From: owner-ecto-digest To: ecto-digest@ns2.rutgers.edu Subject: ecto-digest V2 #251 Reply-To: ecto@nsmx.rutgers.edu Errors-To: owner-ecto-digest Precedence: bulk ecto-digest Sunday, 15 October 1995 Volume 02 : Number 251 The Ecto digest is now being generated automatically. Please send problems and questions to: ecto-owner@nsmx.rutgers.edu. ---------------------------------------------------------------------- From: jeffy@wam.umd.edu Date: Sun, 15 Oct 95 00:06:25 -0400 Subject: Re: Bass genders Okay, look. I'm *really* disappointed in you folks who've been posting about female bassists. What about the bassist for what may have been one of the most influential bands of the late 80's/early 90's? A band which has certainly been mentioned in ecto plenty of times over the years, never mind the band's spin-off's? I'm talking, of course, about the wonderful Mrs. John Murphy, of the Pixies. "I been tired!" Jeff ------------------------------ From: anthony@xymox.apana.org.au (Anthony Horan) Date: Sat, 14 Oct 95 21:04:16 EDT Subject: Re: Ultravox >Nope, Midge Ure left Ultravox years ago to start up a not very successful >solo-career. He released three albums, "The gift", "Answers to nothing" and >"Pure", with "Answers" being the most interesting one musically, not even >for Brother & Sister, the duet with Kate Bush, which IMO is one of the >weaker tracks, but mostly for all the non-single tracks. I thoight it was all pretty much downhill after "The Gift" (which, trivia fans, includes reworkings of a couple of pieces from his soundtrack to "Max Headroom"!). >I haven't heard much from this "new" Ultravox and don't even know if there >are any original members in it. (Would like to know this.) The only original member is Billy Currie, who scored the rights to the name after everybody else left. The singer is someone named Sam Blue, who sounds surprisingly like Midge at times. His first appearance was on the "Vienna '94" single (awful). The band now all have very long hair and look like Bon Jovi. And, with the exception of the very very 80s track "Ingenuity", they *sound* like Bon Jovi...! - - 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, 14 Oct 95 17:54:10 EDT Subject: Holly Cole, and a sample to play with Hi...! I was watching an episode of "Due South" the other night, and it featured a band with a female singer playing at some venue or other, extremely intruiging music at that. The end credits listed the song as being by the Holly Cole Trio. I recall people mentioning Holy Cole here before, so... Anyone want to fill me in on Holly Cole? I'm getting that familiar EctoCuriosity again... :-) I mentioned in an earlier post about the song I produced which features Angie Hart on vocals; I've put a couple of sound samples of the song on my home page if anyone wants to have a lsten. It's the tail end of the first verse and one chorus, and there are two files there, one mono and one near-CD-quality stereo. If you do have a listen, please mail me and tell me what you think! You can mail me directly from the page. And I'll apologise in advance for the picture of me. It's the only one I have scanned, and that's only because a friend sent it to me as a joke :-) - - 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: "Joseph Zitt" Date: Sat, 14 Oct 1995 23:25:28 +0000 Subject: Re: Bass genders On 14 Oct 95 at 14:26, David Dixon wrote: > Of course, female lead singers show off their pipes all the time, so > there's where the theory kind of falls down. But think about it: when's > the last time you saw a band with an emotive male lead singer, and a > woman on screaming guitar solos? Well, there was a tour by a kinda obscure singer named Michael Jackson, with Jennifer ..uh.. something.... on lead. But that's all that comes to mind. - ---------1---------1---------1---------1---------1---------1---------- |||/ Joseph Zitt ==== jzitt@humansystems.com ===== Human Systems \||| ||/ Organizer, SILENCE: The John Cage Mailing List \|| |/Joe Zitt's Home Page\| ------------------------------ From: Dan Stark Date: Sun, 15 Oct 1995 15:29:27 -0400 (EDT) Subject: Re: Bass genders Well after a modem meltdown, I'm back up at 28.8 (yay!). I have a few days' worth of mail to catch up on, and not enough time to do it now, but here's one thing I can respond to-- David Dixon wrote: > In contrast, there are very few bands where the only female is > the drummer (Mo Tucker from the Velvet Underground and Karen > Carpenter are the only ones that pop to mind), and even fewer > bands where the only female is the lead guitarist. Lenny Kravitz's band has a female drummer. In fact, there's a fairly new female drummer who replaced the woman who left recently. I don't have any of the albums, so I'm not sure of the names. Cheers, Dan - ----------------------------------------------------------------------------- DAN STARK ***NOTE*** dstark@freenet.npiec.on.ca ~\\|//~ NEW E-MAIL ADDRESS St. Catharines, Ontario, Canada -(o o)- NOW IN EFFECT! - --------------------------------------------o000o--(_)--o000o---------------- ------------------------------ From: Dan Stark Date: Sun, 15 Oct 1995 15:52:12 -0400 (EDT) Subject: Amanda Marshall CD Release Last Thursday night brought an event I've been anticipating for a long time-- the official launch of Amanda Marshall's debut album, simply titled "Amanda Marshall". I've been attending Amanda's club shows in her hometown of Toronto for the past 5 years, and can honestly say her live performances are among the most exhilerating I've ever seen. During this time, I've seen her dabble in a number of styles, from blues, rock and mainsteam pop with her band, to a more eclectic mix of Joan Armatrading and Hothouse Flowers covers with solo piano accompaniment in a beautiful theatre performance in 1992. 2-1/2 years ago, she was signed to a major deal with Sony/Columbia, and virtually disappeared from Toronto's live scene to work on the CD. I've hardly been able to contain my excitement over the past few weeks, as I've eagerly waited to hear the new CD and see one of my favorite artists play live again. The official release date is Thursday, October 17th, but Sony held a private showcase performance in Toronto to launch the CD in front of an audience of about 350 from radio, TV and press. The venue was a historic waterfront building called the Palais Royale, a former ballroom dance hall where many of the top Big Band artists of the day performed. The big rotating spotlights that cut into the night sky marked the spot for the most lavish release party I've seen. Sony made it clear that this artist means a lot to them, as we were greeted with champagne at the door, a superb buffet and staff roaming the venue with trays of sushi, teryaki salmon and other delicacies. All-you-could-indulge sweets and drinks rounded out Sony's hospitality. They couldn't have ordered up a better evening either, as the Indian summer night allowed people (some even flown in from out-of-town) to enjoy the outdoor patio before and after Amanda's performance, uncannily appropriate since one of the new songs Amanda performed makes reference to to Indian summer. It was a far cry from the bar shows I saw her play for crowds of maybe 10 people a few years ago! The president of Sony Music Canada gave just a brief introduction, saying, "Every once in a while an artist comes along who simply mesmerizes...". That's all he really needed to say, as Amanda's performance really spoke for itself. She played a spellbinding 35-minute set, which included 7 of the album's 10 songs. Backing her was a 6-piece band, and a fabulous sound and light system. Watching this 23-year old pour out her energy & passion onstage is something I can't find words to properly convey. People tend to stare in wonder at her performances, as she flawlessly goes through her range from simmering, husky lows to thrilling, powerful highs, alternating between a well-trained vibrato to a passionate vocal sustain. With the exception of the first single, which has been out for about three weeks, it was my first listen to the new songs on the album. It turns out this is a smooth, polished production of pop/rock songs, soulful and accessible, and a departure from the heavier rocking blues she used to include in her club shows. She's teamed up with producer & songwriters David Tyson and Christopher Ward, the same ones who worked with Alannah Myles on her first record, and there are some similarites that will cause her to be compared to Alannah. Amanda is much better though, with a stronger, sweeter and more expressive voice and incredible range. If you're a fan of Joan Osbourne's "Relish" CD, you'd probably like this one. Amanda had little songwriting experience going into this album, which is no doubt why she's teamed up with such proven hitmakers Tyson & Ward, among others. Amanda wrote one song on the CD, and gets co-writing credit for two others, including one of my favorites, "Dark Horse". Among the musicians on the album is Kenny Aranoff from John Mellencamp's band on drums & percussion. This CD should be a big commercial success, and will hopefully establish Amanda to the point where she can be a little more adventurous and do some of the other things I know she's so good at on the next one. I still love it though; it's melodic, hooky, and performed with a lot of passion. There are a couple of songs that disappoint me as being too adult-pop radio oriented, including the first single, "Let It Rain", a formula hit with overblown production. Thankfully, Amanda's clear voice stands alone, without those multi-layered background vocals throughout the rest of the CD. My favorite track is a moody song called "Last Exit To Eden", which contains mandolin and violin instrumentation, great lyrics, and highlights her range and her blues influences nicely. I think it's impossible to capture the thrill of Amanda's concert performances on a CD, so if you have a chance to see her play live, I highly recommend you do, especially now when she'll be in the smaller venues. She'll no doubt be touring to support the album. I'll post some concert dates if I see a tour schedule. Cheers! Dan - ---------------------------------------------------------------------------- DAN STARK dstark@freenet.npiec.on.ca ~\\|//~ St. Catharines, Ontario, Canada -(o o)- - -------------------------------------------o000o--(_)--o000o---------------- ------------------------------ From: jeffw@smoe.org (Jeff Wasilko) Date: Sun, 15 Oct 1995 18:29:57 -0400 (EDT) Subject: fwd: Junkies go double live gonzo! This is from eye Weekly: From: eye5@interlog.com (eye WEEKLY) Newsgroups: eye.news,alt.music.canada Subject: MUSIC: Junkies go double live gonzo! Organization: eye -- Toronto's Arts Newspaper ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ eye WEEKLY October 12 1995 Toronto's arts newspaper .....free every Thursday ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ MUSIC MUSIC JUNKIES GO DOUBLE LIVE GONZO! by PERRY STERN The release of a live album -- and a double live album at that -- is usually a bad sign. Live albums, as often as not a dog's breakfast of inferior concert recordings, are generally the last resort for a record company wanting to squeeze a few more drops of income from a band after they've split up, been dropped or skipped to a new label leaving only a bad taste and some contractual obligations behind. In some respects this conventional wisdom applies to 200 More Miles, the new two-disc set from Cowboy Junkies. This album and an eventual compilation release set for next year were the price the band gladly paid to move last year from BMG to the Geffen label. But rest assured - -- this album is as superior and unique as the band itself. "We always wanted to do a live album anyway," Michael Timmins explains as we lounge in the second-floor music room of the Annex duplex he shares with his wife. "And," he adds, acknowledging the importance of significant digits, "it's been 10 years." Timmins has a Chiclet smile as broad and contagious as his sister Margo's more famous one, which might come as a surprise to some considering the relentless solemnity of much of their music. "We've been taping a lot of live shows every year," he says, "and we thought we had to do this now or we'd never get through all the tapes." 200 More Miles covers the Junkies' career from their first-ever gig (Nov. 7, 1985, at the Beverly -- it's the unlisted 10th track on the second disc) to their first Ontario Place show almost four years later, and on through several dates on their most recent U.S. tour. It also includes performances from all the various Junkies configurations, from the basic four of Alan Anton and Michael, Margo and Peter Timmins to as many as eight players. "We look at this as being a very personal record," Timmins says. "It's almost a document for us, of us." He points to the inclusion of a hilariously dry monologue from Margo (about bird droppings in Boulder, Colo.) as evidence that the band wanted the album to retain a "concert" ambience. "It became Margo's thing that, before 'Cheap Is How I Feel,' she'd rap about what happened that day," her older brother explains. "Her pride was to never repeat a 'Cheap' story. It would always be something new, no matter how mundane or stupid or not funny it was. Of course there's nothing more irritating than a bit of spoken word on a live record, because after you've heard it once.... But, as I say, it's a very personal document and that's part of our touring experience." With a laugh he adds apologetically, "And we did I.D. it so people can skip it if they choose to." COMMERCIAL BREAKS The "amicable" (of course) label switch came because BMG was, according to Timmins, "taking us for granted and we were probably taking them for granted and there wasn't a whole lot of progress happening on the economic side of things." Most notably, and unusually for a Canadian act, sales were consistently slipping at home while maintaining a more steady pace in the States. Not too surprisingly, no Junkies album has sold as well as their breakthrough second release, The Trinity Sessions, but then commercialism has never been a goal for the group. Which brings to mind another little irony. Considering the Junkies' refusal to compromise themselves for the sake of moving a few more units, I reeled with surprise several months ago when I heard their languid version of "Blue Moon" as the soundtrack for a Norwegian Cruise Lines commercial. "No, no, no, that's not us!" Timmins protests. "They really wanted to use the track but we just don't do that. They did pay us for the arrangement, though. We let them, figuring they wouldn't even get close to sounding like us, but it turned out pretty darn close," he admits with a weary shake of his head. "Now that you know, I bet you can hear the difference." In February the Junkies will release their fifth studio album and first on Geffen, Lay It Down. Recorded in Athens, Ga., and produced by John Keane (Vic Chesnutt, Grant MacLennan, R.E.M.), it's the first album to feature only the four core members since their debut, Whites Off Earth Now. Predictably, Timmins is at somewhat of a loss to describe the coming album. "It sounds fresh to me," he says, stumbling over adjectives. "The main thing I like is the actual sound of the recording. John captured a beautiful sound. "It's wide," he adds enigmatically. "Yes, wide... not big like the Trinity sound." ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Retransmit freely in cyberspace Author holds standard copyright http://www.interlog.com/eye Mailing list available music archives at --> http://www.interlog.com/eye/Arts/Music/music.htm eye@interlog.com "...Break the Gutenberg Lock..." 416-971-8421 ------------------------------ From: Tamar Boursalian Date: Sun, 15 Oct 95 19:53:28 EDT Subject: Ectophiles mentioned on the radio Hi, Last night WPKN in Bridgeport, CT (where Happy made an appearance a few months ago) was doing one of their pledge drives. Binnie Klein was on the air trying desparately to get people to call and she said if there were any Ectophiles out there, we should call and make a pledge. I automatically picked up the phone, but then I put it down again because I had already pledged last week, but I thought she was pretty clever anyway. She also at one point started singing Collective Heart on the air. Binnie, I know you're on this list, and let me just say that you guys were out of control last night! But it sounded like you were having fun in a sort of bizarre way, and I enjoyed listening to the banter. If I hadn't already pledged, I surely would have last night! By the way, if anyone wants to pledge money to PKN which is completely supporte d by its listeners, call (203) 384-9756 (they said this number so many times last night, it's permanently implanted in my brain!). It's a great station, and they support Happy! Just a little Ecto trivia for you.... - --Tamar P.S. Anyone else out there like Moonpools & Caterpillars? ------------------------------ From: Philip Sainty Date: Mon, 16 Oct 1995 13:14:35 +1300 Subject: Re: Holly Cole Anthony enquires: > I was watching an episode of "Due South" the other night, and it > featured a band with a female singer playing at some venue or other, > extremely intruiging music at that. Wah... I missed the episodes with Holly :-( *sigh* > The end credits listed the song as being by the Holly Cole Trio. I > recall people mentioning Holly Cole here before, so... Anyone want > to fill me in on Holly Cole? I'm getting that familiar EctoCuriosity > again... :-) Yay! :) The HCT is wonderful! I have Vickie (*HUG*) and Urs being a jazz-type person to thank for being introduced to their albums... I'd never really thought of myself as a jazz fan before, but Vickie helped me pick out an album for Urs (Blame It On My Youth), and before I knew it I'd bought both Don't Smoke In Bed and another copy of BIOMY for myself :) I now have all four albums (their first is "Girl Talk", and the most recent is "Temptation" which is an album of Tom Waits covers) and although BIOMY and DSIB are my favourites, all four are great! (Temptation took a while to grow on me though -- the style is rather different to the first three, no doubt due to Mr Waits' songwriting :) I'd recommend either of BIOMY and DSIB as a first album, unless you're a Tom Waits fan in which case Temptation may interest you more. (I'm not sure which songs she sang in Due South...) Holly on the 'net: There's an official web site at the stunningly easy-to-remember http://www.hollycole.com/ :) as well as a smaller unofficial site run by Chris Camfield (who runs the mailing list) at http://noether.math.uwaterloo.ca/~ccamfiel/hct/index.html Unfortunately, the album blurb type pieces on the official site tend towards the this-band-is-the-best-band-in-the-universe record label promotion sorts of things, which tend to make me cringe... oh well... There's lots of other info there, including sound samples and some Quicktime movies (which I didn't get to work on my X terminal, but which may run okay on other systems), and you can even send Holly email :) Enjoy! Philip _ _ ___ _ _ _ (_ / | / \ |_) |_| | | (_ Philip Sainty (_ \_ | \_/ | | | | |_ (_ ectophil@comp.vuw.ac.nz - -------------------------------------------------------------- "This is where I want to be, this is what I need." --Kate Bush ------------------------------ From: THE OLIVE-LOAF VIGILANTE Date: Sun, 15 Oct 1995 21:47:11 -0400 (EDT) Subject: lots and lots of Hi! Well, here I am again, with the mother of all ecto backlogs and no time to deal with it all. Sigh. First, anybody know anything about the group Baka Beyond? I've heard four or five tracks off their new album (the name of which escapes me now), and each time I've sat up straight and gone, "wow, what is that?". Seriously cool stuff, some of which reminds me of Loreena McKennitt's live band when they really get going. The vocal tracks I have heard have been very cool, I think in Gaelic: female vox, the essence of ectophilic music. :) [As an admittedly Ameri-centric aside, does the new Saturn commercial make anyone else barf? "Everyone... this is Julie's first new car!" Gag-o-rama. It's not like she's having a freakin' baby or something. Gack.] Anyway. After missing Lisa Gerrard at Town Hall in NYC (it would help if the tour schedules and ads had the correct date listed -- we thought the show was on the 10th, it really happened on the 9th, as we found out when we called for info on the morning of the 10th :P), at least we got to see Natalie Merchant at the Palace Theater in New Haven. It was pure luck that I even made it there -- I found out with less than a day's notice that I was supposed to go to Illinois for a meeting on the morning of the show, and somehow managed to get a flight that brought me back to New Haven at 8:45 PM. Since I've seen Innocence Mission twice this year already I didn't feel so bad about missing their opening set, but I would be really pissed if I missed Natalie because of work. Well, the plane arrived 5 minutes *early*, I hit all the lights on the way downtown, found a parking spot immediately, and made it into the theater just as the lights went down. Whee. Considering the low-key nature of _Tigerlily_ I really wasn't prepared for just how high-energy her show would be. It did take a little while to get going, but the set climaxed with a nonstop segue of "Eat For Two", prefaced by a three-minute wailing prologue in which Natalie channeled Lisa Gerrard and blew me completely away; "Carnival"; "These Are Days"; and a incendiary version of "Jealousy". After that, the only low point was the new UB40 version of "Campfire Song" that, well, sucked. Especially since the guy she pulled out of the audience to sing Michael Stipe's part was Brian Farrow (yes, Mia Farrow's nephew, whoo-hoo), who has his own local band, was completely clueless and couldn't sing very well either. The encore consisted of some very bluesy numbers, one of which Natalie had performed at the Rock-n- Roll Hall of Fame concert this summer. If she ever decides to completely change musical directions, the blues would be a logical next stop for her. Natalie has a really good band with her, highlighted by Jennifer Turner on lead guitar. Jennifer is amazing, and the audience was behind her all the way. Which reminds me, the audience was awful -- loud, drunk, and when everyone decided to get up and dance they got the balcony swaying and bouncing so much, I went downstairs because I was afraid it was going to come crashing down. That's the big problem with the Palace. It's a great place to see a show, really small with great acoustics, but every single time I've been there the audience has detracted significantly from my enjoyment of the show. And I've got tickets for two more shows there within the next month: Bjork and King Crimson. Urg. Okay. Sit back folks, relax, and prepare for another klaus! :> Thanks to Chris and D^2 for clarifying the thumb piano mystery for me. :) I've seen one before, but never knew what people called it. WPKN's Binnie Klein posted a long time ago: > Lori Carson will be performing live on Ray Terlaga's Friday > night program on WPKN-FM, 89.5 FM (Bridgeport, CT)..around 8:30 > p.m....She will be performing an acoustic set at Cafe Diesel in > New Haven later that night, around 10 or so...State St. I'm > going to try and go after the Ani DeFranco concert at Southern! Well, if you're anything like us, you didn't make it, since that was our plan but we figured Ani got done way too late (please don't come back and tell us we could've made it!). What did you think of Ani? Do you know if Ray taped the Lori performance for later rebroadcast? ;> > p.s. can anyone tell me about Emily Bezar? Heard her on an > out-of-state radio station over the summer...maybe I've missed > info about her on previous ecto-transmissions....been trying to > order her album but record stores keep failing in attempts. > thanks. If Chris Sampson or someone else hasn't already answered this for you let me know and I'll fill you in. (It's been a while, so I don't want to repeat anything. :) Cathy posted: > Sophie B. Hawkins, the latest one the name of which escapes me: Ok, so > what's the deal here, is she queer or isn't she? Anyone? Anyone? > Bueller? Meth? ;-) As for the music, I like her first one > better, Carla likes this one better. :P Well, people have answered this sufficiently already, but I just wanted to go on the record as saying, Thpth. ;> > Hildegard von Bingen, can't remember who's doing the music but it isn't > that Vision thang: Thanks Meth for the pointer to HvB! This one > will be the Sunday morning coffee&paper CD along with Thomas Tallis. Is it Sequentia, perhaps? You're right though, it's definitely Sunday morning music. Klaus wondered: > Oh dear, does someone remember me? Of course we do! And congratulations to Claudia on finally finishing her PhD!!! Jeff Hanson commented: > The other interesting is that I wasn't that impressed with Temptation > when I first bought it. The first time I listenened to it, it all > seemed too monotone--not enough variety. THen I've been listening > to it since on my 6-CD player, randomized with whatever else I've > had in it--and my opinion of it didn't change much. But lately, I've > had it at work and been listening to it straight through, and have > absolutely fallen in love with it. I think its my favorite album of > hers, though I still can't get too excited about the song Temptation. Don't forget that all the songs were written by Tom Waits, which might explain why they all sound the same to you. I've only listened to it a couple of times, not enough to really form an opinion of it, but I do like it. Cole really has put an interesting spin on Waits' songs. Valerie Kraemer asked: > And, by the way, what are other people's favorite housecleaning (or > cooking) CD's? For housecleaning, Kate Bush's _Hounds of Love_ can't be beat. (I tried Jane Siberry's _When I Was A Boy_ once, and it worked okay, but I was too tempted to just put everything down and *listen*.) Dunno about cooking music... I don't do very much of that. :) > Shelly (who just turned 18 and is scared poopless) Why so scared? Because you are now empowered to vote and die for your country (but you still can't drink)? veronica commented: > well i don't know where it is, but wherever the cover photo for Sarah's > "Touch" was taken has got to be an ectophilic location (ectophilocale?). > supposedly it's also the setting for Sinead's "Nothing Compares 2 U" video... > i can't be sure but they do look the same. Really? I thought it was someplace in Vancouver... > p.s. except, as Meredith will probably agree, I-95 in Conneticut. ugh! > there's no way *that's* ectophilic! You've got *that* right. Gag. And I deal with it twice a day. Some of the things I've seen on that road would make anybody's flesh crawl... Ariel mused: > Anyway, Plumb is interesting. Definately not folk, so why's it in the folk > section? :) Same reason I've found Jane Siberry and Happy in the folk section: music store employees are idiots. :) Neil reviewed: > Space Age Pop - volumes 2 and 3. I didn't get volume 1.These are > compilations of some of the wackier big-band/orchestra stuff that was > produced in the 50s and 60s, with an emphasis on percussion stuff. In the > early days of stereo where they'd hard pan everything and make things zip > from one speaker to the other. If you know Paolo Esquivel you get the > general idea of most of these tracks. (there are a couple of Esquivel > tracks on each album) Basically some of the weirder lounge music/teevee > show music of that era. My flatmate hates it; I think it's brilliant! :) Doesn't Rykodisc have a new Paolo Esquivel retrospective out? I heard a review of it on Fresh Air last week... some pretty scary music has come out of that guy's brain. :) Nick de-lurked: > Hope no one minds this lurker stepping out. 'Course not! > Katell Keineg does a rare surprise set at Cafe Sin on St. Marks Place in > NYC on Sunday, October 15 at 11:30pm. Probably solo & with a friend or two > sitting in. Argh! Why couldn't you have said 9:30 or earlier? :P > With mixed feelings I am back on the air at WFMU on sundays 8-10pm.. I hope > to play more records, and not have neccesarily always have live > performance, but who knows what will happen. They gave you a slot back? Cool! (Of course, they got rid of Radioactive Theater... grrrr) We'll have to tune in once The Simpsons is over. :) SteveV opined: > * Some people have such bad taste in music that they should not be > allowed to live. So true. If we were to enforce this rule, there would be a heluva lot fewer people in the world today. Hmmm... not a bad idea! Neile responded: > I guess the worst part of Ben Folds Five for me was comparing them to > Suddenly, Tammy!, who have the same instrumentation but manage to make > it sound quirky and individual and their songs work against the rhythmic > expectations they set up. I love that. (I can't say their lyrics are > particularly brilliant, though they're frequently interesting.) I don't know what it is about Suddenly, Tammy! but their music, while not particularly brilliant, is irresistible. You're right about the interesting lyrics, too. Jeffy wrote: > If something I write gets republished on the web, I'm pretty much > flattered. But I want to know that it's been done! > > Am I the only ectophile who feels this way? Nope. It doesn't take much to send a quick note to ask. Neile is really great about this when it comes to the Ectophiles Guide -- I haven't said no yet (and probably won't), but it is nice to know what's happening. Another thing that really gets to me is when I send something in private e-mail that gets publicized on a list, e.g. "Meredith said to me in e-mail that..." This has happened to me a few times on another list, and it really pisses me off. Ah, well. Sherlyn reported: > Oh, and a track from the Shepherds Bush show is included on the new "Out > Loud" CD - a benefit for the human rights of lesbians and gays - which > is an excellent CD and also has tracks by Melissa Ferrick, disappear fear, > Throwing Muses and U2 among many many others. The IG track is "This > Train (Revised)". Is this CD released everywhere? What label is it on? Must have must have must have... pink inquired: > does anyone know why nine stories (ala lisa loeb) has been > fired? i do hope it isn't another one of those, lisa gets a big head, > because it is her name in the forefront, and so she gets rid of everyone > else (ala natalie merchant or edie brickell) I think that's exactly it, but admittedly I don't have any facts to back up this perception. I don't think that's what happened with Natalie Merchant and 10KM, btw. > which reminds me. i was kinda musing with my friend and i came > up with the idea that lisa loeb is to the mid 90's what edie brickell was > to the late 80's early 90's. just a thought. And maybe she'll have the same staying power? Sorry, but I Just Don't Get It where Loeb is concerned. > switching gears a little, someone brought up the idea of bassist > and "women" bassists and does the phrase "women" bassists mean that all > bassists are men? Well, when you stop to consider that the vast majority of professional musicians are men, the fact that a musician is a woman can be an important qualifier. D^2 added: > There seems to be a lot of 'em, especially in "alternative" bands these > days. Just a few bands that are all-male except for a female bassist: > > White Zombie > Talking Heads > Smashing Pumpkins > Jawbox > Green Apple Quickstep ... don't forget Concrete Blonde. There are also some female guitarists out there: Jenny Toomey, whasername from Air Miami, Kristen Hersh, and Jennifer Turner, just to name a few. Going back to bassists, there's Laura Love and Aimee Mann (who also plays guitar). I'm sure I could come up with many more if I took the time to look them up. Whew... that's about all for now, I guess (aren't you glad?). Until we meet again... +===========================================================================+ |Meredith Tarr meth@delphi.com| |Boonton, NJ USA http://remus.rutgers.edu/~woj/methpg.html| +===========================================================================+ | "Warum hast du gestupid driven?!?" -- woj | +===========================================================================+ ------------------------------ End of ecto-digest V2 #251 ************************** ======================================================================== Please send any questions or comments about the list to ecto-owner@nsmx.rutgers.edu