From: owner-avalon-digest@smoe.org (avalon-digest) To: avalon-digest@smoe.org Subject: avalon-digest V8 #223 Reply-To: avalon@smoe.org Sender: owner-avalon-digest@smoe.org Errors-To: owner-avalon-digest@smoe.org Precedence: bulk avalon-digest Saturday, August 9 2003 Volume 08 : Number 223 Today's Subjects: ----------------- [AVALON] New Material-It Can Be Done! ["Duncan Watkins" ] Fw: [AVALON] The Chicago show ["Jas" ] To leave the list, mail majordomo@smoe.org with: unsubscribe avalon-digest ---------------------------------------------------------------------- Date: Fri, 08 Aug 2003 11:42:41 +0100 From: "Duncan Watkins" Subject: [AVALON] New Material-It Can Be Done! Witness 'Say You Will' by Fleetwood Mac. If they can come up with an album of 18 new tracks with their band history -surely anything is possible! It's not 'Rumours' -nothing could be, but it's just great to hear something different! (last 'proper' album 'tango in the night' 1987) I have to say that the prospect of finally getting to see them live later in the year, after being a fan since 1976 is right up there with the Roxy reunion tour. http://www.fleetwoodmac.com .......has a certain style about it! Regards, Duncan. _________________________________________________________________ Sign-up for a FREE BT Broadband connection today! http://www.msn.co.uk/specials/btbroadband ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Fri, 8 Aug 2003 13:30:48 +0200 From: Daniel Atterbom Subject: Re: [AVALON] New Material-It Can Be Done! At 11.42 +0100 03-08-08, Duncan Watkins wrote: >Witness 'Say You Will' by Fleetwood Mac. If they can come up with an album >of 18 new tracks with their band history -surely anything is possible! It's >not 'Rumours' -nothing could be, but it's just great to hear something >different! (last 'proper' album 'tango in the night' 1987) But some of the songs on 'Say You Will' were written around 'Rumours' 1976. It would be wonderful with a new great Roxy Music album. I just would like to have it in my hand. NP Etienne de Crecy, Tempovision Daniel ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Fri, 08 Aug 2003 15:01:55 +0100 From: "Duncan Watkins" Subject: Re: [AVALON] New Material-It Can Be Done! >But some of the songs on 'Say You Will' were written around 'Rumours' 1976. I bow to your superior knowledge Daniel, although the only songs not copyright 2003 are 'throw down' credited 2001 and 'bleed to love her' credited 1997. Some great trivia at http://burnish.net/articles/blender_may03.php featuring among other things; giant penguins,dildos and gun incidents. Bill are there any Roxy stories you could tell us in a similar vein? >It would be wonderful with a new great Roxy Music album. I just would like >to have it in my hand. Agreed!!-and I for one wouldn't care when the songs were written. Regards, Duncan. ___________________________________________________________________________ >To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon > _________________________________________________________________ It's fast, it's easy and it's free. Get MSN Messenger today! http://www.msn.co.uk/messenger ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Fri, 08 Aug 2003 09:56:46 +0100 From: "SIMON GALLOWAY" Subject: Re: [AVALON] I thought... (forming hypotheses) > Date: Thu, 7 Aug 2003 23:14:54 +0200 > From: Bahi > Subject: Re: [AVALON] I thought... (forming hypotheses) > > Something about the words themselves is reminiscent of Eno imagery, > it seems, and I mentioned this on first hearing Frantic. (I'm > thinking of the songs on Wrong Way Up, NerveNet and previously > unreleased stuff on the vocal box set.) "Hold on, the flower says reach out" is definitely an Eno line. My guess is that Ferry added a few lines here and there - the streetcar named desire - which as we all agree is a very Ferry line (and those last four words are hard to say out loud!). > Subsequent Ferry interviews made me think otherwise. However, if the > recent Eno interview that Simon referred to (earlier in this thread) > is the one I also read, it was notable for the very pointed way in > which Eno described how he had written a song and Ferry had recorded > it. No mention of co-writing, hence Simon's comment. In fact, Brian > mentioned all this while talking about his writing songs solely for > others to record. In the context, it would appear that he was talking > about a complete song and not just a simple loop. The interview I recall was on the BBC Radio 2 Eno documentary earlier this year, A Quantity Of Stuff, which featured Stuart Maconie talking to a reflective Eno, something which he admits he rarely does or like to do. > The basic chord sequence, the loop - without doubt, largely or all > Eno's. Plough through Eno's 90s output (particularly things like The > River on Wrong Way Up, as noticed by several subscribers) and you're > left in no doubt about that. The treatment is very Ferry, though. Absolutely! Although the omni-chord which is used in both The River and I Thought is always going to sound the same, just listen to David Bowie's version of Simon & Garfunkel's America from the NYC benefit show in 2001. It's a limited but captivating little machine. Question - who do you think did what on the Ferry/Stewart collaborations? The music is quite solid and rocky, still in odd Ferry keys, but they're not the unusual Ferry chord progressions. The lyrics (Goddess OF Love, Nobody Loves Me) are mostly half-formed and peppered with lazy cliches, the exceptions being Cruel (some good lines but a little nonsensical, the result of a Burroughs cut-up?) and San Simeon (probably left over from 1973). Go back to the Alphaville sessions and I think Stewart was definitely in charge of the music - the use of technology and contemporary styles, something that makes those aborted recordings more akin to Bowie's Earthling album of the same period. Something to ponder... SimonG ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Fri, 8 Aug 2003 23:48:56 +0200 From: "Anton van Lammeren" Subject: RE: [AVALON] The Chicago show Hi all, found this somewhere on The Net... Tara, Anton. - -o-o-o-o-o- Chicago review: Ferry Led Roxy Right On Target Roxy Music Tweeter Center Tinley Park, IL July 31, 2003 Review by Andy Argyrakis After a nearly complete reunion tour in 2001 and a successful solo outing by front man Bryan Ferry last year, it's no wonder why the reincarnation of Roxy Music returned to the road this summer rejuvenated for a limited run of stateside and European dates. No, members may not have any new material to peddle nor was avant-garde creative mastermind Brian Eno a part of this return trek, but the band's Illinois show was far from a nostalgic trip down memory lane or an attempt to cash in on a quality filled tradition that dates back to the group's self titled inaugural recording in 1972. Instead Thursday's show was a celebration of over three decades of music making, which has not only has been revered and emulated by countless artistically oriented bands since the group's debut single "Virginia Plain" hit airwaves, but has withstood the test of time and tackiness of trends. The always dapper, suave, and seductively soulful Ferry was backed by some of the finest players to ever walk the planet in the form of ferocious guitarist Phil Manzanera (guitar), enveloping saxophonist Andy Mackay, and steady handed drummer Paul Thompson. Together, the acclaimed musicians treated fans to a generous helping of boxed set material, touching on the distinct commercial highs, under the radar gems, and an unbeatable chemistry flanked between unmatched class and charisma. With a setting sun behind them, a sea of smoke and mood lighting, plus a beefed up backing band (including two sensual background singers and vivacious violin player) the guys wasted no time settling into notable cuts like the sweltering "Street Life," the melancholy "In Every Dream Home a Heartache," and the entrancing "While My Heart is Still Beating." No matter what the mood, Ferry was as debonair as ever, clearly sweeping the mostly middle aged crowd off their feet with every wink of his eye and turn of his microphone stand- especially as the band further unveiled the sax smothered "Avalon" and the husky but elegant "Ladytron." On "Out of the Blue" those encapsulating stares and pristine croons were met by violin bursts and soulful background accompaniment, all of which resurfaced in greater doses under the aggressive attack of "Virginia Plain" and "Do the Strand," both of which were complete with the crowd's singing in tow. Other multi-faceted numbers, like the sophisticated lounge-like stroll of "Oh Yeah," the post disco delicacy "Dance Away," and the punk powered "Love Is the Drug" (enhanced by a dance routine taken straight out of Las Vegas) further showcased the band's stylistic switchovers and cross genre appeal. If there were a single drawback to the Tweeter Center outing, it was the tease that this seminal line-up was on stage and working together yet once more, but still such collaborations have failed to muster up fresh produce. Granted, all the members (especially Ferry) have been involved in projects and sessions of their own since the group's original demise following 1982's "Avalon," but there's really no reason why they can't return to the creative genius they've always conjured up in the studio. There's no sense in even having to worry about fitting in with the times, as transitions from members' art rock dabbling prior to uniting in the late '60s, followed by its experimental rock dominance in the 70s, and transition to the romantic dance period of '80s have all been seamless. If one message was to come from Roxy Music's latest touring venture, it's that the band still has the midas touch and should continue to apply themselves collectively while they still have age, looks, and health on their side. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Fri, 8 Aug 2003 21:20:38 -0500 From: "Jas" Subject: Fw: [AVALON] The Chicago show > I found it first ( and with pictures) > www.concertlivewire.com/roxy1.htm > > Jas > > > ----- Original Message ----- > From: "Anton van Lammeren" > To: "Avalon list (E-mail)" > Sent: Friday, August 08, 2003 4:48 PM > Subject: RE: [AVALON] The Chicago show > > > > Hi all, found this somewhere on The Net... > > > > Tara, Anton. > > > > -o-o-o-o-o- > > > > Chicago review: Ferry Led Roxy Right On Target > > Roxy Music > > Tweeter Center > > Tinley Park, IL > > July 31, 2003 > > > > Review by Andy Argyrakis > > > > After a nearly complete reunion tour in 2001 and a successful solo outing > by > > front man Bryan Ferry last year, it's no wonder why the reincarnation of > > Roxy Music returned to the road this summer rejuvenated for a limited run > of > > stateside and European dates. No, members may not have any new material to > > peddle nor was avant-garde creative mastermind Brian Eno a part of this > > return trek, but the band's Illinois show was far from a nostalgic trip > down > > memory lane or an attempt to cash in on a quality filled tradition that > > dates back to the group's self titled inaugural recording in 1972. Instead > > Thursday's show was a celebration of over three decades of music making, > > which has not only has been revered and emulated by countless artistically > > oriented bands since the group's debut single "Virginia Plain" hit > airwaves, > > but has withstood the test of time and tackiness of trends. > > > > The always dapper, suave, and seductively soulful Ferry was backed by some > > of the finest players to ever walk the planet in the form of ferocious > > guitarist Phil Manzanera (guitar), enveloping saxophonist Andy Mackay, and > > steady handed drummer Paul Thompson. Together, the acclaimed musicians > > treated fans to a generous helping of boxed set material, touching on the > > distinct commercial highs, under the radar gems, and an unbeatable > chemistry > > flanked between unmatched class and charisma. With a setting sun behind > > them, a sea of smoke and mood lighting, plus a beefed up backing band > > (including two sensual background singers and vivacious violin player) the > > guys wasted no time settling into notable cuts like the sweltering "Street > > Life," the melancholy "In Every Dream Home a Heartache," and the > entrancing > > "While My Heart is Still Beating." > > > > No matter what the mood, Ferry was as debonair as ever, clearly sweeping > the > > mostly middle aged crowd off their feet with every wink of his eye and > turn > > of his microphone stand- especially as the band further unveiled the sax > > smothered "Avalon" and the husky but elegant "Ladytron." On "Out of the > > Blue" those encapsulating stares and pristine croons were met by violin > > bursts and soulful background accompaniment, all of which resurfaced in > > greater doses under the aggressive attack of "Virginia Plain" and "Do the > > Strand," both of which were complete with the crowd's singing in tow. > Other > > multi-faceted numbers, like the sophisticated lounge-like stroll of "Oh > > Yeah," the post disco delicacy "Dance Away," and the punk powered "Love Is > > the Drug" (enhanced by a dance routine taken straight out of Las Vegas) > > further showcased the band's stylistic switchovers and cross genre appeal. > > > > If there were a single drawback to the Tweeter Center outing, it was the > > tease that this seminal line-up was on stage and working together yet once > > more, but still such collaborations have failed to muster up fresh > produce. > > Granted, all the members (especially Ferry) have been involved in projects > > and sessions of their own since the group's original demise following > 1982's > > "Avalon," but there's really no reason why they can't return to the > creative > > genius they've always conjured up in the studio. There's no sense in even > > having to worry about fitting in with the times, as transitions from > > members' art rock dabbling prior to uniting in the late '60s, followed by > > its experimental rock dominance in the 70s, and transition to the romantic > > dance period of '80s have all been seamless. If one message was to come > from > > Roxy Music's latest touring venture, it's that the band still has the > midas > > touch and should continue to apply themselves collectively while they > still > > have age, looks, and health on their side. > > > > > > > ___________________________________________________________________________ > > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ End of avalon-digest V8 #223 **************************** ======================================================================== For further info, mail majordomo@smoe.org with: info avalon-digest