DGM Live

TRACK	TIME
Inductive Resonance	05:52
Trap	04:52
Heptaparaparshinokh	02:35
Thrang Thrang Gozinbulx III	02:46
Boy At Piano	04:11
Christian Children Marching Singing	03:44
Dislocated	05:02
Untitled	02:01
Minor Man	03:43
Thrang Thrang Gozinbulx II	03:47
Ooh Mr Fripp	05:01
Farewell Johnny Brill	04:08
Eye Needle	04:30
Inductive Resonance	09:10
Heptaparaparshinokh	02:09
Dislocated	05:37

DATE	CITY	VENUE NAME
1980-07-08	East Lansing	Dooley's
1980-06-26	Boston	Paradise First Performance
1980-07-02	Philadelphia	Bijou Cafe 2nd Performance
1980-06-20	Syracuse	Slide Inn
1980-06-21	Rochester	Red Creek Inn 1st Show
1980-06-22	Albany	J.B. Scotts
1980-06-23	New Haven	Toad's Place
1980-06-27	New York	Club 57 at Irving Plaza
1980-06-28	New York	Club 57 at Irving Plaza
1980-06-29	Asbury Park	Fast Lane
1980-07-03	Washington	The Bayou 2nd Performance
1980-07-05	Pittsburgh	Decade
1980-07-06	Youngstown	Agora
1980-07-07	Cleveland	Agora
1980-07-10	Detroit	Harpo's
1980-07-11	Chicago	Park West 1st Performance
1980-07-12	Rockford	Charlotte's Web
1980-07-14	Cincinnati	Bogart's
1980-07-18	Dover	Showplace
1980-07-19	Roslyn	My Father's Place 1st performance
1980-07-20	New York	Mudd Club
1980-07-21	New York	Trax
1980-07-22	New York	Irving Plaza
1980-06-25	Boston	Paradise First Performance
1980-07-01	Philadelphia	Bijou Cafe 1st Performance
1980-06-21	Rochester	Red Creek Inn 2nd Show
1980-06-25	Boston	Paradise Second Performance
1980-06-26	Boston	Paradise Second Performance
1980-07-01	Philadelphia	Bijou Cafe 2nd Performance
1980-07-02	Philadelphia	Bijou Cafe 1st Performance
1980-07-03	Washington	The Bayou 1st Performance
1980-07-11	Chicago	Park West 2nd Performance
1980-07-19	Roslyn	My Father's Place 2nd performance

Written by Al Walton

UP CLOSE AND PERSONAL

One thing I can say about these two nights @ The Bijou, Is MAGICAL. The intimacy of this venue as well as a smokin gig this should have atleast a 4 star rating. This show as I recall as yesterday no one was sittting, and for us progs, hopping was in order(yes this night it was called dancing). The take off happens with Piano Boy when Robert goes off on what I remember as hypnotic guitar riffs that takes you to a place that Talking Heads couldnt do in their wildest dreams. This band was amazing and Sarah Lee was out of this world. That night she sounded like the best bassist in the world. And now back to the venue, I cant remember any place on the planet that was more intimate. It no longer exists, and Peter Hammill said in one of his Sofa sound letters that this was one of the favorite places he played in. Again the venue and the energy of the band give it 4 stars.

Written by Frank Hadlich

Definitive

First: The sound is much better than 3 stars. One of the few recordings where the organ has its prominence.Second: After a full listening of what is available early 2015 from the hunting lodge rehearsals to Philly, this is a revelation. A band very self confident with sleepwalking accuracy in presentation of the material.Third: Creativity especially on Robert’s side is highly fueled.Fourth: The audience reaction alone is worth one additional star.I always loved that prototype-of-a-crimsoid, and will always do. Hat’s off to Sara, Barry, Robert and the late Johnny.

Written by terry n watts

killin' it...

Oh, Mr. Fripp!  You are killin’ it during this set!  Boy At Piano and Mr. Minor are superb.  "Commentary" from surrounding audience members is very funny, but minimal - does not take away from the music, rather it makes for a better tape - its not a sterile soundboard, but sounds like it would if you were standing there at the show.  Fantastic stuff...  Thank you!!!

Written by David Bennett

Affirmative Action

Enjoyable, to be sure.  But the prominence of the paint-by-numbers bass in the recording is regrettable.  I still think what I thought in 1980--no man could ever be in a band with Robert Fripp if he had no more proficiency on his instrument than Sara Lee has on bass.

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