From: owner-ecto-digest To: ecto-digest@ns2.rutgers.edu Subject: ecto-digest V2 #217 Reply-To: ecto@nsmx.rutgers.edu Errors-To: owner-ecto-digest Precedence: bulk ecto-digest Saturday, 9 September 1995 Volume 02 : Number 217 The Ecto digest is now being generated automatically. Please send problems and questions to: ecto-owner@nsmx.rutgers.edu. ---------------------------------------------------------------------- From: neilg@sfu.ca (Neil K.) Date: Sat, 9 Sep 1995 01:35:42 -0700 Subject: Re: Re[2]: Music Vs. Lyrics At 9:19 PM on 9/8/95, Richard Holmes wrote: >Jane Siberry's "vigil" made me cry, as have some of loreena >mckennitt's songs... but I heard them before I read the lyrics.... > >Many songs make me cry, but not all the time.... Hm. It's pretty rare that a song has any lacrymosal impact on me. Usually when it does it's because of situations and memories tied in with that particular song. (As Holly can attest :) However, orchestral music - now that's different. Some composers really can do amazing things with me ol' Groc emotions - Stravinsky, Prokofiev, Grieg, some Copland come to mind. Or Mozart - the first soprano solo in his Requiem... the "te decet hymnus" bit... now that has me a quivering mass of jelly... oooohhh.... - Neil K. (listening to Mozart on vinyl again - damn but I wish I could sing well enough to handle those melismas!) - -- Neil K. Guy * neilg@sfu.ca * tela@tela.bc.ca 49N 16' 123W 7' * Vancouver, BC, Canada ------------------------------ From: neilg@sfu.ca (Neil K.) Date: Sat, 9 Sep 1995 01:35:37 -0700 Subject: Re: ATTN: UK question (TV liscenses?) At 7:40 PM on 9/8/95, Vickie the Ectophile wrote: >Well...TV Nation (A *WONDERFUL* SHOW) did a piece about how absurd it >is that folks in the UK have to have a liscense to have televisions >in their homes. Could someone post the "rules" of this law? Do you >have to have a liscence for every TV in the house? How much do the >liscenses cost? Do computer monitors that double as a TV count? > >It's all so bizarre! (and yeah...we pay for cable but that's different) (engage Grocible's ramble mode) Er - why is it bizarre? It's not bizarre at all. I've never seen TV Nation but I have noticed that the US media tends to portray the British television licence law as either some sort of evil communist plot or as further proof of the wackiness of the British. Neither is, in my opinion, necessarily true. Basically, if you own a television in the UK you have to pay a licence fee. One for each teevee. When I was a kid and colour television was a big deal it used to be that the fee was higher if you had a colour box; don't know if that's true anymore. And what's this fee for? Well, it's how they fund the BBC's television broadcasting, basically. The logic being if you can afford a television then you should contribute to the funding of the two BBC television channels. The other channels - regional ITVs, Channel 4, etc. - are funded by advertising, much as American broadcast television is funded. BBC TV doesn't air commercials, aside from announcements for upcoming programming on the hour. (always done in an amusingly sedate voice. "Coming up next on BBC1, the Open University looks at cellular mitosis..." zzzz...) Obviously the licence fee isn't particularly popular, but it's the funding model the BBC has used since the early days of broadcast television there. They even had vans that would cruise the streets with giant antennae (sorry - - aerials :) on the roof, looking for illegal rogue unlicenced tellies. Don't know if they still do this. There are lots of pros and cons to this funding model. It obviously wouldn't wash in the US, as it is generally a socialist policy, and that freaks lots of people out. Everyone has to pay for for the funding of the service, even if they don't necessarily watch BBC1 or 2. But what's good about it? Well, is *is* bloody wonderful to watch television without the insulting barrage of advertising that we're used to in North America. Most people here have grown up with televised advertising, so much so that we often don't notice it. But it's incredibly nice to sit back and watch, say, a drama or a good movie without having the story punctuated by bright, cheery, loud commercials selling detergent and cars and shaving cream and feminine hygiene products and carbonated beverages. The only good thing I can think of for advertising is that it does offer a bladder break every few minutes. The BBC is quite capable of producing awful programming, and does so in quantity. It's also equally capable of sticking its head up its ass a lot of the time too. But it still manages to produce damn good stuff from time to time - which is a lot more than I can say about the major US networks. And the fact that the BBC isn't catering to advertisers is, in my opinion, one of several factors in the equation. This, in my mind, is a Good Thing. It also means that the private companies have to compete by providing quality as well. (that is, when they're not showing re-runs of black and white American sitcoms like Mr Ed.) Given the pressure of right-wing economics the licence fee is probably doomed in the long term. However I'd gladly trade 4 channels of occasionally interesting stuff for the 50 channels of rot that we have here. I would much rather pay a licence fee to fund something like the BBC, which actually produces original content, than pay Rogers (a rather evil Canadian cable company) to pipe in country music stations as a basic service. Sometimes I don't understand why people make a fuss about paying the government for a service they have little choice over when they'll pay a monopolistic private business for a service they have little choice over. Anyway, just my opinionated $0.02 worth. And I'm sure many Brits would disagree with my opinions - witness the popularity of the Sky channel and other satellite-based broadcasts. Oh well. Also, I haven't lived in the UK for some years so I may have details as the current nature of the licence fee wrong. Please correct me if I've made any egregious errors, angloectophiles. :) (Grocible ramble mode off) - Neil K. - -- Neil K. Guy * neilg@sfu.ca * tela@tela.bc.ca 49N 16' 123W 7' * Vancouver, BC, Canada ------------------------------ From: tela@tela.bc.ca (Neil K.) Date: Sat, 9 Sep 1995 01:36:55 -0700 Subject: Re: Ecto WWW home page - slow? At 10:01 PM on 9/8/95, Bob Lovejoy wrote: > Since the Ecto home page moved to Tela, I have had great difficulty >accessing it. At first I thought it was the browser I was using, because it >was pretty balky. I'm now using Netscape 1.1, and most sites stream in >rapidly... >but Ecto is incredibly slow. Is anyone else having this problem, or should >I contact my provider? Hm. Anyone else having this problem? Since I moved to a new provider the connection has been reasonably fast most of the time - they have a T1 straight to MCI's Seattle backbone, as I recall. (no, not a T3 - this is Canada after all :) The Ecto page is quite quick for me when I dial in to my provider, for obvious reasons, but even when I go in through a different provider (a few hops away) it's not bad. I'd be interested in knowing how far people are away who are having problems. (eg: if you know how to use traceroute could you mail me the path?) - Neil K. (yeesh - I've been getting my .sigs and email addresses mixed up lately - hard to keep track of my various hats. Well, here's another one...) - -- t e l a computer consulting + design * Vancouver, BC, Canada phone: (604) 254-1002 * email: tela@tela.bc.ca web: http://www.tela.bc.ca/tela/ ------------------------------ From: anthony@xymox.apana.org.au (Anthony Horan) Date: Sat, 9 Sep 95 18:31:49 EDT Subject: New Zealand musical genius, and that news I keep hinting at :-) Hi! Another rather fabulous CD has appeared atop my sound system. This one's by a New Zealand singer named Jan Hellriegel, who's just released her second album - in New Zealand only at this stage. It's called "Tremble", and is an outstandingly individual record with a generous helping of pop hooks to sweeten things. :) The album was produced by Daniel Denholm, who worked on Frente!'s "Ordinary Angels" and produced Max Sharam's album; this one's far less slick and a lot more spiky, twisted and unique, though. Jan is quite an unassuming, fluffy-looking person who uses her songs for what sounds like emotional catharsis. It's great stuff, it's pretty indescribable too. Maybe Philip Sainty might like to have a go at it... :) Jan had some hits in NZ a few years back but is now based here in Melbourne, and the album was recorded here. It's out in New Zealand (on EastWest/Warner, who seem to sign all the interesting people...!) now, but won't be available in Australia intil February next year. Philip, this mail-order item you can handle... :) I've been given a copy on the condition that I not review it until it's out (!) so I thought I'd mention it here instead. I saw Jan play a short gig last night, too, and one description of her music did occur to me: it's like The Breeders and Belly being posessed by the spirit of Tori Amos. :) In other news, I think it's OK now to let you in on one of the two things I haven't been able to mention. As some of you may know, my flatmate, Tony, has a band called About Six Feet, a sort of Depeche Mode-ish electronic band in which he plays all the instruments. I did the production on their EP from last year (available from tony@xymox.apana.org.au, fact fans!) and on a couple of tracks recorded last April for a compilation album. One of those tracks, a song Tony wrote called "Tingly", was going to be recorded with my friend Wendy Rule doing vocals, but she wasn't comfortable singing it (it's a big Dusty Springfield-style pop song and needed a "sweeter" voice) and so she pulled out about a week before the recording. Tony was panicking about finding another singer, and I jokingly suggested that Angie Hart would be the perfect voice for the song. Tony thought that was a great idea, and set me the task of finding her. A couple of phone calls later I tracked down her phone number, and Tony rang and asked if she'd do the track. She said yes as soon as she heard it, and we recorded it (in about an hour!) with her the next week. Out of courtesy I took a tape of the song to Mushroom (Frente!'s label here) and played it to them; they liked it and then sent me a legal letter forbidding its release. :-) Well, after nearly five months of gently hinting to Mushroom (or more accurately, White Records) that they might like to release the song themselves, they rang me out of the blue and said they'd decided to go ahead with the release. It comes out on October 2nd, and we're all pretty excited :) And so it happens that my major-label producing debut is a song that was recorded in an hour, mixed in 20 minutes and cost less than $150 to record! While it's not brilliant technically, it does have Angie singing better than she ever has before (she did her vocals largely in one take) and while I'd like to have had a chance to remix it, no-one seems too worried about it. Mind you, I still have the multitrack master tape in my cupboard (insert evil laugh here :-). Incidentally, if the song charts, the royalties go up, so everyone reading this in Australia... (and New Zealand as well, I believe) buy it! :-) - - Anthony - -- - ----------------------------------------------------------------------------- Anthony Horan, Melbourne Australia - anthony@xymox.apana.org.au http://daemon.apana.org.au/~anthony/ Physical mail: P.O. Box 40, Malvern 3144, Victoria, Australia "The red sky was bleeding glimpses of heaven, in sections of seven..." - Rose Chronicles reaching lyrical perfection on "Awaiting Eternity" - ----------------------------------------------------------------------------- ------------------------------ From: anthony@xymox.apana.org.au (Anthony Horan) Date: Sat, 9 Sep 95 18:41:18 EDT Subject: Re: Recent purchase: Garbage >Has anyone heard of Garbage? Their self-titled album (which I assume is >their debut) is my most recent purchase. And it's certainly my most >surprising acquisition in a long time. It's a BRILLIANT album, one of my favorites this year so far. I'll attach my review of it from the other week at the end of this message. >The guitars blew open into a mean, noisy beat. "Whoa!" said I. "This is >intense!" The song continued: No kidding :-) The production on that song and the rest of the album is awe-inspiring, especially if you're blessed with subwoofers. >Garbage's sound is unique -- pop, blues, grunge and trip-hop mixed together. >Imagine Portishead possessed by Hole or perhaps Elastica. In fact, Garbage >sounds like what I wish Elastica were. I actually made a Portishead comparison as well (see below :-). >The vocalist's name is Shirley Manson -- her voice is powerful, mature, >sonorous. If her voice were weaker or childish or grungy or anything like >Courtney Love's this wouldn't be half the album it is. Just an aside - Shirley used to be lead singer of a band called Angelfish, who I've heard of but never heard. Anyone have the album, or know where it can be found? It came out, apparently, last year on the Radioactive label. They were a Scottish band, I'm told... >Steve Marker is >credited with guitars, bass, samples, loops and Duke Erikson mans the >keyboards as well as guitar and fuzz bass. Never heard of any of these folks >before, myself. They both have worked extensively with Butch Vig on remixes and other studio tasks. >I just realized the guy credited with "drums, loops, noise and efx" is Butch >Vig. I don't know what else Butch has done, but he co-produced Smashing >Pumpkins' _Siamese Dream_ with Billy Corgan. He also produced, amongst many other things, Nirvana's "Nevermind" album. Glad to hear that someone else is getting into Garbage (who are signed, incidentally, to an Australian label for the world outside the US - White Records again :-). Here's my take on the album from the other week, from Beat Magazine. Garbage Garbage (White Records) It's not entirely uncommon for record producers, successful or otherwise, to start their own band and put records out. Rupert Hine made an art form of the concept in the early 1980s and even managed a hit single, and the practice is rampant in the dance genre. Butch Vig, the man who produced that album a few years ago, is a tangential exception to the producer-wanting-to-be-a-muso cliche. He's been playing in various unknown bands for years, and recording them for almost as long. And, to be fair, Garbage is not Butch Vig's band. While his sonically spectacular production values are stamped all over the fledgling Madison, Wisconsin band's debut album, it's a work that is a truly collaborative effort between Vig, his longtime studio and band buddies Steve Marker and Duke Erikson, and an unexpected wild card in the person of former Goodbye Mr MacKenzie and Angelfish member Shirley Manson, imported from Scotland for the occasion. The debut Garbage single "Vow" caused a minor tidal wave of interest from press and public alike, initially almost impossible to buy but now climbing the mainstream charts in Australia. As it should - the perfect meeting of the grunge ethic with pure pop - and sweetened by the most spectacular production ever lavished on a single - it takes a mere two listens to set up a permanent home in that bit of your head that plays songs at you all day while you're trying to concentrate on something else. Now, before you stick this slice of digital technology in your CD player, be aware of a very important fact; Garbage are not a grunge band. They've been insisting as much in interviews and press releases since "Vow" came out, but this album is confirmation that all Garbage want to be is the best pop band on the planet. In the process, they're happy to throw in elements of the various forms of alternative rock that have changed lives over the past few years, but despite the pervading lyrical themes of anger, lust and the dark side of the human mind, the songs defiantly hammer pop hooks into your head at every turn - pop hooks atop sonic deconstruction, at that, though there's no gratuitous noise here. Everything happens for a reason on this album. So the complete digital silence that acts as an unspoken drum beat in opening track "Supervixen" makes perfect sense, as well as giving headphone listeners their first of many unsettling moments. Alternating anthemic guitar choruses with seductive verses, it's a song that delivers the mandate for the album in four minutes. Garbage have a habit of throwing pop hooks into their songs as if it were the easiest thing in the world, and "Supervixen" is full of them. "Queer" is sleazier and darker, propelled by a drum loop borrowed from Single Gun Theory's "Man Of Straw" and populated by backwards tape loops, a couple of dozen guitars and a lost jazz quartet. And without pausing for thought, "Only Happy When It Rains" takes a midwestern rock verse and launches it into a soaring chorus that proves once and for all what the likes of Transvision Vamp did wrong - they never wrote this, for starters. "As Heaven Is Wide" and "Not My Idea" borrow from the industrial side of things for a moment, the latter alternating perfect indie-pop verses (borrowing a Headless Chickens drum loop this time) with chunky guitar. But it's "A Stroke Of Luck" that takes the first big chance. It is, you see, a dark but gentle slice of seduction that sounds for all the world like Portishead with guitars, and should be listened to late at night for best effect. Following immediately is the phenomenal "Vow", swagger and glitter welded together at high temperature. "Stupid Girl" uses the digital trash from a faulty DAT deck as a musical instrument, which says more about this band's ethic than any review ever could. A couple of highlights are saved for late in the album: "My Lover's Box" is a pop masterpiece that implodes on itself in the final minute, and by the end it's possibly the loudest thing ever recorded on CD. Closing track "Milk" is unexpectedly reflective and honest, a gentle finish that defies those who'd like to smugly categorise this band. "Garbage" is a genuinely exciting record both in terms of pop music and production; indeed, as a pop album it's the most compelling piece of work in many years. Forget the dross populating the mainstream charts; if you want to hear the future of pop music, you need this album. ANTHONY HORAN - -- - ----------------------------------------------------------------------------- Anthony Horan, Melbourne Australia - anthony@xymox.apana.org.au http://daemon.apana.org.au/~anthony/ Physical mail: P.O. Box 40, Malvern 3144, Victoria, Australia "The red sky was bleeding glimpses of heaven, in sections of seven..." - Rose Chronicles reaching lyrical perfection on "Awaiting Eternity" - ----------------------------------------------------------------------------- ------------------------------ From: f.mcguire1@genie.geis.com Date: Sat, 9 Sep 95 11:13:00 UTC Subject: Natalie Merchant live Hi Natalie Merchant will be playing at the Tower Theater in Phila. on 10/13. Tix on sale as of 9/9. (hey, I thought she wanted to play small places!) WXPN listeners: WXPN will soon be broadcasting the radio show "Echoes" every weeknight from 11pm to 1am. Also, Mt. Stage is being moved to Saturdays, five pm to seven pm Sherry PS-to the person who wrote me about WNEW (John?), I accidentally deleted your letter, hence lost your address. Please don't think I'm ignoring your letter! Laurel: I sent you info about Shannon Worrell a few weeks ago. Did you receive it? Please let me know ------------------------------ From: Dan Stark Date: Sat, 9 Sep 1995 13:21:40 -0400 (EDT) Subject: Crash Vegas and Weeping Tile As I sit here wondering why I feel so hung over, it occurs to me that frosh week at local Brock University has brought some great shows to the campus pub. Wednesday night I checked out Colin James, now a must-see for blues fans...his new CD really outdoes anything he's done to date. Last night was a 4-band show, headlined by the Skydiggers, with "guests" Crash Vegas (!), Weeping Tile and local indies An Evening In Plaid. Plaid were the surprise hit of the night to me, a fabulous country/rock group with high energy and fun, male vocalist and female accordian/keyboard player in this band. They sound a lot like some other successful Candian bands, Blue Rodeo, Barenaked Ladies and The Waltons all in one. They're playing during Country Music Week in Toronto next week, and if they keep going I wouldn't be surprised to see them get picked up by a major label soon. Next was the band I specifically went to see, Weeping Tile. I only caught onto this one a few weeks ago, after I heard them do an interview and play live-to-air on Toronto's CFNY. The last one to grab me like that on first listen was Jewel, so I wanted to find out what they were all about. They're a four-piece from Kingston, Ont., with a fabulous lead singer named Sarah Harmer. They have one CD out on Warner in Canada, a 7-track package called "eepee". I'd like to say I hear shades of Natalie Merchant or Lisa Loeb in here, and maybe a vocal quality reminiscent of The Cranberries at times, but those are really unfair comparisons ...unfortunately I really can't put my finger on anything better. None of this came through at the show, though. In fact, they sounded more like the next band on the bill, Crash Vegas, than anything. After the rowdy stage performance by the first band, Weeping Tile's performance seemed quite straightforward, but tight and strong. Unfortunately it was hard to pick out any lyrics in their set of songs, mostly unknown to me, because the high ceiling of the pub is corrugated steel and the acoustics were awful. So all I could really get was a vibe on how this band is, and as I mentioned, they came off very similar to Crash Vegas in their new songs, energy and performance. I went back and talked to lead singer Sarah after their show, and she pointed out that the band has changed since "eepee" was recorded, and the new CD, due out Oct. 10th, would "rock". For now, I can highly recommend "eepee", which has songs that vary from quiet pieces with piano and cello instrumentation to a version Neil Young's Don't Let It Bring You Down (the only cover) with telephone-type vocal distortion, very cool. Well-written lyrics too in all of their original material. Next was Crash Vegas, who got a whole 8-song set. Their performance was fabulous, and the sound was a bit cleaner thaanks to a different sound board operator who seemed to know what he was doing. Vocal harmony was perfect, with the highlights being Lodestar (On and On), and You and Me which wrapped up the set. We left before the Skydiggers came on. I think we might have stayed, but the sound was so bad that we didn't think it would be worth it. More coffee, please... - ----------------------------------------------------------------------------- DAN STARK dstark@freenet.niagara.com ~\\|//~ St. Catharines, Ontario, Canada -(o o)- - --------------------------------------------o000o--(_)--o000o---------------- ------------------------------ From: rdefrank@ix.netcom.com (Rachel DeFrank) Date: Sat, 9 Sep 1995 11:05:14 -0700 Subject: Re: Vishnu's Secret Anyone who wants more info on the band (and even a sound file) should check out their page at IUMA. To save you from wading through all those annoying pages full of imagemaps to get there, point your browser to... http://www.iuma.com/IUMA-2.0/ftp/volume1/Vishnu's_Secret Rachel - -- oOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOoOo There's a sign, it says Rachel DeFrank "Come in, please take anything you see. rdefrank@ix.netcom.com You know everything's for free." --Madder Rose ------------------------------ From: lanblind@teleport.com Date: Sat, 9 Sep 1995 11:29:16 -0700 Subject: HELP!Ecto band National Tour HEY ECTO-PHILES!!!! Ecto band needs HELP! Land of the Blind, a Portland, Oregon band, fronted by four women is going on their first national tour and wants to hook into clubs/radio stations/colleges who are into ecto music. Tour is scheduled for this November. Dates already booked on the east coast end are, 11/15 Bloomington, IN; 11/17 Chicago; 11/18 Pittsburg; 11/24 Ithaca; 11/25 Buffalo. Would like to add additional dates while east after 11/25, any suggestions on clubs? any suggestions on cool radio that might host us playing live? also can we stay at your house?!?HAHA! West Coast is being scheduled for first two weeks in November. We are not a soft ecto sound, more edgy, yet no guitars, no grunge, no rock. We call our sound "Ecto-Ethno-Tribal-Electro". (say that three times real fast!) We are also not a small folky group, but a large tribe of seven. (Three Kate Bushes on acid and a side of three Peter Gabriels) So keep that in mind regarding size of stage or club. East coasters may know Squonk Opera, from Pittsburg, the band we are touring with(Talking Heads meets Frank Zappa, with female lead). Both bands theatrical and multi-media... We don't have a booking agent, or touring agency, or "Big-Daddy-Record-Company-Promo-Bucks" behind us, we are doing the whole thing ourselves and need ecto lovers help!! Anyway, anyone that puts us up or can put us in touch with a gig, gets free CD's("ONE EYE", seven original songs plus one cover of Jane Siberry's "Calling All Angels")and free concert passes, PLUS our undying gratitude forever!!! Thanks, Cyoakha, voice, words, art Land of the Blind ************************************* *LAND OF THE BLIND * * * ** ************************************* ------------------------------ From: David Dixon Date: Sat, 9 Sep 1995 15:23:05 -0700 (PDT) Subject: New spins Hi folks, Some new (and not-so-new) things that have been entrenched in my CD player lately that youse peoples should know about: Her Majesty the Baby, _Mary_: This is a local band that I've been meaning to investigate for some time. Boy am I glad I did! This is *wonderful* stuff. HMtB has a Breeders-like lineup (three women on lead instruments, one male drummer; or as my advisor calls it "three chicks and a guy with sticks"). The best approximation to their sound I can think of at the moment is Rose Chronicles, except less woo-woo; lead singer Lee Paiva has a more mature-sounding voice than Kirsty Thirsk as well. Lots o' jangly guitars and vocal harmonies and killer hooks. Joe Bob says check it out. Kevin Gilbert, _Thud_: Fresh from his songwriting sessions with the Tuesday Music Club, here's another dollop of smart-alecky pure pop from the former 3rd Matinee member. The music's good, but sometimes gets bogged down in overarrangement. It's the lyrics that are his strong point. Witness this section of "Waiting": I'm waiting for the man-made gods to do the will of man I'm waiting fo the CIA to cover up again I'm waiting for the militants to lighten up a bit I'm waiting for the mafia to make this song a hit Gilbert did a Todd Rundgren on this album, producing, writing, engineering and playing almost all the instruments. Good stuff. _Aural Gratification, Volume 1_: Found this in the Tower Listening Station earlier this week. It's pretty cool, though they do tend to overuse that left-right-left-right echo effect. Still, Kevin's pieces are lightyears ahead of the tunes I heard on the one album of his I bought, and Happy's songs are quite good, less overstuffed than _Building the Colossus_. I'm curious about the origins of the song titles though... In a funny almost-coincidence, the other album I bought at Tower along with this one was Patrick O'Hearn's latest, _Trust_, which also features David Torn on guitar. Speaking of which, I thought it was a tradition on albums that featured Torn to include in the album credits, along with the various brands of instruments players used ("X plays Zildjian cymbals" etc.), the sentence "David Torn plays guitar very well." I've seen it on a couple of albums (_Cloud About Mercury_ pops to mind). I think it's a trend worth continuing. Spencer the Gardener, _Kiss Me in the Deep Blue Sea_: How to describe, oh how to describe. Well, let's see, it's sort of James Bond meets a Latin salsa band... no... it's Ennio Morricone making a tejano record... no... oh heck, let's just say it's really fun music, with lotsa horns. This Santa Barbara-based band is also supposed to be a hoot live. Other spins: Rheostatics, _Introducing Happiness_: got it only because it features a (rather twisted) cover of Jane Siberry's "One More Colour". The rest of the album is strange "wise-guy" rock... haven't figured out if I like it or not. Bjork, _Post_: On loan from Emily Bezar, who doesn't think much of it. I think it's pretty good, especially "Hyper-ballad". It's easy to get tired of her vocal quirks though. Mike Oldfield, _Amarok_: Well, I finally broke down and bought a Mike Oldfield record. This one has been recommended as one of his best, and hey, it's not bad. Also includes a special morse-code message to Richard Branson. :) 801, _801 Live_: A short-lived band from the mid 70's featuring Brian Eno, Phil Manzanera, Simon Phillips, et al. Darn good fusion. Too bad they didn't last longer. Includes a killer rendition of "Tomorrow Never Knows". D^2 ------------------------------ From: That Stafford person Date: Sun, 10 Sep 1995 14:25:57 +1200 (NZST) Subject: Re: New spins On Sun, 10 Sep 1995 dixon@physics.berkeley.edu wrote: > Speaking of which, I thought it was a tradition on albums that featured > Torn to include in the album credits, along with the various brands of > instruments players used ("X plays Zildjian cymbals" etc.), the sentence > "David Torn plays guitar very well." :) reminds me of the acknowledgements on Anderson Bruford Wakeman Howe - I don't own the album myself, but I think they're along these lines: Jon Anderson would like to thank [...] Rick Wakeman thanks [...] Steve Howe would like to thank [...] Bill Bruford plays [...] Urs :) - -- Urs Stafford (stafford_u@ix.wcc.govt.nz, whiskers@mu.sans.vuw.ac.nz) Mail all replies to stafford_u@ix.wcc.govt.nz please! [qlc] ------------------------------ End of ecto-digest V2 #217 ************************** ======================================================================== Please send any questions or comments about the list to ecto-owner@nsmx.rutgers.edu