From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V4 #284 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Wednesday, August 19 1998 Volume 04 : Number 284 Today's Subjects: ----------------- re: womyn's music ["J." Wermont ] The Banderas (Re: womyn's music) ["Xenu's Sister" ] Re: The Banderas (Re: womyn's music) [Birdie ] Re: 'Til the Dawn Breaks [Bill ] Re: "Til The Dawn Breaks all around you! [Bill ] Re: I have misled the Ecto-American people. [Ted & Debbie ] Re: Many Worlds Are Heard Tonight [Riphug@aol.com] RE: The Banderas (Re: womyn's music) [Tim.Cook@Swift.Com (Tim Cook)] Re: 'Til the Dawn Breaks [ken@engr.st.3com.com (Ken Descoteaux)] Re: Cocteau Twins "Frosty the Snowman" [Laura Clifford ] John Wesley [Suzanne Cerquone ] Re: Veda in DC ["Joseph S. Zitt" ] brief musings on Lilith in MA, ferrick [Paul2k@aol.com] Eva Trout, Mitchell Froom [Greg Jumper ] Re: art isn't easy, and Happy art ["C. K. Coney" ] Re: Veda in DC ["C. K. Coney" ] ---------------------------------------------------------------------- Date: Tue, 18 Aug 1998 23:28:45 -0700 (PDT) From: "J." Wermont Subject: re: womyn's music Chelsea wrote: > the main reason why I listen to music and create art is to tap into > a parallel universe that, even at its most wonderfully fantastic and > otherworldly, is more emotionally real (or true) than the material > world we live in. Womyn's music doesn't take wing and fly enough for > me to get into it in this manner. > Okay, it's not intended for such purposes. I don't agree with this - I think it was intended for just those purposes. I do appreciate that it didn't do it for you - no style of music can do that for everyone - but it definitely did do that for me back then. I was deeply moved by many of those songs, and I don't mean just by the lyrics, although those also spoke to me (and I think that makes a difference too - you might have felt differently if "womyn's" music had told your story). But I was also moved by the melodies, arrangements, and vocals. Saying that kind of music isn't meant to take wing and fly is sort of like me saying that asparagus isn't meant to taste good just because I can't stand it. It's hard to see beyond your own subjective experience to recognize that something that doesn't grab you might still be valuable to someone else, not just in some limited, socially-significant-but-not-really-art kind of way, but in a way that is just as magical and fantastic and otherworldly for them as the music that takes you to those places is for you. Now when I look back I realize that a lot of what drew me into that music (and other, similar-styled folk/acoustic music of that time) was the fact that I was also writing songs and performing them, and I found a lot of acoustic music inspiring to me as a writer. It felt accessible to me - it was the kind of music I could make myself. I had a guitar, I had some friends who could harmonize with me and arrange guitar parts. So I was intensely interested in the musical aspect of folk and acoustic because that's the stuff I could do and wanted to do. Now I listen to very different kinds of music and my tastes have broadened a lot. However, as a "musician" I haven't broadened much (and don't play much anymore), and a lot of what excites me to listen to now isn't anything that I'd be able to play myself. Yet whenever I take the ol' guitar out of mothballs, the kind of things I want to play - my old songs, or others' songs - tend to be more acoustic in nature, or they're rock songs that can really work well as acoustic. There's a discrepancy now between what I put on the CD player and what I might want to play myself. When I'm listening, I don't have the patience for folk music anymore - I want something with more instrumentation, rhythm, and drive (not to mention volume). My taste has changed, that's all. But during my rare moments of singing and playing, I can get right back into girl-with-guitar mode because that's who I've remained as a singer and writer (although I'm more likely to play contemporary acoustic music rather than resurrecting old songs from the 70's). I guess my point is, that 70's folk/acoustic stuff - whether "womyn's" music or general folk - excited me for deeper reasons than just its political message. It had a lot to do with my own musical expression - it really shaped my musical style and determined how I would channel my own emotions into music, ie, what kinds of melodies and chords would come out when I tried to express a feeling musically. It was all very exhilerating and inspiring and magical at the time, and that is still with me. The most recent song I've written, in 1992, is very much rooted, musically, in 70's folk-rock, even though the message is far removed from the agendas of 20 years ago. Hope that made some sense! Joyce ------------------------------ Date: Wed, 19 Aug 1998 02:06:16 -0500 From: "Xenu's Sister" Subject: The Banderas (Re: womyn's music) (fascinating and thought-provoking exchange-thank you all for keeping this in Ecto, I'm loving it-snipped) At 07:59 PM 8/18/98 -0700, Birdie wrote: >queen of carrot flowers wrote: > >> Sorry, this was one long rambling, and it probably doesn't say much. Geez, >> I want to clarify and I end up cluttering the picture even more. O well. > >For some reason, I thought of "The Bandera's" when reading your >post. If you don't know who they were - you may want to do a search >at one of the on-line stores. . The Banderas! I love The Banderas! I haven't heard them mentioned for ages. > UK band - mid-80's Really? Are we talking about the same band, I wonder? Intelligent, synth-based, some songs dance-oriented? >They should go or be in the ecto files..... Maybe they are, if I talked about the same group. Though I don't know anything about them, where they came from, who they are (I know their names, Caroline Buckley and Sally Herbert), or what all they've released. I only have one album ("Ripe") and one video (I forget what, I'd have to dig it up) and I haven't heard a thing about them for about 7 years. "Ripe" was released in 1991. Can you provide any other information, if we're talking about the same group? If we're not, then tell us about your Banderas. Vickie DIVX = GREED - Boycott Circuit City! ------------------------------ Date: Wed, 19 Aug 1998 00:36:31 -0700 From: Birdie Subject: Re: The Banderas (Re: womyn's music) Xenu's Sister wrote: > > (fascinating and thought-provoking exchange-thank you all > for keeping this in Ecto, I'm loving it-snipped) Vickie - you do know that the" *Really* awful LF article" post was Xposted to a few lists - which - I snipped ages ago. I mean, why cause a flood! So, it seems we trundled off that thread and wound up all here. Hee hee... > >For some reason, I thought of "The Bandera's" when reading your > >post. If you don't know who they were - you may want to do a search > >at one of the on-line stores. . > > The Banderas! I love The Banderas! I haven't heard them mentioned > for ages. > > > UK band - mid-80's > > Really? Are we talking about the same band, I wonder? Intelligent, synth-based, > some songs dance-oriented? Yes!! but you could call them acoustic-synth-dance-poppy-folkish which same could be said for Erasure. > >They should go or be in the ecto files..... > > Maybe they are, if I talked about the same group. Though I don't know > anything about them, where they came from, who they are (I know their > names, Caroline Buckley and Sally Herbert), or what all they've released. > I only have one album ("Ripe") and one video (I forget what, I'd have to > dig it up) and I haven't heard a thing about them for about 7 years. > "Ripe" was released in 1991. Oh....it was 1991! Sorry. Yes, in fact it was as in the Fall of 1991 I was in their managers office - Vanda Rawlins - in Hampstead, London - dropping off another artists tape. > Can you provide any other information, if > we're talking about the same group? It's the same group. I don't have the video BUT I have the Ripe CD plus 2 CD singles that came in foil wrappers. They were divine. I'll have to see if I can come up with more info - London was *plastered* with posters of them in 1991. They were truly one of the best finds of that year.....I was just thrilled with finding them (US). We should go see what they are up to if anything these days... Last I heard - their manager, Vanda, wasn't even in the business anymore.....she was great too. In england - lots more women managers - agents - etc than in the US. See what I can find.. Birdie ------------------------------ Date: Wed, 19 Aug 1998 01:32:29 -0700 (PDT) From: Bill Subject: Re: 'Til the Dawn Breaks "Till The Dawn Breaks" brings tears of joy to my eyes. Yes, the canned synth "keyboards" and "claps" do get in the way. But, if I had to throw away all of my CDs, and could only keep a few songs, TTDB would most definitely be one of them. - - Bill (from L.A.). On Wed, 19 Aug 1998, Phil Sainty wrote: > Vickie wrote: > > > > Also, ''Til the dawn breaks' somehow > > >got on my nerves - still does a little bit, but it's getting less. > > > > Oooh, this song I have to talk about. Not that what I say can or > > will or should change how you hear it, but it really is one of > > my all-time favorite Happy songs. > > Mmmmmm.... > > I meant to mention this song recently when someone listed their > favourite Rearmament tracks and managed to cover half the album, but > leave TtDB out... I was dumbstruck, 'cause it's SOOO wonderful and I > couldn't imagine it _not_ being on peoples' lists... I guess it goes > to show how many different ways Happy's music appeals. > > TtDB is definitely one of my favourite Happy songs (of any album); > one of those that makes it just about impossible to do anything > but stop and listen, whenever it plays. > > > Have you ever listened to it on headphones? If not, try it a few > > times. Just concentrate on nothing but the song, the way it slowly > > builds and progresses, the way Happy uses first her high and then > > her low voice, alternating between the two, singing enigmatic lyrics > > which are creepy and comforting at the same time. > > *sigh*... :) > > > -Philip > -- > ectophil@geocities.com Philip Sainty > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- > Julia Fordham home page: > http://www.geocities.com/SunsetStrip/Cabaret/8080/JF_index.html > > ------------------------------ Date: Wed, 19 Aug 1998 01:41:46 -0700 (PDT) From: Bill Subject: Re: "Til The Dawn Breaks all around you! > This is not to denigrate the recordings in any way. The stereo mixes are > uniformly excellent, just noting the accidental and quite pleasing surround > of the first three albums. They call this "magic surround sound" in the business. Something about some recording's phase modulation that makes them have "accidental" surround sound all of their own. Once I purchase a worthy SS decoder, I shall try TTDB on it. (I disowned my crappy SS system of yesteryear (heck, I can't even recall the brand name)). - - B. ------------------------------ Date: Wed, 19 Aug 1998 06:42:58 -0400 From: Ted & Debbie Subject: Re: I have misled the Ecto-American people. Well, poop! Shoulda' peeked before I peeped. . . When I said "I never peak (a pointed end or top, as of a cap, roof, etc.) in an artist's bedroom. . . ", what I of course meant to say was "I never pique (to make resentful) in an artist's bedroom. . . " There, that's much better. . . Ted, who's really glad he switched majors from English to Graphic Arts ^_^ ------------------------------ Date: Wed, 19 Aug 1998 08:08:42 -0400 From: "Jeffrey C. Burka" Subject: Re: New music to look forward to...... Neal Copperman wrote: > On Tue, 18 Aug 1998, Jeffrey C. Burka wrote: > > > And "Jimmy Hoffa Jokes" was a _Whatever_-era b-side, wasn't it? > > Maybe they meant Underreleased :) > And I know it made an appearance on a Happy Gift/Holiday tape > around that time too. Might have even come from you Mister Burka! Nope, not me...I'm thinking mjm, maybe? Y'know, wouldn't it be nice to have the various H*P track lists on the ecto homepage? I'm willing to type up on the lists I have, but I'll warn in advance that I probably only have a couple of 'em kicking around... jeff ------------------------------ Date: Wed, 19 Aug 1998 22:09:36 +0000 From: "Tim" Subject: Re: out gay artists with straight following? - ---------- >From: "Xenu's Sister" >To: ecto@smoe.org >Subject: Re: out gay artists with straight following? >Date: Tue, Aug 18, 1998, 6:57 AM > >Though "politically correct" speech can at times be a pain in >the neck (look at how much I hate the term "womyn"), I'd >like to see the casual use of the phrase "admitted he/she is >gay" banished from the lauguage. The term "admitted" >implies that they did something wrong, something they >expect to be punished for. A person "admits" that they >stole cash from their mom's purse. A person "admits" that >they robbed a gas station. A person "admits" they murdered >someone. I apologise sincerely for that. More a slip of the..uh..finger than anything else. Actually the reason I couched it in that language is that Stephan (Placebo's bassist) really did "admit" it in an interview, without expecting to. He hadn't actually come out at all when he said it, and it was more under pressure from the interviewer than anything else, so he actually shocked himself quite a bit. I apologise again though. It was a stupid mistake which shows how limited my vocabulary is, especially since I'm only prejudicing myself! Tim ------------------------------ Date: Wed, 19 Aug 1998 22:09:59 +0000 From: "Tim" Subject: Many Worlds Are Heard Tonight Just dropping in to inform you all that I finally found a copy of of MWABT.... in Australia! Thank you Basement Discs for being Happy fans. Firstly, well done Samson, its a beautiful cd package. As for the music, well, what can I say... It's an absolutely brilliant album. So brilliant in fact that it has pushed Happy over the edge into my all-time-favourites canon. She was teetering on the edge before with Rearmament with Warpaint, but it took this to do it for me. Superlatives really fail me, but I'll try anyway: The thinking person's Ray of Light? Enya and Imogen Heap staging a battle in the studio? The Sensual World, if every track had been as interesting as the best ones? Oh well, I give up. Happy is Happy is Happy is Happy. Thank you Happy. Okay, here's a song review (by now you're probably sick of these but...): 100 Years - Sort of reminds me of the way I'm Going Back starts, but I was never too fond of I'm Going Back. This, however, is an absolutely brilliant song. Three fantastic things: The weird bits, the operatic parts and the mantra like vocals Many Worlds Are Born Tonight - Sort of laidback and groovy - no, soulful is the word. A nice uplifting song (and Happy is so good at those). Two fantastic things: the weird but funky production and the "aieyaieyaie"'s in the background. The Chariot - Oooh, beautiful, ethereal, weepy ballad time! Lie back and soak up the atmosphere. Who would have thought it was about religion! I love the. Three fantastic things: the slow verses and the high, lilting choruses, the keyboard washes, and that little synth line which reminds me of mid-eighties Genesis for some unknown reason. Ra Is A Busy God - WOW! Brilliant. Really. I haven't got the ambient collection, but I can see this standing up completely as an instrumental. So many different parts to fall in love with. Four fantastic things: Those windchimy/xylophone thingies, the myriad different vocals (ethereal, the weird "I''ll have my best dress" part and the children voices), that cool percussion line, and the lyrics! One of my four faves. If Wishes Were Horses, How Beggars Will Ride - Could come off Rhodes I if Rhodes I had such brilliant production. Sort of like a cross between He's Alive and Summer IMHO. So heartbreakingly sad. Two fantastic things: the weird sounds, the vocals Roy (Back From Offworld) - Yes, its comparatively poppy, but it's also amazing! The percussion and chorus are catchy in the best Be Careful What You Say/Look For The Child/Feed The Fire kind of way, and the verses and bridge are thoroughly weird. Also has an excellent climax. Three fantastic things: the poppy chorus, the weird bridge, and those sudden super-low vocals halfway through. Tragic - This is pretty exceptional. Just gets stronger and stronger and stronger. Brilliant lyrics too! Another one of my four favourites. Four fantastic things: The powerful chorus, the pounding drums, the choir, the lyrics. Proof - A funky track, with another powerful percussion line. Actually this sort of strikes me as a more pleasant Wrong Century, and the way it suddenly goes quiet halfway through is great. Two fantastic things: the mantra-like lyrics and the grinding percussion. Looking Over Cliffs - Starts off quite modestly, and then has this absolutely mindblowing chorus with both ragged AND operatic vocals, and then its just perfect the rest of the way. Another one of my four favourites. One overwhelmingly fantastic thing: The Chorus! Winter - A beautiful ethereal piece, which seems to keep morphing into something else once I've gotten a hold of it. What can I say except that its beautiful? Two fantastic things: Its dreaminess, those low murmuring vocals. Serenading Genius - Oh, oh. Another CLASSIC Happy moment in the tradition of When The Rain Came Down and In Hiding. In fact it seems to strike me as somewhere in between both of those, except more confident than either. The lyrics seem to be a sequel to Feed The FIre, except that Happy is looking forward instead of back. Another one of my four favourites. Four fantastic things: its placement at the end of the album, which just leaves you feeling warm inside, the "yoyoyo" part, the crashing chorus and the song itself. Alright, I'll leave you all alone now (hi Kyri!) Tim ------------------------------ Date: Wed, 19 Aug 1998 08:40:05 EDT From: Riphug@aol.com Subject: Re: Many Worlds Are Heard Tonight After reading all your reviews about the latest album from Happy, I decided to sit down with it and take notes as I listened. Tim wrote that The Chariot reminded him of mid-eighties Genesis, and I agree. This song really reminded me of Peter Gabriel.....something he would do. Roy - I nearly thought I was listening to the soundtrack from the movie "Toys." I like this one a lot. Tragic - My second favorite song on the album. Sooooooo intensely emotional. I love the drama and how it grows to a wonderful crescendo. (sorry to be redundant) Proof - Kind of repetitive, but it's my third favorite song on the album. Serenading Genius - This beautiful song is my very, very favorite on MWABT. I can't even write more about the album, because I felt kind of bad looking at my notes afterwards. I had really enjoyed MWABT when I first heard it on tape....and then when I got the CD (by the way, I have an extra copy available if anyone is desperate), I still loved it. But when I sat down and *dissected* the album, it just seemed to take away from the music. I don't think I'll do that again. I do much better at writing book reviews. Jill :D ------------------------------ Date: 19 Aug 1998 13:01:01 +0000 From: Tim.Cook@Swift.Com (Tim Cook) Subject: RE: The Banderas (Re: womyn's music) Vickie wrote: >> UK band - mid-80's > >Really? Are we talking about the same band, I wonder? Intelligent, synth-based, >some songs dance-oriented? I've got "Ripe" as well so I think we're all talking about the same group. The Banderas did backing vocals on some of Jimmy Somervilles CDs before they released their own album. I remember seeing them at a "Love Rights" concert in 1989 in Manchester. There were a whole bunch of groups/singers at the concert. The only ones I can remember for definite were the Banderas and Helen Terry, who used to do backing vocals for Culture Club and was utterly fantastic (and unfortunately decided to go into childrens telly instead of recording a second album :-(). tim ------------------------------ Date: Wed, 19 Aug 98 09:24:29 EDT From: ken@engr.st.3com.com (Ken Descoteaux) Subject: Re: 'Til the Dawn Breaks > > TtDB is definitely one of my favourite Happy songs (of any album); > one of those that makes it just about impossible to do anything > but stop and listen, whenever it plays. If you don't stop (like I didn't last week), then you might get really thrown when you figure out the flashes you keep seeing out of the corner of your eye aren't just the fluorescent bulbs flickering, but that a live thunderstorm has somehow managed to sneak up on you unheard over TtDB. Oh, and the rain is coming in the windows. - - Ken ------------------------------ Date: Wed, 19 Aug 1998 09:27:38 -0400 From: Laura Clifford Subject: Re: Cocteau Twins "Frosty the Snowman" Thanks all - I was able to order 'The Coolest Christmas' via cdnow (although it didn't come up under a search on Cocteau Twins, even with the compilation flag chosen)! Laura At 12:10 AM 08/19/1998 -0400, Neal Copperman wrote: > > >On Tue, 18 Aug 1998, Brian Bloom wrote: > >> >> This song came up in conversation over the weekend. Does >> >> anyone know where and/or if this is available on CD? >> > >> >It's on the Cocteau Twins' _Snow_ EP, which I still see ocassionally in >> >stores. I also believe it showed up on some Christmas compilation called >> >_The Coolest Christmas_. >> > >> >> I could look this up confirm it, but just a little busy right now: I think >> Frosty appeared on one of the 'Volume' series as well. You know, those UK >> booklets with a cd attached? I think it was one of the older Volumes >> like #2 or something. *shrug* That's just off the top of my head.. > >Looks like we can rely pretty well on the top of Moo-Man's head (Hi >Brian!). It's on the 1995 release entitled Sharks Patrol These Waters: >The Best of Volume 2. > >Neal > >np: Miles From Home - Cowboy Junkies > > > ------------------------------ Date: Wed, 19 Aug 1998 10:41:29 -0500 From: Suzanne Cerquone Subject: John Wesley Hi Ectophiliacs, Below is a somewhat lengthy bio on the artist John Wesley (not to be confused with John Wesley Harding). I think a lot of you who enjoy male singer-songwriting along the veins of Jeff Buckley or Chris Stills would enjoy John. Actually and ironically, the best reference I can give you for how John sounds like is the latest Goo Goo Dolls song, "Iris." His voice and lyrics are hauntingly similar! He's playing some dates in upstate NY in October, so please check him out! Venue and ticket info can be found at: http://web3.ee.net/vermont/wes/wes.htm See you there, Suzanne **** < << John Wesley -- A Brief Bio by JJ Sargent, 1998 The music of John Wesley has been called lyrically sensitive and musically dynamic. Players Magazine calls Wesley's music "hooky, well organized songs which are hard to categorize." Wesley's current brand of guitar-driven acoustic and electric songs represent the cultivation of a diversity of inspirations from alternative, progressive, classic rock and folk genres intertwined with "plainclothes" lyrics drawn from the poetry of the common man. Furthermore, his skillful, versatile and energetic guitar style complements with fury his soulful emotionally-charged vocals reminiscent of Roger Waters or Bruce Springsteen. But what really appeals to Wesley's fans worldwide is a spark of sincerity and sensitivity so oft absent in today's mainstream music. John Wesley's professional music career began in the early 80's in the Tampa, Florida area where he founded 1991 Southwestern Music Conference's showcase act "Autodrive". The following year Wesley embarked on a solo career and became the premier opening act for British rockers Marillion on seven consecutive tour legs around the world -- especially North and South America, the UK and Europe -- where he played for hundreds of thousands of fans. In 1998, Wesley embarked with ex-White Lion frontman Mike Tramp on an extensive tour as premier opening act for the prestigious Peter Frampton/Lynryd Skynyrd tour. Wesley's 1994 first album, UNDER THE RED AND WHITE SKY on Racket Records quickly sold out it's first pressing of 10,000 copies and has been repressed in 1998 quickly selling another 10,000 plus copies. His second release, THE CLOSING OF THE PALE BLUE EYES, also quickly sold out and has been repressed for a special limited edition by BVB Music. Wesley is currently recording THE EMPEROR FALLS for former Music for Nations label magnate Martin Hooker's new venture, Dream Catcher Records. It is scheduled for an October 1998 release to be distributed in the UK and throughout Europe. Wesley is planning several tour dates in the UK and Europe to promote the new album. He will also be featured at a fan promoted two-day music convention in upstate New York this October called "Wesfest." A very modest estimate of Wesley fans worldwide would be in the tens of thousands, with hundreds of internet savvy fans subscribed to an online fan newsletter at wesweb@snet.net. He has an official fan website at http://web3.ee.net/vermont/wes/wes.htm where fans regularly contact him via email, read lyrics, view pics and preview album clips. John Wesley is managed by long-time supporter California based Wyatt Management Worldwide. WMW also manages such premier acts as Mike Tramp, Saigon Kick, and innovators like Keali'i Reichel, Weezygoose and more. WMW can be reached on the web at http://www.wyattworld.com A brief chronology: 1991 - Autodrive showcases SMC concert. 1992 - solo artist, John Wesley wows that year's SMC crowd. 1992 - Wesley becomes Marillion's premier opening act and performs to packed venues worldwide on seven consecutive legs of Marillion tours from 1993 to 1998. 1992 - Tour with Marillion on "Holidays Eden" Tour -- two legs worldwide. 1993 - Tour with Marillion on "Brave" Tour worldwide. 1994 - Wesley releases UNDER THE RED AND WHITE SKY on Racket records. The album soon sells out over 10,000 copies and is repressed in1995 to quickly sell another 10,000. 1995 - Wesley releases THE CLOSING OF THE PALE BLUE EYES on France's CNR and quickly sells thousands of discs in France, Belgium, Holland and other European countries. 1995 - Tour with Marillion on worldwide "Afraid of Sunlight" Tour. 1996 - Tour with Marillion on "Made Again" Tour. 1997 - Worldwide tour with Marillion's "This Strange Engine" Tour, invited on several occasions to play onstage with Marillion. 1998 - Joins ex-White Lion frontman Mike Tramp as the premier North-American opening act for Peter Frampton/Lynryd Skynyrd Tour. 1998 - Signs UK/European record contract with newly formed Dream Catcher Records. Records new album, THE EMPEROR FALLS, in the UK. October 1998 - Releases THE EMPEROR FALLS and performs two-day fan convention in New York, several UK and European concert dates planned for November. ------------------------------ Date: Wed, 19 Aug 1998 09:54:37 -0500 (CDT) From: "Joseph S. Zitt" Subject: Re: Veda in DC On Wed, 19 Aug 1998, Neal Copperman wrote: > > I am soo soo ssoo excited about this show. Every month I think about > going to NYC to see Veda play, and wonder if she'd ever come down here. Hmm... I was thinking of going to see the gamelan performance at the Sackler-Freer (ap?) but this amy be worth overriding that.. - - ---------1---------1---------1---------1---------1---------1---------- |||/ Joseph Zitt ===== jzitt@humansystems.com ===== Human Systems \||| ||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \|| |/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \| ------------------------------ Date: Wed, 19 Aug 1998 11:17:57 EDT From: Paul2k@aol.com Subject: brief musings on Lilith in MA, ferrick Geeze. Wow. Such a brouhaha over lilith fair here. I was gonna throw in my two cents, but I kinda lost what was going on and what everyones' viewpoints were and, well, hell, I don't feel like trying to argue a case when what i say makes little difference beyond me. :) Suffice it to say, for each of the Liliths I attended this year, I was excited when they announced the Lineups and when i bought the tickets, but as the dates approached, i became nonchalant, and even didn't feel like going, but each time I was happily rewarded with great shows. I think I already reported on the two Maryland shows, so I'll give a recap of how things went in Massachusetts last week. On tuesday, I picked up my will-call ticket which i had bought the sunday before and turned out to be about 12 rows back from the stage on the right side...didn't catch Laurie Geltman opening up the day at the village stage which was right inside the entrance (odd placement) since i was wandering around Great Woods, trying to figure out where everything was...I did stand up front for Syd Straw who did a peculiarly sloppy set; I don't think she was too comfortable playing by herself on the stage and she did call up Laurie Geltman's drummer and violinist to help out on her last two songs (she was also another performer in a growing line who i have seen live dis Jewel...kinda makes me wince). Emmylou Harris was off on the side of the stage enjoying the performance, cheering and clapping as a fan which was cute :) Shuffled over to the second stage which was in a wooded area off on the side, much like the village stage was at Merryweather in MD. Watched Chantal Kreviazuk's performance...she seemed to really like talking to the audience...nice voice, nice piano playing, nice band, nice like her album, but nothing too breathtaking...she did pull up Kay Hanley of Letters to Cleo, Bic Runga, Camille Henderson, and Jill Cuniff of Luscious Jackson for a finale of "Leaving on a Jet Plane" which Chantal recorded for the _Armageddon_ soundtrack (an okay version that is a wee bit too produced for my tastes...i still love Peter Paul and Mary's version)...oy...it was a pretty haphazard yet fun sing-along. Abra Moore was next and she was her usual flaky texas self; quite engaging, but since i saw her at last year's lilith a couple times, I left after her second song to make it back to the village stage to catch Bic Runga's set. I think that Bic's bloody marvelous live- sweet voice that really shines, catchy tunes, nice accompaniment, and a quirky, charming presence accentuated by her New Zealand accent. I wandered around a bit with some friends off of various other lists as N'dea Davenport played on the main stage (she was filling in for Lauryn Hill of the Fugees who was filling in for Neneh Cherry), and finally settled back at the second stage for Letters to Cleo. They were highly energized by the Hometown Crowd and played much longer than they were supposed to...ended up with at least 7 songs, maybe 8...very loud and very rocking...Kay was in good voice. After LTC, I rushed to the main stage to catch Luscious Jackson (anyone know what happened to their keyboardist?) funking it up. Half their set was just a lot of jamming and disco-funk-hip-hop grooving with few words that really got the crowd dancing; the other half was more of the same with more lyrics :) It was really cool to see drummers from N'dea, Natalie M, Emmylou, and Sarah's bands joining in on the second drum set-up next to Luscious' Kate's kit. Sarah joined in on one song and Emmylou came out for "Why Do I Lie". Emmylou was next on the list and performed with Spyboy and Ash, Sarah's hubbie and drummer, joined in on some drums...a good mix of old and new stuff...the material from _Wrecking Ball_ had a much more vibrant feel as opposed to the laid-back feel on the album. A great set with Natalie Merchant joining her on gillian Welch's "Orphan Girl". I left at this point to head up to Boston and get to my brother's place before he zonked out for the night even though it was only 9:30. Wednesday was even more fun. I had a ticket that a friend had purchased when they went on sale...it was row E left side, which ended up being front row. Yesiree bob i was a happy camper. Melissa Ferrick opened the day at the village stage. There were some hardcore hometown fans there and i was up front with them :) They cheered as she soundchecked and were in schoolgirl awe of her as she talked and signed in the 10minutes before she was scheduled to play. A guy from WAR records (What Are Records) had a camcorder and was getting reactions and clips from the fans for their website...Melissa has a new album coming out towards the end of September, but they had it at the Tower Records booth there and so i bought it...yummy :) An awesome set which included "Willing to Wait" and "Til You're Dead", 5 songs in all, a rabid crowd which she seemed happily stunned to see...She's playing at the Paradise in Boston two saturdays from now..i'm trying to decide if i want to go see her or hang out with the ectophiles at Fenway...too much stuff happening that weekend as I'm moving in to Berklee on Sunday. Melanie Doane of Halifax was next and she did a good 4 song set. Her music seems to simmer somewhere between generic folk-pop-rock and Ashley MacIsaac type fiddling...she had her brother on drums and an acoustic guitarist with her as she played a little electric and acoustic fiddle and mandolin...she didnt' do much with the fiddles on the first three songs, but the last song was a good ol' reel. I skipped out on Eden's set at the second stage to purchase Melissa's album and get her to sign my Melissa Ferrick + 1 cd and talk a bit about Berklee and her upcoming concert. I then went over to the second stage to see the Wild Strawberries performing probably as far from the Canadian border as they've ever played in the US :) A MUCH better set than when i saw them in toronto last year...all stuff from _Quiver_ with only "I Don't Want to Think About It" as the non-new-album song. Probably the highlight of my day. I wandered a bit, got some food, checked out N'Dea's set this time and was taken in by her enthusiasm and hard-hitting beats...hung out with a Fumbler and a Nettwerk friend as Roberta and Ken Harrison were signing at the Tower booth...they have their 8 month old baby Georgia on tour with them and she was sleeping in 'berta's arms as she signed...they are such a cute couple. More of the same stuff from Luscious Jackson, only with more people from all the bands in the wings...and a lot more "special" guests helping out on percussion...this was their last night on the Lilith tour and they were having a blast...during their last song, they had a drummers from most of the bands sit in for a crack at Kate's kit while everyone else danced around all over the stage. Emmylou had a few changes in her set, but it was still awesome. Natalie Merchant. This was my first full-fledged set from Natalie. At previous shows, I'd either left early or just went in search of food during her set, but this time i stuck it out. It wasn't too bad...started out promising...she has a great band backing her up...and she is very into connecting with the crowd and having fun on stage....but her dancing...good lord...it's like she's having seizures or convulsions or something...and from front row, it's even worse. Anyways, she had N'Dea come out and sing and also had Sarah come out on Kind and Generous...she also had lots of guest players on percussion throughout her set. Sarah was next and it was the usual set. Blah Blah. She did have Emmylou join her on "Angel" which made me tear-up....emmylou is so good that way...then for the finale, they did Marvin gaye's "What's goin on" as usual, but with a lot more hyjinks as Luscious Jackson brought out bags of confetti and sprinkles and threw it all over the stage while everyone was singing...you could tell everyone was having a blast and even Melissa Ferrick, who seemed a little sheepish being up there, was totally into it... And that's that. For now. Paul "last day of work" Kim ------------------------------ Date: Wed, 19 Aug 1998 08:37:38 -0700 (PDT) From: Greg Jumper Subject: Eva Trout, Mitchell Froom Joyce wrote: Has anyone heard the Australian band Eva Trout? I stumbled on it while sampling new CD's at the local listening station, and liked it right away. I also recently happened upon this band at the local Tower (maybe the same one you visit?) and liked it right away as well. Eva Trout probably won't become a staple in my CD player, but the album is a good example of "folk-rock in the Lilith Faire style", as the listening station blurb described it. I mentioned the band here not long ago; unfortunately, that was around the same time that MWABT came out, so Eva Trout kind of got drowned in other interests. :) Jeff asked: incidentally, anyone got any comments on the Froom "solo" album? Features many of the folks he's produced... I also sampled this at a Tower listening station in the last month or so. The list of contributors made it sound pretty interesting, but it didn't do much for me. I think it was priced at a "new artist" price of $9.99 or so, for those wanting to gamble. Greg np: Steve Hogarth, _Ice Cream Genius_ ------------------------------ Date: Wed, 19 Aug 1998 13:04:25 -0700 From: "C. K. Coney" Subject: Re: art isn't easy, and Happy art queen of carrot flowers wrote: > >I've also watched people totally self-destruct who used > >entertainment as a means of escapism. > > >So you know - art can be theraputic or completely destructive - for > >either the artist and/or the fan (s). > A condundrum I'm totally familiar with. My own use of art is sort of > prismatic -- I can't say I use it for escapism entirely, but sometimes > listening to music or reading a book or seeing a film helps me to better > understand myself and what's around me, or makes me feel less lonely. Speaking of art...this past weekend my fave art show in metro Atlanta, the annual Folk Art show and sale, took place. For those not familiar with the genre, it's art by mostly self-taught artists, people on the margins such as prisoners and the physically challenged, etc. It's been called visionary art, naive art, intuitive art, etc etc. And I love it! So...I go to the show & wear my Happy teeshirt. Well, I sure turned heads!!! I got mostly stares, but one person whose booth I was spending time in came up to me asked "Is that actually a dove with bat wings?!!!" So I got my chance to talk about Happy's *other* art, her music, as well! Hmmm...I wonder if Happy allies herself with the visionary art genre? Does anyone know if she is self-taught, or did she go to art school? Have a good one! Carol ------------------------------ Date: Wed, 19 Aug 1998 13:20:00 -0700 From: "C. K. Coney" Subject: Re: Veda in DC Joseph S. Zitt wrote: > On Wed, 19 Aug 1998, Neal Copperman wrote: > > > > > I am soo soo ssoo excited about this show. Every month I think about > > going to NYC to see Veda play, and wonder if she'd ever come down here. > > Hmm... I was thinking of going to see the gamelan performance at the > Sackler-Freer (ap?) but this amy be worth overriding that.. > As a person who owns & plays a gamelan instrument, that would be a hard choice indeed. But how often does Veda tour that far from Vancouver? Frankly, I'm jealous as hell & I hope all of you go so you can share reporting duties!!! :-) And Neal, enjoy that show as your own lil going-away party...and have a safe move out West! Carol ------------------------------ End of ecto-digest V4 #284 **************************