From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V5 #326 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Wednesday, September 29 1999 Volume 05 : Number 326 Today's Subjects: ----------------- FW: Peter Hammill- Tour list ["Foghorn J Fornorn" ] Re: Ectofest (and unsubscribe) [Chris Sampson ] An Interesting Copyright nuance [Chris Sampson ] Happy Sighting ["Klaus Kluge" ] Re: Ectofest (and unsubscribe) [jjhanson@att.net] Re: An Interesting Copyright nuance [jburka@min.net] Re: An Interesting Copyright nuance [Chris Sampson ] Re: An Interesting Copyright nuance [Ofer Inbar ] Happy Sighting [Steve VanDevender ] Plastic DeNurdo ["One Two Three" ] Re: ectofest [There is no spoon ] RE: ectofest ["Foghorn J Fornorn" ] Re: new(s) stuff [Jeffrey Burka ] Re: new(s) stuff [joann.whetsell@oberlin.edu (JoAnn Whetsell)] Re: ectofest [Richard ] Re: ectofest [Dennis Breslin ] Fwd: Susan McKeown & Lunasa in NYC [Michael Curry ] ---------------------------------------------------------------------- Date: Wed, 29 Sep 1999 08:38:09 -0400 From: "Foghorn J Fornorn" Subject: FW: Peter Hammill- Tour list Of interest to Hammill fans. KB and friends may want to make a long weekend of it... - -----Original Message----- From: ph7@arastar.com [mailto:ph7@arastar.com] On Behalf Of Anthor List Manager Sent: Tuesday, September 28, 1999 12:56 PM To: Multiple recipients of list Subject: (fwd) Peter Hammill- Tour list - --- Forwarded mail from GVSTRING@EMAIL.MSN.COM Date: Fri, 24 Sep 1999 12:54:01 +0800 NEWS...CONFIRMATION of 2 AREA SHOWS! Tour list coming soon. Abreviated- confirmed shows only- others in the works: Oct 26th Quebec City 27th Sherbrooke 28th Montreal 29th Ottawa 30th Trois Rivieres Nov 2nd Philadelphia TLA 4th NYC The Bottom Line 6th DC see below 7th Balt see below _________________________________________________________________________ PLEASE FORWARD THIS MESSAGE TO POTENTIALLY INTERESTED FANS! Help SPREAD THE WORD! ______________________________________________________________________ PETER HAMMILL PERFORMING LIVE! PETER HAMMILL is returning to North America for a short tour after over 9 years, many CD's, touring in Europe, South America, and Russia! Saturday November 6th, 1999, 8:00 p.m. at PHANTASMAGORIA near Washington, D.C. Sunday November 7th, 1999, 7:00 p.m., an early show, at RECHER THEATRE in Towson, Md. (North of Baltimore) with ANNE WATTS supporting in a solo performance Details for each show are below: _________________________________________________________________________ PETER HAMMILL area show #1 Saturday November 6th, 1999, 8:00 p.m. at: PHANTASMAGORIA, Nightclub and Record Store, Northwest of Washington, D.C. 11319 Elkin Street, Wheaton, Md. 20902; 1-301-949-8886 (NOTE for reservations, see below) DIRECTIONS: 495 TO GEORGIA AVE NORTH, RIGHT ON UNIVERSITY, RIGHT ON ELKIN PERFORMANCE BEGINS 8:00 p.m., no opening act, doors 7:00 p.m. Admission at the door $17.00, a non-smoking event. Reservations via Email gvstring@msn.com or Phone 410-421-5553, until 11/5/99 PLEASE MAKE RESERVATIONS EARLY! THANKS! _______________________________________________________________________ PETER HAMMILL area show #2 Opening: ANNE WATTS Sunday November 7th, 1999, 7:00 p.m., an early show at: RECHER THEATRE in Towson, Md. (North of Baltimore) DIRECTIONS: 695 to York Road- Southbound, follow to and through circle, the Theatre is on the left just past Barnes & Noble PERFORMANCE BEGINS 7:00 p.m., doors at 6:00 p.m., a non-smoking event. TICKETS $17.00 available at ProTix, 410-481-6500, 800-955-5566, or visit any Record and Tape Traders beginning Friday 9/24/99 Please purchase your tickets early to help support the show! No reservations will be accepted _______________________________________________________________________ You are encourage to attend both shows, since Peter will undoubtedly change his set considerably from night to night. Last chance of the Millenium... Out-of-towners are welcome to spend a weekend in the Baltimore Washington area to catch a few rare shows! Email me for guidance on a hotel... BWI is usually a very low fare airport... Baltimore and Washington shows are brought to you by String of the Shoe Productions gvstring@msn.com or 410-421-5553 Gary Fick, Hope to see you there _______________________________________________________________________ Peter Hammill Bio Many of the following Peter Hammill related CDs are available at the Artist Shop on line. Since bailing out of his Liberal Studies in Science course at Manchester University in 1968, Peter Hammill has pursued an idiosyncratic career as songwriter, singer and musician. Until the late 70's he worked in the group Van der Graaf Generator. Their complex music, as often brutal as it was lyrical, fitted somewhat uneasily into the once and then niche of Progressive Rock. In the ethos of the group * one to which Peter has continued to subscribe since its demise - there was a marked aversion to the categorization of any sort; barely controlled chaos and a sense of adventure, rather than pomp, were the primary characteristics of their chequered nine album career. By the time the group finally folded Peter had already recorded seven solo albums, covering many lyrical and musical bases in the process. If one did not know otherwise, the proto-punk of Nadir's Big Chance, the full blown emotion of Over and the scatter-gun arrangements of The Silent Corner could well have been the work of three entirely different artists: it is Hammill's voice, both artistic and physical, which unifies them. It is this diversity that the major labels absolutely dread and want nothing to do with. Small wonder that Peter chose the independent route. Peter Hammill's Solo work: 1999 Typical, Musician: PH solo, live, Peter Hammill/Typical ...double import CD $16.99 A new live double CD from Peter Hammill slated for release around mid-April. Performances are all from '92, around Europe. Interspersed with his band/trio/duo activities, Peter has been performing purely solo shows on a regular basis since 1968. Several of these have appeared (in the usual predictably scrappy form) on various bootlegs. This collection of songs is the first official version of, "...whatever it is I do, wherever it is I go, alone on stage." This wonderful collection features over two hours of music and a 12 page booklet full of commentary from PH. 1998 This, CD 'This' is the fortieth album for which Peter Hammill has been responsible...some would say guilty. It is released on the eve of his fiftieth birthday, after thirty years of music making. The seven songs (and three instrumental 'fragments') on 'This' mark a clear statement of intent to continue pushing at boundaries within the overall context of The Song. Many features of the soundscape will be familiar to those who have followed Peter's music over the years: shape-shifting changes of mood and temperature; lots of "how did we get here from there;" instrumental coloring by turns delicate and brutal; trademark washes of backing vocals; the juxtaposition of the tightly arranged and the purely improvised. Instrumental contributors are his long-term cohorts Stuart Gordon (violin), Manny Elias (percussion) and David Jackson (saxes and flute). The lead voice is, as always, insistently to the fore, with the passing of time and rites of passage remaining the central lyrical concerns. To some, Peter is barking mad; to others, an eccentric of genius. What is clear is that his appetite for the fray remains undiminished. Moments here such as the guitar-driven nastiness of 'Always is Next,' the languorous development of 'The Light Continent' or the piano-based meditation on parenthood of 'Since the Kids' offer proof that This has not stopped yet.... 1997 Everyone You Hold 1996 Guy Evans & Peter Hammill/The Union Chapel Concert ....double import CD 1996 Sonix, import CD 1996 tides 1996 X my Heart, CD 1995 The Peel Sessions, CD 1994 Roaring Forties, CD& LP 1993 There Goes the Daylight, CD 1993 The Noise, CD& LP 1992 Fireships, CD& LP 1991 The Fall of the House of Usher, CD& 2LP. 1990 Room Temperature Live, 2CD 1990 Out of Water, CD& LP 1988 In a Foreign Town, CD& LP 1988 Spur of the Moment PH/GE, CD 1986 And Close As This, LP& CD 1986 Skin, LP& CD 1985 The Margin, 2LP& CD 1983 Loops and Reels, MC& CD 1983 Patience, LP& CD 1982 Enter K, LP& CD 1981 Sitting Targets, LP& CD 1980 A Black Box, LP& CD 1979 pH7, LP& CD 1978 The Future Now, LP& CD 1977 Over, LP& CD 1975 Nadir's Big Chance, LP& CD 1974 In Camera, LP& CD 1974 The Silent Corner and the Empty Stage, LP& CD, 1973 Chameleon in the Shadow of the Night, LP& CD, 1971 Fools' Mate, LP& CD, __________________________________________________ Van Der Graaf Generator: 1969 The Aerosol Grey Machine, LP, 1970 The Least We Can Do Is Wave to Each Other, LP& CD, 1970 H to He who Am the Only One, LP& CD, 1971 Pawn Hearts, LP& 1985 Time Vaults, MC& LP& CD, 1975 Godbluff, LP& CD 1976 Still Life, LP& CD 1976 World Record, LP& CD 1977 The Quiet Zone/The Pleasure Dome, LP& CD 1978 Vital, 2LP& CD 1994 Maida Vale, CD various recording made for BBC from 1971 through 1976. ____________________________________________________________________ Anne Watts Bio Anne Watts is a musician and composer whose music has been heard at the Merce Cunningham Studio and AIR Gallery, New York; the Philadelphia Theater Festival and the Theater of Nations; Center Stage and the Theater Project, Baltimore; and Embassy Row, Washington, D.C. She has performed with author Maurice Sendak, the UMBC Gamelan Orchestra, blues pianist Mose Vinson, and visual artist Lucio Pozzi. She is currently performing her original score for Buster Keaton's silent film classic, Steamboat Bill , Jr. with her band Boister, featuring accordion, drums, trombone, bass clarinet, guitar, and bass. Her new cd, Song of the Smoke, will be released in October 1999. Watts' music is published through BMI and Bug Music and has been released in France, Japan, and in the United States. "Boister is the best album of the decade..Anne Watts tears folk to shreds, reworks Brel, spits in the face of soft rock, and laughs off traditional constraints. Great." Jade Magazine (France) "Boister is the most wonderful and startling and heartbreaking record I've heard all year...a knockout!" John Jennings, producer/guitarist (Mary Chapin Carpenter) "Any artist that can reference Lotte Lenya, Edith Paif, Captain Beefheart, and Thelonious Monk at the same time is all right with me. Dark, earthtone vocals; faded, sepia band tracks with a splash of Day-Glo. It makes Tom Waits sound like a sissy." Jim Dickinson, producer/pianist (Replacements, Big Star, Rolling Stones, Bob Dylan) _____________________________________________________________________ You are encourage to attend both shows, since Peter will undoubtedly change his set considerably from night to night. Last chance of the Millenium... Baltimore and Washington shows are brought to you by String of the Shoe Productions gvstring@msn.com or 410-421-5553 Gary Fick See you there! - --- End of forwarded message from GVSTRING@EMAIL.MSN.COM - -- The Mailing List Managers of Arastar Consulting listman@arastar.com postmaster@arastar.com ------------------------------ Date: Wed, 29 Sep 1999 12:59:05 -0400 From: Steve Subject: Emm Gryner to back up David Bowie Wow, the last few days have been quite a ride for our dear sweet friendly community, haven't they? I don't think I remember there ever being *two* separate flame wars going on at once, especially with this level of toxicity. Anyways I don't want to fan the flames so I won't say any more on the subject. Just wanted to mention that Emm Gryner will be singing backup for DAVID BOWIE in October, including his appearance at the season premiere of Saturday Night Live this week and David Letterman on Monday. I can hardly believe it... Steve ------------------------------ Date: Wed, 29 Sep 1999 14:44:09 -0400 From: Chris Sampson Subject: Re: Ectofest (and unsubscribe) YKW wrote: > So I will make one last attempt to address the points > I've tried twice so far to address, but anyone who > wishes further intercourse with me on this or other > matters will be obliged to write to me directly. Nah... I can't even bring myself down to that level. ------------------------------ Date: Wed, 29 Sep 1999 15:03:56 -0400 From: Chris Sampson Subject: An Interesting Copyright nuance I mean all of the following as more of an abstract point than one relevant to Ectofest. All this talk about copyright infringement raises, what is for me, an obvious question, or, more precisely a call to be precise about whom we are speaking. Much of the 'if-this-were-a-perfect-world' arguments actually touch on this... When we say "copyright owner" we need to be clear as to whether we mean the artist (rarely) or the record company (usually). Of course, on this list, there are more and more artists who own the copyright (and I think that's just swell). Personally, I am more interested in the rights of the artist (and would love it, in a perfect, or should I say Righteous (Babe) world, if more artists had commercial as well as artistic control over their 'product') and to hell with the record company (except to the extent that their interests are protected enough for them to continue to exist to *serve the artist* effectively). That's all... I'm not tryin' to start no fights. Chris Sampson ------------------------------ Date: Wed, 29 Sep 1999 20:58:54 +0200 From: "Klaus Kluge" Subject: Happy Sighting It has been reported before that (some of) Happy's releases are now available in Germany, but yesterday was the first time that I actually saw one of her albums (MWABT) in a record store - stored under "H". A quick check revealed that this was the only album (and I looked under "R" as well). While I'm writing, let me add congratulations to Meth and Chuck for Ectofest. Wish I could have been there! And while I'm still writing, I could mention the local "New Female Voices Festival", that happened in Bochum a couple of weeks ago, introducing "Mellow Sirens", "Bandaloop" and "Fruit". We already knew Fruit from their first and only release, and they turned out to be a great live band with excellent musicians. They are labeled "elektro grunge" and are often compared to Garbage. Fun to listen to, over and over again, despite the often dark lyrics. Keep on listening... ...Klaus n.p.: Fruit - "Exposures Left>" n.r.: Patricia McKillip - "The Book of Atrix Wolfe" references: http://www.the-home-of-fruit.de/ (german language Fruit site) ------------------------------ Date: Wed, 29 Sep 1999 19:19:45 +0000 From: jjhanson@att.net Subject: Re: Ectofest (and unsubscribe) As much as I agree that Charley went a little overboard in his criticisim of Meth--particularly since he directed it to Kevin Bartlett, when the issue had already been dealt with and his opinion heard and discussed, I personally am a little appalled to see so many jumping on his grave and applauding his departure. Not exactly in the ecto spirit, is it? For those of you who only knew Charley from these recent posts, I guess it might be understandable, but he's been around ecto for years, and was responsible for introducing me to a lot of new music, including Diamanda Galas, and The Geraldine Fibbers (and probably many others). I feel particularly bad about the whole thing, because his arguments, though perhaps a little tactless, were trying to protect Ecto's image and name, an organization he apparently felt strongly identified with--and an organization that apparently turned it's back on him with vitriol when he raised his concerns. I was as ticked off when I first read his message as I'm sure most of you were, but I restrained myself from flying off the handle with an emotional post and tried to understand where he was coming from. I do believe at heart he had ecto's best interests in mind (as well as perhaps a little bit of vindictive pettiness, but then who doesn't feel that way on occasion when their buttons have been pushed). Personally, I'd like to think ecto is a friendlier place that tolerates different opinions a little more than I've seen here of late, but maybe that's because I identify with ecto myself, and would like it to live up to the fuzzy-blue-inclusive-friendly-environment that I've, perhaps mistakenly, believed it to be. I certainly am disappointed with the joyous celebration surrounding the driving off of a long-time member and contributor. Jeff Hanson ------------------------------ Date: Wed, 29 Sep 1999 16:32:23 -0400 (EDT) From: jburka@min.net Subject: Re: An Interesting Copyright nuance On Wed, 29 Sep 1999, Chris Sampson wrote: > Personally, I am more interested in the rights of the artist (and would > love it, in a perfect, or should I say Righteous (Babe) world, if more > artists had commercial as well as artistic control over their 'product') Uh...but very few artists have full artistic control over their 'product' either, when you get right down to it. As Aimee Mann describes it in "Nothing Is Good Enough": "It doesn't really help that you can never say what you're looking for but you'll know it when you hear it, know it when you see it walk through the door" Which is to say that even if you have a contract and the record company is willing to let you run off on your own and make your record, they're not necessarily going to sell it. "We don't hear a single." ('er, that's okay, I'm trying to sell albums'?) Hell, for that matter, isn't the issue of artistic control what kept Happy from signing for so long? After 7 or 8 albums she felt she deserved artistic control, but who in their (by record exec standards) right mind would give full artistic control to an unsigned nobody? jeff n.p. _i MEGAPHONE_, Imogene Heap ------------------------------ Date: Wed, 29 Sep 1999 16:49:19 -0400 From: Chris Sampson Subject: Re: An Interesting Copyright nuance jburka@min.net wrote: > Uh...but very few artists have full artistic control over their 'product' > either, when you get right down to it. As Aimee Mann describes it in > "Nothing Is Good Enough": I agree. Only the true indies (Ani, and others) have either (or both). > Hell, for that matter, isn't the issue of artistic control what kept Happy > from signing for so long? After 7 or 8 albums she felt she deserved > artistic control, but who in their (by record exec standards) right mind > would give full artistic control to an unsigned nobody? This is the crux of the biscuit. It'd be funny if it weren't sad... Chris ------------------------------ Date: Wed, 29 Sep 1999 17:43:38 -0400 From: "Foghorn J Fornorn" Subject: RE: An Interesting Copyright nuance The short answer is that if the artist doesn't own the copyright, they have no rights whatsoever unless they (or their lawyers) are smart enough to write up their rights in the contract and have the copyright owner agree to it. The abominable practices of the music industry at large are well documented, especially lately by Robert Fripp. The overall process is this, and forgive my oversimplification: - - artist sends demos, gets record company interest. - - Record company offers advance to record album. In return, record company gets all song copyrights. - - Artist spends advance recording album - - Record company may or may not release and distribute it. Assume they do. - - Royalties are paid to artist, LESS amount of advance. So the record company keeps the lion's share of the profits of the record, the artist essentially pays for production themselves, gets a measly 7% of sales if they're lucky, and has lost the rights to the songs they wrote, in perpetuity. This is standard operating procedure. This must change. ------------------------------ Date: Wed, 29 Sep 1999 17:52:43 -0400 (EDT) From: joann.whetsell@oberlin.edu (JoAnn Whetsell) Subject: new(s) stuff the sweet sounds of a happy stereo... i'm stool drooling over mary lydia ryan's _diaphanous_ which is probably being played an average of at least once a day in my room. also holly mcnarland's _sour pie_. i'm eagerly awaiting _stuff_ from a&b sound, but i know that's going to take weeks. At least I have the live version of "Elmo" on the Lilith Fair Vol. 2. Yesterday, picked up EBTG's new one, Temperamental. I wrote up an ectoguide entry for the album and just sent that to Neile a little while ago. I'm not really into club music, but I think they do it well, and I like this album. It's even more club than Walking Wounded, which individuals can decided for themselves whether that's a good thing or a bad thing. It's interesting. I had read that when they did Walking Wounded, they did it kind of as an experiment and intended to go back to acoustic music after that. Nobody told me that Loreena McKennitt had a new one out. Live From Paris and Toronto, a 2 disc set. All fans MUST get this. If they haven't already. I assume it is the same disc that was being sold through her website earlier. I remember some ecto mention of that. And proceeds benefit the fund she set up in memory of her fiance. Just got Bob Kollmeyer's dub of Dar Williams and Katryna Nields in concert, so I am excited to listen to that. Still loving To Venus and Back and Tree & Lips. Waiting for a bunch of stuff to come in the mail, including the new Veda and Emm Gryner. I felt bad not picking up the Paula Cole yesterday, but I'd rather hear some of it first. Has anyone heard it yet? Or Come On Now Social (indigo girls)? Midwesterners: MADDER ROSE is playing here at Oberlin (Ohio) this Saturday at 10. Tickets are $5 (I think. something like that) Someone asked me to talk about the JAZZ MANDOLIN PROJECT. Okay. They're a trio. One guy plays mandolin and banjo, one does drums/percussion, and the other plays bass. They use some other instruments too, but those are the main ones. They have two albums, 96' self-titled, and 98's Tour De Flux, which was recorded live in studio. They play improvisationally, and I hear they're really good live. I think they're a really energetic group; this isn't soft jazz or elevator-type music at all. And you don't have to be a jazz fan to like them. I don't like very much jazz, but I like them a lot. I hear folk/country, rock, even some Latin influences in their music. I think they're serious about their music, but you can hear them experimenting and having fun. So go see them if this sounds at all interesting, and let us know what you think! I want to go see them in Pittsburgh this Friday, but I don't want to go by myself, and so far can't find anyone to go with me. Are there any kind Pittsburh 'philes who would like to go to the show or would put me up for a night (return favors included in request) so that I wouldn't have to drive back to Oberlin in the wee hours of the morning by myself? JoAnn np: EBTG _Temperamental_ but it's the last song so I think I'm going to put in the Dar/Nields disc now. Thanks again, Bob ------------------------------ Date: Wed, 29 Sep 1999 17:59:12 -0400 From: Chris Sampson Subject: Re: An Interesting Copyright nuance Foghorn J Fornorn wrote: > So the record company keeps the lion's share of the profits of the record, > the artist essentially pays for production themselves, gets a measly 7% of > sales if they're lucky, and has lost the rights to the songs they wrote, in > perpetuity. This is standard operating procedure. This must change. Along one line of reasoning... "It is this that brings us together". Chris ------------------------------ Date: Wed, 29 Sep 1999 18:19:44 -0400 From: Stuart Myerburg Subject: Re: new(s) stuff JoAnn Whetsell wrote: > Yesterday, picked up EBTG's new one, Temperamental. I wrote up an > ectoguide entry for the album and just sent that to Neile a little while > ago. I'm not really into club music, but I think they do it well, and I > like this album. It's even more club than Walking Wounded, which > individuals can decided for themselves whether that's a good thing or a bad > thing. I would agree that _Temperamental_ is even more pure dance music than _Walking Wounded_. And, it's a good album. But I still think _Walking Wounded_ is their masterpiece. They were able to take the traditional EBTG sound and meld it perfectly with modern dance and electronica sounds. On _Temperamental_, the songs seem to have organically developed as dance music, but the result is just a little too generic. I'm not disappointed since I'm just happy to have another EBTG album, but I don't think this one will have the staying power with me that _WW_ has. > I felt bad not picking up the Paula Cole yesterday, but I'd rather hear > some of it first. Has anyone heard it yet? I was hesitating yesterday for some reason, even though I *love* _This Fire_ and _Harbinger_. I just had a weird feeling I wouldn't like the new one. But I bought it anyway. I've only listened to it 1 1/2 times. The first time, I hated everything except the first single, "I Believe in Love," which is nice enough in a poppy sort of way. After listening to half of the album a second time, I like it better but it's just a little too safe sounding and there are no real standout tracks for me yet. The lyrics are also a little annoying. But I haven't given up hope just yet. Still, there is nothing that instantly grabs me the way the last album did. Stuart np: The Fragile - Nine Inch Nails - -- ______________________________________________ Stuart Myerburg http://userwww.service.emory.edu/~stuart ______________________________________________ ------------------------------ Date: Wed, 29 Sep 1999 19:20:21 -0400 From: Ofer Inbar Subject: Re: An Interesting Copyright nuance jburka@min.net wrote: > Hell, for that matter, isn't the issue of artistic control what kept Happy > from signing for so long? After 7 or 8 albums she felt she deserved > artistic control, but who in their (by record exec standards) right mind > would give full artistic control to an unsigned nobody? Rounder (aka Philo, Hearbeat, Zoe, and a few others) The majority of Rounder artists were "unsigned nobodies" (many of them extremely talented unsigned nobodies) when signed, and remain "nobodies" to this day. I think Alison Krauss is the only artist to ever have gone platinum with a Rounder release (although they've got catalog of some artists who have done so on other companies). To the best of my knowledge all Rounder artists get to decide when to record, what to record, when to release, when and where to tour, etc. I don't actually know for a fact that this is their official policy, but this is what I've seen based on knowing a fair number of Rounder artists personally, as well the president and some other people in the company. I do know that their policy on recordings is, the artist gives them the complete recording as they want it, and Rounder packages, duplicates, distributes, and helps promote it. -- Cos (Ofer Inbar) -- cos@wbrs.org cos@polyamory.org "Cops are always a bit menacing; hackers hard to trust. But millionaires and Grateful Dead lyricists have their own odd kind of charm, believe me." -- Bruce Sterling, 9 November 1992, on GEnie ------------------------------ Date: Wed, 29 Sep 1999 17:15:13 -0700 (PDT) From: Steve VanDevender Subject: Happy Sighting Klaus Kluge writes: > It has been reported before that (some of) Happy's releases are now > available in Germany, but yesterday was the first time that I actually > saw one of her albums (MWABT) in a record store - stored under "H". > A quick check revealed that this was the only album (and I looked under > "R" as well). > While I'm writing, let me add congratulations to Meth and Chuck for > Ectofest. Wish I could have been there! As it turns out, I passed over going to Ectofest to instead go to Germany at the invitation of a friend of mine here who was going back to to visit his family and friends in the Stuttgart area. It was a fun way to see Germany, more like being a native than a tourist. Sorry I didn't warn any of you in Germany, but I couldn't remember if anyone here was even close to the Stuttgart area and I was only there for a week with a pretty busy itinerary. And I didn't remember to look for any Happy albums while I was there. I was really seriously thinking about attending Ectofest for a while. And my only gripe about Ectofest was that it sounded so cool that I wish I had gone. I also discovered much to my dismay, after I got back, that Kristin Hersh played right here in Eugene in the most ideal local venue (the WOW Hall) during the time I was in Germany. Waaah! And, for my future travel plans, I will be in Seattle from November 6-13 at the USENIX LISA '99 conference. So if any Seattle-area Ectophiles want to have an Ectogathering (gee, I hope I don't ever have to start getting permission to stick Ecto in front of words) let's make some plans. ------------------------------ Date: Wed, 29 Sep 1999 01:30:32 CDT From: "One Two Three" Subject: Plastic DeNurdo Fond farewells to Charlie Rubber DeNiro...don't forget your rubbers...if you forgot anything else, don't come back for it, we'll send it to your forwarding address. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 29 Sep 1999 00:44:42 -0500 From: There is no spoon Subject: Re: ectofest At 10:31 PM 9/28/1999 +0000, rkonrad1 wrote: >and leave the key on the table by the door. on second thought, don't >bother- we'll change the locks. Ooooh, good idea! Maybe we should implement a password system so that Charley won't ever be able to subscribe again. (Too bad that, ironically, Charley was the only one in this whole debate who actually *cared* about the "Ecto community." And he ends up getting pissed off, pissing everybody else off, and getting pissed on himself. Weird, how things work sometimes, isn't it?) Ecto - it's just a word, after all! Vickie ------------------------------ Date: Wed, 29 Sep 1999 21:44:46 -0400 From: "Foghorn J Fornorn" Subject: RE: ectofest >>> Too bad that, ironically, Charley was the only one in this whole debate who actually *cared* about the "Ecto community Um, wait a minute. I'll agree Charley *really* cared about the ecto community, but I balk at saying he was the *only* one. I've only been here 4 or 5 of the 8 years ecto's been around, and I see *lots* of caring. And I like to include myself in that too. You too. And frankly, the kind of "caring" he showed at the end was the kind of caring I feel we can do without. I don't think I'm alone in this. And I don't want to start a sub-war, I think I know what you're trying to say, and I don't disagree with the spirit of the comment, just how it was put. "... Charley usually had the best interests of the ecto community at heart when he offered his opinions". - Possible rephrasing. ------------------------------ Date: Wed, 29 Sep 1999 21:49:33 -0400 From: Jeffrey Burka Subject: Re: new(s) stuff JoAnn Whetsell sez: > Nobody told me that Loreena McKennitt had a new one out. Live From Paris > and Toronto, a 2 disc set. All fans MUST get this. If they haven't > already. Could you clarify this? Am I a fan if I loved the first four albums, kinda liked the 5th, 5.5th (EP), wouldn't have minded if the 6th hadn't be released, and found the tour for the 4th album exhillerating beyond words but then was basically non-plussed by the tour for the 5th? Yes, lots of parameters here, but I'm actually trying to decide if I should be excited or blase'. jeff n.p. _Western Wall | The Tucson Sessions_, Linda Rondstadt & Emmylou Harris - -- |Jeffrey C. Burka | http://burka.jeffrey.net ||||"I've got time to rest / | ||||||||||||| And I've got a clear, able mind that sees my life going fine. | | 'Cause everything I need is right here in my hands..." --Melissa Ferrick | ------------------------------ Date: Wed, 29 Sep 1999 22:48:24 -0400 (EDT) From: joann.whetsell@oberlin.edu (JoAnn Whetsell) Subject: Re: new(s) stuff Stuart Myerburg wrote: >I would agree that _Temperamental_ is even more pure dance music >than _Walking Wounded_. And, it's a good album. But I still think >_Walking Wounded_ is their masterpiece. I totally agree. > >I was hesitating yesterday for some reason, even though I *love* >_This Fire_ and _Harbinger_. I just had a weird feeling I wouldn't >like the new one. Exactly my hesitations. I'll probably pick it up at some point anyway, maybe when I find a used copy or something. JoAnn ------------------------------ Date: Wed, 29 Sep 1999 22:52:02 +0000 From: Richard Subject: Re: ectofest > Ooooh, good idea! Maybe we should implement > a password system so that Charley won't ever > be able to subscribe again. Changing The Locks was a figure of speech, Vickie- It was meant solely to express my pissed-offness with Charley for calling Meredith an "arrogant bitch".... He crossed the line with that one and I make no apology for this one and only time I've ever posted a flame here. He can obviously come back anytime he wants to and I just hope he will honor the tradition of civility here if he does. > (Too bad that, ironically, Charley was the only > one in this whole debate who actually *cared* > about the "Ecto community." And he ends up > getting pissed off, pissing everybody else off, > and getting pissed on himself. Weird, how things > work sometimes, isn't it?) So the people who labored without compensation to make this event happen don't "care about the community"? That's a slap in the face not only to Chuck & Meredith and everybody else who volunteered themselves, but also to the musicians who contributed THEIR time. It seems to me that a sense of caring and of community is manifested by *giving* and not by sniping and name-calling, don't you think? - --Richard ------------------------------ Date: Wed, 29 Sep 1999 23:40:04 -0400 From: Dennis Breslin Subject: Re: ectofest There is no spoon wrote: > > (Too bad that, ironically, Charley was the only > one in this whole debate who actually *cared* > about the "Ecto community." And he ends up > getting pissed off, pissing everybody else off, > and getting pissed on himself. Weird, how things > work sometimes, isn't it?) > > Ecto - it's just a word, after all! > > Vickie This is turning into a fine little flamefest! To say the least, this claim about caring is just so much hypbolic bullshit. I've been lurking round here for a good many years, picked up lots of good music, but always enjoyed following Happy's career. I'm real disappointed that I couldn't make it to the recent concert, especially so since I live in Connecticut. This list, whatever else it might do, has been about Happy Rhodes' music. Whatever other honorable causes the recent concert advanced, it was about putting on a concert that Happy Rhodes headlined. Charley's griping was more than tactless, it was aggressivly petty and besides the point. When people affiliated with this mail list become instrumental in hosting Happy Rhodes and her music, well, thats a pretty sizeable accomplishment. The kudos still stand. Dennis Breslin ------------------------------ Date: Wed, 29 Sep 1999 23:58:33 -0400 From: Michael Curry Subject: Fwd: Susan McKeown & Lunasa in NYC >Date: Wed, 29 Sep 1999 20:45:36 -0700 (PDT) >To: chanting@earthlink.net >From: Sheila-na-Gig Music >Subject: Susan McKeown & Lunasa in NYC > >>>>>>>>>>>>>>>>>>SHEILA-NA-GIG ARTISTS IN NYC<<<<<<<<<<<<<<<<<<<<<<< > >This Saturday, Susan McKeown & the Chanting House, Irish traditional super >group Lunasa, singer songwriter Casey Neill, and others will perform at the >fantastic end-of-Summer event known as The New York City Oyster Festival. >Come down and see this great event, listen to excellent music, eat oysters >and drink Guinness to your hearts delight! > >>>>>>>>>>>>>>>>>>>>>THE NYC OYSTER FESTIVAL<<<<<<<<<<<<<<<<<<<<<<<< > >The 3rd Annual New York City Oyster Festival will be held on Saturday, >October 2, 1999. Inspired by the tradition of Ireland's Galway Oyster >Festival, the festival is a 1-day event, held in the heart of the Village >in New York City. The event hosts live music from 12-8pm, and is free to >the public. Attracting tens of thousands, the Festival is a benefit for The >Merchant's House Museum, a 19th century historic building, which operates >in partnership with the City of New York/Parks & Recreation. > >The festival is located at 29 E. 4th Street in Manhattan, between >Lafayette and Bowery. > >For information, call: 212-777-1089. > >MUSIC ARTISTS >12:00 noon Casey Neill >1:00 pm The Eileen Ivers Band >2:30 Susan McKeown & the Chanting House >4:00 Lúnasa >5:30 Kevin Brennan >7:00 The Paperboys > > >SPONSORS INCLUDE: >90.7 WFUV Radio >Guinness Import Company >Gotham Seafood >Tower Records >City of New York/Parks & Recreation > > > >>>>>>>>>>>>>>>>>>>>>>>>>>LUNASA RECORD LAUNCH<<<<<<<<<<<<<<<<<<<<<<<<<<< > >GREEN LINNET RECORDS is hosting a special launch of a new recording by >Lunasa, for their US debut, "Otherworld". > >THURSDAY, SEPTEMBER 30 at ARLENE GROCERY >95 Stanton Street, NYC (between Orchard & Ludlow) >6-8pm (212) 358-1633 > >THIS IS A FREE SHOW!!! > >>>>>>>>>>>>>>>>>>>>>>>>>> > >About LUNASA........ > >Amongst the waves of Irish music to have come to America's shores, >certain groups stand out as remarkable. First came The Clancys with >their Aran sweaters and songs from the old country, followed by The >Chieftains' pure melodic strains. The 70's brought the legendary Bothy >Band, and in the 80's Altan rose with their own distinctive northern >sound. Now a new group has emerged in Ireland to take Irish music into >the next millennium. > >That group is Lúnasa. > >Firmly rooted in the tradition, and with the blessings of the masters of >that tradition, Lúnasa (pronounced LOO-nasa) are poised for greatness. >That is already evidenced in their live performances worldwide and >stellar recording work. It is significant that Matt Molloy, the great >flute player and former member of The Bothy Band has remarked "they >remind me of a group I used to play with". Lúnasa are the inheritors of >a great musical legacy. > >Lúnasa is Ireland's fastest rising new traditional band. In January >1999, Lúnasa took New England by storm during a 4 -day promotional tour >of the Northeast, laying the groundwork for the release of their first >studio recording, and subsequent tours of the U.S. and Canada. 'Folk with >balls!' proclaimed a review of Lúnasa's appearance at The Blue Mountain >Folk Festival in Australia. 'Not since The Bothy Band has an audience >held its band in such awe and expressed its gratitude for their talent >so vehemently.' > >Not the 'newcomers' they may appear to be, the members of Lúnasa are, >and have been for many years now, the backbone of many of the great >Irish Super Groups of our time. It's only in this latest combination >that they have pushed their own considerable talents to the fore: Sean >Smyth - fiddle; Trevor Hutchinson - bass (formerly The Waterboys), Donogh >Hennessy - guitar (formerly The Sharon Shannon Band); Kevin Crawford (of >Moving Cloud) - flute; Cillian Vallely - pipes. > >Following the success of their second promotional tour of North America >in May 1999, that took them across North America, through Alberta, >California, and New York, Lúnasa signed a worldwide recording deal with >Green Linnet Records. The label will release the group's brand new album, >Otherworld, in October 1999. > > >THE ORIGIN OF LUNASA >The group takes its name from the ancient Irish god of light and genius, >Lúgh. Lúgh was unique for his mastery of all the arts, a master craftsman >not only as a harper but equally as skilled a warrior, poet, carpenter, >magician and physician. His achievements earned him a place at Tara, the >ancient seat of the Irish High Kings. As a musician he had the ability to >move the company at Tara to tears or to great joy. Lúgh's feast day is >celebrated on August 1st, and he is remembered in the Gaelic word for >August, Lúnasa. > >http://www.lunasa.ie > >************************************** > >Yours from.........Sheila-na-Gig Music, NYC > ------------------------------ End of ecto-digest V5 #326 **************************