From: owner-avalon-digest@smoe.org (avalon-digest) To: avalon-digest@smoe.org Subject: avalon-digest V12 #486 Reply-To: avalon@smoe.org Sender: owner-avalon-digest@smoe.org Errors-To: owner-avalon-digest@smoe.org Precedence: bulk avalon-digest Thursday, October 30 2008 Volume 12 : Number 486 Today's Subjects: ----------------- Re: [AVALON] Eno whirls up a Hurricane? [jocelynfiske@aol.com] [AVALON] Is Roxy Music a Cargo Cult? [jocelynfiske@aol.com] Re: [AVALON] Is Roxy Music a Cargo Cult? [LeeSullivanart@aol.com] [AVALON] Ferry in the jungle. [sales@carltonscreens.co.uk] [AVALON] Fwd: BOUNCE avalon@smoe.org: Message too long (>7000 chars) [Colleen Matan ] To leave the list, mail majordomo@smoe.org with: unsubscribe avalon-digest ---------------------------------------------------------------------- Date: Wed, 29 Oct 2008 06:45:06 -0400 From: jocelynfiske@aol.com Subject: Re: [AVALON] Eno whirls up a Hurricane? Bloomin' eck J, that's some review. I take it you liked it then? Can't wait to hear what you make of the new Roxy opus when/if it ever emerges. I've?heard?a couple of tracks from this album already?on Youtube and although the fluid liquid chocolate effect of Corporate Cannibal is visually arresting I was left a little cold by the track itself. But Grace never let's us down in the image department does she? The laser on the disco ball bowler hat during a crystal meth romp through Love is the Drug at Meltdown (again on Youtube)?is one I truly hope she replicates at her up and coming Roundhouse gigs. And she was looking more together than for many a year on the Jonathan Ross show a few weeks back - perhaps she finally emptied Bolivia? But, you're right, with the likes of Tricky and Sly & Robbie around, not to mention?Uncle Brian,?there's bound to be stuff on there that will pull up to my bumper. Thanks for the review - I've stuck Hurricane on my Xmas list. Jocelyn? - -----Original Message----- From: KWil632057@aol.com To: avalon@smoe.org Sent: Tue, 28 Oct 2008 20:01 Subject: [AVALON] Eno whirls up a Hurricane? Thrilled to hear the new Grace Jones album recently. While Grace's blistering version of Love is the Drug remains my favourite cover of a Roxy tune, I must admit that my interest was piqued in her new material by the news of Eno's involvement. While my review copy is annoyingly missing it's sleeve notes, rendering Eno's contribution a mystery, there are at least two or three tracks that could well have been given the Brian treatment... Oh for a new Roxy album to get this kind of reaction... The first thing to say about bHurricaneb is that it is a classy bit of work, and Ibm not just saying that because Ibm old enough to remember Russell Harty. The production values on this CD are high, the list of collaborators (Brian Eno, Tricky, Sly and Robbie amongst others) stellar, the songs strong, Grace Jonesb voice inimitable. She makes her own rules, does Grace, always has, no doubt always will, her voice is her own and no-one elsebs, a rare commodity in these corporate and homogenised times. Let this be said because this album is good, very good, and it deserves to be measured against the highest standards, which is Ibm sure just how Ms Jones would want it. Even measured against those highest standards, there is little to complain about. bSunset Sunriseb is not just classic Grace Jones, it is classic pure and simple, with an infectious pop reggae rhythm (thatbs Sly and Robbie for you), memorable melody, strong lyrics, a sentiment befitting someone, how to put this, not as young as once she was. I donbt mean to be rude here - the sooner we get over this ridiculous glorification of youth that has plagued our culture for decades the better. Webre all going to get old and die so get over it, which is incidentally one of the things this song says, with the wisdom and lightness of touch which comes with age. I also donbt mean to imply that she doesnbt still look fantastic because she does, far better if you ask me than the sleek, androgynous and implausibly shiny Jones that graced the cover of Island Life, but I digress. It feels indelicate to mention this, but it has been nearly twenty-five years since her last album, and in model/pop star terms she was old then (nearly thirty perhaps, the mind boggles). This is relevant only because one of the things that lifts this album above the ordinary is the way that she is not masking anything, ignoring or distorting where she is at right now, but rather simply singing about her life with daring, self-assurance, and a surprising amount of heartfelt reminiscence. See for example bIbm Crying (Motherbs Tears)b (note the position of the apostrophe - she is not crying the tears of mothers in general here) and the upcoming single bWilliamsb Bloodb. bLove You To Lifeb and bWell Well Wellb also bring to the fore the pop reggae vibe that works so well whenever it appears on this album, some distance away from the clipped and brittle groove that defined older tracks such as b Pull Up To The Bumper Babyb and bLove is the Drugb, and giving the songs a glorious uplifting mood even when the underlying message of the song is more sombre or reflective. The other tracks explore a harder-edged, darker sound, which is where the high standards come into play. Listened to in the background they have enough hooks to keep the brain engaged, and the lyrical content is on the whole strong. Even the opening track bThis Isb, which threatens to be little more than vapid posturing (bThis is my voice/My weapon of choiceb) is redeemed by the rest of the album, where she really does use her voice (not just her singing voice, but her attitude, her whole mode of being) as a weapon. But listen more carefully, and a few worries appear. There is no lack of inspired ideas - on the contrary, on tracks like bCorporate Cannibalb, bDevil In My Lifeb and b This Isb, the problem is that there are too many ideas, which tend to pile up against each other without the kind of careful development that could make them shine. And the lightness of touch which made the rhythm section such a joy on the more reggae-inspired numbers translates into a lack of aggression to match the muscularity of the lyrics. (The official website optimistically describes the music as bindustrialb - Ministry is industrial, this isnbt, it simply isnbt nasty enough.) The structure of the title track is, Ibm sure, intended to mirror a hurricane, with two heavy sections book-ending a quieter, beat-free passage. But the build-up at the end of that middle section doesnb t explode into life, rather the beats come in one after the other, almost apologetically, robbing the listener of the satisfaction of an abrupt transition. But enough of these niggles. bHurricaneb is a fine album, and it improves with every listen. If you know Grace Jones from her eighties heyday, youbll recognise the improvement on her earlier work, and appreciate the way she has grown up in the same way you have; if you are too young to remember her first time out, youbll be impressed by an artist from a previous era sounding so energetic and contemporary in her approach. Either way, youbll be glad youbve been graced. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ________________________________________________________________________ AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 08:59:34 -0400 From: jocelynfiske@aol.com Subject: [AVALON] Is Roxy Music a Cargo Cult? As some of you already know, I am an Anthropological bore and while skimming through recent reports on shamans, uncontacted tribes and civil war, like you do, I came across a report in the Times. Titled 'Journey to the heart of the Congo' it reports that Paul Pickering finds riots, war, shamans and a Bryan Ferry cult on a 1,000 mile river trip into Africa. Here is a snippet: "At another island, Nganda Saisai, we went into toddy palm forest, which was higher than the jungle outside Kisangani and even hotter, being almost on the Equator. The palms had great thorns, and gourds had been tied up in the branches to collect the milky white palm wine: the entire forest was infused with its musky, narcotic scent. It was here that I found pictures of Bryan Ferry. There is a Bryan Ferry cult in Kinshasa that has spread upriver, some say. But the Eleko tribe claim that Ferry has visited the island on one of the invisible witch doctor airplanes, common in this area of the republic. Certainly, the children could say bGoody, Goody, Bye Byeb in English with perfect Ferry-style diction." ..."Take pencils and notepads for the children; footballs, Roxy Music albums and lipstick for the grown-ups." For a tribe in the CongoB to choose Ferry as an icon comes as no surprise. We've just finished studying La Sape - a group of young men from Brazzaville and KinshasaB who leg it to Paris and spend every centime on the latest, hautest couture they can lay their hands on and then return to the Congo to show off their health, wealth and finery. It is a rite of passage that revolves around music and necessitatesB knowing everything about the latest creation. Not unlike being a Roxy fan then. B ParryB B ________________________________________________________________________ AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. Sign up for a free AOL Email account with unlimited storage today. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 09:05:37 EDT From: LeeSullivanart@aol.com Subject: Re: [AVALON] Is Roxy Music a Cargo Cult? In a message dated 29/10/2008 13:02:57 GMT Standard Time, jocelynfiske@aol.com writes: As some of you already know, I am an Anthropological bore and while skimming through recent reports on shamans, uncontacted tribes and civil war, like you do, I came across a report in the Times. Titled 'Journey to the heart of the Congo' it reports that Paul Pickering finds riots, war, shamans and a Bryan Ferry cult on a 1,000 mile river trip into Africa. Has this not been revealed already in the Mighty Boosh? :) ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 14:10:32 -0000 (GMT Standard Time) From: sales@carltonscreens.co.uk Subject: [AVALON] Ferry in the jungle. Here's the link to the Times article; http://www.timesonline.co.uk/tol/travel/destinations/africa/article4956631.ece Lee S. - Re. 'The Mighty Boosh' - obviously it was all true after all !!! Dave. ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 14:06:16 -0400 From: Colleen Matan Subject: [AVALON] Fwd: BOUNCE avalon@smoe.org: Message too long (>7000 chars) I'm forwarding this--if y'all must top post, please trim your messages so they don't bounce. Thanks, Colleen Date: Wed, 29 Oct 2008 13:51:03 -0400 From: "Alan Heaton" To: avalon@smoe.org Subject: A Return to Avalon Hi, everyone. My name is Alan Heaton. Hopefully some of you remember me, although it's been since around 2001 or so that I was a semi-regular participant on this board. I'm not quite sure why I drifted away - anyway, it's good to be back! I come bearing gifts. Well, they're not ready yet, but they will hopefully be ready soon. Since I was last posting regularly, I have founded my own small record label. It's called Burning Sky Records (named after The Jam song of the same name), and it is based in my home state of Pennsylvania. I run the label with one other person - my Seattle-based friend and producer Steve Turnidge - and we do everything - we are the entire label. We started the label in 2007 to have a means of releasing a tribute album to US band Jellyfish that we had pulled together. We started the effort with no real sense of how big it would become, but interest in the album was so great that by the time the dust settled in September 2007, we had released a 2-CD, 35-track release (as well as a 5-track Bonus CD and a 5-track preview EP) that ended up covering every song in the Jellyfish catalogue. Steve and I were very pleased with the album, and it has sold fairly well and received very positive reviews. (It's called "Sensory Lullabies: The Ultimate Tribute to Jellyfish" - you can read more about it if interested at www.myspace.com/jellyfishtributealbum). "Sensory Lullabies" was so much fun that we decided to do an even bigger album next. This time we tackled the songs of US band The Posies. Again, we didn't know what to expect when we started out, but we ended up with a 3-CD, 46-track release (as well as a 7-track preview EP) featuring artists from 13 different countries that was released this May. Even better, we got individual contributions from Posies members Jon Auer, Ken Stringfellow, Brian Young, and Joe Skyward, as well as producing legend (The Posies "Frosting on the Beater," Teenage Fanclub's "Bandwagonesque") Don Fleming. As much as I loved Jellyfish and "Sensory Lullabies," I think this album was even better - it's a true powerpop extravaganza. While it also has received good reviews, selling a 3-CD release is not easy (particularly these days), and this album hasn't done as well. (This release is called "Beautiful Escape: The Songs of The Posies Revisited" - you can read more about it if interested at www.myspace.com/theposiestributealbum). So why am I telling you all this? Because we are now in the midst of pulling together our most ambitious album yet - we are revisiting the songs of Roxy Music, as well as the solo work of Eno, Ferry, Mackay, and Manzanera! Believe me, I know that this is not something to be taken lightly, and I am ready for the criticism (and hopefully, the praise) that will follow the release of the album. Rock "Tribute albums" are a thankless task - they are the "ugly stepchildren" of the recording industry, and I will never really understand why. I have always loved a good cover, and I honestly think that the main reason that I make these "tribute albums" (a term I generally dislike, by the way) is so that I can listen to them! I love hearing a song that has been effectively re-made and re-modeled. :) Anyway, we have "set the bar high" here and are envisioning another 3-CD release. This was our initial vision, although we may revise the 2 Roxy discs based on the type of tracks we receive - I'd be interested in your thoughts (The names will be different - these are "placeholders"): Disc 1: Rocking Roxy - this disc would focus on rocking Roxy covers Disc 2: Romantic Roxy - this disc would focus on the more romantic Roxy covers Disc 3: Roxy Side Projects - this disc would focus on the solo work of Eno, Ferry, Mackay, and Manzanera We kicked off the project over the summer and currently we have somewhere around 75 bands/performers from all over the world who are slated to contribute tracks. We're starting to receive people's tracks now, and the early returns are very good. I am optimistic that people are going to like what we've come up with. I am proud to say that we have THREE Roxy Music Tribute Bands who are contributing tracks! (Roxy Magic, Proxy Music, and the wonderful Re-make/Re-model, who have reformed just to pull together what already sounds like it's going to be a spellbinding cover of "The Bob (Medley)"). We don't have any Roxy alumni contributing tracks yet, but it's not for lack of trying. (If anyone has any helpful hints in that area, they would be very welcome). We have also enlisted the help of Johnny Reece to act as our "Designated Roxy Expert" - before any song gets approved, it has to go through Reecey. I am thrilled and honored that he is helping us on this! In addition to of course trying to come up with the best Roxy covers possible, we also want this album to look good (a shortcoming of most of the other Roxy Tributes, with the notable exception of "Dreamhome Heartaches.") Therefore, we have just kicked off a Global Songs of Roxy Music Revisited Cover Model Search over MySpace. We want this album to look and sound like a Roxy Music album as much as we can. (Although I should point out that we are explicitly trying NOT to simply copy the originals - there's no point in that). I have probably gone on long enough. If you're interested, you can read more about the project at www.myspace.com/songsofroxymusicrevisited. I am very excited about it, and I hope that the esteemed members of the Avalon list will like it once it's released. In the meantime, I look forward to being back in the Avalon fold. I've been a member of a couple of other lists, and I've never experienced anything like the Avalon list. I remember meeting many of you at the North Sea Jazz Festival in 2000 when we saw Bryan Ferry and then Re-make/Re-model later that night. It's still one of my favorite days of my life. Here's to all things Roxy! Cheers, Alan On 10/29/08, jocelynfiske@aol.com wrote: > > Bloomin' eck J, that's some review. I take it you liked it then? > Can't wait to hear what you make of the new Roxy opus when/if it ever > emerges. > > I've?heard?a couple of tracks from this album already?on Youtube and > although the fluid liquid chocolate effect of Corporate Cannibal is visually > arresting I was left a little cold by the track itself. But Grace never > let's us down in the image department does she? The laser on the disco ball > bowler hat during a crystal meth romp through Love is the Drug at Meltdown > (again on Youtube)?is one I truly hope she replicates at her up and coming > Roundhouse gigs. > And she was looking more together than for many a year on the Jonathan Ross > show a few weeks back - perhaps she finally emptied Bolivia? > But, you're right, with the likes of Tricky and Sly & Robbie around, not to > mention?Uncle Brian,?there's bound to be stuff on there that will pull up to > my bumper. > Thanks for the review - I've stuck Hurricane on my Xmas list. > > Jocelyn? > > > -----Original Message----- > From: KWil632057@aol.com > To: avalon@smoe.org > Sent: Tue, 28 Oct 2008 20:01 > Subject: [AVALON] Eno whirls up a Hurricane? > > > > Thrilled to hear the new Grace Jones album recently. While Grace's > blistering version of Love is the Drug remains my favourite cover of a Roxy > tune, I > must admit that my interest was piqued in her new material by the news of > Eno's > involvement. While my review copy is annoyingly missing it's sleeve notes, > rendering Eno's contribution a mystery, there are at least two or three > tracks > that could well have been given the Brian treatment... > > Oh for a new Roxy album to get this kind of reaction... > > The first thing to say about b Hurricaneb is that it is a classy bit of > work, > and Ib m not just saying that because Ib m old enough to remember Russell > Harty. The production values on this CD are high, the list of > collaborators > (Brian Eno, Tricky, Sly and Robbie amongst others) stellar, the songs > strong, > Grace Jonesb voice inimitable. She makes her own rules, does Grace, > always > has, > no doubt always will, her voice is her own and no-one elseb s, a rare > commodity in these corporate and homogenised times. Let this be said > because > this > album is good, very good, and it deserves to be measured against the > highest > standards, which is Ib m sure just how Ms Jones would want it. > Even measured against those highest standards, there is little to complain > about. b Sunset Sunriseb is not just classic Grace Jones, it is classic > pure > and simple, with an infectious pop reggae rhythm (thatb s Sly and Robbie > for > you), memorable melody, strong lyrics, a sentiment befitting someone, how > to > put > this, not as young as once she was. I donb t mean to be rude here - the > sooner we get over this ridiculous glorification of youth that has plagued > our > culture for decades the better. Web re all going to get old and die so get > over > it, which is incidentally one of the things this song says, with the > wisdom > and lightness of touch which comes with age. I also donb t mean to imply > that > she doesnb t still look fantastic because she does, far better if you ask > me > than the sleek, androgynous and implausibly shiny Jones that graced the > cover > of > Island Life, but I digress. > It feels indelicate to mention this, but it has been nearly twenty-five > years since her last album, and in model/pop star terms she was old then > (nearly > thirty perhaps, the mind boggles). This is relevant only because one of > the > things that lifts this album above the ordinary is the way that she is not > masking anything, ignoring or distorting where she is at right now, but > rather > simply singing about her life with daring, self-assurance, and > a surprising > amount of heartfelt reminiscence. See for example b Ib m Crying (Motherb s > Tears)b > (note the position of the apostrophe - she is not crying the tears of > mothers in general here) and the upcoming single b Williamsb Bloodb . > b Love You To Lifeb and b Well Well Wellb also bring to the fore the > pop > reggae vibe that works so well whenever it appears on this album, some > distance > away from the clipped and brittle groove that defined older tracks such as > b > Pull Up To The Bumper Babyb and b Love is the Drugb , and giving the > songs a > glorious uplifting mood even when the underlying message of the song is > more > sombre or reflective. > The other tracks explore a harder-edged, darker sound, which is where the > high standards come into play. Listened to in the background they have > enough > hooks to keep the brain engaged, and the lyrical content is on the whole > strong. Even the opening track b This Isb , which threatens to be little > more than > vapid posturing (b This is my voice/My weapon of choiceb ) is redeemed by > the > rest of the album, where she really does use her voice (not just her > singing > voice, but her attitude, her whole mode of being) as a weapon. But listen > more > carefully, and a few worries appear. There is no lack of inspired ideas - > on > the contrary, on tracks like b Corporate Cannibalb , b Devil In My Lifeb > and b > This Isb , the problem is that there are too many ideas, which tend to > pile > up against each other without the kind of careful development that could > make > them shine. And the lightness of touch which made the rhythm section such > a > joy on the more reggae-inspired numbers translates into a lack of > aggression > to match the muscularity of the lyrics. (The official website > optimistically > describes the music as b industrialb - Ministry is industrial, this > isnb t, it > simply isnb t nasty enough.) The structure of the title track is, Ib m > sure, > intended to mirror a hurricane, with two heavy sections book-ending a > quieter, > beat-free passage. But the build-up at the end of that middle section > doesnb > t explode into life, rather the beats come in one after the other, almost > apologetically, robbing the listener of the satisfaction of an abrupt > transition. > But enough of these niggles. b Hurricaneb is a fine album, and it improves > with every listen. If you know Grace Jones from her eighties heyday, youb > ll > recognise the improvement on her earlier work, and appreciate the way she > has > grown up in the same way you have; if you are too young to remember her > first > time out, youb ll be impressed by an artist from a previous era sounding so > energetic and contemporary in her approach. Either way, youb ll be glad > youb ve > been graced. > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon > > > > ________________________________________________________________________ > AOL Email goes Mobile! You can now read your AOL Emails whilst on the move. > Sign up for a free AOL Email account with unlimited storage today. > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon - ----- End forwarded message ----- - ----- End forwarded message ----- ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 14:47:56 EDT From: KWil632057@aol.com Subject: Re: [AVALON] Eno whirls up a Hurricane? Speaking of Jonathan Ross, his stupidest remarks this week involved him asking Grace Jones whether 'visual style was always important to her'. Duh. I think the Grace Jones album is a fascinating test case. She's over 60 year old, her last album was released 20 years ago and she's been all but written off. To come back to good reviews, with deeply personal and relevant material shows it can be done... Check this (especially the big guitars): http://uk.youtube.com/watch?v=ixMYI3Z7m0c J In a message dated 29/10/2008 10:53:57 GMT Standard Time, jocelynfiske@aol.com writes: Bloomin' eck J, that's some review. I take it you liked it then? Can't wait to hear what you make of the new Roxy opus when/if it ever emerges. I've?heard?a couple of tracks from this album already?on Youtube and although the fluid liquid chocolate effect of Corporate Cannibal is visually arresting I was left a little cold by the track itself. But Grace never let's us down in the image department does she? The laser on the disco ball bowler hat during a crystal meth romp through Love is the Drug at Meltdown (again on Youtube)?is one I truly hope she replicates at her up and coming Roundhouse gigs. And she was looking more together than for many a year on the Jonathan Ross show a few weeks back - perhaps she finally emptied Bolivia? But, you're right, with the likes of Tricky and Sly & Robbie around, not to mention?Uncle Brian,?there's bound to be stuff on there that will pull up to my bumper. Thanks for the review - I've stuck Hurricane on my Xmas list. Jocelyn? ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Wed, 29 Oct 2008 20:49:59 +0100 From: "Michiel van Sleen" Subject: Re: [AVALON] Since you left they've become awfully shy here, Alan. Come along Jonathan, answer the nice gentleman, who brought you these lovely gifts. - ----- Original Message ----- From: To: ; Sent: Wednesday, October 29, 2008 7:47 PM Subject: Re: [AVALON] Eno whirls up a Hurricane? > Speaking of Jonathan Ross, his stupidest remarks this week involved him > asking Grace Jones whether 'visual style was always important to her'. > Duh. > > I think the Grace Jones album is a fascinating test case. She's over 60 > year > old, her last album was released 20 years ago and she's been all but > written > off. To come back to good reviews, with deeply personal and relevant > material shows it can be done... > > Check this (especially the big guitars): > > http://uk.youtube.com/watch?v=ixMYI3Z7m0c > > J > > In a message dated 29/10/2008 10:53:57 GMT Standard Time, > jocelynfiske@aol.com writes: > Bloomin' eck J, that's some review. I take it you liked it then? > Can't wait to hear what you make of the new Roxy opus when/if it ever > emerges. > > I've?heard?a couple of tracks from this album already?on Youtube and > although the fluid liquid chocolate effect of Corporate Cannibal is > visually > arresting I was left a little cold by the track itself. But Grace never > let's us > down in the image department does she? The laser on the disco ball bowler > hat > during a crystal meth romp through Love is the Drug at Meltdown (again on > Youtube)?is one I truly hope she replicates at her up and coming > Roundhouse gigs. > And she was looking more together than for many a year on the Jonathan > Ross > show a few weeks back - perhaps she finally emptied Bolivia? > But, you're right, with the likes of Tricky and Sly & Robbie around, not > to > mention?Uncle Brian,?there's bound to be stuff on there that will pull up > to > my bumper. > Thanks for the review - I've stuck Hurricane on my Xmas list. > > Jocelyn? > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ End of avalon-digest V12 #486 ***************************** ======================================================================== For further info, mail majordomo@smoe.org with: info avalon-digest