From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V7 #116 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Wednesday, March 25 1998 Volume 07 : Number 116 Today's Subjects: ----------------- wha? [Bayard ] wandering-daughter job ["Capitalism Blows" ] ..A good time to be a SXSW tomato (warning-rambling, long post), or, the best movie that Liam Gallagher ever made [Carol] stuff [woj spice ] Re: name-calling [Eb ] Re: Feet of clay, head of cheese (Warning: Bill Nelson content) [Terrence] Re: stuff [Mark_Gloster@3com.com] Re: Surrealistic Chicks [MARKEEFE ] Showers with Sixteen Deluxe [sdodge@midway.uchicago.edu (amadain)] rock of the '80s info [Eb ] Singing in the shower [Terrence M Marks ] Re: Elliott Smith [MARKEEFE ] Re: Rumor & Sigh [MARKEEFE ] Zaireeka ["Charles Gillett" ] ---------------------------------------------------------------------- Date: Tue, 24 Mar 1998 23:07:00 -0500 (EST) From: Bayard Subject: wha? On Tue, 24 Mar 1998, Capitalism Blows wrote: > the female robyn hitchcock? > joan jett (of joan jett and the blackhearts fame.) think about it. she > c.) covered Chain Mary To The Bed live. are you joshing, or do i need to note this in the robynbase? > ok, i'd never really had any use for all these "quailspiracy" theories > until today. when susan even, glen uber, and daniel saunders all post > in the same day, that's a pretty dead giveaway, i should think, that > something is amiss. we could mention also the recent return of the > guambat. if i hear, within the next day or two, that side a of the > spoken chain tape is complete, i'm heading straight for the fallout > shelter. did anyone notice that, since my pun about danielle's name, the quail's latest 'fiction' has started.. uh... coming true? expecting an Overbeary's witness at the door any minute, =b ps. _groovy decay_ rocks, and so do _titanic_ and _braveheart_ (and i'm not usually a hollywood or saxophone fan). ------------------------------ Date: Tue, 24 Mar 1998 20:24:51 PST From: "Capitalism Blows" Subject: wandering-daughter job shall we add this to the list of working titles, lobstie? is there reason to suspect this guy knows what he's talking about? i saw it once, in the theater, and thought it was pretty good. i should see it again before getting into that, really. but, the one thing that really struck me at the time was that it seemed like a pretty leftist movie. i totally agree with you, suzie, that shoot-'em-up flicks are boring. and, The Sweet Hereafter was my fave movie of last year. but i still would've given the director award to cameron if it had been up to me. getting that movie made --and i did like it, not nearly as much as some people on this list, but, liked it nonetheless-- was, it seems to me, a monumental accomplishment. even if one doesn't like the movie, i think you'd have to admit that the guy put everything he had into it, and that if it weren't for his "vision", if that's what we want to call it, it never would've been made. i mean, *all* of that 200 million dollars is up there on the screen. that it paid off so hugely is not completely immaterial, though maybe it should be. but, if the movie had flopped, i don't think it would've gotten the oscars. ok, i'll jump in on this one. this will be nice and boring, for which, you are welcome. the school i went to in first grade had no cafeteria, so we lunched right at our desks. one day, some guy sitting next to me started chanting, "eddie spaghetti!...eddie spaghetti!..." over and over. before too long, the entire class was chanting it. i, of course, was on the verge of tears. (in fact, the first thing i said when i got home was that i wanted to change my name, immediately.) finally, after a good three minutes, the teacher says, "ok, that's enough." i'm thinking, "fuck you! it was 'enough' half an hour ago, bitch!" but wait! there's more. my initials are "e.t.", right? and that movie was released when i was in junior high, so i got to endure two solid years of people walking up to me, "e.t. phone home." yum. on the plus side, though, my middle initial is "a." so, my initials spell out, "eat." so, that's what i always put in there when i'd get high score at a video game (usually pole position or ms. pac-man. lord, i kicked ass at those games.) everyone would ask, "are those really your initials?" "yup!" i can't for the life of me figure why everyone, myself included, thought that was so cool. i finally wised up and started putting, "fuk" like everybody else. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 24 Mar 1998 20:25:31 -0800 (PST) From: Carole Reichstein Subject: ..A good time to be a SXSW tomato (warning-rambling, long post), or, the best movie that Liam Gallagher ever made Stacy (aka Zelda) passed on the story baton to me, so here is my own version of events. I'll try to annotate as needed. Thursday. Tickets for Storefront Hitchcock go on sale at noon at the Paramount Theater. Like a dork, I get there an hour early, thinking they'll be a line. There isn't. At 11:45, Stacy's boyfriend shows up to buy her a ticket (oh, how nice!) and guesses who I am. What, was it that obvious? At noon, all of 3 people buy tickets for the movie. Well, better safe than sorry. After doing the tourist thing, I head back to the Paramount Theater around 5pm. I took pictures of the marquee and generally waited for something to happen. Stacy and Curt (Kurt?) show up, as do Jay and a few Feg friends. I took pictures of the movie poster, and then went to take pictures of the growing crowd of hipsters. Just as I was about to snap the shutter, I notice a pair of headlights zoom into view and stop, with the emergency lights flashing. I moved so that this wouldn't mar the picture, snapped, and looked up to see Robyn & Michele emerge from this very car (a Toyota, if you're interested). Doh! They scurry inside, ignoring someone yelling "ROBYNN!!" across the street. As Stacy mentioned, we scored good seats. We got a nice usher to take a picture of the whole row of Fegs. Yes, Nick, I'll send 'em to ya! Tim Keegan and Antwoman sat 2 rows ahead of me, Deni Bonet a few more ahead. I have no idea where Robyn & Michele were. Jonathan Demme, some producer guy, and Demme's 2 giggling kids came onstage and JD talked about film & Austin, then introduced Robyn, who wore a dark suit with what could have been the "lizard" shirt, but I'm not certain. Robyn said a few things, then left the stage and the movie began. Like the others said, the film is just Robyn, with Deni & Tim on some songs (alas, poor Tim only appeared in "Alright Yeah" at the end). A hanging tomato, a disco globe, and a lightbulb hung by Robyn's head intermittently. Highlights? A cameo of Tim Keegan rushing past w/his guitar case in hand, peering in, and moving on, as well as the short, jolly producer pressing up to the window, pressing some ridiculous poster against the window and looking at his watch bemusedly. But the best part was the credits, when Robyn sang "I Don't Remember Guilford" while the credits rolled, and nifty effects went on. Oh, and the words, "Raymond Hitchcock 1926-1992" appeared by Robyn's head when he sang the "Yip Song." ..in short, lots of close-ups. You can see odd nostril/eyebrow shots, which can be unnerving. After the show, I asked Jay what he thought. He quipped, "It's the best movie that Liam Gallagher ever made!" I went next door to the State theater to snag a second row sheet, while Stacy left to recover and Jay got lost somewhere. After enduring 3 hours of other people's music (I rather liked most of Deni Bonet's set, though some of it was embarrassingly strange), Robyn came on with the purple jeans and the lizard shirt. He introduced Tim, who played 2 new songs while wearing a Woody Allen-esque hat, then Robyn came back on. If I remember correctly, Robyn sang "I have a cat named Figaro..." during "I something you" and of course I thought of John Jones' brilliant web page. Oh, and before I forget...After a few songs, some weird guy rushed up to the front of the stage and peered up at Robyn. "Robyn, could you please play Linctus House? Please? Please Robyn??" Silence. Robyn is unnerved for a second, then mumbles, "Um, I can't. It's in the bathroom." I cringe and wish I had a plastic tomato to throw at this guy. I can understand requests, but one doesn't rush up to the stage while 1300 people, sitting in theater seats, look on in the middle of the show. Geez! And as for getting Robyn to play LH, forgeddaboutit. Didn't Robyn once say something like "Geez, why don't we all slit our wrists now" when someone else requested that song? The Linctus House guy skulks away, thank god, and the show resumes (since Joel has supposedly left the list, I don't think he'll mind me telling you about this). After the encore, Robyn divulges that he's playing at the Austin Convention Center the next day at 1pm, and then at Waterloo Records with Billy Bragg on Saturday. Whoo-hoo! Thank god I'm on vacation so I can go to these things. The show finally let out, but Jay, Stacy, Curt have vanished. Did the Quail eat them? Was she getting her tomato autographed? I'd find out later. Caught a cab back to the hostel and had strange dreams. The next day, I hiked to Waterloo Records and questioned the clerk. He confirmed that yes, there was a secret gig planned, but warned me not to tell anyone, lest 1000 people show up. I saw Thurston Moore perusing through the CD's. Saturday: You know Stacy's version. I left a message on her machine (thinking that she had seen the show, and caught the Waterloo gig info). The store was crowded and hot, but fortunately, some of the crowd thinned after the last scheduled gig went off the stage. I wormed my way up front and then the gloriously happy Stacy tapped me on the shoulder, tomato in hand. Billy Bragg came on, and just before Robyn took the stage, Stacy carefully placed the tomato on the railing, which was about a foot away from us. Robyn opened with "Gene Hackman," which I'm growing rather tired of. But I'm hardly complaining. Another song. Stacy grew anxious--when would Robyn acknowledge the tomato?? Just then, he did. "Thank you for the tomato!" he said. He admired its lifelike qualities, and asked where Stacy got it. She blushed, and said, "I grew it!" Robyn told us that he himself had grown tomatoes throughout December, in the cold London climate. He seemed proud of this, and I, for one, certainly was impressed. I got some pictures of Robyn gesticulating with the tomato on his hand, and I got pictures of Stacy with the autographed/decorated tomato too. Damn, that fruit is cooler than any cone I've seen. It resembles the happy pumpkin head on "You and Oblivion." Robyn autographed a small bottle of water for me. It is now the official SXSW water bottle. But only the cap is decorated, nothing as thrilling as Stacy's tomato. Ah, to bond over plastic vegetables! Thanks to the wonderful Ms.Pinwheel for showing this Portlander a good time. Jeme, I dare you to match this post's length. Sunburned but happy to be back home, Carole ------------------------------ Date: Tue, 24 Mar 1998 23:59:31 -0500 From: woj spice Subject: stuff fegs, according to jonathan turner, the april 4th mean fiddler gig is a go. no details are available regarding whether this is a solo acoustic or band gig. i'm sure we'll hear before too long. russ sez: >Can anyone point me to an interview in which Robyn discusses Linda Ryan and >how she ended up in "Flesh Cartoons"? Does anyone remember him ever >explaining this? i have a vague memory that this was discussed in the kcrw snap interview with deirde o'donaghue -- the one which was released as a promotional 12" around the time of _queen elvis_. i don't remember if that interview has been transcribed though. okay, the rest of this post is non-robyn stuff. bret sez: >for myself in the trunk of my car: hmmm. inline skates (unused), volleyball net, two volleyballs, blanket, crate of various car things (oil, tranny fluid, jumper cables, gas can, lone spark plug), the base of a barbeque grill, golf clubs, a fire plug wrench. lj: >who didn't make it past the Michael Bolton song without hitting the >MUTE button and crankin up OASIS imagine the horror of watching his performance while living in his hometown, or pretty damn close to it. he's new haven's finest son, but i think he grew up in wallingford, just up i-91 a-ways. apparently, he was not a popular kid. not that i'm surprised. bret again: >NP: The Death Folk (advance release) (it sucks) how odd. was in a record store yesterday (surprise) and the cassette cutout bin featured death folk I and II for $2 apiece. also featured a nearly complete collection of late 80s sst releases. ended up going with sylvia juncosa's _nature_, but putting back the five trotsky icepicks and five elliot sharp (shades of Eb?!?) tapes. ah well. i'm sure they'll be there when i go back. also found a $2 _eye_ cassette which i picked up for the car (oops, robyn content). nick on _ok computer_: >My impression has not really changed - sort of "Beatles meet U2", >only without the sparkle of either. that pretty much mirrors my reaction, though i think it was moer u2 than beatles and that i was more taken by the music than you. it's nice to listen to, but doesn't sink in -- at least not yet. lyrically, i was unimpressed. >Incidentally, I also bought Spiritualized "L&GWAFIS" at the same time, still need to get this one. and neutral milk hotel. >If you're into interesting collaborations, "Arcane" by "assorted >artists" on Real World might be worth a listen. or the first in the series, _way down below buffalo hell_ by jam nation. features many of the same cast of characters, with some mix tossed into keep things interesting: caroline lavelle does a nice "she moved through the fair", to bring up a name discussed here before. >Under "followers" for Robyn, AMG lists: The Close Lobsters, A House, >Twenty Seven Various, Cul de Sac, Nilon Bombers, Rex Daisy, Poverty >Stinks, Tom Alford i have (or had) records by the first three, but none of them really strike (or struck) me as heirs of robyn. i vaguely remember that the close lobsters were boston-based. at least a few of their records were on enigma before they (enigma) poofed. good albums though. i think this is the only band of the three whose albums i still own (or can find). a house was a late 80s "college" rock band. i don't remember much about their music, though i think they were more r.e.m.-like (well, wasn't everyone back then?) than anything else. they may still be functional. 27 various, i've forgotten all about. ben: >np: Fairport "House Full" all hail! mike runion: >Picked up "Rumor And Sigh" this weekend. It's not sinking in as quickly as >"...Bright Lights Tonight" did on its first few spins. What am I doing >wrong? Help! not that much. despite featuring "1952 vincent black lightning" (which dovetails nicely with the tear-jerker thread -- that one reduces me to tears everytime, especially live), i don't think _rumor and sigh_ is all that great of a record. good tunes, but not that strong song-writing. james: >strange Canadian woman called something like Medlyn Cadell (anyone know her >proper name? Had a strange song called "Sweaters" that was big on (NZ) >college radio a couple of years back). meryn cadell. "the sweater" is on _angel food for thought_, which is a nifty mix of off-kilter pop and spoken word. _bombazine_ was her second album, which i've listened to maybe twice, so i can't speak to it. meryn was living in new york city for a while -- saw her at the bottom line at the end of last year. there should be a third record forthcoming, which promises to be pretty good if the new material she played is any indication. being the big women-in-music nutcase that i am, i suppose i should have a list of female robyns...but only one is coming to mind: another canadian (and friend of meryn's) named veda hille (vay-duh hill-ee). she's from vancouver, is a fantastic pianist and plays decent tenor guitar. four albums. the third, _spine_, was one of my favorites from 1996. her latest, _here is a picure._, is a song cycle she composed about the canadian painter emily carr for a dance production in vancouver. her sense of rhythm is *STUNNING* and she's a great lyricist too. i've mentioned veda before -- she opened for markg's beloved dan bern last year in portland (did anyone catch her act?). hmmm. another possibility: san diego's susan james. fab guitarist and also pretty good with the words. her album _shocking pink banana seat_ gets high marks from me. i think i disagree about tori amos or jane siberry or even suzanne vega being female robyns though. tori's not as much surreal as perpendicular to "normal" modes of communication. jane has gotten a lot more surreal over the past few years, but most of her recorded material is either straight-forward metaphor or highly introspective. she is quite a guitarist though. as for suzanne vega, aside from "cracking", i really don't see how she's oblique enough to share the bus on dechirico st. n.b. i'm a long-time fan of all of the above, so take my opinion with a large grain of salt (doug mayo-wells does, so should you). woj n.p. bill bruford -- if summer had ghosts ------------------------------ Date: Tue, 24 Mar 1998 22:46:20 -0700 From: Eb Subject: Re: name-calling I'd say that I was called by my last name (or ugly derivatives thereof, particularly with a "-stick" suffix) almost consistently from 4th through 6th grade.... Eb ------------------------------ Date: Wed, 25 Mar 1998 01:49:54 -0500 (EST) From: Terrence M Marks Subject: Re: Feet of clay, head of cheese (Warning: Bill Nelson content) > Wow. Is this really true? If so, this is news to me. I'd always believed > that the different "colors" associated with the various keys were the > result of these differences caused by "optimizing" of notes for "C" > using the even tempered scale. Technically, in an even-tempered scale, nothign is supposed to be optimized for anything. In the other kind of tempering, then it has all sorts of variations between keys. > If a piano is "tempered" for "C", what > about woodwind and brass? Even though string players don't have frets, > they still need to worry about open string tuning and harmonics. Harry Partch would agree that a good woodwindist/brassist/fretless stringist can produce any microtone within the physical abilities of their instrument. However, it's usually a good idea to temper open strings to key of the piece, if you're doing that. As for harmonics, well, you have notably less control over those. And some of you mentioned a new BoC album coming out. What's BoC? Terrence Marks normal@grove.ufl.edu ------------------------------ Date: Tue, 24 Mar 1998 22:52:20 -0800 From: Mark_Gloster@3com.com Subject: Re: stuff >mike runion: >>Picked up "Rumor And Sigh" this weekend. It's not sinking in as quickly as >>"...Bright Lights Tonight" did on its first few spins. What am I doing >>wrong? Help! >not that much. despite featuring "1952 vincent black lightning" (which >dovetails nicely with the tear-jerker thread -- that one reduces me to >tears everytime, especially live), i don't think _rumor and sigh_ is all >that great of a record. good tunes, but not that strong song-writing. "Geez!" He types, while banging his head on the Herman Miller cubicle equipment. "1952 vincent black lightning" is the only other tear grabber. Really. I really like _Rumour and Sigh_. It was refreshingly less deep than the Richard-and-Linda-everything's-breaking-apart-and-it's-all-your-fault stacks of recordings. I have been known to back up Dave Brown, who appears on _Glass Flesh!_, while performing "Read About Love," another really cool tune from _R&S_. Okay, I also have teared at various concerts and have been suckered into blubbering on "Give Yourself to Love" in big sing-alongs when other people start gushing and gooing. But don't think that I can't be a mean mammer-jammer on a bad-minibike-with-training-wheels if things git ruff. tearfully yours, - -Markg yea, I know, too many posts today. Tonight I blew a few bucks on the following things that were missing from my collection, you guys really got to me with all the NMH and Monkeetalk: Neutral Milk Hotel best o' Badfinger (now playing, one of my favorite 70's bands) The Monkees Greatest Hits The Grass Roots all time greatest hits ------------------------------ Date: Wed, 25 Mar 1998 01:59:53 EST From: MARKEEFE Subject: Re: Surrealistic Chicks In a message dated 3/24/98 1:53:29 PM, you wrote: <An odd phenomenon I've noticed is that while there are quite a few white >males who do something similar to Robyn - Julian Cope, Syd Barrett, Tim >Keegan, Neutral Milk Hotel, etc. etc. - there seems to be a shortage of >women surrealistic singer/songwriters. Kristin Hersh (who seems to have lots of fans on this list) is often surreal...Cindy Lee Berryhill loves to ramble...Laurie Anderson has her surreal moments...umm....>> Boy, at the rate she's going, I'll be surprised if I understand one damn thing Tori Amos writes about on her next album (due for release May 3rd, apparently). And, before there was Tori, there was Kate Bush, who's more of a fantasy-ist (gotta be a better word here!) than a surrealist, I suppose. Just a couple of other odd 'n' groovey chicks that came to mind. - -----Michael K. ------------------------------ Date: Wed, 25 Mar 1998 01:04:08 -0600 From: sdodge@midway.uchicago.edu (amadain) Subject: Showers with Sixteen Deluxe I lost Katherine's original post (ah, the horrors of reckless deleting), but she did ask something about what I wrote about singing things I can't sing. What I meant was that I just sort of sing whatever and attempt to do all the parts at one time. This is not so bad (relatively speaking, leaving the question of my voice out of it for the nonce :)) if you have something with one consistent lead voice (even when I do the backup girls' shoop shoops along with), but it gets positively surreal when you are trying to sing ones with more complex arrangements. Songs like "Sh-Boom" were not meant to be sung by one person and they sound pretty nonsensical when they are. Of course they sound weird anyway, that's why they're fun to sing, I get positively giddy belting out all the strings of nonsense syllables (written translation approximate :)) "shalama ding dong sha langa la langa la langa la langa la whoa whoa whoa bip!" . Anyone who hears me probably gets a good laugh, but I look at that as a positive thing :). The world can always use entertainment. Does anybody else sing these? Just me? I thought so :). Anyway...... The real point of this was that someone from another list wrote to tell me that they saw Robyn do "Vicious" with Sixteen Deluxe at the SXSW. Apparently he introduced it by saying "This is a song by John Cale's buddy Lou Reed". Did anyone else see this? I don't recall seeing a mention of it anyone's reports so far. Has he covered this before? Over and out, Susan ------------------------------ Date: Tue, 24 Mar 1998 23:01:42 -0700 From: Eb Subject: rock of the '80s info Woj wrote: >how odd. was in a record store yesterday (surprise) and the cassette cutout >bin featured death folk I and II for $2 apiece. also featured a nearly >complete collection of late 80s sst releases. ended up going with sylvia >juncosa's _nature_, but putting back the five trotsky icepicks and five >elliot sharp (shades of Eb?!?) tapes. I don't get it...what, because I was talking about the Wherehouse's $2.99 bin? >i vaguely remember that the close lobsters were boston-based. Nope. They were Scottish, and a fixture of the jingle-jangle Fire Records stable in the late '80s. Those Close Lobsters records aren't bad at all (yes, you're right about them being on Enigma in the States)...I used to have them in my permanent collection, but now they're languishing in my "How in the world can I get rid of all this obsolete vinyl?" pile. Times change. Boston-based, eh? Maybe you were confusing Close Lobsters with the Cavedogs? Just a thought. Pretty fair band, especially considering how forgotten they are...I still have those discs around. >27 various, i've forgotten all about. 27 Various basically mutated into Polara, who's certainly a worthwhile band. A third Polara album just came out, but I haven't heard it yet. I don't think I've heard 27 Various, myself. >meryn cadell. "the sweater" is on _angel food for thought_, which is a >nifty mix of off-kilter pop and spoken word. _bombazine_ was her second >album, which i've listened to maybe twice, so i can't speak to it. meryn >was living in new york city for a while -- saw her at the bottom line at >the end of last year. there should be a third record forthcoming, which >promises to be pretty good if the new material she played is any indication. I believe there IS a third Cadell album out, but only in Canada. Or so I once read on the Web (in fact, I think it was on that "Ectophile" site with which you're aligned). I have the above two discs -- the first one has a few cute Laurie Anderson Light moments. Didn't find much to like about the second, but just kept it to kinda complete the set. They'll probably be pruned out one of these days. Eb, heavily in pro-Rumor & Sigh camp ------------------------------ Date: Wed, 25 Mar 1998 02:04:26 -0500 (EST) From: Terrence M Marks Subject: Singing in the shower > Yes, but don't you notice that they're somewhat more singable in the > shower? (Not the multi-part harmony ones, though, and maybe that's what > you meant.) Is it the acoustics of showers, or being surrounded by warm > vapor, or what? Bathrooms are small and have very good acoustics. More of your voice is reflected back towards you, and in less space. (Also, I'm sure having a mirror and towels around affects things also. Cloth usually absorbs sound and glass reflects it. Most home-recording books [well, I've only read one, but it was by TASCAM, and they ought to know what they're doing] recommend covering glass surfaces with cloth to get a better sound out of things.) Terrence Marks, who usually tries to sing Nilsson or Beach Boys in the shower. normal@grove.ufl.edu ------------------------------ Date: Wed, 25 Mar 1998 02:22:08 EST From: MARKEEFE Subject: Re: Elliott Smith In a message dated 3/24/98 6:01:38 PM, you wrote: <experts say. Now that all this oscar nomination stuff is past him, maybe >he can get some peace. > I don't think I've heard of him prior to the Oscar's, but his voice was awfully weak last night--is that typical of him?>> This has always been my contention: good songwriting, but his voice has never grabbed me enough for me to sustain interest -- nowhere near the same kind of quiet beauty that Nick Drake had, for instance. I guess it all depends on what you're looking for in a musical artist. For those who aren't familiar with his work, check him out sometime; he deserves that much, even if I don't care much for him (and god forbid *I* shouldn't care much for him. . . how has the man even sustained a career?!? ;-)) ------------------------------ Date: Wed, 25 Mar 1998 03:01:47 EST From: MARKEEFE Subject: Re: Rumor & Sigh In a message dated 3/24/98 9:09:29 PM, you wrote: <<>Picked up "Rumor And Sigh" this weekend. It's not sinking in as quickly as >"...Bright Lights Tonight" did on its first few spins. What am I doing >wrong? Help! not that much. despite featuring "1952 vincent black lightning" (which dovetails nicely with the tear-jerker thread -- that one reduces me to tears everytime, especially live), i don't think _rumor and sigh_ is all that great of a record. good tunes, but not that strong song-writing.>> Well, it's not as good a solo album as "Hand of Kindness" (wow) and nothing beats the acoustic (or "nude") disc from "You? Me? Us?", but it's got some great stuff -- "Read About Love", "I Feel So Good", "I Misunderstood", "Don't Sit on My Jimmy Shands". Lyrically, it's not as tight as a lot of his stuff, although it *is* highly listenable (except for "Psycho Street" -- eeesh!) and has some songs that I think are worth taking a few more listens to. My $.02 on RT. - ------Michael K. ------------------------------ Date: Wed, 25 Mar 1998 02:01:03 +0000 From: "Charles Gillett" Subject: Zaireeka On Tue, 24 Mar 1998 13:04:16 -0700, Eb wrote: > OK, I have two CD players in separate rooms...I'm thinking if I record two > of the tracks on cassettes beforehand, then start the first CD with plenty > of leader time in one room, run into the other room and hit Play on the > second CD player while simultaneously hitting Play on my two handheld tape > players.... That's about as close as I can get to the real thing. > > Anybody else here own this uberwork? My experiences with Zaireeka have been quite similar to what you describe. I have 3 CD players, including the computer CD drive, so I timed how long it would take me to run from boom box to computer to main CD player and then set each CD with the appropriate leader time. It only kinda worked--the computer was too quiet, even cranked all the way up, and I spent more time fiddling with volume controls than I did listening to the music. I've had more success getting half of the Zaireeka experience by bringing the boom box into the room with the component system. A friend of mine has four CD players (more, probably--he seems to collect them), so I have heard the whole album more or less as it was intended. We each got two, and ran from one to the other. Timing ourselves was harder than timing each CD player. Hmm...Zaireeka may be the only album that I own which I've only listened to once. I think Dr. Didg's "Out Of The Woods" is down in that rarified area, though for different reasons. Why do I still own that thing? - -- Charles Gillett, who doesn't get the "Gillette razor" jokes very often because your average idiot prefers to pronounce "Gillett" more like "gullet" than "Gillette." My 8th grade social studies teacher called me Schick once. I am currently listening to Television, _Marquee Moon_, for those keeping score at home. ------------------------------ End of fegmaniax-digest V7 #116 *******************************