I won't disagree, since it is terribly hard to bring studio music to the stage, but it can be done with the right investment. I saw Tangerine Dream on the "Optical Race" tour, and it was just two or three of them with a couple of Atari computers. It worked well because the music was meant for sequencing. Around the same time, I saw Yanni live. His first two albums were dense multi-track digital studio creations (I don't know much about the subsequent albums). For the live show, Yanni hired two additional keyboard players so that all the parts could be played live, plus there was a live drummer. There were no sequenced parts, because Yanni would stretch out some of the keyboard solos, and the band members would follow as appropriate. The next time I saw Yanni on tour, he has several string players, probably horns, and simply a huge band. This means that the musicians all had to learn Yanni's music and perform it to his satisfaction. If Yello were willing to let other musicians join them on stage, they could do an excellent tour, provided that the sound system and performers matched the quality of the studio music. I've seen local live drummers pull off incredible drum-n-bass and jungle rhythms, so Yello live would not necessarily suffer outside the studio. Sometimes percussion is even more emotional and moving when played on real instruments, provided that the performers can handle the new styles of drumming. Brian Begin forwarded message: Why No Live Yello... In my opinion Boris believes what I believe. Studio Gods like Boris realize that it is impossible to create the same atmosphere and emotion that excists in album tracks, in a live performance. The tweaking of sounds and layering the lot to reach a sum that approaches the idea and feel of a track, when composed in a studio, cannot be done in any way during a life performance. That is when ones music is not based on just two guitars, a drumkit, a bass and one or two singers. Technolgy has opened paths to the ear and mind that can't be walked when using those prehistoric instruments. Technology gives the tools to create the most perfect sound for the numerous chords and whatever. Take a look at, or better, listen to Depeche Mode. The complexity of their album tracks and use of original synthetic sounds creates a certain taste and feeds the brain. But when the same tracks are performed life, they turne out to be different and seem to seperate from the original track/composition. And what is the use in playing life when most of what you get to hear is coming from sequenced tracks that feed a massive pile of samplers and sound generators? I've been a fortunate witness of two Kraftwerk Live performances. It was cool and heavy. A treasured experience. But with my almost neurotic drive to disect all the music I listen to, I got the strong feeling it was a sort of live remix of patterns and sequences that when combined created a new version of let's say Robots, Computer Liebe etc. Maybe, perhaps, yes, vielleicht... Techno Pop. I cannot be sure, of coarse, but I secretly wish that Boris shares my idea, and that the original intention of a song should not be f.cked up by a live performance that could never reach that same level of emotion during the creation of that song. Nut never the less, I'd sure like to see my two Gods of Sound & Voice on stage. Sigh.... Rene