it is eight-nine meter. The part of eight-nine meter changes to simple four meter in the song. This was the only place where I could play progressive rock on the album. Greg wrote lyrics to it and sang in eight-ninth. It was amazing. Q: Does the next song "Heart on Ice" sound like West Coast music? A: Well, Greg's ballad again. Greg sometimes becomes very melancholy. I can't stand it. Q: Who is Bill Ray who was credited as a writer of "Thin Line"? A: He is a writer, Keith Olsen's friend. He helped with the lyrics on "Thin Line". Q: (Missing, probably something like:"Which organ did you use on that song, the good old Hammond?") A: I used B3. This isn't worse than others (the other?). I won't part with it from my instruments which are down to a small number now. Q: What inspired you to compose "Thin Line"? A: I composed with a shuffle beat which Carl got into his head but I think I had a Neville Brothers sound in my mind. It became sligthly different but it's funky to ELP. Q: How about "Change"? A: That was another seed of disharmony. Greg thought it was a like a song of the ocean and a hornpipe of sailors. I thought it a catchy riff. The problem was his lyrics. He got anything but sailing. The song was rejected once because Greg couldn't write lyrics. Bill Ray wrote good lyrics on this too. Q: How about "Reason to Stay"? A: I didn't know about this until Keith Olsen told me there was a demo. Olsen though it suitable for Greg's voice. I listened to Richard Baker's version with keyboard and I thought it terrible. It was too sentimental. The original arrangement by Steve Diamond was a typical California song with comfortable chords and modulation (key?). I was allowed to do as I liked. First I cleared away all keyboards and bass. I changed it totally and it became like a song of Randy Newman, It's much better than the original. Q: Guitar solos in this album doen't sound like those Greg plays. Was there a secret guest? A: Yes, Tim Pearce, a friend of mine, played guitar on it. Q: How about "Gone too Soon"? A: I don't know anything. I didn't participate. Q: Really? A: Yes, it's true. Q: I heard that a keyboard solo in the middle of "Street War" has a distorted guitar sound. Is it Wavestation? A: Yes, it's Wavestation. I used distorted guitar sound with Wavestation in many parts and of course in "Reason too Stay" as well. But finally Keith Olsen told that it would be better for a guitarist to copy its synth sound. Greg didn't play guitar at all. Actually Greg didn't even play bass a lot. I sampled Greg's bass sound and played keyboard with its sound. Q: Why did you choose "Hammer it Out" as an extra traxk on the Japanese verion? A: I composed and played a 9 feet Grand Piano Steinway when I still had my studio remodelled from a shed in Sussex. I recorded it digital in 1992. It's a kind of a boogie. It's a mixture of boogie and lugtime (ragtime?). I think I did it well. The title is about a hammer that moves a piano. I think this title matches with the mood of this piece. It sounds like a keyboardist hammers it out. Q: What is you impression now that the new album is completed? A: Everytime a new album is released I withold my verdict. I only hope our decision was right and our fans would like it. Although I had many things I would like to achieve and a direction I'd like to go, my opnions were mostly rejected by the majority. I didn't complain because I agreed that it should be a majority decision. I pretended that I didn't know what they knew (??). In other cases I didn't compromise to the end. I took an attitide like this in the 70s because these attitudes made Tarkus and Karn Evil 9. I may had better take an attitude like this now. I suppose I have to do so from now on, but I don't know what will happen after all this. Q: But you are still in the band. Didn't you leave the band when so many of your opinions weren't accepted? A: Of course not. Because I always love the band, even though it is like a marriage in hell. I have special feelings toward the band just like a real life marriage. If I was to describe myself I would say I am very obstinate. but after all I am fair and I like to be fair to others. It is much better on the whole because I can solve my own matters. Let it leave things to take their own course. Q: How are you getting along with your biography? A: I am still writing it and I think it will be good. It goes very well. I enjoy writing beacause I like it. I hope it will be translated to Japanese because it is interesting. Everybody will be shocked when they read it. I haven't hidden anything, Anything at all. Really, about myself, what I did and how I did it. Therefore, it's interesting. I asked someone to read it. They said it was good. I hope to complete it by Christmas, but I have to work hard to do so. - translated by Atsuku Sasaki. ------------------------------ From: CAPedersen@aol.com Date: Sun, 16 Jul 1995 11:26:46 -0400 To: arnold@iii.net Subject: Re: #2(2) ELP Digest V5 #16 Does anyone know how to get hold of the cd's from the 2 new elp clone bands? I have been searching all the music stores in north and central Florida and in north Atlanta, GA. If you know, please send me an e-mail at CAPedersen@aol.com. Thanks. :) ------------------------------ Date: Tue, 18 Jul 95 17:41:40 EDT From: jerry@aip.org (Jerry_McCarthy) To: arnold@iii.net Subject: Gulda For piano lovers, in particular fans of Friedrich Gulda (whose "Fugue" Keith interprets as part of the Piano Improv on Welcome Back), this may be of interest... Last night I had the great pleasure of getting to see Gulda on television here in New York. PBS broadcast a 38-minute program of Gulda, Herbie Hancock, and Joe Zawinul at the 1989 Salzburg (Austria) Festival. The show was comprised of acoustic piano solos and duets, played on Bosendorfer Grand Pianos. (This show was from the first night of the festival, and though piano trios were apparently played, none were broadcast.) Gulda merited the bulk of the program, performing on 4 of the 5 pieces played (the program was much too short, unfortunately), playing both classical and jazz-based pieces. The program was: 1) Gulda solo, playing Mozart's Piano Sonata, Nr. 13, KV333, B-Dur 2) Gulda solo, performing his own composition "Menuett" 3) Gulda solo, playing his "For Rico" 4) Gulda/Hancock duet, on Miles Davis' "All Blues" 5) Hancock/Zawinul duet, on Hancock's "Toys" Though I have no classical training, the Mozart received a beautiful rendering to my ears by Gulda. It was an added treat watching him perform a couple of his own compositions, as well as the interplay between him and Hancock on their duet. The all-too-brief "For Rico" was the real gem for me, a wonderful piece that I'd love to hear Keith tackle some day. Several people on this list have praised Gulda's works in the past, and I now fully agree! I will certainly be seeking out some of his catalog in the future. (He's only been recording for about 45 years now....I'm a bit late, I guess. :) I recommend this program highly and suggest that anyone interested monitor your TV listings in case PBS rebroadcasts it at some point, as they generally do. ====================================================================== Jerry McCarthy e-mail: jerry@aip.org ---------------------------------------------------------------------- There's no end to my life no beginning to my death Death is Life ====================================================================== ------------------------------ Date: Tue, 18 Jul 1995 20:36:13 -0400 (EDT) From: FISHBOY Subject: Dokken covers ELP To: arnold@iii.net Hello, Just a quick post about a new ELP cover - the hard rock band Dokken recorded "From the Beginning" for their new album, _Dysfuncional_. I like the band but haven't picked it up. However, I got to hear it on a listening station in a record store. I was listening to a bit of each track, and when I got to the last one my mind went (in a matter of seconds) "....hey, I know that riff!...they stole that from ELP!...." Then I looked at the CD case and saw that they covered the whole tune. I think they did the song justice, although the ultracool Moog solo has been replaced by a heavy but nice guitar solo (just as well; they couldn't rip off the solo, could they?) :) followed by a reprise of the chorus. Keep in mind this is based on my one listen to the song. Anyway, my opinion of Dokken went up once I saw that they had such good taste. Might actually get the CD... Later, Andy Acunzo aacunzo@ccmail.sunysb.edu ------------------------------ Date: 19 Jul 95 13:36:08 EDT From: "Plotczyk, Steve" To: John E Arnold Subject: ELP fingering chart... ELP Fingering Take A Pebble Ostinato (Left Hand) F3 C4 G4 C4 F4 Bb3 C4 G3 Steve Plotczyk 5 2 1 2 1 3 2 4 Eruption Ostinato 1 (Left Hand) F2 Bb2 Eb3 Bb2 Ab3 Eb3 Bb2 Fb3 Cb2 Gb2 Dan Barrett 5 2 1 5 1 2 5 1 2 4 Steve Plotczyk 5 3 2 3 1 2 3 1 2 4 Jim Smith 5 3 1 3 1 3 5 1 3 4 Sandy Smith 5 2 1 5 1 2 4 1 2 4 Sandy Smith 5 2 1 4 1 2 5 1 2 4 Robert Vasseur 5 2 1 4 1 2 4 1 2 4 Robert Vasseur 5 3 1 4 1 2 4 1 2 4 Eruption Ostinato 2 (Left Hand) C2 F2 Bb2 F2 Eb3 Bb2 F2 Cb3 Gb2 Db2 Steve Plotczyk 5 3 2 3 1 2 3 1 2 4 Robert Vasseur 5 3 1 5 1 2 5 1 2 4 Robert Vasseur 5 3 1 4 1 2 4 1 2 4 Eruption Ostinato 3 (Left Hand) E2 A2 D3 A2 G3 D3 A2 E3 B2 F2 Steve Plotczyk 5 3 2 3 1 2 3 1 2 4 Robert Vasseur 5 3 1 5 1 3 5 1 2 4 Robert Vasseur 5 3 1 4 1 2 4 1 2 4 Manticore Ostinato (Left Hand) C2 F2 G2 Eb2 Ab2 Bb2 F2 Bb2 C3 Steve Plotczyk 5 3 2 5 3 2 5 2 1 Robert Vasseur 5 2 1 4 2 1 5 2 1 Infinite Space Ostinato (Right Hand) D3 A3 G3 B3 C4 D3 A3 G3 B3 C4 C4 F3 F3 F3 Steve Plotczyk 1 3 2 4 5 1 3 2 4 5 5 1 1 1 Infinite Space Ostinato (Left Hand) D2 A2 G2 D3 E3 D2 A2 G2 D3 E3 E3 A2 A2 A2 Steve Plotczyk 5 2 3 1 1 5 2 3 1 1 1 2 2 2 The Endless Enigma part 1 piano intro (Right Hand) E4 B3 F#3 Eb4 Bb3 F3 D4 A3 Eb3 C#4 G#3 D3 Steve Plotczyk 5 2 1 5 2 1 5 2 1 5 2 1 (keep Right Hand above Left Hand) The Endless Enigma part 1 piano intro (Left Hand) G#3 A3 F#3 G3 G#2 A2 F#2 G2 Steve Plotczyk 5 5 5 5 (keep Left below Right) 1 1 1 1 The Endless Enigma part 1 organ intro (Right Hand) E3 A3 D#4 C#4 A3 E4 B3 E4 A#4 G#4 E4 B4 Steve Plotczyk 1 2 4 3 2 5 1 2 4 3 2 5 Note that the octave of each note is identified using middle C and the next higher 11 notes as octave 4. (lowest piano note is A0, highest is C8) ------------------------------ Date: Thu, 20 Jul 1995 13:17:06 -0500 From: Antonio Augusto Gorni ep - pmt 0132 671805 To: arnold@iii.net Subject: BSS Cover John: Someone told in a recent ELP Newsletter that the BSS cover is contained in a file called giger_o.gif, at ftp.sunet.se, in the directory pub/pictures/H.R.Giger. I searched this file. This directory is wrong, the *right* one is: pub/pictures/art/H.R.Giger All the best, Antonio Gorni [ Editor's note: I also put a link to an H.R.Giger Web Site on the ELP home page. So interested readers might want to look there, too. - John - ] ------------------------------ Date: Mon, 24 Jul 95 10:25:20 -0700 From: Pierre Malenfant To: arnold@iii.net Subject: Tarkus lyrics Hi, I would like to know if you have or if you know someone who have the lyric of Tarkus from Emerson, Lake and Palmer. If yes, please send me the lyric via my mail adress at: pmalenfant@ctn.etsmtl.ca. It will be greatly appreciate. Thank you. Pierre Malenfant from L'Epiphanie [ Editor's note: Any readers have these typed in? - John - ] ------------------------------ Date: Wed, 26 Jul 1995 14:35:17 +0000 To: John E Arnold From: fsteama@macline.co.uk (Mike Goode/Smiljka Surla) Subject: Greg Lake CD Re your report on the 'new' Greg Lake Band CD, I was under the impression that King Biscuit were a bootleg outfit... I have certainly never seen any of their stuff on-release here in the UK. Does anybody know if the CD is going to be available here in the UK? Interestingly, I have a CD of the Greg Lake Band with a similar track listing. It was recorded at the band's concert at The Hammersmth Odeon in 1980. The recording and sound quality is excellent. This most certainly IS a bootleg. For those interested here are the details: Title: Greg Lake "Welcome Back My Friends" Tracks: 1) Fanfare.... 2) Welcome Back.... (Both of these are the short edited pieces the band opened with on that tour) 3) Nuclear Attack 4) Retribution Drive 5) Lucky Man 6) Love You Too Much 7) 21st Century... 8) The Court of the Crimson King Label: Living Legend Records Order no: LLRCD 151 There is also a brief copyright note credited to 'Multi Coloured Music, Italy'! Where was the CD you mentioned in The Digest recorded? If it is half as good as my bootleg copy then its on my shopping list! This was a great band, who sounded tight, performed brilliantly and wait for it.... no Keith Emerson in sight! Let us have a little more comment in The Digest about those other two chaps, you know the one who had a groovy jacket with doves on it (not forgetting the ever-so-trendy Addidas white trainers) and the one who played er... the drums. Anybody would think that ELP stood for Emerson, Emerson & Emerson if they took all their info on the band via The Digest. PS. Food for thought. What would ELP be like if Emerson wasn't around? There are plenty of candidates for his piano stool out there! ------------------------------ Date: Sun, 30 Jul 1995 23:50:47 -0400 From: John E Arnold To: fsteama@macline.co.uk Subject: Re: Greg Lake CD The King Biscuit CDs are very much REAL (not bootleg) CDs. This appears to be a new undertaking by the folks at King Biscuit who own the rights to these recordings. I know they are just out in the US and don't know about whether they'll show up in the UK. Perhaps some other reader will know. The concert on the new Greg Lake CD was recorded at the Hammersmith Odeon and is probably the same show you've seen in bootleg format. I'd like to add that this CD has been remastered, mixed, or whatever very well and totally blows away the subset of the CD I recorded off of FM radio when it was first broadcast. So, I'd really encourage fans to get this new, legitimate recording now that it's available! - John - ------------------------------ From: Jbuzzo@aol.com Date: Fri, 28 Jul 1995 00:43:47 -0400 To: arnold@iii.net Subject: Re: Works 3 (ELP tribute band) This WORKS 3 sounds fantastic! Are there any plans of them coming to the States, Chicago in particular? Also are there any other ELP cover bands this side of the pond that are worthty of note? John H ------------------------------ Date: Sun, 30 Jul 1995 00:18:42 +1030 To: arnold@iii.net From: jpnadeau@fmmo.ca (Jean P. Nadeau) Subject: ELP sheet music (for trade) I have an ELP music book I purchased some years ago. It contains the following: - Benny the bouncer - The endless enigma (Part I) - The endless enigma (Part II) - Jeremy Bender - The Sheriff - Take a pebble - Trilogy The book is still in mint condition. I know it is HARD to find nowadays. I would be willing to consider a trade for equally hard to find Keith Emerson music on CD (Murder Rock, Best revenge, Honky, Inferno, Night Hawks, etc.). Since my internet adress may change in the near future, please e-mail me your proposition at my wife's adress, which is: flussier@courrier.usherb.ca. Jean-Pierre. ================================================= Francine Lussier / "Kids... ten minutes of pleasure... Jean-Pierre Nadeau / thirty years of misery..." 2512 Chemin Duplessis / Fleurimont (Quebec) / --Tom Arnold in TRUE LIES Canada J1h 5H3 / ================================================= ------------------------------ Date: Mon, 31 Jul 1995 16:36:49 -0400 From: Daniel Barrett To: arnold@iii.net Subject: Re: Abaddon's Trumpets, GX-1, death of ELP? Somebody wrote: >>To me, the GX-1 sounds awful. Compared with Keith's fantastic Moog, >>Hammond and piano tones, the GX-1 sounds like a bad home organ. DMB5561719@aol.com responds: >I've got to disagree here. At the time, it was a new sound that we'd never >heard before: a polyphonic synth! But it wasn't the first time. "Benny The Bouncer" was played on a polyphonic synth. I think it was a Polymoog. Dan //////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ | Dan Barrett -- Computer Science Dept, University of MA, Amherst, MA 01003 | | http://www.cs.umass.edu/~barrett/public.html -- barrett@cs.umass.edu | \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\///////////////////////////////////// ------------------------------ From: LASERCD@aol.com Date: Mon, 31 Jul 1995 20:01:31 -0400 To: arnold@iii.net Subject: ELP & Silent Night at Madison Square Garden >I PERSONALLY AM TRYING TO FIND A COPY OF THE WNEW (102.7 -NYC) 1977 >XMAS >CONCERT IN MADISON SQUARE GARDEN. THIS HAS A FULL CHORAL >VERSION OF SILENT >NIGHT AS ENCORE (COMPLETE W/ REAL SNOW!!!!) >SEE YA NEXT TIME >BRUCE This is incorrect. ELP played Silent Night at MSG at the end of the BSS tour. My friend was in the choir that consisted of New York City high school students. They did do the WNEW Christmas concert in 1977 (Nov 30th), but that was obviously for the Works 1 tour. -Ken Golden/The Laser's Edge ------------------------------ Digest, mailing address, and administrative stuff to: arnold@iii.net ==\ \ => The same for now... ELP-related info that you / want to put in the digest to: arnold@iii.net =/ Back issues are available from the World Wide Web ELP Home Page: URL: http://bliss.berkeley.edu/elp/ Note: The opinions, information, etc. contained in this digest are those of the original message sender listed in each message. They are not necessarily those of the mailing list/digest administrator or those of any institution through whose computers/networks this mail flows. Unless otherwise noted, the individual authors of each entry in the Digest are the copyright holders of that entry. Please respect that copyright and act accordingly. I especially ask that you not redistribute the ELP Digest in whole or in part without acknowledging the original source of the digest and each author. Thanks! ------------------------------ End of ELP Digest [Volume 5 Issue 20] *************************************