From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V3 #55 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Tuesday, October 28 1997 Volume 03 : Number 055 Today's Subjects: ----------------- Re: songs that make you cry [Andrew Fries ] Re: Omnichord 'issue' [kerrywhite@webtv.net (kerry white)] Autour de Lucie (was Re: June Tabor & other stories) [Yves Denneulin ] I've been Nielded [JEFFREY_HANSON@NSDGATE3.nsd.fmc.com (JEFFREY HANSON)] Magical Musical Moments [JEFFREY_HANSON@NSDGATE3.nsd.fmc.com (JEFFREY HAN] Re: How about songs that make you cry? [Gentle Moose ] Re: How about songs that make you cry? [Michael Colford ] Kila [yngveh@mo.himolde.no] Magical Musical Moments [ptv@scm-metals.com (Patrick Varker)] Lachrimosity ["Mitchell A. Pravatiner" ] Re: songs that make you cry ["Janet E. Kirsch" ] Paula Cole (again!) ["J. Wermont" ] Re: Merril Banbridge Info [anthony@xymox.apana.org.au (Anthony Horan)] Re: Paula Cole (again!) [Richard Holmes ] ---------------------------------------------------------------------- Date: Mon, 27 Oct 1997 18:01:01 +1000 From: Andrew Fries Subject: Re: songs that make you cry There are, I must admit, quite a few of these; some Tori Amos songs, sometimes Lisa Gerrard singing "Sanvean"and some October Project songs can do this to me too. But one moment that stands out is a gig by Penelope Swales, a local artist (well... local because she's from Australia - she's based in Melbourne and I live in Sydney). It was sometime in 1994, the first time I ever saw her play, and the gig took place in this coffee shop that was about the size of your average living room. At the time I was going through a rather rough patch, but here she was with this song that goes: "this song is dedicated to my capacity to survive/this song is dedicated to my joy of being alive..." and it was just one of these experiences one remembers for a long time:) I cried and I went to hug her when it was all over and I've been a dedicated fan of hers ever since. - ------------------------------------------------------------------ It's coming on Christmas They're cutting down trees They're putting up reindeer And singing songs of love and peace I wish I had a river I could skate away on... (Joni Mitchell) Visit my site devoted to little-known Australian bands... http://www.zip.com.au/~afries/hall.html - ------------------------------------------------------------------ ------------------------------ Date: Mon, 27 Oct 1997 02:33:40 -0600 From: kerrywhite@webtv.net (kerry white) Subject: Re: Omnichord 'issue' Hi, I was able to get out of Kansas and see HR on the east coast three times. She uses a small recorder to get a line from an audience member and plays it at/into Kevin's guitar strings. He samples the signal for later use. He has a bunch of footpedals back there. Maybe he has a 'homebrew' version incorporating his guitar, etc. bye, KrW "Help me, Mr Wizard!!!" "Drizzel drozzel druzzel drome, time for this one to come home." also:zzkwhite@ktwu.wuacc.edu ------------------------------ Date: Mon, 27 Oct 1997 10:57:57 +0100 From: Yves Denneulin Subject: Autour de Lucie (was Re: June Tabor & other stories) > > - Autour de Lucie _Selon l'humeur_ (from _Immobile_) when she sings > > "sans pudeur nous implore" > > What's this? I only know of the one album released by Nettwerk, _Autour de > Lucie_, which I listen to a lot. Are there many other albums in > France? Only one, _Immobile_ released here last spring. I thought that Nettwerk already released it but a look at their site shows they haven't. If you liked the first you will love this one I think. It rocks more and the new guitarist is better. Valerie's voice didn't improve much but her lyrics are incredible, she can fit so much into a couple of words it is almost scary. The first song, that lasts only 2 minutes, is the best one I have heard this year, harsh with obsessive guitars and her fragile voice upon this noisy background (her voice is mixed higher than on the previous one) is a perfect combination. Some samples in RA are available there: http://www.sonymusic.fr/AutourdeLucie/nvel_alb.htm If you can't find it I can send a copy to you (or to other interested 'philes). I chat with them last week and they don't have any plans for a new album yet. They are doing a small french tour and will start a bigger one in february. No plan for another US tour yet even though they really enjoyed doing LF. Cheers, - -- Yves. n.p. AdL _Immobile_ ------------------------------ Date: Mon, 27 Oct 1997 07:08:43 -0500 (EST) From: AURALG@aol.com Subject: .....Drowned in my own tears Isn't it just the most wonderful thing....to be sledgehammered in the heart by a song. Tears and Shivers from a few places for me like Peter Hammill's Through the Looking Glass, and David Cousins' Hold on to Me, but the other night.......Man !! There's gonna have to be a warning label on the new HR album. We're all in for a HUGE treat. Anyway, more to follow on this later in the week. Bless Y'all KB ------------------------------ Date: Mon, 27 Oct 1997 14:01:18 +0100 From: Yves Denneulin Subject: Recording concerts (summary) LONG Thank you to all of you who answered my query. Here is a brief summary of the messages I received. (my commentaires are between []) I didn't insert Java's message since it was sent to the list. [First I wasn't clear enough about my goal. I want to record concerts in intimate venues only, it is now fairly easy to buy bootlegs that have a very good quality of the "big" artists so the gain is not worth the pain IMHO. My personal experience with concert venues is that most of them (in France of course) don't care about people recording or bringing cameras. The last time I was searched for such items was at a U2 concert 4 years ago. From your messages I assume we are pretty lucky here :-). ] John J Henshon told me: I would go with the DAT. Dat=92s seem to be able to deal with the extreme dynamics of live sound better than analog recorders. I seem to get less distortion in the peaks. Also, unless you have a big budget and can go with something like a Nagra (Sp?) you have to put up with a little hiss to get the warmer sound of analog equipment. Sony puts out a stereo cassette recorder (TC-D5M) that I=92ve gotten some real nice results with. It=92s a little large = if concealment is a concern. If stealth is a priority Sony=92s portable Dat is a good choice, it=92s the size of a Walkman. Tascam puts out a portable Dat (DA-P1) that=92s roughly the size of the Sony=20 TC-D5M that=92s excellent but would set you back about fifteen hundred bucks. I just picked up one of those to replace my ailing Aiwa Dat and am real happy with it. A good microphone is a must. It should be a stereo condenser mike that does not require phantom power. Sony=92s ECM-959 will give you=20 decent results at a reasonable price. AKG makes a nice stereo mike for just a few more doubloons. Both are fairly easy to=20 conceal. Crown make=92s an exceptional stereo mike but it=92s=20 two clicks up price wise and it=92s too bulky to hide, but you=20 might be able to use the Crown undetected because of it=92s=20 unusual configuration. If someone saw it sitting on a table=20 they might have to ask what it was since it does not resemble a conventional microphone. Where to stand ? Usually not right up near the speakers. Walk around the room. Wherever it sounds best to your ear it=92s likely to sound best to the mike. I good place to start your walk is near where they have the mixing board set up. If you have the artist=92s permission, the way to go would be to tie right into the tape outs on the board. Most boards have 1/4 in. and/or RCA Tape outs.=20 Being able to do that is a rare luxury, and it=92s only effective if EVERYTHING on stage is mike=92d or direct boxed. Most=20 smaller venues only use the PA to supplement what=92s coming off the stage (for balance) and lots of the time the mix is dicey for recording at best. [On the photos topic, I think it is very important not to use flash since it is very disturbing for the artists on stage. I know I don't and this means that faster, 800 or 1000, films must be used. The shots I took last week was with a 400 speed film and it was too low next time I will use 800.=20 ] On this subject Kerry White said: Hi, I have a Nikon that >had< a through the viewer light-meter. That was the best as it measured light into the camera. It died and now I use the same camera but with a hand-held meter and if I can't get close= to the stage to take a reading I have to guess. HR's Troy concert hall had a total restriction on cameras. I brought mine anyway and sat in the front row, using 1000 speed film. I guessed= and bracketed exposures. They turned out ok but I wish I had used a bi= t longer exposures. Go to a concert that you are mildly interested in an= d experiment: 5 exposures at this speed, 5 at that,etc and take notes. This'll give you a vocabulary of sorts. And Marion Kippers added:=20 Flashing is disturbing, not only for the rest of the audience but mostly for the performer. Best thing to do is to use a fast film, ISO 800 or more, where you should keep in mind that the faster the film, the more grainy the pictures will look (ISO 800 is a nice 'in between' sort of film - fast enough that you won't need to flash too soon but still not too grainy). The light sensitivity of the lens also plays a role - in general, a wide-angle lens needs less light than a tele-lens, so if you use a tele-lens you'll have to use flash more. I think 50 to 70 mm lenses were mostly advised for the best composition. One of the reasons for me that I hardly ever take pictures at=20 concerts is that it distracts me too much from experiencing the=20 music. Looking through the lens makes the distance even greater, and=20= I can't listen to the music, let alone enjoy it, when I'm=20 concentrating to get 'the perfect picture'. But that's just me. [I agree with that, the best is to take photos during the soundcheck but that means arriving in advance and being able to enter the building. My best Autour de Lucie shots were taken in these conditions]= John J Henshon: The only advice I can offer on that is to crop tight.=20 The dark backgrounds and strong back lighting fool the=20 meter. Bracket your exposures if you don=92t have a spot meter. If you can=92t get in real tight, and the back lighting=20 is not too extreme, stop down one aperture and let the=20 backgrounds go black rather than have your subject=20 burn out. You can also try getting your hand into a=20 similar light level and meter off it. =20 Thanks for your help, my choice will probably be a low price DAT recorder with the Sony mike John suggested. I will tell you if I get good results with that. Bye for now, - --=20 Yves. ------------------------------ Date: Mon, 27 Oct 1997 08:11:29 -0600 From: JEFFREY_HANSON@NSDGATE3.nsd.fmc.com (JEFFREY HANSON) Subject: I've been Nielded Well, Friday night I finally got to see what all the raving has been about--I went to my first Nields concert and was quite blown away by them. They played the Cabooze bar here in Minneapolis. WHat a fun lively band. Katryna is so much fun to watch and has such a great smile. Plus they sounded great. I was especially impressed by Katryna's voice in the intro to the ALfred Hitchcock song, where she did a very operatic version of Que Sera Sera. The girl has quite a powerful voice. I've had the original version of Gotta Get Over Greta for quite a while, and just got the re-released version with the few extra songs, but still wasn't bowled over by them. I liked it, but couldn't quite see what all the fuss was about. Now I definitely see. Perhaps its just Katryna's long dark hair, but her movements really reminded me of Alanis Morrisette at times. Her gestures are so big-- she'd be right at home playing in stadiums. (Although I wish them success, I certainly am glad to be able to see them in small bars instead of stadiums!) Luckily though she doesn't take herself nearly as seriously as Alanis, and seems to be having just one hell of a good time up there on stage, and that feeling is certainly infectious to those watching them. They played quite a few new songs and talked ravingingly about the Winnipeg Folk Festival and what a great time they had there. It seems that about 1/3 of the crowd had originally seen them there, and there were a few people who had driven down from Winnipeg for the show. Definitely a great show. I'm glad I can now understand what the raving is all about. Now if I could just see Susan McKeown and understand that phenomenon. Again I like her album, but haven't been quite that blown away by her, but I'm sure I would be if I ever saw her live. Jeff Hanson ------------------------------ Date: Mon, 27 Oct 1997 08:21:20 -0600 From: JEFFREY_HANSON@NSDGATE3.nsd.fmc.com (JEFFREY HANSON) Subject: Magical Musical Moments Of course there have been several magical musical moments over the years, but a few that I can remember tend to be more lyrical than not: Tori AMos - Tear in Your Hand - the way she says "Help me take a deep breath babe" --this simple lyric just seems to capture such a vivid emotion and expresses it so well Jane Siberry - The Vigil(?) - I can't even remember which song for sure it's in off of "When I Was a Boy", but its when she says, "Is she dying? No, I think she's just been born". This subtle, quiet little line is easily overlooked, but seems to me to be the emotional center of the entire album. Siouxsie and the Banshees - Candyman - The first time I listened to Tinderbox on headphones, I was in college, walking across campus. When Siouxsie's backing vocals came on in this song (whose exact lyrics I can't think of at the moment), I about jumped out of my skin. Somehow, I'd heard this album many times before, and had never noticed these semi-whispered backing vocals before. Who ever mentioned the one in Lisa Gerrard's Sanvean was right on. Personally that whole song sends chills down my spine--talking about expressing emotion--and not even using words to do it! And Kate of course has so many, including almost all of THe Dreaming and Hounds of Love, and personally I love the way her voice blends in the the Trio Bulgarka on "Rocket's Tail", particularly at one spot. Jeff Hanson ------------------------------ Date: Mon, 27 Oct 1997 10:00:41 -0500 (EST) From: Gentle Moose Subject: Re: How about songs that make you cry? On Sat, 25 Oct 1997, Mike Matthews wrote: > Whenever I hear This Woman's Work from KB, I want to cry. The first time I > heard this was when we were watching She's Having a Baby, and the entire > room was in tears. Bingo. This Woman's Work and Loreena's The Lady Of Shalott do it to me every time, even after years of listening to them both. ------------------------------ Date: Mon, 27 Oct 1997 09:52:33 -0500 (EST) From: Michael Colford Subject: Re: How about songs that make you cry? On Fri, 24 Oct 1997, Damon des Jumeaux wrote: > kate bush's _houdini_, every time. that and dar williams' _when i was a > boy_. i can't think of any others just now - recently i got to hear the > entire _rent_ soundtrack uninterrupted and that made me cry, but that was > more the story than the music. then again, so are the other two i suppose. Right on! The Rent soundtrack will do it to me every time, even now well over a year since the first time I saw it. Ditto with Dar's _When I Was a Boy_. There's lots of other songs that move me to tears, but one that just sprang to my mind is _The innocent and the honest ones_ by a great former band out of Ireland, In Tua Nua. As for a chilling moment, there's lots of those too, but the first one that springs to mind is the key change at the end of, yes it's true, O Holy Night. Happy's version does it to me, as did Patti Labelle's incredible live rendition on the Christmas at the White House special a few years ago. I always get chills during _Watching you without me_ in Kate's magnificent 9th Wave arc. Truly beautiful. There's a great Martha & the Muffins song (actually it was when they were M+M) called _Cooling the medium_ that chokes me up too. Isn't it great how music can affect us so! - -------------------------------------------------------------------- Michael Colford | Reading Public Library Head of Technical Services | Reading, Massachusetts colford@noblenet.org | *North of Boston Library Exchange* - -------------------------------------------------------------------- ------------------------------ Date: Mon, 27 Oct 1997 17:28:35 +0100 (MET) From: yngveh@mo.himolde.no Subject: Blackout - first time in music history? Hi, Blackout? Oh no, it is not I who have got one. I'm talking about the new computer game being made now (or is it already done?). What this has to do with Ecto? It is actually the first time in history of music that a band has contributed songs to a project like this, and the interesting thing is that it is a Ecto-band as well. Which? Velvet Belly of course. The songs Easy and Trick from their new album Lucia appear in the game. The new videos Velvet Belly have done are built around a computer game. What I've seen is utterly amazing. Especially the scene where Anne Marie is walking barefoot around in the streets of Oslo. I got to get hold on those videos. *hugs* Yngve - -- n.p. Sarah McLachlan - Solace n.r. C.J.Cherryh - Downbelow Station (She is such a wonderful writer) ________________________________________________________________ Yngve Hauge | __ ___ __ | | _ www: http://aure.himolde.no/~yngveh/ |-- | | | ||-- |_||| |_ Irc-nick: One_Alien, (_)Yngve_ |__ |__ | |__|| | |||_|_ ------------------------------ Date: Mon, 27 Oct 1997 12:43:41 -0500 From: chris@neuron.uchc.edu (Chris Sampson) Subject: Re: Magical Musical Moments Jeff Hanson... > Jane Siberry - The Vigil(?) - I can't even remember which song > for sure it's in off of "When I Was a Boy", but its when she says, > "Is she dying? No, I think she's just been born". This subtle, > quiet little line is easily overlooked, but seems to me to be the > emotional center of the entire album. YES! How could I have forgotten?! When I had the late night (and, later, the early morning) show at WHUS, I used to play this on occasion. Turn out all the lights in the studio. No mic breaks for a while afterward, and still my voice would break. AND... a coupla summers ago, the cause to be involved with was the "Save Mumia Abu Jamal" [Warning... if ANYone wants to discuss this, please don't even start this on the list, but rather, take it to private email...]. Anyway, I devoted a few (of what were more traditionally music) shows to the cause and even invited a friend of mine to talk with me about the situation. My friend read one of Mumia's essays (about his mother dying while he was in prison). Towards the end of the song, I faded "The Vigil" up and the singing started just after the end of his reading. A very apt pairing of music with an event, if I do say so, myself. But "The Vigil" still stands out as quite a transcendent moment... Which leads to the following proposition... Can we organize/group these events? A Moving lyrics B Sad Associations C Accumulation/Release (not really transcendant, but powerful) D Genuinely, non-verbal, inexplicable, transcendent moments BTW... "Running Up That Hill" would still qualify as D, as, IMO, the precise moment occurs independently of the words... ------------------------------ Date: Mon, 27 Oct 1997 13:48:00 -0500 From: Valerie Nozick Subject: Re: How about songs that make you cry? So many songs. I could not listen to any Kate Bush music for several months after my father died (this was six years ago, and as I type, the emotion still returns a little). It was absolutely impossible. Not even the upbeat songs. There's just something about Kate's voice and lyrics that hits a spot deep inside my heart. To this day, he song "Moments of Pleasure" brings me back to my father. MoP didn't come out until a few years after my father died. But for the first few months of owning TRS, I would cry every single time I heard the song. I still tear up a little whenever I hear it (or, as right now, it runs through my head). ==> Valerie ------------------------------ Date: Mon, 27 Oct 1997 20:22:40 +0100 (MET) From: yngveh@mo.himolde.no Subject: Kila Hi, Anyone got some information about what this irish folk band is all about? Yngve - -- ________________________________________________________________ Yngve Hauge | __ ___ __ | | _ www: http://aure.himolde.no/~yngveh/ |-- | | | ||-- |_||| |_ Irc-nick: One_Alien, (_)Yngve_ |__ |__ | |__|| | |||_|_ ------------------------------ Date: Mon, 27 Oct 1997 16:55:12 -0500 From: ptv@scm-metals.com (Patrick Varker) Subject: Magical Musical Moments The magical musical moments are so numerous for me that I'd be typing all day if I were to list them. So many of Kate's songs, Tori's "Winter" (can't get through this one without tearing up), same thing with her version of "Somewhere Over The Rainbow", Happy's "Words Aren't Made For Cowards", "Just Like Tivoli", and on and on............ I do seem to have even greater moments if I have seen the artist perform the song live and associate something from that moment with the song when listening again!!!!!!!! Just my two sense worth................ ------------------------------ Date: Mon, 27 Oct 1997 18:33:20 -0600 (CST) From: "Mitchell A. Pravatiner" Subject: Lachrimosity WRT the thread on music that makes one cry: my personal tearjerker is "Power of Two," by Indigo Girls. It speaks very much to the dynamics of a most cherished relationship I used to be in, now unfortunately a part of the past. Mitch ------------------------------ Date: Mon, 27 Oct 1997 12:14:30 -0700 From: "Janet E. Kirsch" Subject: Re: songs that make you cry < delurk > I just had to post to this thread . . . Although there are a number of songs that can reduce me to a puddle on the floor (This Woman's Work by Kate Bush and The End of The Summer by Dar Williams come to mind), my most extreme experience with a song moving me to tears came a few years ago. I was at the Paramount Theatre in Denver to see Sarah McLachlan, with Paula Cole (whom I had never heard of at that point) opening for her. Paula was impressing me with her set, and then she began to sing "I Am So Ordinary." I tell you now, I was crying my eyes out, especially when she came to the lines "...She is your Queen Cleopatra/And I'm just your morning after/She is your Star-Spangled Banner/And I am just Frere Jaques..." I suppose it hit me so hard because of personal circumstances at the time --- whatever the reason, I have rarely been so moved by a song, especially on first listen. - -Janet n.p. Elysian Fields - Bleed Your Cedar n.r. 1984 - George Orwell (again . . . ) < relurk > ------------------------------ Date: Mon, 27 Oct 1997 18:10:15 -0800 (PST) From: "J. Wermont" Subject: Paula Cole (again!) > my most extreme experience with a song moving me to tears came a few years > ago. I was at the Paramount Theatre in Denver to see Sarah McLachlan, > with Paula Cole (whom I had never heard of at that point) opening for > her. Paula was impressing me with her set, and then she began to sing > "I Am So Ordinary." I tell you now, I was crying my eyes out, > especially when she came to the lines "...She is your Queen > Cleopatra/And I'm just your morning after/She is your Star-Spangled > Banner/And I am just Frere Jaques..." Paula can do that, can't she? That was the first song I ever heard by her. I bought the cassette single because I'd heard folks on the net raving about her, and I wanted to find out what the fuss was all about. The song didn't make me cry, but I certainly could relate to the situation of comparing oneself to a rival and coming up short. And I imagine that most of us have felt the same at some point in our lives - which is one thing that gives the song its appeal, IMO. Actually, it was her gorgeous voice - and the fine production on that single - that propelled me to go on to the next step and buy Harbinger. It's one of my favorite albums, ever. I'm kind of disappointed in both her musical direction and the change in her image. I loved the emotional intensity of Harbinger - and although she does yell and scream on This Fire, it's just not the same. It somehow feels forced to me. Also, she seems to have changed her image to a more TV-friendly look, or something. I really liked her nerd-girl image and am sorry to see her becoming more of a "babe." Such is the requirement of fame, I guess. Joyce ------------------------------ Date: Mon, 27 Oct 1997 19:07:37 +1100 From: anthony@xymox.apana.org.au (Anthony Horan) Subject: Re: Merril Banbridge Info On 25 Oct 97 at 15:18, Quickling@aol.com wrote: > Does Anyone Know If Merril Bainbridge Plans On Touring ??? She's been keeping a low profile here of late (though she reportedly is back in Australia) but is unlikely to tour again until the next album's release - and they're still writing it. Interestingly, Merril has never played live in her home city, apart from one media gig years ago. - - Anthony - ----------------------------------------------------------------------------- Anthony Horan, Melbourne Australia - anthony@xymox.apana.org.au http://www.geocities.com/SunsetStrip/Palms/4904/ Physical mail: P.O. Box 40, Malvern 3144, Victoria, Australia - ----------------------------------------------------------------------------- ------------------------------ Date: Mon, 27 Oct 1997 22:06:24 -0800 (PST) From: Richard Holmes Subject: Re: Paula Cole (again!) "J. Wermont" (Joyce) writes: > Paula can do that, can't she? That was the first song I ever heard by her. > I bought the cassette single because I'd heard folks on the net raving > about her, and I wanted to find out what the fuss was all about. The song > didn't make me cry, but I certainly could relate to the situation of > comparing oneself to a rival and coming up short. And I imagine that most > of us have felt the same at some point in our lives - which is one thing > that gives the song its appeal, IMO. It is a moving song, and perhaps even more so because it really (in my opinion) isn't about coming up short against a "rival", because the singer has so much to offer, but it is about her love interest's treatment and opinion of her, which is so often based on really superficial things (esp. so early in a relationship, either in the relationship with the "dumped" one or the "new fascination"). Sort of points to the whims and capriciousness of "love"... and it especially fits with her earlier "image" - a deep, sensitive, slightly nerdy, very creative girl, who is likely to be left for a superficial, flamboyant, "babe". That's the associations I get, anyway -- hope I've not rambled too much here. > I'm kind of disappointed in both her musical direction and the change in > her image. I loved the emotional intensity of Harbinger - and although she > does yell and scream on This Fire, it's just not the same. It somehow feels > forced to me. Also, she seems to have changed her image to a more TV-friendly > look, or something. I really liked her nerd-girl image and am sorry to see > her becoming more of a "babe." Such is the requirement of fame, I guess. I'm sad to say I haven't heard "this fire" yet - I kinda put off buying it based partially on this "image change" - just a vague feeling, not seen the videos, whatever (remember I'm the mediaphobe) -- I know others have mentioned this in the past as well -- I'll probably eventually get it though cuz the lyrics look good... - -Richard. @ \@/ Richard A. Holmes (rholmes@cs.stanford.edu) @ | @ \|/ "In the name of Annah the Allmaziful, the @ | Everliving, the Bringer of Plurabilities, haloed @ , , | , , be her eve, her singtime sung, her rill be run, @ ' ' ' ' ' unhemmed as it is uneven!" @ - J. J. @ @ Kiva / Kate Price \ Dar Williams / Renaissance \ Sheila Chandra / Laura Love @ Susan McKeown \ Sarah McLachlan / Libana \ Danielle Dax \ Dog Faced Hermans @ Loreena McKennitt / Kate Bush \ Tori Amos / Katell Keineg / Happy Rhodes @ Ingrid Karklins \ Sinead O'Connor / Jane Siberry / Pauline Oliveros ------------------------------ End of ecto-digest V3 #55 *************************