He took a look at the log. Fox was doing a concert that ran two hours. Linda Fox, he thought. You and your synthesis of old-time rock, modern-day streng and the lute music of John Dowland. Jesus, he thought; if I don't transcribe the relay of your live concert every domer on the planet will come storming in here and kill me. Outside of emergencies-which really didn't occur -this is what I'm paid to handle: information traffic between planets, information that connects us with home and keeps us human. The tape drums have to turn.

He started the tape transport at its high-speed mode, set the module's controls for receive, locked it in at the satellite's operating frequency, checked the wave form on the visual scope to be sure that the carrier was coming in undistorted and then patched into an audio transduction of what he was getting.

The voice of Linda Fox emerged from the strip of drivers mounted above him. As the scope showed, there was no distortion. No noise. No clipping. All channels, in fact, were balanced; his meters indicated that.

Sometimes I could cry myself when I hear her, he thought. Speaking of crying.

Wandering all across this land,

My band.

In the worlds that pass above,

I love.

Play for me you spirits who are weightless.

I believe in drinking to your greatness.

My band.

And, behind Linda Fox's vocal, the vibrolutes which were her trademark. Until Fox no one had ever thought of bringing back that sixteenth-century instrument for which Dowland had written so beautifully and so effectively.

Shall I sue? shall I seek for grace?

Shall I pray? shall I prove?

Shall I strive to a heavenly joy

With an earthly love?