From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V6 #43 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Wednesday, October 22 1997 Volume 06 : Number 043 Today's Subjects: ----------------- Bob Stewart [M R Godwin ] Re: Kershaw [M R Godwin ] Re: Is this Muswell Hill cab hire? [M R Godwin ] Re: Kershaw [mrrunion@tng.net (Runion, Michael R.)] More Gizmotronics (No RH) [Ross Overbury ] Madonna of the Wasps [Russ Reynolds ] Re: E-Bows 'n' such [Ross Overbury ] Re: Is this Muswell Hill cab hire? [Peter ] Re: Kershaw (Mad Bees) [hal brandt ] Kershaw of the Wasps ["The Glen Reaper" ] troubled poultry [shmac@ix.netcom.com (Scott Hunter McCleary)] infinite guitar [RE: More Gizmotronics (No RH)] ["Chaney, Dolph L" ] Re: E-Bows 'n' such [TchdnJesus@aol.com] Re: E-Bows 'n' such [Noah Shalev ] Re: Kershaw [Eb ] re: snoopy ["Eddie Tews" ] Re: E-Bows 'n' such [Ross Overbury ] Re: Invisible Invisible Hits [delavina@juno.com (chris franz)] Re: Kershaw [Russ Reynolds ] Re: Invisible Invisible Hits [biscotti and borscht ] re: more Gizmotronics (no RH) [MCINTYRE@pa.msu.edu] Re: Kershaw [Bayard ] Less than 0% RH [Ferris ] Stuff and nonsense... [james.dignan@stonebow.otago.ac.nz (James Dignan)] Re: Kershaw [nicastr@IDT.NET (Ben)] Linden Arden/Fairplay [nicastr@IDT.NET (Ben)] Re: Linden Arden/Fairplay ["Glen E. Uber" ] ---------------------------------------------------------------------- Date: Tue, 21 Oct 1997 11:28:41 +0100 (BST) From: M R Godwin Subject: Bob Stewart I used to know Bob Stewart quite well. He is a multi-instrumentalist and folklore writer who has written about St George, folk music, magic and what have you. His book about the mythology of Bath "Waters of the Gap" is regularly on sale at the Roman Baths souvenir shop. I went to an interesting lecture that he gave on King Bladud, the reputed founder of Bath. Bladud was a pig-keeper who noticed that the hot springs cured pigs of skin disease and decided to found a city on the strength of it. Accordingly, he promoted himself to king, but later took up flying and (I think) came a cropper like Icarus. Changing the subject, there was an interesting prog on Salvador Dali on TV last night which attributed his oddness to the fact that his mother had died when he was 16, and his father had immediately married his deceased wife's sister - sort of Hamlet in reverse. Anyhow, it seemed to fit neatly into the Robert Graves internalisation of conflict pattern. Ourouborindra ba ba hee - - Mike Godwin ------------------------------ Date: Tue, 21 Oct 1997 12:24:51 +0100 (BST) From: M R Godwin Subject: Re: Kershaw > Excerpts from internet.music.fegmaniax: 17-Oct-97 ~[Kershaw for cheap > (100% H.. by Ross Overbury@sceast.cn. > > Those of you who find Respect and Perspex overproduced should > > should enjoy the alternate versions of "Arms of Love", "Oceanside" > > and "So You Think You're In Love", included on this CD. On Fri, 17 Oct 1997, Carl Abraham Zimring wrote: > The Kershaw "Birds in Perspex" is quite lovely as well In fact it's > probably one of my top ten favorite RH tracks. And 'Madonna of the Wasps' has a strange folk-tunish intro beginning "Her service is perfect pain" which comes before "is this love?" (which are the first words of the studio version). Does this bit appear on any other performance? - - hssmrg ------------------------------ Date: Tue, 21 Oct 1997 12:45:46 +0100 (BST) From: M R Godwin Subject: Re: Is this Muswell Hill cab hire? On Sat, 18 Oct 1997, James Dignan wrote: > M R Godwin gazetters away merrily, listing places in > Robyn's songs. > He forgets that sometimes the stories in the album liner notes also include > places, such as my old home town of Barnet, 10 miles NW of London. It's > also the northern terminus of the Northern Line Forgets? 'Hackney' was what I forgot, squire. My job description was clearly to provide a thumbnail sketch of places mentioned in the songs. No mention of liner notes here, guv. It'd be more than my job's worth to do liner notes, know what I mean? Tell you what I'll do though, I'll ask you a question: the 73 goes north along Tottenham Court Road and south along Gower Street, if I remember aright. But where is the imaginary de Chirico Street? It must be along the 73 route, unless Milo's driver had lost his bearings. I visualise it as somewhere off Charing Cross Road, maybe near Andy's Guitar Workshop. Under the blossoms that hang from the bough - - MRG ------------------------------ Date: Tue, 21 Oct 1997 08:22:45 -0400 From: mrrunion@tng.net (Runion, Michael R.) Subject: Re: Kershaw Mike Godwin wrote concerning The Kershaw Sessions: >And 'Madonna of the Wasps' has a strange folk-tunish intro beginning "Her >service is perfect pain" which comes before "is this love?" (which are the >first words of the studio version). Does this bit appear on any other >performance? This "folk-tunish" intro is also included in the official A&M video for the song. I've always rather liked it, and I remember being somewhat disappointed when I first picked up Queen Elvis back in '89 that it wasn't included. It seems strange to me that A&M (or whoever) wouldn't include it on the album, but would stick it in the video. Hmmm. By the way, thanks for all the responses concerning where Human Music digitally rests. I indeed have _A Can Of Bees_, as any good feg should, but have played it so infrequently that this simple fact slipped from my brain sometime ago back in March or April. Adios, Mike Runion n.p. Moissec _Baiser_ (have I stumped Eb on this one?) ******* Mike Runion email: mrrunion@tng.net ******* * Virtual Cone Museum * * http://www.spacecoast.net/users/mrrunion/cones.htm * * Globe Of Fegs * * http://www.spacecoast.net/users/mrrunion/fegmaps/ * ********************************************************* "Wait a minute! Time for a Planetary Sit-In!" - Julian Cope ------------------------------ Date: Tue, 21 Oct 97 9:35:15 EDT From: Ross Overbury Subject: More Gizmotronics (No RH) I sent this to Glen and meant to CC fegmaniax. I've added a few comments to address Mark's last Gizmotronic posting. Glen said: > > This poses some interesting questions: Which came first, the E-Bow or > the Gizmo? And why did the E-Bow survive and the Gizmo fade into > obscurity? Why didn't Ross' little invention catch on? > > Quizzingly yours, > --g > > "Everything we do is music." > --John Cage "I'm Not in Love" was released in the states in 1975. The Ebow page says the Ebow hit the market in '76. I remember seeing a Gizmo (or was that Gizmotron) at Steve's Music in Montreal at least a decade before I heard of Ebows. I had (or maybe have) a flexi-disk demo of the Gizmotron. It featured Lol and Kev demoing the product. ## added note: There was a demo of the Bass gizmotron, too. It was ## closer in sound to a bowed acoustic bass than the guitar version was to ## violin. My guess? Creme and Godley tried to market the product themselves and did themselves in. Anyone disagree with my impression that the Gizmo sounded more like bowed strings than the Ebow? If I remember correctly, it was a series of little ridged wheels that rotated constantly. They were mounted over each string, and pressing on buttons over each element lowered it until it was in contact with the string. It had to be mounted onto the guitar, which probably meant screw holes. That would have detered a lot of guitarists. The Ebow is hand-held, so you don't have to do anything to the guitar (except compromise the availability of one hand and 5 strings) to play it. # The most primitive thing I tried was to screw a "wall speaker" to the # back of my guitar. The "wall speaker" was a device that drove a screw # instead of driving a paper cone. The screw was to be imbedded in your # wall so that you could drive the wall as a speaker. A must for # apartment dwellers! The result was a guitar sound that was like a # live recording of huge Marshall stacks, but I could get it at # reasonable volume levels without getting evicted. As long as the # feed back was through the guitar body, it sounded great, and the # guitar felt alive in my hands. If any of the feedback was via # magnetic fields, I'd be treated to a deafening screech. # # In the next paragraph I'm not talking about the "wall speaker" # thing, but a different and maybe still patentable device I came # up with about the same time. # My own device never made it outside of my basement, but I've actually played it. It was mounted to my guitar with wads of gaffer tape -- not the thing you'd want to bring to a gig. Besides, the "real" one was going to be ready any day now for the last 20 years! ## So there's 4 commercial sustain devices I know of now: ## ## Ebow ## Gizmotron ## Kramer sustainer ## Infinite guitar (credited on U2 recordings) # # I don't have a clue how the infinite guitar works or even what it # sounds like. Eno must have buried it in the mix. -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca ------------------------------ Date: Tue, 21 Oct 97 08:16:00 -0800 From: Russ Reynolds Subject: Madonna of the Wasps Mike, standing in Bath, wrote: >And 'Madonna of the Wasps' has a strange folk-tunish intro beginning "Her >service is perfect pain" which comes before "is this love?" (which are the >first words of the studio version). Does this bit appear on any other >performance? He performed it that way on tour with REM and I believe in subsequent Egyptians shows. It's almost like he thought up that part of the song right AFTER the record came out. The appearance on David Letterman [see M.Brage's first video compilation] has this bit too. - -rr ------------------------------ Date: Tue, 21 Oct 97 10:30:10 EDT From: Ross Overbury Subject: Re: E-Bows 'n' such Finger trouble caused me to send this go Glen only a couple of days ago. I had meant to CC fegmaniax. I've added a couple of comments, indicated with #. Glen said: > > This poses some interesting questions: Which came first, the E-Bow or > the Gizmo? And why did the E-Bow survive and the Gizmo fade into > obscurity? Why didn't Ross' little invention catch on? > > Quizzingly yours, > --g > > "Everything we do is music." > --John Cage "I'm Not in Love" was released in the states in 1975. The Ebow page says the Ebow hit the market in '76. I remember seeing a Gizmo (or was that Gizmotron) at Steve's Music in Montreal at least a decade before I heard of Ebows. I had (or maybe have) a flexi-disk demo of the Gizmotron. It featured Lol and Kev demoing the product. # The flexi-disk featured a demo of the bass version of the Gizmotron. # It sounded quite a bit like a bowed bass. My guess? Creme and Godley tried to market the product themselves and did themselves in. Anyone disagree with my impression that the Gizmo sounded more like bowed strings than the Ebow? If I remember correctly, it was a series of little ridged wheels that rotated constantly. They were mounted over each string, and pressing on buttons over each element lowered it until it was in contact with the string. It had to be mounted onto the guitar, which probably meant screw holes. That would have detered a lot of guitarists. The Ebow is hand-held, so you don't have to do anything to the guitar (except compromise the availability of one hand and 5 strings) to play it. My own device never made it outside of my basement, but I've actually played it. It was mounted to my guitar with wads of gaffer tape -- not the thing you'd want to bring to a gig. Besides, the "real" one was going to be ready any day now for the last 20 years! # # I had another, more primitive way of sustaining the guitar that I # was using about the same time I came up with my own device. There # were these things called "wall speakers" that drove a screw instead # of a speaker cone. The screw was to be screwed into your wall, and # the result was a lease-breaking wall-speaker. I screwed one into # a cheap guitar instead, and as long as the volume was just right, the # guitar came alive in my hands. It sounded like a live recording of # huge arrays of amps at earthshaking volume, but this sound was # achievable at painless sound pressure levels. When the volume was # not just right, the feedback was painful indeed. The idea was to # get feedback through the wood, not via magnetic fields. # # # So far I've heard of: # # Gizmotron - mechanical # Ebow - magnetic (noise driven or feedback?) # Kramer sustainer - magnetic (noise driven) # Infinite guitar - used by U2. # # Can't say I've heard anything on U2 recordings that I could identify # as a possible "infinite guitar". Does anybody know where they used # it? - -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca - -- Ross Overbury Senior Operations Officer, Software CN Rail Signals and Communications, Laurentian District 2nd floor, 1060 University St. Montreal, Quebec, Canada TEL: (514) 399-8070 FAX: (514) 399-6725 email: rosso@cn.ca EMC2: OVERBURY ------------------------------ Date: Tue, 21 Oct 1997 16:49:37 -0800 From: Peter Subject: Re: Is this Muswell Hill cab hire? M R Godwin wrote: > Tell you what I'll do though, I'll ask you a question: the 73 goes north > along Tottenham Court Road and south along Gower Street, if I remember > aright. But where is the imaginary de Chirico Street? It must be along the > 73 route, unless Milo's driver had lost his bearings. I visualise it as > somewhere off Charing Cross Road, maybe near Andy's Guitar Workshop. > > Under the blossoms that hang from the bough > > - MRG Hey, I used to catch the Number 73 home when I lived in Stoke Newington. If anyone's that phenomenally interested it goes from Victoria station, along Oxford Street, up Tottenham Court road, past Euston and Kings Cross, up through Islington to Stoke Newington and then on to Tottenham itself. It passes just next to the 12 Bar Club where RH played last time I saw him. Loads of poncy places in Islington might be called de Chirico Street. But they aren't. Petition Islington Council now. It might stop them temporarily from constantly taking backhanders and shagging each other all the time. But probably wouldn't. Pete ------------------------------ Date: Tue, 21 Oct 1997 09:44:59 -0600 From: hal brandt Subject: Re: Kershaw (Mad Bees) M R Godwin wrote: > 'Madonna of the Wasps' has a strange folk-tunish intro beginning "Her > service is perfect pain" which comes before "is this love?" (which are the > first words of the studio version). Does this bit appear on any other > performance? It's also the intro on the video version (see "Brenda" vid comp). /hal "Hey, Robyn, play Madonna of the Bees"! - -A&M A&R guy circa 1989 ------------------------------ Date: Tue, 21 Oct 1997 09:46:20 -0700 From: "The Glen Reaper" Subject: Kershaw of the Wasps M R Godwin dixit: > And 'Madonna of the Wasps' has a strange folk-tunish intro beginning > "Her service is perfect pain" which comes before "is this love?" > (which are the first words of the studio version). Does this bit > appear on any other performance? This verse is also on the version of MOTW that appears on _Brenda of the Lightbulb Eyes_ video comp. I thought for a long time that perhaps it was a single version or special edit included on Brenda; however, I acquired the CD single of MOTW and my theory was shot down. So much for speculation... L8r daze, - --g My school colors were clear. We used to say, "I'm not naked, I'm in the band." --Steven Wright ___________________________________________________ Glen E. Uber glen@metro.net My Web Site of the Week: "Yeah Man, Itellyawhat..." http://www.cyberramp.net/~noel/rside/boom.html ___________________________________________________ ------------------------------ Date: Tue, 21 Oct 1997 12:30:10 -0500 (CDT) From: shmac@ix.netcom.com (Scott Hunter McCleary) Subject: troubled poultry Eb said: There's an old Norman Greenbaum song/album called "Petaluma." The liner notes talk about the troubled poultry industry of the area.... It's Sammy Hagar -- he makes them nervous. Robin Content: woj, when you get the tabs together, I still have server space. ========= SH McCleary Prodigal Dog Communications 3052 S. Buchanan St., #A1 Arlington, VA 22206 shmac@prodigaldog.com www.prodigaldog.com Gestation Station: www.prodigaldog.com/baby/ ------------------------------ Date: Tue, 21 Oct 1997 13:53:40 -0400 From: "Chaney, Dolph L" Subject: infinite guitar [RE: More Gizmotronics (No RH)] Hi Fegs, I just wanted to add that "infinite guitar" is essentially the trademark of Michael Brook, who's performed most notably with Eno/Lanois, Sylvian/Fripp, Jane Siberry, Julia Fordham, and Nusrat Fateh Ali Khan. Describing what that sound is exactly is tricky at best -- Brook's own description may be found at http://www.hyperreal.org/music/artists/brian_eno/interviews/sos2.html#BR OOK, where he states that he developed it while waiting for a Gizmo to come in! There's also a review of the Brook/Nusrat album MUSTT MUSTT at http://www.voyagerco.com/cdlink/voyager2/nusrat/nusrat.html that has .vcd sound samples (which I can't seem to get to work properly). There's also a Michael Brook website at http://www.columbia.edu/~co61/brook.html, which claims to be at work on a section about "infinite guitar and buzz bass". If you can find it, Sylvian/Fripp's live DAMAGE CD is my favorite album on which Brook appears, though not necessarily for Brook's contributions. My understanding is that COBALT BLUE, his 2nd solo album, is top Brook. Dolph ------------------------------ Date: Tue, 21 Oct 1997 10:51:26 -0700 From: "The Glen Reaper" Subject: Re: Stuffing and thanksgiving... Mark_Gloster@3com.com dixit: > RE: Hitchcock: BQ: > A couple of persons on this list have had some disagreements about > the better version of "Beautiful Queen." I've been listening to both > versions, the pitch-shifted violin version (Mossy Liquor/or live > with Deni) really works and cuts right through, while the Moss > Elyxir version is the best R&B-esque thing Robyn's ever tried. I was > initially disappointed that the ME version was so produced, but over > time it has really grabbed me in a very hypnotic way. If you've > already cut it off, or programmed it out, or fed the tiny ones and > zeros to your cat, I suggest you bring it back and give it one more > try. This is from somebody who doesn't consume a great deal of R&B > (too fatty, not enough garlic). > I prefer the ML version, although I can't say why. It must be the multi-tracked octaver violin/viola/cello noises, as you pointed out. > ----- > RE: Gizmos,E-Bows,Sustainers: > > I truly think that the E-bow predated the Gizmo. Godley and Creme's > album displaying its abilities came out in the late eighties. Sorry, my vulcnized friend -- _Consequences_ was released in 1977 to a bewildered legion of fans and critics alike. I believe it was one of the few albums to ship directly to the cut-out bins. > Your town may be taken-over soon by that Rubber Shark Buzz. Carol and I had a dinner party last night and I decided to pop _Monday's Lunch_ into the CD player. After several comments, including, "Who's this?" and "This is pretty cool!", our guests settled in a listened to the entire thing. The hands-down favourites were "Monday's Lunch" and "I Love My Job". One person said "This sounds like Oingo Boingo." I then explained that they are one of the biggest influences on you, and that you would be honored by the comparison. Thought I'd pass it along to you. I also converted a few of the people into Dan Bern fans and they expressed interest in coming to the show on the 13th. We'll see. Sorry for the lack of Robyn content. I just think its nice that one of our own is doing well. Perhaps someday there will be a list called . Now that would be kewyl! Congratulations, Mark! Your pal, - --g My school colors were clear. We used to say, "I'm not naked, I'm in the band." --Steven Wright ___________________________________________________ Glen E. Uber glen@metro.net My Web Site of the Week: "Yeah Man, Itellyawhat..." http://www.cyberramp.net/~noel/rside/boom.html ___________________________________________________ ------------------------------ Date: Tue, 21 Oct 1997 14:25:02 -0400 (EDT) From: TchdnJesus@aol.com Subject: Re: E-Bows 'n' such In a message dated 97-10-21 13:19:02 EDT, rosso@sceast.cn.ca writes: > # Infinite guitar - used by U2. > # > # Can't say I've heard anything on U2 recordings that I could identify > # as a possible "infinite guitar". Does anybody know where they used > # it? it's specifically mentioned being on "night and day," and on _the joshua tree._ ------------------------------ Date: Tue, 21 Oct 1997 22:39:43 +0200 From: Noah Shalev Subject: Re: E-Bows 'n' such ello i got an E-bow not too long ago' but i find it very difficult 2 get a proper sound on my bass, since the strings are too apart for resting it properly on. on the instruction sheet, they say it can be played only a more sirious effort is to be put towards getting the skill, did anyone hear of an e-bow designed for bass? i guess there isn't any, but yet again, one could never know. noe Jazz is not dead, it just smells funny. (FZ) ------------------------------ Date: Tue, 21 Oct 1997 14:04:54 -0700 From: Eb Subject: Re: Kershaw >n.p. Moissec _Baiser_ (have I stumped Eb on this one?) Yep! :) General announcement: I saw Olivia Tremor Control last night. Gawwwd, were they entertaining. See 'em if you have a chance. Any other fans here? Also, I hasten to point out that Eb was created several years before the Ebow. ;) Eb ------------------------------ Date: Tue, 21 Oct 1997 14:12:59 PDT From: "Eddie Tews" Subject: re: snoopy as those of you who have ever received a package from me via the mails may have surmised, i used to be a gargantuan Peanuts fan in my day. don't really get into it much anymore. even stopped reading the strip a few years back. but, yes, snoopy was always hitchhiking to petaluma to go to the world arm-wrestling finals. "arm-wrestling" and, "wrist-wrestling" are the same thing, right? i can't remember if he was actually competing; or if he was a spectator, or a referee, or a valet de place, or what. at any rate, pigpen is my role model. Fuck You! I won't do what you tell me! (repeat fourteen times) --Rage Against the Machine ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 21 Oct 97 17:18:01 EDT From: Ross Overbury Subject: Re: E-Bows 'n' such Noah said: > > ello > i got an E-bow not too long ago' but i find it very difficult 2 get a > proper sound on my bass, since the strings are too apart for resting it > properly on. on the instruction sheet, they say it can be played only a > more sirious effort is to be put towards getting the skill, > > did anyone hear of an e-bow designed for bass? > i guess there isn't any, but yet again, one could never know. > Ebow's web page says you have to use your fingers for spacing or just develop a remarkably steady hand. They wouldn't say this if there were a model available for bass. If I had already bought one for bass, I'd just build up the sides with shims of plastic or wood or what-have-you until the channel is the right size. PS: Sorry about the multiple postings. I've been having weird email problems today. - -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca ------------------------------ Date: Tue, 21 Oct 1997 17:26:32 EDT From: delavina@juno.com (chris franz) Subject: Re: Invisible Invisible Hits Mike Runion observed >I was listening intently to Invisible Hits Sunday afternoon out on the >patio and soaking in the lesser-heard songs. To give my eyes something >on which to rest, I picked up the CD booklet and studied the cover art >closely. Call me stupid, call me lackadaisical, but I never before >noticed the title of the album hidden up there in all those clouds. I >guess shrunken artwork is the price we pay for having digital music. Do you mean right under where it says "The Soft Boys"? :) I'm a little confused on the chronology of Invisible Hits... I always thought it was from between CoB and UM, but I've also heard it was released after the Soft Boys were no more. The liner notes indicate that it was recorded in 78-79; did it sit in a vault just long enough for Robyn to get the weird notion that it was a good idea to redo "When I Was A Kid," then get released? - --Chris ------------------------------ Date: Tue, 21 Oct 97 15:42:00 -0800 From: Russ Reynolds Subject: Re: Kershaw >Also, I hasten to point out that Eb was created several years before the >Ebow. ;) > >Eb however, the Eb Alto Saxophone was created in the 19th century, presumably several years before Eb. Hitchcock content: getting back to the subject at hand, I too was disapointed to find there was no CD single version of "wasps" with the intro included. Perhaps in 30 years when "Hitchcock Anthology II" is released we'll finally get to hear it, and read in the 50-page booklet the story of how it came about. Seems to me there's one or two other tunes which have sprouted additional song parts when performed live, but apart from "...and disintegrates!" I can't think what they are. Anybody? disintegratring, - -russ (former Eb Alto Sax player) ------------------------------ Date: Tue, 21 Oct 1997 19:31:23 -0400 From: biscotti and borscht Subject: Re: Invisible Invisible Hits also sprach chris franz: >I'm a little confused on the chronology of Invisible Hits... I always >thought it was from between CoB and UM, but I've also heard it was >released after the Soft Boys were no more. The liner notes indicate that >it was recorded in 78-79; yup. the songs on the original album were taken from sessions recorded in between bees and moonlight. according to the soft boys _1976-81_ liner notes, they were laid down in april of 1979. about two-thirds of what would have been the next record were recorded by the time that andy metcalfe left the band. this record probably would have been the legendary radar album. with the change in personnel, these tracks were laid aside and released posthumously on hits. the lp was released in 1983, well after the soft boys disintegrated. i don't know whether it was released with robyn's blessing or not. since _i often dream of trains_ had already been released on midnight music, i would guess that he didn't mind too much...but might this be the "demons and ghouls" incident that he's referred to? i don't know. anyone? with the cd re-release, a number of bonus tracks were added taken from various singles and such which were, by then, difficult to come by. >did it sit in a vault just long enough for >Robyn to get the weird notion that it was a good idea to redo "When I Was >A Kid," then get released? no, it was more of a personal and personnel issue. robyn says in those liner notes that, while recording hits, they felt like that had to do weirder and weirder things with the music to keep andy interested. so, by the time andy left, they were difficult times for all involved. my guess is that they just sort of let everything they had been working on slide when matthew seligman joined, marking the shift of the songwriting focus to primarily robyn. woj ------------------------------ Date: Tue, 21 Oct 1997 19:53:42 -0400 From: biscotti and borscht Subject: air play to you also sprach Mark_Gloster@3com.com: >While some of you have a 1.1% foetus/alcohol blood level, i dare say that mr. thirlwell has a higher blood alcohol content that that! >I noticed that the same DJ played _Glass Flesh!_ for >the tastefully-endowed New Jerseyans(ites?). and new yorkers (both in the city at 91.1 and in the hudson river valley on 90.1). northeastern pennsylvanians can also tune in 'fmu on 90.1 too. and, of course, all youse internet geeks can listen on realaudio at www.wfmu.org. y'all should tune irene's show in, if you can -- she's on mondays at 3pm eastern time (which is currently 19 gmt, if i'm not mistaken). >Last week she played the >Rubber Ed(wood)it of "Balloon Man," starring our very own Jeff Lawrence, well, i'll be fooked! i didn't even notice that. mea culpa, jeff! >I'm still waiting for the ultimate compliment, to be considered derivative >of New Zealand bands, though. gee, you sound just like jame dignan. (happy now?) "The Glen Reaper" adds: >One person said "This sounds like Oingo Boingo." which reminds me that irene played another track from mark's album this week, preceeded by a wall of voodoo song. or maybe it was a solo stan ridgeway track. i don't remember. anyways, she favorably noted a strong similarity between mark and stan as well. your head may now swell, mark. woj ps. i got to hear this momentous event while i was driving home from work. woo! ------------------------------ Date: Tue, 21 Oct 1997 12:39:37 -0400 From: MCINTYRE@pa.msu.edu Subject: re: more Gizmotronics (no RH) >From: Ross Overbury > Glen said: > > This poses some interesting questions: Which came first, the E-Bow or > > the Gizmo? And why did the E-Bow survive and the Gizmo fade into > > obscurity? Why didn't Ross' little invention catch on? > My guess? Creme and Godley tried to market the product themselves and > did themselves in. Anyone disagree with my impression that the Gizmo > sounded more like bowed strings than the Ebow? Especially as the Gizmotron can play more than one string at a time. > If I remember correctly, it was a series of little ridged wheels that > rotated constantly. They were mounted over each string, and pressing > on buttons over each element lowered it until it was in contact with > the string. It had to be mounted onto the guitar, which probably > meant screw holes. That would have detered a lot of guitarists. The mounting bracket could be attached with double-sided tape that was supplied with the Gizmotron, albeit screw holes would be more secure. My assesment of the difficulties involved in using the Gizmotron versus the E-Bow (and I use both): 1) the wheels on the Gizmotron wear out and cannot be replaced by the user. The only thing that wears out with the E-Bow is the battery. 2) The Gizmotron motor is AC powered; that's an extra cable to worry about. The E-Bow's battery means no additional cable. 3) When you don't want to use it, the Gizmotron is still attached to your guitar, blocking access to a portion of the strings. When you don't want to use the E-Bow, you just set it aside and you have your regular guitar unaltered. 4) If I remember correctly, the original price of the Gizmotron was over $250. The E-Bow costs less than $100. John McIntyre Physics - Astronomy Domine Dept Michigan State University mcintyre@pa.msu.edu ------------------------------ Date: Tue, 21 Oct 1997 22:24:05 -0400 (EDT) From: Bayard Subject: Re: Kershaw > This "folk-tunish" intro is also included in the official A&M video for the > song. I've always rather liked it, and I remember being somewhat > disappointed when I first picked up Queen Elvis back in '89 that it wasn't > included. It seems strange to me that A&M (or whoever) wouldn't include it > on the album, but would stick it in the video. Hmmm. interesting. d'ya think it was on the original cut, and chopped off to make MotW more radio-ready? ya neva know... ------------------------------ Date: Tue, 21 Oct 1997 22:47:04 -0700 From: Ferris Subject: Less than 0% RH If anybody's interestd, I got this one in the mail this evening. CONCERT ANNOUNCEMENT On Sale This Friday October 24th at Noon "First U.S. Club Show in a decade!" THE CURE Halloween Night, Friday October 31st 1997 At IRVING PLAZA 17 Irving Place at East 15th Street, NYC Live Cybercast http://www.rocktropolis.com/ Doors at 9pm/Show at 10:30pm/Broadcast at 10:45pm All Tickets $30.00 2 Limit per person CASH ONLY Tickets ONLY available at the IRVING PLAZA BOX OFFICE I saw them in the spring in Hartford and they were very very good (this coming from a less-than-rabid fan). A bit drunk, but good. - -ferris. ------------------------------ Date: Wed, 22 Oct 1997 16:23:17 +1300 (NZDT) From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Stuff and nonsense... >I'm still waiting for the ultimate compliment, to be considered derivative >of New Zealand bands, though. Hmph. That message was brought to you by Mark "I sound like Blam Blam Blam!" Gloster ;) James ------------------------------ Date: Tue, 21 Oct 1997 23:49:47 -0500 From: nicastr@IDT.NET (Ben) Subject: Re: Kershaw >> This "folk-tunish" intro is also included in the official A&M video for the >> song. I've always rather liked it, and I remember being somewhat >> disappointed when I first picked up Queen Elvis back in '89 that it wasn't >> included. It seems strange to me that A&M (or whoever) wouldn't include it >> on the album, but would stick it in the video. Hmmm. > >interesting. d'ya think it was on the original cut, and chopped off to >make MotW more radio-ready? ya neva know... I always have seen this intro not as "folkish", but as being a liturgical kind of chant, keeping with the "Madonna" theme. ------------------------------ Date: Tue, 21 Oct 1997 23:46:01 -0500 From: nicastr@IDT.NET (Ben) Subject: Linden Arden/Fairplay On the "Invisible History" collection, the songs "Linden Arden Stole the Highlights" and "Fairplay" appear. Who did the original versions of these? - -Ben ------------------------------ Date: Tue, 21 Oct 1997 21:19:38 -0700 From: "Glen E. Uber" Subject: Re: Linden Arden/Fairplay Ben dixit: > On the "Invisible History" collection, the songs "Linden Arden Stole > the Highlights" and "Fairplay" appear. Who did the original versions > of these? Linden Arden is a Van Morrison song. I don't know about Fairplay, though. Cheers! - --g "If you remember what you did, it probably wasn't worth it." --Jason Uber ___________________________________________________ Glen E. Uber glen@metro.net My Web Site of the Week: "The Canonical List of WEIRD Band Names" http://home.earthlink.net/~chellec/ ___________________________________________________ ------------------------------ End of fegmaniax-digest V6 #43 ******************************