From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V8 #126 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Monday, May 6 2002 Volume 08 : Number 126 Today's Subjects: ----------------- Sarah Slean's Night Bugs ["Karen Hester" ] re being a fan/being objective ["Karen Hester" ] Disappointment in artists and THE BREEDERS [irvin lin ] Re: Disappointment in artists and THE BREEDERS [Jessweiser24@aol.com] Happy Rhodes Playing Live!!! [meredith ] Ani Difranco Preps Documentary, Live Album [Jessweiser24@aol.com] Re: Ani Difranco Preps Documentary, Live Album [Joseph Zitt ] weekend o'music [meredith ] Ani Difranco Preps Documentary, Live Album ["heidi maier" Subject: Sarah Slean's Night Bugs I agree with most of the criticism - heartfelt piano girl turns cabaret with wobbling aged voice, arrangements involving an overwhelming number of jostling instruments. Sarah Slean's new album is like an ornate gown so heavily laden that the body inside appears slight and cannot move her arms to express herself. But I really really like it! The melodies are so catchy, best-of-Tanya-Donelly catchy. The over-the-top arrangements can sometimes be ignored and othertimes embraced. It's a bit like the movie Moulin Rouge - I completely understand that many people found it all gaudy style and artifice and way to fast and loud, a piece of decorative art; but I found the romance beneath it all heartfelt, and enjoyed failures and daring. 'Night Bugs' can be too much, but 'Blue Parade' was a well-behaved cd of too little, and I'm singing along. 'Eliot' was already a show-tune for me so I don't mind the silly number of instruments. The string crescendo reaches hysteria and Sarah oos and wuhos according to the lyric sheet, which is fine since it's not about ordinary day stuff or delicate emotions. I'm happy. 'Weight' however demonstrates how a song can collapse under different instruments. There's even a percussion break where the drums seem lifted from Lamb - not just a different time tempo but a different genre. There are doodling sci-fi-ish electronic noises and so many backing voices and a wurlitzer and vibraphone and when I complained that the original 'Weight' didn't have a heavy enough bass line, I just meant meatier bass guitar, low end of the piano and perhaps a cello growling - not this. Sheesh. I really like 'Drastic Measures' which isn't pared down enough, but doesn't overwhelm its menacing deeper sounds so much as 'Weight'. 'Duncan' is fun theatre but again less could be more, singing "oh you fool, you fool!.. rage my darling, rage!" would sound much better in a blowsy overly romantic manner. However all the instruments make the song so structured that she can't lean into notes and deviate from the beat to emphasise. I think of the earlier released songs 'Book smart, street stupid', 'Sweet ones' and 'Bank Accounts' together, and they all successfully meld their theatrical arrangements to the songs. Well, they could be less OTT but whatever. The line "i was a lead in the orphan choir and i sang with all my might" is sooo perfect. These are so catchy, insanely catchy, yummy mouth-filled-to-bursting-with candy catchy. 'Dark room' is a mystery, just strings with darkly printed lyrics yet no recorded voice. I'm trying to slide the words into it. 'St. Francis' is a shady ballad with the piano dripping as if underwater, and might appeal to people who aren't fond of the album. I don't need another 'My invitation' and can't tell on a cursory listen how it differs from the previous version. 'Me, I'm a thief' begins with what sounds like an airplane taking off amid the vandalisation of pianos, and it is slow and dark and has lots of little noises. And bigger noises, clinging to the heavy beat and beeping, which get to me but hopefully I'll come to ignore them. It's annoying having to learn to ignore things in an album. I used to hear songs as they are recorded, but now I look for the song behind the recording and sometimes want a different version. Ain't imagination a bugger. Hopefully Sarah will mine other areas in her career, but a few albums like this would be fine with me. Karen ------------------------------ Date: Mon, 29 Apr 2002 15:47:49 +1200 From: "Karen Hester" Subject: re being a fan/being objective Kia Ora Adam K, perhaps it is telling that no one on ecto has mentioned Patty Griffin's 1000 Kisses - if it is indeed beyond criticism and a gift from a superior being, someone on ecto would have noticed it! You're welcome to post an honest review here, I'd like to read something clear-sighted. Even when I love an album I find sharp partly negative criticism more interesting and revealing than an assessment which exactly matches mine. The album hasn't even been released in NZ yet, but I won't mention that elsewhere, it might label me a whining foreigner :) The touring thing is doubly painful - yes, I'd love to see my favourite artists for the fun of the show itself, and I'd also love to come to a new understanding of their music and hear something different in new songs that I don't quite get. Sometimes a different arrangement reveals a facet of a song that makes the recording bloom anew when you return to it. I never understood 'boys for pele' until hearing live recordings from that era. Sigh. Karen. >Date: Fri, 03 May 2002 09:05:22 +0100 (BST) >From: adamk@zoom.co.uk >Subject: Being a fan/being objective > >Over on another list that I'm a member of, a debate rages. >The artist in question has, after a couple of years of ... ------------------------------ Date: Sat, 04 May 2002 00:41:45 -0700 From: irvin lin Subject: Disappointment in artists and THE BREEDERS > Date: Fri, 03 May 2002 09:05:22 +0100 (BST) > From: adamk@zoom.co.uk > Subject: Being a fan/being objective > > Over on another list that I'm a member of, a debate rages. > The artist in question has, after a couple of years of > label wrangles (resulting in the "lost album" syndrome) > finally signed to an independent label and finally released > her third album. Opinion is, to say the least, sharply > divided. There are those that feel, for various reasons, > that the album is unsatisfactory, and there are others who > won't hear a word against it. I feel this sort of syndrome most often happens when there has been a significant wait of some sort between albums. Whether this is due to label issues, or legal issues, or personal issues, the longer the gap between albums, the higher the expectation and ultimately the higher the emotional response will be, either great relief and embracement or rejection and disappointment. Case in point. I was able to track down the latest THE BREEDERS albums (US domestic commercial release MAY 21, 2002) entitled TITLE TK. It has been nearly ten years since the LAST SPLASH album and seven years since KIM DEAL has released anything commercially (THE AMPS side project came out in '95). Press is already buzzing about the album, and most likely the lead single will get BUZZBIN-ed on MTV (or wait. Do they still do that? I don't even think they play videos on MTV anymore, except for TRL but what do I know, I don't have cable) because KIM DEAL is finally releasing something. KIM, the appointed savior of indierock, the legendary woman behind the seminal bands THE PIXIES and THE BREEDERS. KIM the woman who rocked post-NIRVANA style and had her song CANNONBALL played all over MTV, eventually going platinum with LAST SPLASH and headlined sold out LOLLAPALOOZA's across the US. She's back finally with a NEW ALBUM! Problem is the album isn't all that great. At least to my ears. And I don't think the album will sell all the well. Why? Well partially it's because of the era. The whole indie rock scene is no longer selling huge like they were back in the early 90's. Not to say that everything on the charts is preproduced teen pop like it was three years ago ala BRITNEY and CHRISTINA. Sure THE STROKES are being heralded as the new rock saviors. THE WHITE STRIPES album is still selling really well and WILCO just released an album that debuted at 13 in the BILLBOARD HOT 100. But the reality is, unless there's a catchy single to sell the album, the album isn't going to go anywhere. And I didn't hear a catchy single. Now this isn't the only reason I am not overly thrilled with the album. Maybe I need to listen to it longer. Let it sink in. but for me, the album just lacks energy and punch. It's flat. It's soulless and it sounds like something should have been released in 1994. The year after LAST SPLASH was released. Or in 96-97 right after THE AMPS album. In short I was disappointed with it. After all the build up I wanted more. The NEW YORK TIMES wrote a pretty decent article about what THE BREEDERS have been up to (http://www.nytimes.com/2002/03/17/magazine/17BREEDERS.html) since their last album. They conclude the article by mentioning how TITLE TK sounds like the album that THE BREEDERS would have made right after LOLLAPALOOZA, not like an album that that took ten years to make. I have to agree. Had the album come out right after LOLLAPALOOZA I would have most likely enjoyed it, not thought too much about how lackluster the sound is, and then moved on. Another album probably would have followed in a couple of years, and TITLE TK would have just sat on my shelf gather dust, much like BELLY's KING album, to be pulled out every now and then to listen to nostalgically, but not necessarily because it's a great album or had brilliant songs. But because it's been ten years, I was expecting something amazing. Songs on the same level as CANNONBALL, GIGANTIC, or something off the SAFARI EP. Instead I got what sounds like leftover bsides. And that's not necessarily a bad thing. I mean, I'll take leftover BREEDER's bsides over, say a leftover DESTINY'S CHILD bside. But I wanted so much more.... Sigh. Okay sorry I had to vent. I hope the album does well for them. I want THE BREEDERS to be able to continue to make great music. Which I still expect from them. I just didn't quite get it this time. I realize that not every album is going to be a masterpiece. I look forward to the new JULIANA HATFIELD project with FREDA even though I wasn't thrilled with the BLAKE BABIES reunion album (it was only okay). I think the new TANYA DONELLY album is loads better than LOVESONG FOR UNDERDOGS and I look forward to the new THROWING MUSES album - even though I wasn't overly enthusiastic about LIMBO. Heck I even continue to buy TORI/PJHARVEY albums even though I really haven't liked anything either has released since UNDER THE PINK/RID OF ME. So I look forward to the follow up album to TITLE TK. I feel funny saying that, because the album isn't even released yet, but I do. I just hope it won't be another ten years. Irvin Ps. Other albums I look forward to: the new AIMEE MANN album (tentative mid-august release), the live album by ANI DIFRANCO (even though I haven't really liked anything she's done since DILATE), and the new BETH ORTON album (she got BEN WATT to produce a lot of it!). ------------------------------ Date: Sat, 4 May 2002 03:14:22 -0700 (PDT) From: Ellen Subject: Re: re being a fan/being objective - --- Karen Hester wrote: Sometimes a different > arrangement reveals a facet of a > song that makes the recording bloom anew when you > return to it. I never > understood 'boys for pele' until hearing live > recordings from that era. I was disappointed by Catie Curtis' latest CD. I really loved the previous one -- thought it was her strongest work to date. However, I decided to attend her recent London gig because I hadn't seen her in a while. I was pleasantly surprised that the new songs sounded a lot better live than they do on CD. Of course, I've felt that way about Susan Werner for a while. I recently reviewed *New Non-Fiction* for a webzine, and I had to admit that while wasn't thrilled with the CD, I'd love to try out the songs live since I've always liked her better live. However, I don't think she's heading across the pond any time in the near future. (Overall, I felt this recent CD sounds like she's desperately searching for her niche.) I'm also disappointed that the Indigo Girls and the Be Good Tanyas (along with some other fine acts) are playing the Sunday of the Cambridge Folk Fest. Attending that day would mean that I would miss the orientation for a professional, job-related workshop I'm attending that week in London. However, yesterday's Guardian revealed further BGT tour dates in the UK. After Glastonbury, which I'm also missing, they're on a short tour as follows: 2 July: Bristol 4 July: Glasgow 5 July: Sheffield 6 July: Leicester 7 July: London (Union Chapel) 8 July: Newcastle 9 July: Chester 10 July: Milton Keynes (actually Wavenden -- The Stables) And I'm seeing the Indigo Girls -- with Pina and Cara Dillon as support -- on the 8th in London. Oh, and a quick mention of Catie's opening act -- Donna Dean. She's from New Zealand, but I never would have guessed it until she spoke. Her first two songs (done without any introductions, etc.) were country western, and her singing voice had a decided twang to it. Ellen ===== "Literature stops in 1100. After that, it's just books." - -- JRR Tolkien Yahoo! Health - your guide to health and wellness http://health.yahoo.com ------------------------------ Date: Sat, 4 May 2002 09:29:13 EDT From: Jessweiser24@aol.com Subject: Re: Disappointment in artists and THE BREEDERS Irvin said: > Ps. Other albums I look forward to: the new AIMEE MANN album (tentative > mid-august release), the live album by ANI DIFRANCO (even though I haven't > really liked anything she's done since DILATE), and the new BETH ORTON album > (she got BEN WATT to produce a lot of it!). Do you have any info on the Ani live album? I haven't really liked anything since Dilate either... a few songs here and there, but not an album as a whole... Jess www.jessicaweiser.com | www.aftersilence.net new album AFTER SILENCE available 5/15!! ------------------------------ Date: Sat, 04 May 2002 14:19:20 -0400 From: meredith Subject: Happy Rhodes Playing Live!!! Hi, I thought that might get your attention :). A friend mentioned to me last night that she saw Happy's name on the Tin Angel's schedule, and she wasn't kidding! From http://www.tinangel.com: Sat, 6/1 7:00 $16 Project Lo, Happy Rhodes & Bon Lozaga I hear that Happy and Bon may be doing more dates as the summer goes along. There's nothing up at LoLo Records' web site, though, but if I hear any specifics I'll of course post them here. I smell a road trip to Philly ... ======================================= Meredith Tarr New Haven, CT USA mailto:meth@smoe.org http://www.smoe.org/meth ======================================= Live At The House O'Muzak House Concert Series http://www.smoe.org/meth/muzak.html =====Next Up: Molly Zenobia 5/5/02===== ------------------------------ Date: Sun, 5 May 2002 15:21:54 EDT From: Jessweiser24@aol.com Subject: Ani Difranco Preps Documentary, Live Album Ani DiFranco Preps Documentary, Live Album Before she issues her next studio album, ever-busy singer/songwriter Ani DiFranco tells Billboard.com she will unveil a two-hour movie about her life -- on and off the road over the past five years -- and a live album via her Righteous Babe Records label. Shot largely by DiFranco friend Hilary Goldberg, "Render: Spanning Time With Ani DiFranco" is due June 11 on VHS/DVD and features performances of the previously unreleased songs "In the Way" and "Slide." Featuring cameos by Hammell On Trial, as well as Righteous Babe artists Utah Phillips and the duo Bitch & Animal, "Render" shows the singer on the road, in the studio, and at home in Buffalo, N.Y. Coinciding with several of her songs, the film also touches on urban decay, racism, sexuality, and the death penalty. It includes performances of such songs as "Fire Door," "Subdivision," "'Tis of Thee," and "Two Little Girls." Slated for a fall release is DiFranco's second live album, "So Much Shouting, So Much Laughter," which will include a version of "Self Evident," a riveting poem about the events of Sept. 11. The artist's prior live set, 1997's "Living in Clip," debuted at No. 59 on The Billboard 200 and has sold 378,000 copies in the U.S. to date, according to SoundScan. Though she had performed the poem -- a detailed recounting of what it was like to be in New York that day -- on previous stops on her recent tour, DiFranco says doing "Self Evident" recently in front of an audience at New York's Carnegie Hall proved both terrifying and, ultimately, cathartic. "I launched into it, luckily for me, before the panic really set in," DiFranco says of the performance. " I started flapping my lips and then I thought, 'What the f*** am I doing?' Ya know? I mean, who knows what these people in this room lost, who they lost, how [9/11] impacted their personal lives. Like, ya know, 'I'm dumping something pretty big on people unsuspecting in this audience right now, and just summoning all of our collective emotion around it -- which in New York can be pretty heavy. I remember standing there onstage and hearing somebody sobbing from the second upper balcony. "I was just panicking the whole way through," she continues. "I felt so compelled to speak to it, but, ya know, you're always questioning, 'What do I have a right to?' or 'What am I asking of my audience right now?' It was really heavy for me. I was crying, and they were crying, we we're all crying. And it was beautiful at the end." DiFranco says the song was still unfinished until that very performance. "I was in New York on the 11th," she relates. "There was a lot to process, a lot to think about, a lot to write down, and grapple through. It was called 'Work in Progress' until that show. When I went back and performed that poem before a house full of witnesses and bore witness before them and amongst them, I felt like it was done. I had worked on it for months, just kind of tweaking it and changing it, adding to it. The question just became when to stop, ya know? There's just so much to say." The song has ended up being "six or seven"-minutes long, DiFranco says, adding that "In the Way" and "Slide" will show up on her next, as-yet-untitled studio album, the follow-up to last year's two-disc set, "Revelling/Reckoning." www.jessicaweiser.com | www.aftersilence.net new album AFTER SILENCE available 5/15!! ------------------------------ Date: Sun, 5 May 2002 15:29:16 -0500 From: Joseph Zitt Subject: Re: Ani Difranco Preps Documentary, Live Album On Sun, May 05, 2002 at 03:21:54PM -0400, Jessweiser24@aol.com wrote: > Featuring cameos by Hammell On Trial, as well as Righteous Babe > artists Utah Phillips and the duo Bitch & Animal, "Render" shows the > singer on the road, in the studio, and at home in Buffalo, N.Y. Ooh! Hamell on Trial is a force of nature. Ya gotta see this guy perform. He used to be a performance poet in Austin, and did some amazing gigs with Wammo (another amazing performer, now in the Asylum Street Spankers) at coffeeshops and the like out there. His stuff is hilarious, perceptive, cinematic, and just plain fun. If you haven't heard him yet, make a point of doing so. - -- | jzitt@metatronpress.com http://www.josephzitt.com/ | | http://www.metatronpress.com/jzitt/ http://www.mp3.com/josephzitt/ | | == New book: Surprise Me with Beauty: the Music of Human Systems == | | Comma / Gray Code Silence: the John Cage Discussion List | ------------------------------ Date: Sun, 05 May 2002 22:49:01 -0400 From: meredith Subject: Re: Ani Difranco Preps Documentary, Live Album Hi, Joe responded: >Ooh! Hamell on Trial is a force of nature. Ya gotta see this guy perform. All I know about him is from Jim Infantino's impression of him ... which is pretty damned funny. :) I've been meaning to check him out sometime. ======================================= Meredith Tarr New Haven, CT USA mailto:meth@smoe.org http://www.smoe.org/meth ======================================= Live At The House O'Muzak House Concert Series http://www.smoe.org/meth/muzak.html =====Next Up: Molly Zenobia 5/5/02===== ------------------------------ Date: Sun, 05 May 2002 23:17:32 -0400 From: meredith Subject: weekend o'music Hi, Here we go, with Another One Of Those Weekends(tm)... Friday night: Iron Horse, Northampton, MA, Susan Werner. A youngun named Rachael B. Davis opened, and she was pretty good - she's got a Gillian Welch/Alison Krauss thing going, and the crowd liked her a lot. Susan did, too. And as for Ms. Werner, she was in rare form. She was in a really goofy mood, which really showed through on stage. She even did a song she hadn't played in *years* ("Year Of The Bad President"), and that made me happy. It was a good show, one of the best solo shows I've seen her do in a while. Saturday night: Fire & Water, Northampton, MA (again), Sloan Wainwright, Susan McKeown, and Dorothy Scott. Yowza. I suppose all I need say about last evening is that Sloan and Susan reprised their rendition of Richard Thompson's "Meet Me On The Ledge", which had everyone at the first ectofest reeling ... personally I was particularly glad they elected to close the show with it, because I'd pretty much missed it entirely that first time. But it was only the cherry on top of one of the more magical nights of music I've experienced. Sloan was great, and her guitar player, Steven Murphy proved over and over again that he is an absolutely amazing musician. Jon Spurney was unable to accompany Ms. McKeown, so Dorothy Scott noodled around on some of Susan's songs, to mostly great effect. And Susan sang with Dorothy on some of her songs, which was stunning. There were two sets, and in between there was somewhat of a Fire & Water tradition, which involved all of the musicians in the room collaborating on the "Salmonboy Song" with Star, the owner of the place. The owner had a son named Jesse who only lived 19 days due to congenital heart problems, and he wrote a long, rambling song about it. This completely inadequate description makes it sound excruciating, but it wasn't. Picture this: Susan, Sloan, Steven, and Rose Polenzani and Erin McKeown (who just happened to be in the audience) jamming with Star for I don't know how long (woj tells me it lasted about 30 minutes, and he should know, it's on the minidisc ). Steven really shone on this one ... he'd never heard the song before, but he did some amazing things with it on his electric guitar. Erin played piano, and everyone else sang. Yow. Everyone should run, not walk to http://www.dorothyscott.com and order both of her CDs. And get on her mailing list if you live anywhere within reach of New York City, because you *need* to see her play at least once. When she's not playing (and sometimes even when she is, come to think of it) she makes Jane Siberry and Mary Margaret O'Hara appear fully lucid and boring (I'll never forget the postcard we got from her a while ago stating "Now medicated for your listening comfort") ... but when she's playing, look out. She redefines the term "intense". We finally picked up her full-length CD, _Restless Machinery_, and it's incredible. The liner notes read like a who's-who of the NYC scene (Susan McKeown, Chris Cunningham, Brian Blade, Mike Visceglia, Rebecca Martin (who is also the producer)), and the result is a quintessentially ecto album. It's not as reminiscent of MMOH as her first EP, _Into The Natural_, though the flashes are still there. I've talked about her here a few times before in the past, but now it's time for her to become one of those ubiquitous ecto names. So yeah, it was quite a night. Well worth not getting home until 1:30 am. And then today: our living room, Molly Zenobia. Due to excessive lameness on the part of the general public there were only 9 people here besides woj and myself, but Molly didn't care. She knew most of the people in the audience, and the result was that she was the polar opposite of how she was at ectofest last year: in between songs she told goofy, rambling stories and was very, very funny. (In that she was managing to out-Sarah-Slean Sarah Slean, if that makes any sense.) And when she played, she was just like she was at ectofest: really, really good. I couldn't tell you what she played, because as embarrassing as it is to admit I don't know the names of her songs ... but I think there was a mixture of stuff from _Wind Chains_ and _Skin_, as well as a couple new things. (She played my piano, yay. :) She's a good kid. I hope to get her back here sometime. I need to sleep. :) ======================================= Meredith Tarr New Haven, CT USA mailto:meth@smoe.org http://www.smoe.org/meth ======================================= Live At The House O'Muzak House Concert Series http://www.smoe.org/meth/muzak.html =====Next Up: Molly Zenobia 5/5/02===== ------------------------------ Date: Mon, 6 May 2002 15:35:18 +1000 From: "heidi maier" Subject: Ani Difranco Preps Documentary, Live Album this sounds wonderful ... i hope the dvd/video will be released here in australia, too. heidi. - --- > Subject: OAC: Ani Difranco Preps Documentary, Live Album > > Ani DiFranco Preps Documentary, Live Album > > Before she issues her next studio album, ever-busy singer/songwriter > Ani DiFranco tells Billboard.com she will unveil a two-hour movie > about her life -- on and off the road over the past five years -- and > a live album via her Righteous Babe Records label. Shot largely by > DiFranco friend Hilary Goldberg, "Render: Spanning Time With Ani > DiFranco" is due June 11 on VHS/DVD and features performances of the > previously unreleased songs "In the Way" and "Slide." > > Featuring cameos by Hammell On Trial, as well as Righteous Babe > artists Utah Phillips and the duo Bitch & Animal, "Render" shows the > singer on the road, in the studio, and at home in Buffalo, N.Y. > Coinciding with several of her songs, the film also touches on urban > decay, racism, sexuality, and the death penalty. It includes > performances of such songs as "Fire Door," "Subdivision," "'Tis of > Thee," and "Two Little Girls." > > Slated for a fall release is DiFranco's second live album, "So Much > Shouting, So Much Laughter," which will include a version of "Self > Evident," a riveting poem about the events of Sept. 11. The artist's > prior live set, 1997's "Living in Clip," debuted at No. 59 on The > Billboard 200 and has sold 378,000 copies in the U.S. to date, > according to SoundScan. > > Though she had performed the poem -- a detailed recounting of what it > was like to be in New York that day -- on previous stops on her > recent tour, DiFranco says doing "Self Evident" recently in front of > an audience at New York's Carnegie Hall proved both terrifying and, > ultimately, cathartic. > > "I launched into it, luckily for me, before the panic really set in," > DiFranco says of the performance. " I started flapping my lips and > then I thought, 'What the f*** am I doing?' Ya know? I mean, who > knows what these people in this room lost, who they lost, how [9/11] > impacted their personal lives. Like, ya know, 'I'm dumping something > pretty big on people unsuspecting in this audience right now, and > just summoning all of our collective emotion around it -- which in > New York can be pretty heavy. I remember standing there onstage and > hearing somebody sobbing from the second upper balcony. > > "I was just panicking the whole way through," she continues. "I felt > so compelled to speak to it, but, ya know, you're always > questioning, 'What do I have a right to?' or 'What am I asking of my > audience right now?' It was really heavy for me. I was crying, and > they were crying, we we're all crying. And it was beautiful at the > end." > > DiFranco says the song was still unfinished until that very > performance. "I was in New York on the 11th," she relates. "There was > a lot to process, a lot to think about, a lot to write down, and > grapple through. It was called 'Work in Progress' until that show. > When I went back and performed that poem before a house full of > witnesses and bore witness before them and amongst them, I felt like > it was done. I had worked on it for months, just kind of tweaking it > and changing it, adding to it. The question just became when to stop, > ya know? There's just so much to say." > > The song has ended up being "six or seven"-minutes long, DiFranco > says, adding that "In the Way" and "Slide" will show up on her next, > as-yet-untitled studio album, the follow-up to last year's two-disc > set, "Revelling/Reckoning." - ------ "i want so much to write well, though i know i don't ... but during and at the end of my life, i will adore those who have." -- *dorothy parker* * heidi maier - maier@joynet.com.au * ------------------------------ End of ecto-digest V8 #126 **************************