Fegmaniax Digest Volume 2 Number 20 Today's Topics: ------- ------ Fegmaniax Digest Volume 2 Number 19 Stray thoughts from Planet X re: Stray thoughts from Planet X Gigolo re: Stray thoughts from Planet X love is the distance... More muons Gigolo [][][][][][][][][][] Date: Tue, 22 Mar 1994 12:33:34 -0600 (CST) From: Your Friend from Down the Hall Subject: Re: Fegmaniax Digest Volume 2 Number 19 To: woj@remus.rutgers.edu Cc: -feg:;@gnu.ai.mit.edu Thomas!!! Please sign me up for the tape tree. I have sent 3 messages so far directly to you, but I am posting this one to the main list because I have not been on any either of the lists. Aaron Lowe st3cr@jetson.uh.edu 4361 Wheeler #317L Houston, TX 77004 dolby "B" can dub high-end, less than a yr old Sansui .... Thanx. **************************** @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ * C. Aaron Lowe | "Melodies collide with situation, @ * "Waiting for the Great | Ecstasy defines its invitation. @ * Leap Forwards." | Sweeter than a fulfilled promise, @ * st3cr@jetson.uh edu | Beautiful and always honest."--Litening Seeds @ **************************** @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ [][][][][][][][][][] Date: 22 Mar 1994 12:38:09 -0800 From: "Partridge John" Subject: Stray thoughts from Planet X To: "fegmaniax" Muon #1: Has anyone listened much to the Driving Aloud b-side called "Allright yeah"? It's a slide-guitar song and I can't think of any others. Anyway, it's very hooky and has got its claws in my brain. Here are the lyrics which I have felt compelled by a long bony finger from the spirit world to transcribe: Allright Yeah I gotta go but it won't be so I don't be back again I gotta leave but I don't believe we won't be back again No no no no Everything's inside another No no no no no, allright yeah I gotta walk but I'm gonna put my fork next to your spoon I gotta split it's a quaint old-fashioned way to leave the room Smell them burning leaves everyone beside another No no no no no, allright yearh Whatever you pray to, that's where you belong I'm gonna get mine someday I'm gonna get mine I gotta laugh but there's half of me that wants to sit and cry I gotta split it's a quaint old-fasionhed way to say goodbye Goodbye What's your mother for? Not a launch-pad for your father No no no no no, allright yeah Allright yeah Allright yeah! Muon #2: I was listening to R's last couple of CD's and came to this regrettable conclusion: but for one or two songs each, Queen Elvis, Perspex Island, and Globe of Frogs all stink. Spectre is a welcome change. Comments? Or is this heresy by word? Muon #3: Where do all the clever Hitchcock quotes come from? They appear in many of your signatures but I don't recognize many of them as lyrics. For example, where did "Love is the distance between reality and pain." come from? Robyn is eminently quoteable and I would be very interested in seeing the sources. Muon #4: Has anyone aside from me tired of Metcalfe's bass playing. I think it's grand that he can play a fretless and he sure is versatile with his piano skills and he went to music school and learned theory don't you know. But his bass-line is a total disappointment. If no one agrees with this, I'll sit down and cite examples. Hopefully, this prod will be sufficient to get the opinion juices flowing. My bias is towards melodic bass-lines - McCartney-like I guess. Out of muons. -JP Here's my parting quote (from the Lope at the Hive version of Underwater Moonlight): In the beginning was The Fish. Landlocked under a sea of dry mud. No hope of escape for this fish: wedged in all kinds of contraptions. So a couple of guys came down from Basing-Stoke with a deep-rod-tunnel-screw-input-shaft-monopolizer, and they rammed this thing right through the middle of the Earth. Like that. Unh! And it penetrated towards The Fish into one of its gills, and The Fish mumbled out, "Hey man, I'm only hearing it in one ear." So a couple of guys came down from Blackpool with a sub-individual-monopoly-coaster and they heaved in through and they lowered the pulley, baby. And they rammed it in, unh! So The Fish had stereo, and The Fish said, "Okay what's for breakfast?" And it was Dave Lee-Travis. Why! You know? And it came around to nine o'clock, just time to wake up and get out of bed. Thick head. Too much to drink. Fish couldn't move, and then he heard Simon Bates saying it's the golden age, and it was nineteen sixty-. . . six! Yeah. Because back where you are with The Fish, it's always nineteen sixty-six, and The Fish was free, and the contractors they called in other men from different parts, and they called upon the Lord: "Why don't you feed The Fish?" [][][][][][][][][][] Date: Tue, 22 Mar 94 16:12:15 PST From: ruppen@qal.berkeley.edu (Andy Ruppenstein) To: fegmaniax@gnu.ai.mit.edu Subject: re: Stray thoughts from Planet X "Partridge John" writes: >Muon #2: I ... came to this regrettable conclusion: but for >one or two songs each, Queen Elvis, Perspex Island, and Globe of >Frogs all stink. Spectre is a welcome change. Comments? >Or is this heresy ...? Yes, it is heresy, and this is the Spanish Inquisition. Now, bring on the comfy pillows and we'll teach you... Actually, I suppose I'm in partial agreement. I like Globe of Frogs alot, QE much but not as much as GoF, and Perspex not that much except for a couple of songs. I found Spectre much more enjoyable than Perspex, and perhaps more than QE. >Muon #4: Has anyone aside from me tired of Metcalfe's bass playing. I think >it's grand that he can play a fretless and he sure is versatile with his piano >skills and he went to music school and learned theory don't you know. But his >bass-line is a total disappointment. If no one agrees with this, I'll sit down >and cite examples. Hopefully, this prod will be sufficient to get the opinion >juices flowing. This opinion surprises me more. I rather enjoy a lot of the bass lines he does. They complement a lot of the songs rather well, he comes up with some memorable figures, usually keeps it simple and often catchy, and is a good counterpart for Robyn in that Robyn's serpentine arpeggios would sometimes sound structureless, almost noodling, without Mr. Metcalfe's contributions. But your mileage may vary.... Andy / ruppen@qal.berkeley.edu [][][][][][][][][][] From: robertz919@aol.com To: fegmaniax@gnu.ai.mit.edu Date: Tue, 22 Mar 94 19:53:17 EST Subject: Gigolo In reference to the question about The Damned's "Gigolo" being a swipe at Robyn, this does indeed seem quite odd. My only guess was that Captain Sensible worked with Robyn on some solo material and that maybe the had a falling out. But..... by the time Anything came out Sensible has been gone for years. Sorry for the non answer-just some speculating@gnu.ai.mit.edu [][][][][][][][][][] Date: Tue, 22 Mar 94 16:12:15 PST From: ruppen@qal.berkeley.edu (Andy Ruppenstein) To: fegmaniax@gnu.ai.mit.edu Subject: re: Stray thoughts from Planet X "Partridge John" writes: >Muon #2: I ... came to this regrettable conclusion: but for >one or two songs each, Queen Elvis, Perspex Island, and Globe of >Frogs all stink. Spectre is a welcome change. Comments? >Or is this heresy ...? Yes, it is heresy, and this is the Spanish Inquisition. Now, bring on the comfy pillows and we'll teach you... Actually, I suppose I'm in partial agreement. I like Globe of Frogs alot, QE much but not as much as GoF, and Perspex not that much except for a couple of songs. I found Spectre much more enjoyable than Perspex, and perhaps more than QE. >Muon #4: Has anyone aside from me tired of Metcalfe's bass playing. I think >it's grand that he can play a fretless and he sure is versatile with his piano >skills and he went to music school and learned theory don't you know. But his >bass-line is a total disappointment. If no one agrees with this, I'll sit down >and cite examples. Hopefully, this prod will be sufficient to get the opinion >juices flowing. This opinion surprises me more. I rather enjoy a lot of the bass lines he does. They complement a lot of the songs rather well, he comes up with some memorable figures, usually keeps it simple and often catchy, and is a good counterpart for Robyn in that Robyn's serpentine arpeggios would sometimes sound structureless, almost noodling, without Mr. Metcalfe's contributions. But your mileage may vary.... Andy / ruppen@qal.berkeley.edu [][][][][][][][][][] Date: Tue, 22 Mar 94 21:36:49 EST From: woj@remus.rutgers.edu (something shakespeare never said) To: fegmaniax@gnu.ai.mit.edu Subject: love is the distance... "Partridge John" sez: >Muon #2: I was listening to R's last couple of CD's and came to this >regrettable conclusion: but for one or two songs each, Queen Elvis, Perspex >Island, and Globe of Frogs all stink. Spectre is a welcome change. Comments? yeah, mind explaining what your reasons are? comparison to older works? they suck on their own? what? i don't think that i'd say that they're great if you asked me point blank but they far from stink either on their own or held against, say, _element of light_. >where did "Love is the distance between reality and pain." come from? back around the time that _eye_ was released, robyn did a couple songs for a radio program called _soho natural session_. one was "agony of pleasure" and the other was "love is what." when introducing the latter track, he quiped the "love is..." quote. >Muon #4: Has anyone aside from me tired of Metcalfe's bass playing. hmmm. we're in disagreement here as well. it took me a while to start paying attention to andy's basswork but when i did, i was impressed with his ability. in fact, i think that andy's musicianship is better than robyn's. on the other hand, my opinion of morris has changed in the other direction. he's a good drummer and can do some pretty nice bits, but i'm much less thrilled by him than i used to be. +woj [][][][][][][][][][] Date: 22 Mar 1994 19:10:45 -0800 From: "Partridge John" Subject: More muons To: "fegmaniax" Muon the next: The current issue of RayGun has a short interview with R. following the Soft Boys "reunion". It confirms that Sean Lyons has subbed for Kimberley. It also encourages me to hope that a Soft Boys gig will occur in the U.S. before I ossify. Muon Neil: About Captain Sensible and The Damned: Did either "Women and Captains First" or "Power of Love" make it to CD? My LP's are getting ground to dust. Muon once-removed on his father's side: The guitar solo in the studio version of Arms of Love is note-for-note the solo in Acid Bird. Well, I guess it diverges after a bit I think. Any guitarists out there to check for sure? A great song and I find R.E.M.'s cover of it absolutely incomprehensibly bad. BTW: I didn't realize the comparative merits of Respect, Globe, Queen E, etc. had already been heavily discussed - sorry - I got on the net in January but I should have figured that out. It just seemed to me that R.'s song-writing had picked up since Cynthia #2 and recording in his kitchen. BTW #2: Not to beat a ripening dead horse, but I though Matthew Seligman's bass work was great (e.g., Underwater Moonlight). BTW #4: The washer/dryer combo. aside, I was seriously curious about the trailing lyrics to "Heaven". I get kind of impacted over lyrics and have been torturing my brain trying to figure out what he's saying. Any ideas? JP "And there in the buffet car, I wait for eternity, or Basing-Stoke, or Reading" [][][][][][][][][][] Date: Tue, 22 Mar 1994 22:38:03 -0400 (EDT) From: Doug Davis Subject: Gigolo To: fegmaniax@gnu.ai.mit.edu Even though I'm the one who posted this thing in the first place, I have to admit that I'd never really paid much attention to the lyrics of the Damned's "Gigolo." But I went back and listened to it, and I've tried to transcribe the lyrics. Can there be any doubt that it's an attack on RH for ripping off Syd? Lots of mistakes here, but here goes: Some resurrection is no conclusion Some poor pretension how about no invention, they become just what they want, what imitation, just like [Roger Moore?] Br: They tell us what they say, they tell us what to do, they're only fooling me and you. Ch: You know what I ain't, you know what I ain't, I am the Gigolo Aunt (x2). Fancy courageous, [?]and deadly tricks the Prince of Darkness from the horror flicks, a spineless web of intrigue, a silent scream of dread, oh, where have they gone, lost in pity and in [space?] Br, Ch [here's the section that uses the melody and chord progression from "My Wife and My Dead Wife":] There on the stair, nobody cares, nothing's there. Coffee for two, who does he fool, it's me and you. Kinda strange... [][][][][][][][] End of this Fegmaniax Digest. Archives can be found on fegmania.wustl.edu:/fegmaniax and ftp.uwp.edu:/pub/music/lists/fegmaniax. 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