From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V8 #90 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, March 11 1999 Volume 08 : Number 090 Today's Subjects: ----------------- Re: Albino dingdong penchants... ["JH3" ] New tunes on Cyberspace Hitchcock [Christopher Donnell ] Re: Albino dingdong penchants; more Japanese wackiness! [Scary Mary ] RE: (Fwd) Bob Geldof implicated in Peruvian Banking Scandal ["Partridge, ] Re: Blur & the politics of dancing [Eb ] 100% proggie content [Eb ] Re: Astroturf campaign to get SH into MB ["Kenneth" ] Re: 100% proggie content [Mark_Gloster@3com.com] Re: Albino dingdong penchants; more Japanese wackiness! [Eric Loehr ] ??????? [dwdudic@erols.com (David W. Dudich)] Re: 100% proggie content [Ross Overbury ] Re: Astroturf campaign to get SH into MB [amadain ] the chinaman is *not* the issue! ["Capitalism Blows" ] Re: 100% proggie content [steve ] Re: 100% proggie content [Eb ] Re: Errors in song... [Stewart Russell 3295 Analyst_Programmer Subject: Re: Albino dingdong penchants... Quailissimo Francisco Teevee's Frank Lloyd Right-on Man writes: >np: "Sunday all over the World," Fripp's band right before the KC >reunion, with Latoya Wilcox on vocals. This is a *great* CD. It is a pretty good CD, but *Latoya* Wilcox? Hmmm, that gives the lyrics to "Spaced Walking (the Helium Song)" a whole new meaning... Speaking of which, is that technically a "mistake" when she cracks up at the end on the "old men, funny trousers" line? Or is it actually deliberate? Can anyone ever REALLY know? (What I'm talking about, I mean?) >It is also a case of a band named after a song that appears >on an album with the same name. Uh-oh, DUCK! John H. ------------------------------ Date: Wed, 10 Mar 1999 16:56:03 -0800 (PST) From: Christopher Donnell Subject: New tunes on Cyberspace Hitchcock New Songs are availiable on Cyberspace Hitchcock... as a matter of fact it's a whole concert! WOW. And the best part is that it should be part of the permanent collection and not have to disappear in order to get more songs there. (Thanks Bay!) So check it out... I'm going to try to get more permaent stuff up this weekend. http://www.geocities.com/~qrys/robyn/index.html == Christopher Donnell Hmmm.. you might as well check out my homepage at http://www.bigfoot.com/~qrys _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Wed, 10 Mar 1999 20:21:07 -0500 From: Scary Mary Subject: Re: Albino dingdong penchants; more Japanese wackiness! At 07:32 PM 3/10/99 -0500, Monsieur Quail wrote: >np: "Sunday all over the World," Fripp's band right before the KC >reunion, with Latoya Wilcox on vocals. This is a *great* CD. It is also a >case of a band named after a song that appears on an album with the same >name. > I thought I was the only person in this world who owned this cd. I agree with Quail - it is a great cd. I love the "Latoya" renaming too. S.Mary ------------------------------ Date: Wed, 10 Mar 1999 17:34:20 -0800 From: Mark_Gloster@3com.com Subject: Re: Albino dingdong penchants; more Japanese wackiness! I hope I still have it. I liked it. I haven't seen it in a year or two. Quail must have my copy when he came here this upcoming June. Say, does anybody else think this list is better when there's a headblade on it? - -Markg (Chad) ------------------------------ Date: Wed, 10 Mar 1999 19:46:10 -0600 From: GSS Subject: Elliot Smith Greetings, Well, I came face to face with my first feg last night. Joel Mullins is now on my list, and gets a big 'otay'. We watched No.2, followed by Elliot Smith. Smith said the drummer, who also played with No.2, was from Sleater-Kinney, and the bass player he was using is also from S-K. No.2 showed nothing special and played an ultra short set. Smith sounded great and I liked his guitar style and I love those hollow body Gibson's. The drummer was fair, but the bass player looked and sounded like an old wet dish rag and acted like he would have rather been anywhere else. If you told me he had been playing bass for less than a year, I would say 'OK, but he should be farther along in his studies and needs to spend more time practicing, instead of whatever else he has been doing'. Maybe it was just his unfamiliarity with the songs, but the bass lines could have been mixed out and the performance would not have lost anything. I don't know how Smith's recordings sound, but I would have preferred him running solo or just him and a trap set. He played a couple solo encores and a couple with the other two guys. The drummer missed at least once, but could keep a fairly steady beat. Everyone clapped and stomped and yelled 'whoaa!!!', but Smith's whole show, including the encores, lasted only 56 minutes. Disappointing overall, to say the least. Regards, Gregory S. Shell - --> Capitalist <-- ------------------------------ Date: Wed, 10 Mar 1999 17:52:50 -0800 From: "Partridge, John" Subject: RE: (Fwd) Bob Geldof implicated in Peruvian Banking Scandal Ehmm, yes, let's see now. The ministry is aware of the 12" vinyl record titled "Two Halves for the price of One" (1981, Armageddon Records BYE 1) and of the 7" vinyl record titled "Only The Stones Remain" (1981, Armageddon Records AS 029). At this time, we are not aware of an American release of either of these records. - -----Original Message----- From: Capitalism Blows [mailto:etews@hotmail.com] Sent: Wednesday, March 10, 1999 4:06 PM To: fegmaniax@smoe.org Subject: Re: (Fwd) Bob Geldof implicated in Peruvian Banking Scandal <> --Only The Stones Remain is the title track of the studio half of TWO > HALVES FOR THE PRICE OF ONE. It's also the title track of the American (?) release of it as ONLY THE STONES REMAIN.> come again? i've never heard of such a thing. there was an Only The Stones 7". but, not, to my knowledge, an american release of TWO HALVES. john p., can you illuminate? Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 10 Mar 1999 17:56:23 -0800 From: Eb Subject: Re: Blur & the politics of dancing Dancing Queen: >Eb, I *like* Leisure. It's groovy. But we all know that your groove >thang is sadly underdeveloped. ;p Bitching at the Beastie Boys because >of their lyrical pop-culture checking? Please. Were the Beasties >*ever* about lyrics? Yeah, yeah, yeah. Sorry for thinking that lyrics are a central component of a rap group. My apologies. And sure, I can't stand grooves. That's why I hate Can, Stereolab, Too Pure bands, etc. so much. Which is the exact sound Blur is aiming for on their new album. Those are hardly the only "groovy" bands I like, either. I mean, who was it who ranked Air, Bjork, Dub Narcotic Sound System and Portishead among his very favorite concerts of last year? Hm? Leisure is a crummy record. If Blur had stuck with that sound, they'd be in Inspiral Carpet oblivion today. My lack of Leisure appreciation has nothing to do with my dire unfunkiness, or whatever bias you've chosen to smugly project upon me. It's a weak, shallow, trend-chasing record. I went back and forth on even *keeping* it for quite awhile, until Blur's later releases solidified my esteem for the band. Hell, I even like the first Jesus Jones album better than Leisure. Says the Trouser Press Guide: "The semi-diverting Leisure positioned Blur on the milder (read: less self-destructive) end of the dance-pop revival scene dominated by such pharmaceutically enhanced spirits as Happy Mondays. The 'baggy' crowd never fully embraced the band, however, and bubbly confections like 'There's No Other Way' and 'She's So High' (both of which bobble along to the omnipresent Manchester groove) proved to have very limited shelf lives." Yeah, what he said. Maybe you should wait to attack, until you've actually *heard* 13. Fair 'nuff? Eb np: Paul Westerberg/Suicaine Gratification ------------------------------ Date: Wed, 10 Mar 1999 18:17:36 -0800 From: Eb Subject: 100% proggie content I have the Sunday All Over the World album, but don't think much of it. Just a collection completer, for the most part. Same old Fripp arpeggios. Jethro Tull: Eleven albums in my collection, all bought during the '80s. Out of those, I could wax reasonably enthusiastic about Aqualung, Thick as a Brick, Minstrel in the Gallery, Living in the Past, Benefit, Stand Up and This Was. I don't even feel too guilty about that. Songs from the Wood is the last Tull record I own. Beyond that, ehhhh(tm). Seems like a lot of people like A, but I eventually dumped that one. Ditto for Broadsword & the Beast. I also have a hour of rarities from the box set taped somewhere...some surprisingly good stuff there. Eb, watching desperate-for-mainstream-vindication proggies claiming that XTC, Portishead, Spiritualized and Radiohead are prog bands ------------------------------ Date: Wed, 10 Mar 1999 19:17:17 -0600 From: "Kenneth" Subject: Re: Astroturf campaign to get SH into MB Dave wrote: >In response to Susan's query, I am interested in beginning a lobbying campaign >to get SH shown in Chicago, and at the Music Box (at least for a weekend, I >think it would fit perfectly at midnight.) I think we should coordinate >Chicago fegs to call their booking person, as well as anyone who might come to >Chicago to see it. YES! I will recruit off the street if need be. Judging from this list, the Chicago fan base appears huge. With our collective wills, we should surely manage to have Storefront shown for a weekend. Questions: Does someone have an inside track to any small to mid-size venues, film or otherwise? Does anyone know how to get the film here? - - Kenneth ------------------------------ Date: Wed, 10 Mar 1999 17:13:42 -0600 From: "Paul Christian Glenn" Subject: alt.music.fegmania, etc. I recently subscribed to the alt.music.fegmania newsgroup and was bombarded by the deafening echo of own footsteps in it's hollow hall. Does the ng ever get rowdy, or is this generally where all the action is? Also, does anyone know where "Storefront Hitchcock" *is* playing? Or is this merely a massive practical joke being pulled on us by Robyn, Warner Brothers, and Jonathan Demme? Also, I can't find a dictionary def of "feg" to save my life. Is this merely a nonsense word created by Robyn as he was looking into his crystal ball and seeing legions of fans crying out for an identity, or what? Also, my heel itches. Paul Christian Glenn | "Besides being complicated, trance@radiks.net | reality, in my experience, is http://x-real.firinn.org | usually odd." - C.S. Lewis Now Reading: "The Robots of Dawn" by Isaac Asimov ------------------------------ Date: Wed, 10 Mar 1999 18:30:43 -0800 From: Mark_Gloster@3com.com Subject: Re: 100% proggie content >Eb, watching desperate-for-mainstream-vindication proggies claiming that >XTC, Portishead, Spiritualized and Radiohead are prog bands Y'kno, I think a strong case could be made for XTC posessing some prog influence, but real proggies must take our sad mainstream vindication through Styx and Kansas and ELO. Listening to Wall of Voodoo makes me feel better. Enjoy the ides, - -Markg ------------------------------ Date: Wed, 10 Mar 1999 21:46:49 -0500 (EST) From: Eric Loehr Subject: Re: Albino dingdong penchants; more Japanese wackiness! On Wed, 10 Mar 1999, The Great Quail wrote: > np: "Sunday all over the World," Fripp's band right before the KC > reunion, with Latoya Wilcox on vocals. This is a *great* CD. It is also a > case of a band named after a song that appears on an album with the same > name. Isn't the Frippster's wife Toyah Wilcox, or did she shorten (and lengthen) it for this album? Summerday Sands *is* great - - Tullheads unite! The Eric Who Lost His Spectacles (not really) ------------------------------ Date: Thu, 11 Mar 1999 15:42:58 +1300 (NZDT) From: digja611@student.otago.ac.nz (James Dignan) Subject: 20% RH, 10%VU, 30%JT, 10%SK,10%RF, 5%C, 5%G, some added flavouring >> >Do you realize that if "Jewels for Sophia" makes it on, and the working >> >title sticks, it'll be the first and otherwise only time an RH title >> >track has been on the album of the same name since 1980? >> >> i think you're forgetting 'i often dream of trains'. unless my memory is going, Y&O is on Y&O. I think... >thanks for reminding me! Sweet Jane! does that count? "me, i'm in a >rock and roll band." he doesn't say which one, natch. but i think it's listen to the live in MC+90something album. It mentions VU by name. >>hey, speaking of grudge matches, >>who should eMpTyV put on celebrity deathmatch against robyn? >>andy partridge? heh... anyone want to see Robert Fripp versus the bods in charge of EG music???:) >rp: (Er, "recently played?"): MORE TULL!!!!! "Sumerday Sands" is one of the best songs in the history of music, period. James, Hal, we rule, brothers. Ignore the nonbelievers. They'll have to pry our flutes from our cold dead fingers. . . . >Actually, I always rather liked 'Summerday Sands' too. And, um, 'Dun >Ringill' or however it's spelt. ah... he nameth my favoiurite Tull tune....one that I have even performed in public..." a concert of kings as the white sea snaps at the heels of a soft prayer, whispered." np - Jack-a-Lynn :) (or should that be :...{ since it reminds me of someone, some other time...those who have my tape will understand...) >stand there? What can possibly be next? The Pink Faries? Chrome? The Ray >Cromley Experience? soon to be playing - Greenslade: Time & Tide >PS re SK: That deeply silly Starchild sequence in 2001 finished SK for me ??? But it's the whole point of the movie! James PS - do I hear we have a new Fegmaniac living in Chad? Quelle internationelle! ------------------------------ Date: Wed, 10 Mar 1999 18:53:49 -0800 From: Mark_Gloster@3com.com Subject: Re: 20% RH, 10%VU, 30%JT, 10%SK,10%RF, 5%C, 5%G, some added flavouring >>> >Do you realize that if "Jewels for Sophia" makes it on, and the working >>> >title sticks, it'll be the first and otherwise only time an RH title >>> >track has been on the album of the same name since 1980? >>> >>> i think you're forgetting 'i often dream of trains'. >unless my memory is going, Y&O is on Y&O. I think... One of us should see a doctor quick. I thought it was on ME. H'pees, - -Markg ------------------------------ Date: Wed, 10 Mar 1999 21:57:41 -0500 (EST) From: Eric Loehr Subject: Re: alt.music.fegmania, etc. On Wed, 10 Mar 1999, Paul Christian Glenn wrote: > Also, my heel itches. > Then we will also have to call you Chad. ------------------------------ Date: Thu, 11 Mar 1999 03:20:41 GMT From: dwdudic@erols.com (David W. Dudich) Subject: ??????? On Wed, 10 Mar 1999 19:44:02 -0500 (EST), you wrote: >Date: Wed, 10 Mar 1999 11:14:13 -0800 >From: Tom Clark >Subject: Re: greetings > >On 3/10/99 10:56 AM, lj lindhurst wrote: > >>I'm Chad and so is my wife! > Would that be your wife or your dead wife? sorry, couldn't help it...:-) -luther >------------------------------ ------------------------------ Date: Wed, 10 Mar 1999 22:19:11 -0500 (EST) From: Ross Overbury Subject: Re: 100% proggie content On Wed, 10 Mar 1999 Mark_Gloster@3com.com wrote: > Y'kno, I think a strong case could be made for XTC posessing some > prog influence, but real proggies must take our sad mainstream > vindication through Styx and Kansas and ELO. Listening to Wall of > Voodoo makes me feel better. Some prog influence? 3 words: "River of Orchids". I maintain you could have slipped that in a couple of Gentle Giant records and nobody would have thought it out of place. And how about Prince of Orange? Mainstream prog? Pink Floyd. Tull. Genesis. Procol Harum. They all got more radio play than Spiritualized (although I was floored a few weeks back when I heard Spiritualized on a VW bug commercial). Looking back at my list, I'm not sure there's all that much in common, except a desire to experiment. And yet progressive rock doesn't encompass all experimental rock music, does it? I've heard Radiohead's latest touted as "the Dark Side of the Moon of the '90s". Is Radiohead prog rock different from Pink Floyd prog rock because it's 25 years later? Why does it seem other types of music are allowed to progress except for "progressive rock"? Is it just a term for slagging stuff one personally feels is pretentious, or does it represent a sub-genre of rock music that can be identified in objective terms? How about a non-facetious definition of progressive rock? ------------------------------ Date: Wed, 10 Mar 1999 21:53:17 -0600 From: amadain Subject: Re: Astroturf campaign to get SH into MB >I will recruit off the street if need be. >Judging from this list, the Chicago fan base appears huge. Then why weren't they at my Fegparty? Come to think of it, you never spoke up about it, in fact, I don't recall ever having seen you post before. Did you sign on after it happened? You woulda been welcome there. We're not scary at all, really, the fact that the preceding might have seemed a bit like an interrogation notwithstanding. (Speaking of that- I don't think it's spoiling anything to ask Mr. Tews if he has received his cadeau yet. I've been wondering.) >With our collective wills, we should surely manage to have Storefront >shown for a >weekend. As I said to Viv offlist, I think a booking at Facets may perhaps be more realistic. But I don't really know. If they assume at the MB that one person writing or calling represents say, 50 who didn't, they may just figger there's an audience if they hear from a few of us and respond accordingly. Does anyone know anything about private rentals? It may just happen that the only way we'd get to see it on a large screen would be to all chip in a certain amount to get it for a night and then show it in someone's backyard. That doesn't necessarily mean I want to volunteer to organize the event (as the feglist sighs in collective relief!). I'm just throwing the idea out there. Love on ya, Susan ------------------------------ Date: Wed, 10 Mar 1999 20:15:59 -0800 (PST) From: Danielle Subject: Re: Blur & the politics of dancing > Dancing Queen: > Yeah, yeah, yeah. Sorry for thinking that lyrics are a central component of > a rap group. My apologies. Hip-hop is about more than lyrics. The Beastie Boys certainly are. You've also said to me in the past that hip-hop's appeal for you lies not in lyrics, but in 'sound texture' and rhythm. In any case, is your private argument with me reason enough to use this tone in public? Grow up. > And sure, I can't stand grooves. I never said that. I said your 'groove thang is sadly underdeveloped'. You might also have noticed the little 'I'm not completely serious' emoticon there, too. Good lord, does your lousy mood always make you overreact this ridiculously? > Leisure is a crummy record. Well, I like it. No biggie. , to quote you. > My lack of Leisure appreciation has nothing > to do with my dire unfunkiness, or whatever bias you've chosen to smugly > project upon me. *Where* was the smugness in my post? Some gentle ribbing you'd take with equanimity from practically anyone else? Settle, petal. > Says the Trouser Press Guide: Do I care? I was just saying that I like Leisure because it's groovy. No more, no less. I like baggy, as you know. > Maybe you should wait to attack, until you've actually *heard* 13. Fair 'nuff? *Where* was the attack? I read your review of 13, and it sounded very much as if I'd like it despite your panning it. And I like the b-sides, and I like 'Tender' more than you do, and I feel sorry for Damon, breaking up with Justine. So I said so. Again, this is *no big deal*. Dear *lord*. Some deep cleansing breaths seem to be in order, here. Since when am I the enemy? Danielle, thinking that perhaps Ebby should act his age in public if not in private _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Wed, 10 Mar 1999 20:59:16 PST From: "Capitalism Blows" Subject: the chinaman is *not* the issue! after the quail called me "very harsh" and "quite unfair," and after michael w. excoriated me offlist for my "what have you done for me lately attitude," --two whose opinions i take quickly to heart-- i decided to do a bit of research. kubrick's career in perspective. i ran through the top 250 movies on the imdb (which is not, of course, the be-all and end-all of top all-time movies lists. recent movies are WAY WAY overrepresented, and movies not in the english language are WAY WAY underrepresented. and, gack, Saving Private Ryan in the top ten?! The Truman Show in the top fifty?! but i do like its populism and its organic nature. and, hey, what the fuck, my four fave movies are all in there, at #'s 26, 117, 131, and 218.) here are the directors with the most movies in the top 250: 1. hitchcock (11, 14, 17, 23, 81, 82, 194, 197, 207.) 2. kubrick (15, 64, 73, 95, 96, 98, 158.) 3. spielberg (4, 7, 12, 118, 121, 229.) 4. coens (69, 147, 186, 220, 245.) [i am not making this up! interestingly, Barton Fink and Hudsucker Proxy --two of the better ones, in my opinion-- are the only two to not make the grade.] 5. capra (27, 52, 100, 104) chaplin (68, 92, 99, 105.) reiner (50, 109, 151, 215.) weir (42, 137, 192, 231.) it's a weird list, to say the least. but nonetheless somewhat interesting. i'm presuming that any sort of post-mortem "bounce" given kubrick would not show up this early. i also scanned through the filmographies of eight more less randomly chosen "greats": bergman, kubrick, fellini, eisenstein, chaplin, kurosawa, bunuel, and welles. with the exception of kurosawa, they all pretty much tailed off after about 45 or fifty. one thing that did stand out like a sore thumb, though, is the very small number of movies directed by kubrick, as compared with the rest of them. but i am here acknowledging that i had had unreasonably high expectations for the latter stages of kubrick's career. sorry, stan. (although i have to admit that i'll always secretly wish that he could've squeezed out one or two more truly great films after Clockwork Orange.) yes, susie, i got the mythical package, and stated so on this very mailing list. (glad to know you read my posts...) Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 10 Mar 1999 23:23:36 -0600 From: steve Subject: Re: 100% proggie content Mark Gloster: >Y'kno, I think a strong case could be made for XTC posessing some >prog influence, but real proggies must take our sad mainstream >vindication through Styx and Kansas and ELO. Listening to Wall of >Voodoo makes me feel better. OK Mark, Andy admits to liking Tomorrow, but that's about as far as it goes. Proggies wishing for mainstream vindication should point out Stereolab and their fellow travelers, who seem to have quite the liking for early Soft Machine. - - Steve ------------------------------ Date: Wed, 10 Mar 1999 22:02:19 -0800 From: Eb Subject: Re: 100% proggie content Steve: >Proggies wishing for mainstream vindication should point out Stereolab >and their fellow travelers, who seem to have quite the liking for early >Soft Machine.> Yes, I *somewhat* go along with this, though I'd cite Can and Neu! before Soft Machine. The most important impact of '70s prog today is probably in Stereolab's minimalist-drone pop realm. Then again, the influence here is from a very specific area of prog: Krautrock. And Krautrock is sort of the black-sheep mutant cousin of prog -- really, it's as much about *punk* ideals as prog. What the modern bands respond to in Krautrock isn't so much prog values of virtuosity and complexity, but the simple thrust of the tribal, evolving groove, the same kick which modern bands get from the Ramones, the Stooges and VU anthems like "What Goes On" and "Waiting for My Man." It's not about the precision song construction of ELP and Genesis -- it's about improvisation, free-form experimentation and carrying a simple idea to its logical extreme. So...I dunno. In recent years, Stereolab HAS become more about complexity (specifically, in rhythm and time signatures), but I believe they get this from the French bubblegum tradition and Latin pop as much as from prog. And still, Stereolab couldn't be less about instrumental virtuosity -- jeez, their keyboardists have always been a joke, from a technical standpoint. And their guitarist does nothing but strum rhythm chords. Ross: >Some prog influence? 3 words: "River of Orchids". Ehhhh...it's more about classical influences than "prog." >I've heard Radiohead's latest touted as "the Dark Side of the >Moon of the '90s". Is Radiohead prog rock different from Pink Floyd >prog rock because it's 25 years later? Well, the thing is that Pink Floyd's position in "prog rock" is highly debatable -- the jury is split right down the middle on that one. I've been on the fence for years, but since observing more of the "prog community" online, I'm starting to place Pink Floyd outside of prog. Nowadays, I think of them more as a '60s psychedelic-rock band who matured into a stoner FM-rock staple. If you look at the rec.music.progressive and alt.fan.pink-floyd newsgroups, the difference in posts is startlingly obvious. The rec.music.progressive folks have the typical overeducated, pop-music-sucks, self-congratulatory arrogance of the diehard proggie, while the a.m.p.f. folks are a bunch of immature, drunken, pot-riddled airheads trading giggles and nerd jokes. Just the sort of dorks you see waving lighters at arenas and showing off their neatly ironed tour shirts. Clearly, there's a difference between the prog audience and Pink Floyd's. Similarly, Pink Floyd is almost NEVER discussed in rec.music.progressive. As time goes by, I think Pink Floyd becomes less and less a peer of Genesis and Yes, and more a peer of, well, I dunno, the melodic long-hair rock you heard on FM album radio during the genre's '70s glory days. I mean, Pink Floyd may have more in common with the Doors than prog-rock, really. Pink Floyd was a lot more about creating mainstream radio hits than other prog bands, even moreso than the aforementioned Jethro Tull (who also has sort of an ambivalent relationship with the prog mindset, for similar reasons). As for Radiohead, I can't put them in the prog boat, no how. Their first two albums are almost *impossible* to describe that way, and the third...well, maybe it IS the Dark Side of the Moon of the '90s, but that doesn't mean it's prog. It's arty, brilliantly produced, full of headphone effects and a major auditory orgasm. Now, on a melodic (and arguably, lyrical) level, it's NOTHING compared to Dark Side of the Moon. But as get-stoned-while-listening ear candy, it's hard to beat. It's a trip, man. >Why does it seem other types of music are allowed to progress >except for "progressive rock"? It wasn't ABLE to progress. That's why it died. All it did was recycle itself, and become more and more commercial. I've said it a million times, but I still contend that the first Asia album represented the entire prog movement just throwing up its hands and saying "OK, you win! We give up! Let's just move some product! T-shirt, anyone?" It's all been downhill from there. >How about a non-facetious definition of progressive rock? Well, in my view, show-off virtuosity and willfully complex time signatures would be the #1 benchmarks. And note that both Pink Floyd and Radiohead fail the virtuosity test, and only occasionally have complex time signatures. There's also a certain male cock-rock element lurking in there, which is why someone like Rufus Wainwright won't fly with proggies no matter HOW complex and impressive his music becomes. I mean, sure, you can point at Yes or whoever and their "fairy" qualities, but there's always a dude (like Steve Howe or Rick Wakeman) in the background to satisfy that high-fiving, air-guitar need. Eh, whatever. I should go into this more deeply and systematically, but to be honest, I'm just pretty sick of talking about prog right now. Eb PS You know, it's no great album (or even a very good one), but this Westerberg disc is better than I guessed it would be. At least he sounds "real" again, and not like a guy ordering around session musicians. ------------------------------ Date: Thu, 11 Mar 1999 08:46:54 +0000 (GMT) From: Stewart Russell 3295 Analyst_Programmer Subject: Re: Errors in song... >>>>> "Tom" == Thomas, Ferris writes: Tom> The original Tom> single has a muddled little f-off back in the mix.... Like Paul Young's version of 'The Love of The Common People'. It would be utterly without merit but for the playground sound section in the middle. In the original single (which was a UK No1, I think) a little kid is clearly heard to yell "FUCK OFF! FUCK OFF!". It's so clear you can even hear it on LW radio, and how nobody noticed it, I'll never know. - -- Stewart C. Russell Analyst Programmer, Dictionary Division stewart@ref.collins.co.uk HarperCollins Publishers use Disclaimer; my $opinion; Glasgow, Scotland ------------------------------ Date: Thu, 11 Mar 1999 08:26:38 -0500 (EST) From: Tracy Aileen Copeland Subject: Re: if only you wouldn't clap so hard On Mon, 8 Mar 1999, Capitalism Blows wrote: > in the robyn, bob & albert show, robyn > comes back out after Like A Rolling Stone and says that after that, bob > "supernovaed" and never did anything else of value. I was at the R B & A show with Positive Vibrations publisher Aidan Merritt, and after Robyn did his early-brilliance-long-disappointing-dullness bit someone in our area shouted "People who live in glass hotels shouldn't throw stones!" I won't name the miscreant but I would like to clear Aidan, not that anyone would suspect him of any negativity, of course. - -- #! /usr/local/bin/perl $o=8889100880689;$s='1f6f544f';$o*=5;for(27,o(split//,$o),54){print t($_)}sub o{for(@_){$_||(push@a,0)&&next;/3/?push@a,$_.=4:/5/?push@a ,$_.=3:push@a,$_.=chop$s}@a}sub t{chr(hex($_)+32)} ------------------------------ End of fegmaniax-digest V8 #90 ******************************