Bijou Cafe 2nd Performance
02
Jul
1980

Bijou Cafe 2nd Performance

Philadelphia
The League are on blisteringly good form in front of an enthusiastic crowd who give the band a standing ovation before a note has been played![endtease] Yep it’s going to be one of those evenings for sure and here at the Bijou no prisoners are taken. Though the set list will be familiar to regulars visitors to DGMLive, the quality of the performance is higher than most and to these ears at least rivals the ecstatic qualities found in the gig they did in Exeter a couple of months later. Johnny Toobad delivers a simple kickass frame work for Sara Lee to add a solid foundation to the work of Barry Andrews and Fripp. Despite the in-song commentary from a punter, this version of Eye Needles is amongst the best currently available. There’s nothing better than hearing that Sailor’s Tale style shredding and happily the League provided Fripp with plenty of opportunities to do just that several times during the course of the evening. This gig is lifted from the same official cassette recordings from which the live album Thrang Thrang Gozinbulx was sourced, and although it’s only given this a three star rating I reckon the sound department have been a bit skinny. Sensational stuff indeed.

AUDIO SOURCE: Official Bootleg Cassette

DGM AUDIO QUALITY

AVERAGE CUSTOMER RATING

TRACK
TIME
01
Inductive Resonance
05:52
02
Trap
04:52
03
Heptaparaparshinokh
02:35
04
Thrang Thrang Gozinbulx III
02:46
05
Boy At Piano
04:11
06
Christian Children Marching Singing
03:44
07
Dislocated
05:02
08
Untitled
02:01
09
Minor Man
03:43
10
Thrang Thrang Gozinbulx II
03:47
11
Ooh Mr Fripp
05:01
12
Farewell Johnny Brill
04:08
13
Eye Needle
04:30
14
Inductive Resonance
09:10
15
Heptaparaparshinokh
02:09
16
Dislocated
05:37

PURCHASE
SHOW

PURCHASE
TOUR

LoG19800702Philadelphia - albemuth

LoG19800702Philadelphia1

BROWSE SHOWS WITH PHOTOS

02
Jul
1980

Bijou Cafe 2nd Performance

Philadelphia
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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