From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V4 #21 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Tuesday, January 20 1998 Volume 04 : Number 021 Today's Subjects: ----------------- Holly Cole & an amusing message [Neal Copperman ] An informal study [no music content] [Brian Bloom ] Today's your birthday, friend... [matthewm (Mike Matthews)] LM's Remix [Heather Russell ] Re: The Righteous Reader, 1/19/98 [Magenta <4dm@qlink.queensu.ca>] Re: LM's Remix [Richard Holmes ] Re: The Righteous Reader, 1/19/98 [Valerie Nozick ] The Grammys, commercial perception [Temperance ] Re: Samson Music Web Page [Neile Graham ] Re: The Righteous Reader, 1/19/98 [Neile Graham ] Re: Holly Cole & an amusing message [kerrywhite@webtv.net (kerry white)] Re: Holly Cole in DC plus other music stuff [Paul2k ] Re: The Righteous Reader, 1/19/98 [Valerie Nozick ] Re: The Righteous Reader, 1/19/98 [Michael Curry ] this week's new releases [meredith ] S,T! article [squeaky watson ] Just when you thought it was safe - another 1997 year in review [rjk1@cs.] ---------------------------------------------------------------------- Date: Tue, 20 Jan 1998 02:20:29 -0500 (EST) From: Neal Copperman Subject: Holly Cole & an amusing message Just returned from seeing Holly Cole at The Metro Cafe in DC. The Metro Cafe is a new club in the former popular restaurant/hangout Dante's, nestled in amongst all my favorite theaters on 14th Street. (Saw the world premier of a new play called The Gene Pool around the corner the day before, at Woolly Mammoth. Story of a lesbian couple raising a teenage son. Often really hilarious. Best joke - on how they named their son Peter, recounted as he introduces his new girlfriend: "We just assumed we'd have a girl. I mean, look at us .... So all we had picked out was girl names. And then you were born, and the nurse handed you too us, and I said "look, he's got a little peter".) Anyway, tons of negative points for the Metro Cafe itself. First off, they used a company called Boxoffice, that may or may not be willing to sell advance tickets (Paul Kim got different info than I did). I was told that the 8 dollar tickets could be purchased with the quite reasonable 43% service charge of $3.50. I opted to try to buy tix in advance at the club, which was supposed to be possible, but turned out not to be. Closed late afternoon on Sunday, and at 6 today, I was told that tickets would not be available until 9. Advance ticket holders would be let in starting at 8, and then around 40 tickets would be sold at 9. I returned at 8:30 to wait in line in the cold and drizzle for an hour, partway into the opening act, before they finally started selling tickets and letting us in. I found this to be completely appauling treatment, and I'd probably never go back if the show wasn't so spectacular. Opener Garrison Starr was good, but didn't wow. Holly, on the other hand, completely bowled me over. I've seen her before, and still was shocked at how good her performance was. When I saw her on the Temptation tour, I thought her show was good with occasional excellent moments. This show, on the other hand, was stunning, with occasional good moments. She was funny and chatty, exchanging an endless series of quips with the audience. She played with a 4 piece band, augmenting the standard trio with an electric guitar and drummer. Some songs, like Tea For Two, she completely turned on their head. She was scatting, deconstructing, and twisting the phrases in a lot of songs. Last time, she played things pretty straight and cool, but this time she was much wilder. Songs from the new album (which I just bought tonight) were more straight ahead rock (like the title track and Onion Girl). The only thing that was better last time was the version of "Calling You", which earned her a mid-set standing ovation and left her in tears. This time, the encore of "River" was the most emotional number for her, also moving her to tears. As she noted, we were all already standing up the entire evening, though she would definitely have gotten a standing ovation if there were seats. (Maybe we should all sit down to show our appreciation in clubs without seats?) Anyway, the show was a revelation. I thought it was so good that I'm seriously considering the Philly show tomorrow. (Anyone have any info on The Painted Bride?) I may have to get back into the habit of taping shows again. I was gone the entire weekend, and I had a really amusing message on my answering machine when I got home ... from Jane Siberry! It's pretty exciting to have Jane call me at home, though I think I could have gone for a different message. Basically, she said "Hi Neal, this is Jane Siberry from Sheeba records. We sent out your order last week, and have just tried to run through your credit card and it won't work. Could you please give us a call to clear it up?" Still, it's a message from Jane! Pretty exciting! (For the record, I lost my credit card and had it cancelled. I actually sent them e-mail in case they hadn't charged me yet, but I guess they haven't read it.... so no, I'm not trying to stiff Jane!) Now I just have to figure out how to save the message somewhere better. Neal np: Radiohead - The Bends ------------------------------ Date: Mon, 19 Jan 1998 23:12:38 -0800 From: Brian Bloom Subject: An informal study [no music content] Hey folks, I'm sorry to interrupt with a non-music post like this, but Ecto is a group of people I know I can get some straightforward opinions from. I'm doing some research for a book I'm starting to write. Well, "research" may be too strong a word here, more like "gleaning ideas" at this point. I'm trying to learn more about what makes men either want or not want to have kids, and if you've got a moment, maybe you can help me out. If not, just hit delete now and I won't be offended.. ;) If you'd like to help me, here is what I'd like to know from you... This is very informal, I'm just trying to collect ideas to make sure I'm not missing any important points...[And please reply via email.. I don't want to clutter the list with this] 1. Any examples of cases where you or someone else (a guy) wanted or didn't want to have a child. What was their stance and what were their reasons? [looked forward to a large family, didn't want to deal with the responsibility, etc.] 2. What factors or pressures did they have to deal with? [Spouse, Parents, money crisis, etc.] 3. If they changed their minds, what caused the change? [Did something occur to them that made them content to change? In retrospect, are they happy with their choice?] 4. I'd also like to know if you'd allow me to quote you. If not, may I just mention the scenario anonymously? 5. And if you'd submit something, would you like me to include you in the "thanks" page if this ever gets published? [No guarantees on that happening yet, though] ;) Thanks for helping me out here... any and all information is greatly appreciated.. Sorry, I don't even have an obEcto to stick in here. :/ We now return you to *real* musical discussion... Brian the mooman brianb@mooman.com ------------------------------ Date: Tue, 20 Jan 1998 03:00:10 -0500 From: matthewm (Mike Matthews) Subject: Today's your birthday, friend... i*i*i*i*i*i i*i*i*i*i*i *************** *****HAPPY********* **************BIRTHDAY********* *************************************************** *************************************************************************** ************* Sarah Noelle Pratt Ferguson (snpf@netscape.com) ************* *************************************************************************** -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Sarah Noelle Pratt Ferguson Tue January 20 1970 Seanympf-Aquarius Terry Partis Sun January 22 1933 Rocker Sarah McLachlan Sun January 28 1968 Aquarius Ilka Heber Mon February 01 1965 Mermaid Bob Lovejoy Sun February 02 1947 Aquarius Diane Burke Sat February 02 1963 slow children Timothy S. Devine Tue February 03 1970 Aquarius Stephen Thomas Fri February 04 1966 Aquarius Doug Burks Tue February 14 1956 Blank Jim Sturnfield Thu February 18 1954 Aquarius Juha Kannisto Wed February 18 1970 Aquarius Joel Siegfried February 19 Penguin Crossing Linda Saboe Tue February 20 1951 aimless - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------ Date: Tue, 20 Jan 1998 07:24:17 -0500 From: Heather Russell Subject: LM's Remix I was just curious what ecto folk thought of the remix version of Loreena's Mummer's Dance. People on the alt.music.lor-mckennitt ng seem to think it's sacrilege. Personally, I really like it, and I'm glad she was able to use this to broaden her audience. I never thought I would associate the following American Bandstand phrase with LM: "It's got a good beat and I can dance to it". ;-) Heather - -- |**************************************************| | Heather Russell | | My music site: http://www.freecloud.com/heather | | hrussell@bellsouth.net | |__________________________________________________| "In the midst of winter, I finally learned that there was in me an invincible summer." - Albert Camus ------------------------------ Date: Tue, 20 Jan 1998 10:05:54 -0500 (EST) From: Magenta <4dm@qlink.queensu.ca> Subject: Re: The Righteous Reader, 1/19/98 > Here's the latest news on the little folksinger (a.k.a. Ani DiFranco :). I`ve always considered her a little *too* smart-ass and self-righteous...still, she is important in music-as-business, a successful voice of dissent and quite challenging. > >REALLY BIG NEWS #1 > >Ani has been nominated for a Grammy in the "Female Rock Performance" category > >for the version of "Shy" on LIVING IN CLIP. Fellow nominees are Fiona Apple, > >Meredith Brooks, Abra Moore, and a promising newcomer named Patti Smith. The > >ceremony airs February 25, so stock up on the French Onion dip for your > >Grammy-watching party NOW. Grammys will never recognize a dissident such as DiFranco. The nomination, like Pearl Jam`s for Vitalogy (Album of the Year 1995) and Smashing Pumpkins (Record of the Year 1996) are more nominal than anything, a gesture by the Academy to try to show it`s hipper than it is. Celine Dion won Album of the Year last year, for crying out loud. I`d recommend sparing ourselves the masochism of having to watch four hours of self-indulgence for the slim possibility that DiFranco or Fiona Apple might win over ultra-commercial Meredith Brooks or cute-as-a-pie, little-sister-imaged Abra Moore. I.D. ------------------------------ Date: Tue, 20 Jan 1998 07:45:44 -0800 (PST) From: Richard Holmes Subject: Re: LM's Remix Heather Russell writes: > I was just curious what ecto folk thought of the remix version of > Loreena's Mummer's Dance. > > People on the alt.music.lor-mckennitt ng seem to think it's sacrilege. The people on the old-ways (Loreena McKennitt) list seem to be of split opinion - some really like, some no so fond. > Personally, I really like it, and I'm glad she was able to use this to > broaden her audience. I never thought I would associate the following > American Bandstand phrase with LM: "It's got a good beat and I can dance > to it". ;-) I myself like it - it was rather eerie hearing it on the local "alterna-pop" station; I heard a cool trippy beat, and this hauntingly familiar melody which had me thinking "I *must* get this!" for about two phrases of singing (I think I tuned in somewhere in the middle). Then I realized it was Loreena! No wonder it seemed so familiar! Anyway, I'd hope to find a copy of the promo somewhere, since it is not for sale; thought I'd prefer not to bid ridiculous prices for it... - -Richard @ \@/ Richard A. Holmes (rholmes@cs.stanford.edu) @ | @ \|/ "I dreamed I was an animal / in a human world, @ | Now when I hear big sounds, / I cry like a little girl. @ , , | , , I'm talking about connections / between here and there @ ' ' ' ' All things exist at once, / seems more than we can bear. @ - Happy Rhodes, "All Things (Mia ia io)" from Warpaint album @ @ 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 ------------------------------ Date: Tue, 20 Jan 1998 11:23:19 -0500 From: Valerie Nozick Subject: Re: The Righteous Reader, 1/19/98 Magenta wrote: > Grammys will never recognize a dissident such as DiFranco. The > nomination, like Pearl Jam`s for Vitalogy (Album of the Year 1995) and > Smashing Pumpkins (Record of the Year 1996) are more nominal than > anything, a gesture by the Academy to try to show it`s hipper than it is. > Celine Dion won Album of the Year last year, for crying out loud. I`d > recommend sparing ourselves the masochism of having to watch four hours of > self-indulgence for the slim possibility that DiFranco or Fiona Apple > might win over ultra-commercial Meredith Brooks or cute-as-a-pie, > little-sister-imaged Abra Moore. What cynicism! Call me pollyanna-ish, but I think the Grammys have taken a *huge* step forward in the past few years. Remember when the Album of the Year category was dominated by people like Michael Jackson, Madonna and other mega-selling acts, and influential artists like REM and U2 weren't even acknowledged? As an aside (and I'm sure this will provoke a debate), what exactly makes Meredith Brooks more "commercial" (used by you in a very negative context) than Fiona Apple or, say, a Sarah McLachlan? It's not in the record sales -- Sarah has had more hits than one-hit wonder Brooks. It's not in the image -- Fiona Apple plays far more to the mainstream MTV audience with her writhing, barely-clad antics in "Criminal". It must be song-writing ability, then. Oh wait, Jewel, the celebrated song-writer, is the biggest breakthrough artist commercially this year. My point is that the correlation between commercial and untalented is non-existent now, and, I'd argue that that has been the case throughout most of the history of pop. I hate to see people writing off an artist as selling out and/or untalented, just because they've caught the ears of millions more listeners than an obscure artist. Hell, something made them popular -- and while it's easiest to say that it was image, that's just not enough. A Celine Dion, even though I may not like her, demands respect, because of a talent based on a beautiful voice and an ability to appeal to millions of people. Her strengths are just *different* from Ani DiFranco's -- not any more or less valid. So where the Academy is improving, IMO, is in acknowledging many types of music in its nominations. A Smashing Pumpkins or Ani DiFranco nomination is not a token, but an acknowledgement of their talent. And the same with a Celine Dion or a Meredith Brooks nomination. The Grammys should be applauded for reaching out to music with different types of appeal and strengths, going beyond mere commercial airplay. ==> Valerie ------------------------------ Date: Tue, 20 Jan 1998 09:22:41 -0800 (PST) From: Temperance Subject: The Grammys, commercial perception I just wanted to say thanks to Valerie for voicing articulately things I've been thinking the past few years, especially in reading responses different people have to more famous, perceived "commercial" artists. Sometimes I feel like it's almost a crime to mention that I enjoy and buy more mainstream artists. I enjoy ecto's diversity, and sometimes find the attitudes a bit smug. My short 2 cents - Julie Christina aka Bubba On Tue, 20 Jan 1998, Valerie Nozick wrote: > Magenta wrote: > > > Grammys will never recognize a dissident such as DiFranco. The > > nomination, like Pearl Jam`s for Vitalogy (Album of the Year 1995) and > > Smashing Pumpkins (Record of the Year 1996) are more nominal than > > anything, a gesture by the Academy to try to show it`s hipper than it is. > > Celine Dion won Album of the Year last year, for crying out loud. I`d > > recommend sparing ourselves the masochism of having to watch four hours of > > self-indulgence for the slim possibility that DiFranco or Fiona Apple > > might win over ultra-commercial Meredith Brooks or cute-as-a-pie, > > little-sister-imaged Abra Moore. > > What cynicism! Call me pollyanna-ish, but I think the Grammys have taken a *huge* > step forward in the past few years. Remember when the Album of the Year category was > dominated by people like Michael Jackson, Madonna and other mega-selling acts, and > influential artists like REM and U2 weren't even acknowledged? > > As an aside (and I'm sure this will provoke a debate), what exactly makes Meredith > Brooks more "commercial" (used by you in a very negative context) than Fiona Apple > or, say, a Sarah McLachlan? It's not in the record sales -- Sarah has had more hits > than one-hit wonder Brooks. It's not in the image -- Fiona Apple plays far more to > the mainstream MTV audience with her writhing, barely-clad antics in "Criminal". It > must be song-writing ability, then. Oh wait, Jewel, the celebrated song-writer, is > the biggest breakthrough artist commercially this year. My point is that the > correlation between commercial and untalented is non-existent now, and, I'd argue > that that has been the case throughout most of the history of pop. I hate to see > people writing off an artist as selling out and/or untalented, just because they've > caught the ears of millions more listeners than an obscure artist. Hell, something > made them popular -- and while it's easiest to say that it was image, that's just > not enough. A Celine Dion, even though I may not like her, demands respect, because > of a talent based on a beautiful voice and an ability to appeal to millions of > people. Her strengths are just *different* from Ani DiFranco's -- not any more or > less valid. > > So where the Academy is improving, IMO, is in acknowledging many types of music in > its nominations. A Smashing Pumpkins or Ani DiFranco nomination is not a token, but > an acknowledgement of their talent. And the same with a Celine Dion or a Meredith > Brooks nomination. The Grammys should be applauded for reaching out to music with > different types of appeal and strengths, going beyond mere commercial airplay. > > ==> Valerie > > > ------------------------------ Date: Tue, 20 Jan 1998 10:02:07 -0700 From: Neile Graham Subject: Re: Samson Music Web Page Sharon Nichols wrote: >Hi gang. The new Samson page is at--surprise--samsonmusic.com. It's a >little... ahem...lacking in certain areas. You can even get on the >mailing list. Woo! Despite their comments about all employees have email addresses where the public could reach them, I couldn't find a single contact email. I wanted to let them know we're out here, mailing list, Ectophiles' Guide, and all. Well, at least I signed up for their mailing list. - --Neile - ---------------------------------------------------------------------- Neile Graham ..... http://www.sff.net/people/neile ..... neile@sff.net The Ectophiles' Guide to Good Music .... http://www.smoe.org/ectoguide - ---------------------------------------------------------------------- ------------------------------ Date: Tue, 20 Jan 1998 09:59:03 -0700 From: Neile Graham Subject: Re: The Righteous Reader, 1/19/98 Valerie Nozick wrote: >A Celine Dion, even though I may not like her, demands respect, because >of a talent based on a beautiful voice and an ability to appeal to millions of >people. Her strengths are just *different* from Ani DiFranco's -- not any >more or >less valid. This is a hard lesson I've been trying to teach myself. Just because music is more to my taste doesn't make it _better_ or the artist more talented than others, just different. It's hard, though, to admire a beautiful voice or presentation or a funky jive when the music is boring or so irritating it makes me nauseous till I change that dial. But that's the way a lot of the musicians I love hit other people. I try not to pity them. ;) - --Neile - ---------------------------------------------------------------------- Neile Graham ..... http://www.sff.net/people/neile ..... neile@sff.net The Ectophiles' Guide to Good Music .... http://www.smoe.org/ectoguide - ---------------------------------------------------------------------- ------------------------------ Date: Tue, 20 Jan 1998 15:35:26 -0600 From: kerrywhite@webtv.net (kerry white) Subject: Re: Holly Cole & an amusing message Hi, I once got a phone message from a radio station contest. The dj reacted to my open message and background music. I took my video camera and brought it close to the machine and saved the message that way. If your vcr is hooked up to your stereo system, you can then make an audio dub. KrW "Animals without backbones hid from each other or fell over." --- "Yes, it left a great gaping hole in the water!" --- "Pastor! Are you all right?" "I'm okay, just a little argument with my co-pilot!" ------------------------------ Date: Tue, 20 Jan 1998 17:28:29 EST From: Paul2k Subject: Re: Holly Cole in DC plus other music stuff I had a faboo time at the Holly Cole concert last night...other than the fact that there were no seats and lots of smoke and the venue wasn't the greatest and i had been standing for 9 hour straight before the concert at work (i work at a movie theater *grin*)... I was unhappy with the way the Metro Cafe handled the ticket sales, like Neal...I doubt that i'll try to make it down there when Patty Griffin plays. Garrison Starr was good...reminded me a bit of Patty Griffin, actually...Garrison has a beautiful, pure voice...her songs were a little too samey in the guitar chords area....but she was engaging and very funny with her onstage patter...i'd like to see her with a band. hey, XPN is playing her song Superhero now on the radio...cool. Holly was breathtaking...i'm kicking myself now for missing her when she played at the Iron Horse on her Temptation tour (i miss the Iron Horse...i think that it's the best venue for live music that i've ever been at) and when she played in Boston...poo... She had Aaron Davis on keyboards with her, but no david piltch on bass... She started off with Dark Dear Heart, and then went into my favorite song from her albums, "Cry (if you want to)"...other songs that she played included Trust in Me (the Jungle book tune), Que Sera Sera, Jersey Girl (as the final encore with a lot of improv jamming introducing her band mambers), I Want You, Tango 'Til They're Sore, Calling You (to end out the main set), and about half of her new album....i appreciate the album more now that i've heard her and seen her perform the songs in concert... for those of you who want to see her, visit www.hollycole.com to check out her tourdates...she'll be in New York on the 22nd, Boston on the 23rd, Noho on the 24th. She's coming back to Baltimore too :) prolly in march Also, i heard the new Ani single/title track on WXPN on monday....it was back to the old record-production-value stuff that detracts, IMHO, from the true vitality that is Ani DiFranco...my fuzzy memory recalls horns and lots of instruments...at first i thought it was an ani imposter because only the voice sounded vaguely like Ani. Oh, on my radio show today, i played the new single from Kristin Hersh's new upcoming album....yay! sounded good. Sarah tickets go on sale tomorrow for MD....my station manager told me that he's pretty sure that they'll go on sale through Protix, since all the other shows at Towson Center have gone on sale through them. Sleepy Hollow is using Happy Rhodes in their promos for the 25th anniversary on WXPN :) that's about it for now. Paul Kim ------------------------------ Date: Tue, 20 Jan 1998 11:23:19 -0500 From: Valerie Nozick Subject: Re: The Righteous Reader, 1/19/98 Magenta wrote: > Grammys will never recognize a dissident such as DiFranco. The > nomination, like Pearl Jam`s for Vitalogy (Album of the Year 1995) and > Smashing Pumpkins (Record of the Year 1996) are more nominal than > anything, a gesture by the Academy to try to show it`s hipper than it is. > Celine Dion won Album of the Year last year, for crying out loud. I`d > recommend sparing ourselves the masochism of having to watch four hours of > self-indulgence for the slim possibility that DiFranco or Fiona Apple > might win over ultra-commercial Meredith Brooks or cute-as-a-pie, > little-sister-imaged Abra Moore. What cynicism! Call me pollyanna-ish, but I think the Grammys have taken a *huge* step forward in the past few years. Remember when the Album of the Year category was dominated by people like Michael Jackson, Madonna and other mega-selling acts, and influential artists like REM and U2 weren't even acknowledged? As an aside (and I'm sure this will provoke a debate), what exactly makes Meredith Brooks more "commercial" (used by you in a very negative context) than Fiona Apple or, say, a Sarah McLachlan? It's not in the record sales -- Sarah has had more hits than one-hit wonder Brooks. It's not in the image -- Fiona Apple plays far more to the mainstream MTV audience with her writhing, barely-clad antics in "Criminal". It must be song-writing ability, then. Oh wait, Jewel, the celebrated song-writer, is the biggest breakthrough artist commercially this year. My point is that the correlation between commercial and untalented is non-existent now, and, I'd argue that that has been the case throughout most of the history of pop. I hate to see people writing off an artist as selling out and/or untalented, just because they've caught the ears of millions more listeners than an obscure artist. Hell, something made them popular -- and while it's easiest to say that it was image, that's just not enough. A Celine Dion, even though I may not like her, demands respect, because of a talent based on a beautiful voice and an ability to appeal to millions of people. Her strengths are just *different* from Ani DiFranco's -- not any more or less valid. So where the Academy is improving, IMO, is in acknowledging many types of music in its nominations. A Smashing Pumpkins or Ani DiFranco nomination is not a token, but an acknowledgement of their talent. And the same with a Celine Dion or a Meredith Brooks nomination. The Grammys should be applauded for reaching out to music with different types of appeal and strengths, going beyond mere commercial airplay. ==> Valerie ------------------------------ Date: Tue, 20 Jan 1998 17:49:08 -0600 (CST) From: Michael Curry Subject: Re: The Righteous Reader, 1/19/98 On Tue, 20 Jan 1998, Valerie Nozick wrote: > I hate to see people writing off an artist as selling ut and/or > untalented, just because they've caught the ears of millions > more listeners than an obscure artist. If someone doesn't like an artist *just* because they are popular, you're right, that's just as wrong as liking them because they are popular (which isn't exactly a rare phenomenon in some circles). However, I certainly can understand why people who like less mainstream artists can sometimes get frustrated and angry about the amount of praise and attention that more commercial artists get. > A Celine Dion, even though I may not like her, demands respect, because > of a talent based on a beautiful voice and an ability to appeal to > millions of people. I disagree. It's one thing for me to respect the right of other people to like Celine (no matter how much I may loathe her), it's another for me to respect her or her work. There are artists whose work I don't particularly like, but still have a great deal of respect for (a prime example being Jane Sibbery), and then there are artists I don't like and have no respect for. That's just the way it is. No one "demands respect", it's something they earn. Mike np: Johnny Cunningham -- Peter & Wendy nr: Otherland: City of Golden Shadow by Tad Williams | Michael Curry / mcurry@io.com / mcurry@compuserve.com | | http://www.io.com/~mcurry | | Am I bitter? Do I sound bitter? -- Veda Hille | ------------------------------ Date: Tue, 20 Jan 1998 19:48:09 -0500 From: meredith Subject: this week's new releases Hi! Since I think I inadvertently deleted something of general interest last week (the debut solo album by Sonia of Disappear Fear -- I can't figure out why it wasn't on the list, so I must have accidentally toasted it), I'm just going to send the entire list from now on. It shouldn't be too big at a pop. > ************* > * New Music * > ************* > > *Rock and Pop new releases* > --------------------------- > - AND YOU WILL KNOW US BY OUR TRAIL OF DEAD - And You Will Know Us by > Our Trail of Dead (Trance Syndicate) > - THE APPLES IN STEREO - Tone Soul Evolution (SpinART/Sire) > - THE BOGMEN - Close Captioned Radio (Arista) > - CAIRO - Conflict and Drama (Magna Carta) > - CARTER USM - I Blame the Government (Cooking Vinyl) > - CHEEKY MONKEY - Four Arms to Hold You (Big Deal) > - CY CURNIN - Mayfly (Thoughtscape Sounds) > - DESTINY'S CHILD - Destiny's Child (ECD) (Columbia) > - E.A.R. - Millennium Music (Atavistic) > - MARK EITZEL - Caught in a Trap and I Can't Back Out 'Cause I Love > You Too Much, Baby (Matador) > - FREAKWATER - Springtime (Thrill Jockey) > - FREAKY CHAKRA - The Year 2000 (EP) (Astralwerks/Caroline) > - ACE FREHLEY - Loaded Deck (Megaforce) > - GOD DETHRONED - The Grand Grimoire (Metal Blade) > - godheadsilo - Share the Fantasy (Sub Pop) > - KIM AND REGGIE HARRIS - Steal Away (Appleseed/Red House) > - HEPCAT - Right on Time (Hellcat/Epitaph) > - JUNE OF 44 - Four Great Points (Quarterstick) > - THE KARL HENDRICKS TRIO - Declare Your Weapons (Merge) > - CHERI KNIGHT - The Northeast Kingdom (E-Squared) > - KRAMER - Songs from the Pink Death (Knitting Factory) > - LITTLE MIKE - Hot Shot (Ichiban) > - RALPH MCTELL - Sand in Your Shoes (Red House) > - NELSON - Imaginator (Fuel 2000) > - PAUL NEWMAN - Frames Per Second (Trance Syndicate) > - REV HAMMER - Freeborn John (The Story of John Lilburne) (Cooking > Vinyl) > - RUINS - Refusal Fossil (Skin Graft) > - SAAFIR - Trigonometry (Ichiban) > - KIMBERLY SCOTT - Kimberly Scott (ECD) (Columbia) > - SKANDALOUS ALL-STARS - Punk Steady (Shanachie) > - SPACETIME CONTINUUM - Real Time (EP) (Astralwerks/Caroline) > - SAVOURNA STEVENSON & DAVEY SPILLANE - Savourna Stevenson & Davey > Spillane (Cooking Vinyl) > - ROBIN & LINDA WILLIAMS - Devil of a Dream (Sugar Hill) > - ROBERT WYATT - Shleep (Thirsty Ear) > - Various artists - CRAZY JUNGLE RHYTHMS (Mutant Sound Systems) > - Various artists - WHAT THE WORLD NEEDS NOW (Burt Bacharach covers > by Shonen Knife, Gladhands and more) (Big Deal) > - Original soundtrack to BULWORTH (Interscope) > > *Rock and Pop reissues* > ----------------------- > - BUFFALO SPRINGFIELD - Last Time Around (EastWest) > - STEVE EARLE - Early Tracks (Koch) > - ROSCOE HOLCOMB - The High Lonesome Sound (Smithsonian Folkways) > - KING CRIMSON - The Nightwatch (Discipline Global Mobile) > - KING DIAMOND - The Graveyard; The Spider's Lullaby (Metal Blade) > - THE LONELY BEARS - Best of (Pelican Sound/Magna Carta) > - LOVE TRACTOR - Love Tractor/'Til the Cows Come Home (2-fer) > (Ichiban) > - SILKWORM - Compilation (2 CDs) (Matador) > - SWANS - Are Dead (Live) (2 CDs) (Atavistic) > - Various artists - BLACK BANJO SONGSTERS OF NORTH CAROLINA & > VIRGINIA (Smithsonian Folkways) > - Original soundtrack to THE PIRATES OF PENZANCE (Elektra) > > *Blues new releases* > -------------------- > - CLEVELAND FATS - Other Side of Midnight (Ichiban/Wild Dog) > - LITTLE MIKE AND THE TORNADOES - Hot Shot (Ichiban/Wild Dog) > > *Blues reissues* > ---------------- > None listed at publication time. > > *Country new releases* > ---------------------- > - MILA MASON - The Strong One (Atlantic) > - PAUL BURCH - Pan-American Flash (Checkered Past) > - KRIS TYLER - What a Woman Knows (Rising Tide) > - DON RIGSBY - The Vision (Sugar Hill) > - ROBIN AND LINDA WILLIAMS - Devil of a Dream (Sugar Hill) > > *Country reissues* > ------------------ > - STEVE EARLE - Early Tracks (Koch) > - TOM T. HALL - Soldier of Fortune (Koch) > - RONNIE MILSAP - Night Things (Koch) > > *Jazz new releases* > ------------------- > - PEGGY STERN - Room Enough (Koch Jazz) > - JEAN PAUL BOURELLY - Tribute to Jimi and Rock the Cathartic Spirits > (Koch Jazz) > - PEE WEE ELLIS - A New Shift (Minor) > - MARK ISHAM - Afterglow (Columbia) > - MINGUS BIG BAND - Que Viva Mingus (Dreyfus) > - THOMAS CHAPIN TRIO - Sky Piece (Knitting Factor Works) > - OREN BLOEDOW WITH MEDESKI, MARTIN AND WOOD - The Luckiest Boy in > the World (Knitting Factory Works) > > *Jazz reissues* > --------------- > None listed at publication time. > > *Information subject to change after press time. Yours in EWS, +==========================================================================+ | Meredith Tarr meth@smoe.org | | New Haven, CT USA http://www.smoe.org/~meth | +==========================================================================+ | "things are more beautiful when they're obscure" -- veda hille | |***TRAJECTORY, the Veda Hille mailing list: trajectory-request@smoe.org***| +==========================================================================+ ------------------------------ Date: Tue, 20 Jan 1998 22:43:19 -0500 From: squeaky watson Subject: S,T! article in case anyone was wondering what they were up to...sorry for the delay in forwarding it along. >Date: Fri, 19 Dec 1997 16:25:22 >To: st@smoe.org >From: Heather Myers >Subject: S,T! article > >The Patriot-News -- Weekend Section >Harrisburg, PA >Friday, December 19, 1997 > >Details: Music Lover's Fest II at the Chameleon Club in Lancaster Tuesday >features Suddenly, Tammy!, Cherry Twister and Charming Hostess. Doors open >at 8:30 p.m. The cover is $5 for this all ages/21 and over show. For more >information call (717) 299-9684. > > >Suddenly, Tammy! Looking Ahead to Chameleon Show >by Barry Fox (of the Patriot-News) > >It's been two years since the last Suddenly, Tammy! album and the story >behind the next one from the Lancaster trio could be an episode for "This >Old House." > >Using "The ChurchBox" studio in Columbia -- owned by drummer Jay Sorrentino >and bassist Ken Heitmueller -- to record their second album for Warner Bros. >Records, the band ran into some unusual delays. > >"It took a little longer then we originally intended," said vocalist/pianist >Beth Sorrentino from her mother's house in Lancaster. "we ran into some >problems other bands don't have. Like sound proofing the church, we had to >build shutters for all the windows, and build a booth for the [sound] board." > >The studio was originally in Heitmueller's basement and dubbed "The CatBox" >because of the nine felines in residence. It has since been moved, and >expanded, to an old gothic-looking church on the banks of the Susquehanna >River. > >Once construction and recording was completed the album was first mixed at a >studio in Hartford, Conn. but was not to everyone's liking. A second mixing >session was done in Los Angeles with producer Jim Scott, who has worked with >Tom Petty among others. That, apparently, was the right mix. > >The Los Angeles trip "was a really good experience," Beth Sorrentino said. >"It was worth the wait." > >Now the Sorrentino siblings and Heitmueller are putting the finishing touches >on the still untitled disc, set for release in late spring or early summer. > >Beth Sorrentino described the new collection of songs as "very sparse as far >as orchestration and over-dubs. It comes across as very organic and clear. >It's a good blend of simple piano and vocal songs, poppy songs and more >complicated band songs." > >She also revealed that some additional keyboards and horns were added to the >usual piano, bass, drum Suddenly, Tammmy! mix. > >After a series of self-produced and indie label successes, Suddenly, Tammy! >chose to sign on with Warner Bros. four years ago because of its "tradition >of artistic freedom," Beth Sorrentino said at the time. That tradition has >continued through their first W.B. release "We Get There When We Do" and >their current work. > >The choice of studio and the mixing makeover were essentially in the band's >hands, Beth Sorrentino said. Pressure from label honchos about where the >work was done, album content or the speed of the project was not a factor, >she said. > >Following their own creative path has been standard procedure since the >Hempfield High School grads formed Suddenly, Tammy! in 1989. > >Two years later the trio produced its own four-song EP "Spokesmodel" in the >then four-track "CatBox" studio, hand coloring the cassette covers and >delivering them to area stores. A second EP "El Presidente" was produced by >the Boston-based team of Sean Slade and Paul Kolderie, whose previous clients >included Hole and Dinosaur Jr. > >The band's first full-length album, "Suddenly, Tammy!," was done under the >auspices of New York indie label "spinArt," home to Lotion and The >Dambuilders. At the same time "The CatBox" had grown to a full-fledged >studio and recording site for Velocity Girl, Tsunami and Lilys. > >By mid-1993 Suddenly, Tammy! was a secret no more -- radio play on stations >throughout the Northeast led to a national tour opening for The London Suede, >a slew of media coverage including MTV News and eventually that Warner Bros. >deal. > >Beth Sorrentino said she and her partners are looking forward to the >Chameleon show because of the anticipated big holiday crowd of familiar faces >and the rare chance to play live. > >"We haven't had a lot of time to do a lot of shows in a row," she said. >"We've been so engrossed in the record process... We plan to go out in the >spring and do some colleges, that's where our audience is a lot of the time." > >If this new album continues the upward mobility of Suddenly, Tammy! colleges >will be just a part of their audience and "The ChurchBox" could be looking >at another face-lift. ------------------------------ Date: Tue, 20 Jan 1998 22:26:10 -0600 From: rjk1@cs.wustl.edu (Bob Kollmeyer) Subject: Just when you thought it was safe - another 1997 year in review Despite purchasing more CDs than in any year prior (and vaulting me perilously close to the 4-digit barrier - anyone started a midwest chapter for those suffering repeated bouts of EWS?), a surprising few were '97 releases. Probably on the order of 15-20%. So if anything, I guess I've fallen even further behind - managed to make it through the year without mail ordering anything despite no fewer than half a dozen titles staring up at me longingly from my "todo" list. Look for lots of 97 releases on my "best of" next year... Too bad '98 looks to have a BUNCH of much-anticipated releases as well. ;) In any top 10 list, there is at least one major dividing line where it's easy to place a particular album above or below the division, but often impossible to place more precisely. So despite many good albums, I'll only listing the cream - ones that I acquired in '97 that could hold their own in a fight for a place in my DID list. 1997 Albums: - ------------ 1. Dar Williams - "End of the Summer". Appropriately enough, spent most of autumn in heavy rotation. Probably just the season, but I find myself listening to Mortal City again more than EotS lately. EotS will undoubtedly have it's turn again. 2. Ani DiFranco - "Living in Clip". Ani in her best element, to be sure, but overall, somehow uncohesive. A "live album" consisting of clips of dozens of different shows can never match the consistancy and spirit of an album made from a single show or large chunks of a few shows, IMHO. She did more than a few shows as 2 separate 40 to 60 minute sets - had the best couple of those been used instead (with perhaps outstanding performances of specific songs filling things out), LiC would probably have been at the head of the list for the year. Oh, and personally, I quite like the orchestra version of "Both Hands"... 8) Can't say as I like it better than a solo guitar version, but I'm glad I got to hear it... 1996 Albums acquired this year: - ------------------------------- 1. Chimera - "Earth Loop" - If you can imagine a plane perhaps defined by 3 points labeled "early Lush", "90's Cocteau Twins", and "early Sundays" (for some occasional very Harrietish vocal stylings), you might be on the right stratum. Guitars sometimes swirly, sometimes more driving - - nothing groundbreaking, but absolutely wonderful stuff start to end. Only thing they lose points for is burying an otherwise enjoyable "hidden track" at the end (Attn: musicians - that was cute 10 years ago, now get over it). 2. Pee Shy - "Who Let All the Monkey's Out?" - I don't recall if this was a late 96 or early 97 purchase, but I'm giving it the benefit of the doubt. ;) Great stuff - absolute heaven for anyone yearning for clarinet-laced intelligent pop. (Just picked up a pre-release of the upcoming "Don't Get Too Comfortable", though, and, while okay, I don't see it appearing in my '98 list... songwriting isn't as strong and more reliance on guitars/drums, but that's a whole 'nother matter - anyway, presented a choice, grab WLAtMO) 3. Frogpond - "Count to Ten" - Picked it up the day after hearing Trust? on a sampler in January (which I'd grabbed solely for an live in-studio track from Eleanor McEvoy). Extra Crunchy and a bit uneven, but when it hits the mark it's *spot* on. The repeat button on my player has probably had it's life expectancy shortened by 5 years owing to numerous tracks here. Pre-1996 Albums acquired this year: - ----------------------------------- 1. Marlee MacLeod - "Favorite Ball & Chain" - First listen sent my twangometer a bit too high and it wound up on the shelf. Mysterious melodies, hooks, and phrases kept popping up in my head over the next week until I finally patched enough together to figured out the source. Popped the disc in again and it didn't come out for quite a while. 2. Domestic Science Club - "Domestic Science Club" - Sara Hickman has been one of those "nice" artists for me - good enough songs, enjoyable while in the player, but never something I could get excited about or get the overwhelming urge to pull off the shelf. Can't say the same about her as a part of this trio. Local: - ------ 1997 release: Kristeen Young - "Meet Miss Young and Her All Boy Band" - Mentioned before, but to restate - KaTeish wailing soprano over a more aggressive, less melodic, more atonal suddenly, tammy!-ish synth/bass/drums combo paints about as acurate picture as 2 lines can. Good stuff even if she seldom plays more than 2-3 tracks from it in concert anymore. 1996 release: Bella Wolf - "Beehive" - December '96 EP I didn't pick up until early this year. Not quite folk, not quite pop, but a quite promising debut. Concerts: - --------- Many, many great performances, but even a stellar performance does not a great concert make. Perhaps I'm too easily distracted, but atmosphere is as much an ingredient and even a small disrespectful fraction can suck the magic clean out of a room. 1. Janis Ian 9/27/97 Mississippi Nights, St. Louis, MO I went in only passingly familiar with her work, not fully knowing what to expect. It was only the second show I've seen there with chairs on the dance floor and the only one to put tables and candles as well. First half was good, but somewhere in the middle she made it seem as if the first 40 or so minutes were just fingering exercise and vocal warmup. Magical indeed. Never heard their sound system sound better, either (louder most definately, but not better). 2. Sister 7 1/25/97 The Side Door, St. Louis, MO In retrospect, it certainly wasn't the best S7 performance I've seen, not even the best of the year, but it came at the right time. It was all I could do to drag myself out to go, but I left with buckets full of energy (which, admittedly, isn't that unusual for a S7 concert, but the before/ after contrast has never been so apparent). Since matter (and therefore energy) cannot be created, I can only ascribe it to magic. ;) 3. The Nields 12/6/97 The Gargoyle, St. Louis, MO An incredible show under incredible (but unfortunately all too common for them) circumstances. I don't see how they could possibly get much better live... Rather than doubling the size of this work, I'll just say that my full 100+ line recap can be retreived with a note to majordomo@pobox.com containing "get nields-nook-digest v01.n551" (sans quotes, naturally) in the body of the message. Not to take anything away from (chronologically): Cheryl Wheeler, Jewel, The Rugburns, Cindy Lee Berryhill, Elizabeth Hummel, Moxy Fruvous, Cosy Sheridan, Vance Gilbert, Tara MacLean, Patty Griffin, Joy Eden Harrison, Kelly Zullo, or Dar Williams who all provided no-place-in-this-world-I'd- rather-be-right-now performances that, while outstanding, didn't (often through no fault of their own) invoke that transcendental experience for this listener. Nor to slight the dozens of others who certainly made this one of the best years for live music here and provided scores of hours of enjoyment. And in case this post has been too positive for all those looking for the negative - Biggest Disappointments: - ------------------------ 3. Paula Cole - 11/12/97 Mississippi Nights One of the last shows before she rescheduled her shows for the rest of the year to give her voice a rest. She was scheduled to play here at the very end (last show) of her spring tour but cancelled so I suspect she was under a bit of pressure not to do so again. I almost wish she had rescheduled, though. As long as she was belting it out full force her voice seemed to hold up, but as soon as she went for anything high at less than full throttle, it wasn't pretty. Bethlehem was disappointing and she shouldn't even have attempted Mississippi. A worse-than-average bar crowd didn't help. 2. Sarah McLachlan - Surfacing - To paraphrase: "From those who have given much, much is expected". It's not a _bad_ album, it's just kind of like a witnessing a millionaire slip pocket change into the Salvation Army kettle, more to be rid of it than anything - it's not that it isn't appreciated, but you can't help but wonder about the sincerity of the act or help feeling a bit guilty for expecting more (and for questioning the sincerity). Make sense? 1. Jewel - The Non-Album - Despite more than adequate material and even a fully produced recording ready to go (much, if not all, of which will probably never see the light of day now), Atlantic elected to milk their new cash cow (for whom album sales of 40,000 was originally considered the "success" point) for another entire year even if it meant having to remix songs multiple times to make them "radio friendly" enough. We now return you to your regularly scheduled postings, bob np - Barbara Cohen and Little Lizard - Black Lake ------------------------------ End of ecto-digest V4 #21 *************************