From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V9 #9 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, January 11 2000 Volume 09 : Number 009 Today's Subjects: ----------------- Re: who is wu? [The Gnome Piimp ] Wu are you? [Griffith Davies ] Re: hey... ["Richard Zeszotarski" ] [0%RH] SYR4-the art of noise [hal brandt ] Re: my wu-name; the music tapes still bad [Josie Abramovitz ] Re: the music tapes still bad ["Stewart C. Russell" ] au revoir les annee vingt [dmw ] Re: who is wu? [mrrunion@palmnet.net] VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) ["Jason ] RE: VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) [tan] Re: VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) [MAR] Re: VH1's List of "Rock 'n' roll's 100 greatest songs" ["Ken Frankel" ] 39 Steps ["jbranscombe@compuserve.com" ] Re: in defense of satisfaction [Eric Loehr ] Re: in defense of satisfaction [dmw ] re: satisfaction/ guitar distortion ["jbranscombe@compuserve.com" Subject: Re: who is wu? > > that's fun, wonder how it works. I took the liberty of looking up the > > fegs. looks pretty accurate: > >Mine is Vangelic Surgeon. And mine is "Childish Gambino." Pegged. - --Jason, also just recently back from a long trip... PS: "AmeriKKKa's Most Wanted" RAWKS! Weeeeesssst Coooooast. Sorry for the delay. "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ Date: Mon, 10 Jan 2000 15:13:29 -0800 (PST) From: Griffith Davies Subject: Wu are you? Checked out my name in the WuName. I am now aka The Dependable Skeleton, which is kinda cool. If I use the shortened version of my name (griff) that I use at work, my name is now Homicidal Terrahawk - very cool. These names are interesting, until I found out my wife's name is now the same as sharkboy's. ouch. I think I'll stick with griffith. Or maybe homicidal skeleton. griffith np - Sonic Youth - SYR4 - which is amazing. ===== - --------------------------------------------------------- Griffith Davies hbrtv219@yahoo.com __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ Date: Mon, 10 Jan 2000 18:45:48 EST From: "Richard Zeszotarski" Subject: Re: hey... >From: Natalie Jacobs >Reply-To: Natalie Jacobs >To: bret >CC: fegmaniax@smoe.org >Subject: Re: hey... >Date: Fri, 7 Jan 2000 13:39:56 -0500 (EST) > > > heh...... Ann Arbor eh? You guys play some Wally Pleasant up there? > >I do. I don't know if anyone else does. > >I'm particularly fond of "Hippie's Lament" and "The Day Ted Nugent Shot >All the Animals." > >n. > > First of all, it's "The Day Ted Nugent Killed All the Animals". Get it right, dammit! Secondly, I also play Mr. Pleasant (not his real last name,BTW)'s music on my radio show, "Dead Or Canadian" heard every Saturday (unless I have other plans-like the Falcon Ridge Folk Festival, Chiller Theatre Convention, or if Wally is playing in town) on WRKC, 88.5 FM in Wilkes-Barre, PA. So, there. :P Wally has played in town three times now at a place called Cafe Metropolis (visit their site at www.cafemetropolis.com). Surprisingly enough, he has a small local following in this musical wasteland of classic rock white trash, hardcore twits, and Dave Matthews nouveau hippies. Wally's recorded I.D.'s for my show, and a nicer man you will never meet. In fact, I often refer to him as the second coolest guy from Michigan (right after Bruce Campbell). If he ever plays anywhere near you, do check out his live shows, they're a lot of fun. If any of you other fegs want to learn more about Wally from me, e-mail me off-list and I'll be more than happy to respond. - -Rich "fighting the ol' flu bug"Z. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 10 Jan 2000 17:41:54 -0600 From: hal brandt Subject: [0%RH] SYR4-the art of noise Eric the 'alf-a-bee droned: > This new Sonic Youth album is *fascinating*. Did anyone else buy it? However steeped I may be in a quagmire of RobynH ' fanboy exclusivity', I did stumble upon this one (as well as SYR1, SYR2, SYR3) and agree that it is interesting and challenging. Here's an informative article from The NY Times Arts Section: > > T HE 20th century was, in musical terms, a noisy one. I don't mean loud or > even discordant, the customary complaints of audiences encountering new > music, whether Igor Stravinsky's "Rite of Spring," John Coltrane's > "Ascension" or Jimi Hendrix's Woodstock rendition of the national anthem. > I'm referring, rather, to the way that 20th-century composers have embraced > sounds -- environmental, industrial, often random -- and thereby laid siege > to inherited notions of musical order. If last century's avant-garde taught > us anything, it is that such disturbances can be the stuff of art. > > The first person to make this point was not a musician but a painter, Luigi > Russolo. A leading member of the Italian Futurist movement, Russolo drafted > a lyrical manifesto in 1913 calling for the "renewal of music by means of > the Art of Noises" and scored works for "noise intoners," primitive machines > he built to replicate the ambient sounds of the modern metropolis. While no > noise intoners have survived, Russolo's project was extended and enriched by > Edgard Varèse, Iannis Xenakis, Karlheinz Stockhausen and John Cage, who from > the 1940's until his death in 1992 did more than anyone to make raw sounds a > part of our musical vocabulary. > > The art of noise can be heard on two vivid recent double albums: Sonic > Youth's "Goodbye 20th Century," a set of works by Cage and heirs like > Christian Wolff and Cornelius Cardew; and "Treatise," a recording of > Cardew's 1967 composition by an ad hoc group of Chicago free-jazz musicians. > Several of the composers are, like Russolo, artists: Yoko Ono and George > Maciunas are best known for their association with the Fluxus school of > conceptual art, while Cardew worked as a graphic designer. Not surprisingly, > their music eschews traditional notation in favor of abstract drawings, > games and verbal instructions. Ms. Ono's 1961 "Piece for Soprano" asks a > singer to "Scream. 1. Against the wind. > > 2. Against the wall. 3. Against the sky." The 193-page score of Cardew's > "Treatise" includes not a single note among its black-ink drawings of > squares, triangles and circles. > > Outrageous? Sure, but then conventions are intended to make those who > violate them look ridiculous. On closer inspection this music seems > prescient of our own age, in which electronica, turntable manipulation, > sampling and free jazz have dissolved the borders between noise and music, > composition and improvisation, amateurs and professionals. > > Yesterday's revolutionary hopes have become the premises of today's > experimental popular music. > > Cage's ideas began to spread from the classical scene to a more vernacular > milieu in the late 1960's. Although he had an ardent following among > avant-garde composers (Morton Feldman, Christian Wolff and Earle Brown), > choreographers (Merce Cunningham) and artists (Robert Rauschenberg and > Jasper Johns), the doors to the classical concert hall had all but closed, > and many of his one-time classical admirers, notably Pierre Boulez, were > abandoning Cagean indeterminacy as a dead end. > > Meanwhile, Cage's celebration of collective decision making, his desire to > let "sounds be themselves," his embrace of chance and discontinuity, began > to enchant rock musicians who were just discovering the creative > possibilities inherent in studio production. As the Brazilian singer Caetano > Veloso recently pointed out in an interview with The Wire, you can hear > Cagean echoes in the Beatle's "Revolution No. 9." You can also detect them > in the Constructivist jazz of Anthony Braxton and Roscoe Mitchell, in Tom > Zé's "aesthetics of plagiarism," in the "post-rock" of Tortoise and > Stereolab and in the game pieces of John Zorn as well as in music by D.J.'s > who've never heard Cage's name. > > His ghost hovers kindly over "Goodbye 20th Century" (SYR 4), Sonic Youth's > homage to 10 of its favorite postwar avant-gardists. With roots in the > guitar minimalism of Glenn Branca as well as punk, the band has always found > in noise an almost religious sense of exaltation. On "Goodbye 20th Century," > the band is joined by its producer, Wharton Tiers; Jim O'Rourke, a > ubiquitous producer and guitarist in experimental pop; the Cage > percussionist William Winant; the turntable artist Christian Marclay, and > the composers Christian Wolff and Takehisa Kosugi. > > The 13 tracks range in length from Ms. Ono's 12-second scream to Cage's > 30-minute "Four to the Sixth," in which an excerpt from a Black Sabbath > guitar solo, prepared piano, drums, marimbas and tape loops of humming by > Sonic Youth's bass guitarist, Kim Gordon, intersect, overlap and part ways > again and again, as if they were serenely oblivious of one another. > > Though the band's signature guitar sound conjures up a familiar aura of > industrial ruin, no attempt has been made to render the music any less > unruly than it is. We are presented here not with seamless works, but with > what the film critic Manny Farber called "termite art." Such art, Mr. Farber > wrote, "goes always forward eating its own boundaries, and, likely as not, > leaves nothing in its path other than signs of eager, industrious, unkempt > activity." That's a shrewd characterization of what goes on in Mr. Wolff's > weirdly hypnotic "Burdocks." This 13-minute meditation on a melodic fragment > has no beginning, middle or end, and yet it moves. > > Other works are less successful, in part because such music often depends on > live performance to be understood. Much of the music created by Cage and his > heirs is "metamusical": it possesses a strongly theatrical streak, and the > resulting sound is less important than how it is executed. The directions > for Steve Reich's 1968 "Pendulum Music," for instance, instruct a group of > performers to swing microphones suspended above loudspeakers until they emit > feedback. Although this might be provocative in concert, it is merely > irritating on record. > > "Pendulum Music," in subordinating the performers' will to an impersonal > process, highlights a curious paradox of Cage-influenced music. By > renouncing control of the final product -- by refusing to "bring order out > of chaos," as he put it -- the composer encouraged an unusually > participatory approach to performance. Yet his acceptance of chaos and his > blithe rejection of human intentions also exposed a disregard for individual > expression, for the self-assertion that is virtually synonymous with freedom > in Western music, from the violin concerto to the jazz solo. > > This clash of tendencies characterized the short, turbulent career of the > British composer Cornelius Cardew, whose "Treatise" has now been recorded in > its entirety for the first time. An instructor at the Royal Academy of Music > and a member of AMM, a seminal electro-acoustic improvising ensemble, Cardew > was the British avant-garde's charismatic leader in the 1960's. After > studying with Mr. Stockhausen in the late 1950's, he rejected traditional > notation' and became a champion of Cage's methods. > > Seeking to break down the barrier between skilled and unskilled musicians, > in 1969 Cardew established the Scratch Orchestra, whose activities ranged > from "playing conventional instruments" to "making motions with a hand or > arranging a scarf." > > Some of England's most important musicians of the 1970's and 80's, including > Brian Eno, Michael Nyman and John Tilbury, were graduates of the orchestra. > > Unlike Cage, for whom sound experiment was an end in itself, Cardew was a > passionate activist who regarded music as a means to radical social change. > After converting to Maoism in the early 1970's, Cardew assailed his mentor > in a screed called "Stockhausen Serves Imperialism" and turned violently > against Cage's methods. The very principles he had upheld, graphic notation > and chance, he now disdained as counterrevolutionary deceptions. Consistent > if nothing else, he repudiated his earlier work, squandering his > considerable artistry on simple agit-prop pieces for "the workers," notably > with "A Thousand Nails in the Coffin of Imperialism." The workers failed to > notice, and he grew increasingly despondent. After trying his hand at > Marxist pop songs, he was killed by a hit-and-run driver in 1981 at the age > of 45. > > A LTHOUGH Cardew's Maoist phase proved ruinous to his art, the Cagean works > from the 1960's are long overdue for revival. In "Treatise," Cardew drew > upon his knowledge of graphic design as well as composition. Cardew was > hardly alone in suggesting affinities between music and visual art; Morton > Feldman used to hang his scores on the wall as if they were paintings. > > Yet Cardew broke new ground in writing a piece entirely in nonmusical > symbols. > > "Treatise" engages performers in an interpretative game, challenging them to > translate its images into musical sounds. > > In an essay on the "disadvantages of a musical education," Cardew wrote that > "Treatise" would be played, ideally, by children, musical innocents. > > The musicians on the new recording of "Treatise" (Hat[Now]Art 2-122) are > hardly innocents. They are Mr. O'Rourke, who contributes eerie synthesizer > ripples; the cellist Fred Lonberg-Holm; the clarinetist Guillermo Gregorio; > the pianist Jim Baker and the vibraphonist Carrie Biolo. But they are some > of Chicago's most exploratory improvisers, and they have undertaken Cardew's > project with sympathy and a suitably doctrinaire sense of purpose. Out of > nearly 200 pages of drawings, they have fashioned two and a half hours of > creepy, almost unremittingly somber music. As conducted by Art Lange, the > work is quiet, severe and nearly stationary in the manner of Feldman's > music. > > And though it's odd to speak of fidelity to a noteless score, the recording > certainly honors the spirit in which the work was composed. We are dealing, > after all, with a treatise, and who ever heard of a treatise being fun? > > At the same time, "Treatise" cannot help betraying its composer's intentions > by the very fact that it is a recording. "What we hear on tape or disc is > indeed the same playing but divorced from its natural context," lamented > Cardew, for whom the "natural context" -- the act of making and sharing > music in a room and of smashing hierarchy -- was everything. It might please > him to know that "Treatise" continues to elicit interest among musicians. > But I think he would be more excited by the fact that "musical innocents" > around the world, in clubs and behind turntables and in the streets, are > composing treatises of their own. > http://www.smellslikerecords.com/syr/index.html ------------------------------ Date: Mon, 10 Jan 2000 11:08:45 -0800 (Pacific Standard Time) From: Josie Abramovitz Subject: Re: my wu-name; the music tapes still bad Heya I like "bad" music sometimes but yeah, this music is just bad...though really funny if you can understand the lyrics. All i have is the TV 7", and though it is horrible, i think it's worth buying merely for the rad packaging! Do you guys like the ladybug transistor? I'm Jeannine again, if anyone forgot. Jeannine On Mon, 10 Jan 2000, Stewart C. Russell wrote: > shane apple wrote: > > > > i reckon it's still a dull listen for anybody > > If anyone wants to hear some Music Tapes that is actually quite good, in > a quaintly quirky way, then their first 7" 'The Television Tells Us / > Reindeer Song' is fun, and probably cheaper than the CD (unless it's in > a bargain bin). You'll need one of those big mechanical crackly things > to play it, though. > > Julian Koster has hand-lettered and illustrated all the Music Tapes (and > Chocolate USA, for that matter) liners. Seeing that his spelling is > dreadful, and his artwork, um, "naïve", it doesn't really project a very > slick image. > > Stewart > ------------------------------ Date: Mon, 10 Jan 2000 23:35:16 -0500 (EST) From: Terrence M Marks Subject: What is a Buchan? http://tv.cream.org/buchan/buchano.htm Terrence Marks Unlike Minerva (a comic strip) http://www.unlikeminerva.com normal@grove.ufl.edu ------------------------------ Date: Tue, 11 Jan 2000 08:40:07 +0000 From: "Stewart C. Russell" Subject: Re: the music tapes still bad Charles Gillett wrote: > > I was curious as to whether it was interesting despite being bad, Yes, I find it interesting. I think I'm the only person on the list who does. Stewart ------------------------------ Date: Tue, 11 Jan 2000 08:43:45 +0000 From: "Stewart C. Russell" Subject: Re: Reissues/Wu/Buchan/Enz > former Canadian Governor-General and nobvelist - writer of The 39 Steps. 'nobvelist' -- I like it. Buchan was the most famous former pupil of my [grammar] school. We were always reminded of this at every possible moment. At school, we were told that the name "The 39 Steps" came from the number of stairs up to Central Station from Union St in Glasgow. Dunno how many there are now, or how much to believe. Stewart ------------------------------ Date: Tue, 11 Jan 2000 08:49:15 +0000 From: "Stewart C. Russell" Subject: Re: my wu-name; the music tapes still bad Josie Abramovitz wrote: > > Do you guys like the ladybug transistor? Yes, of course. Sunny music to get me through the northern winter. The CD is an absolute sh*t to get in Britain, tho' -- it seems all the bands I like are on this one tiny indy distributor that record shops won't touch. Thankfully, Robyn isn't distributed by them. Stewart ------------------------------ Date: Tue, 11 Jan 2000 17:04:30 +0000 (GMT) From: Michael R Godwin Subject: Re: Reissues/Wu/Buchan/Enz On Tue, 11 Jan 2000, Stewart C. Russell wrote: > Buchan was the most famous former pupil of my [grammar] school. We were > always reminded of this at every possible moment. At school, we were > told that the name "The 39 Steps" came from the number of stairs up to > Central Station from Union St in Glasgow. Dunno how many there are now, > or how much to believe. In the (Alfred) Hitchcock film of the book, they apparently strayed so far from the plot that Hitchcock forgot to explain the title altogether, and had to tack on an additional scene "explaining" that they were 39 German spies working in the UK (IIRC). What were the 39 Steps in the book? - - Mike Godwin PS The most famous (indeed, the only famous) former pupil at my grammar school was the late Screaming Lord Sutch ... ------------------------------ Date: Tue, 11 Jan 2000 12:46:43 -0500 (EST) From: dmw Subject: au revoir les annee vingt On Mon, 10 Jan 2000, Eb wrote: > PS This new Sonic Youth album is *fascinating*. Did anyone else buy it? > Quail? Charles G.? I think I'm moving it to #14 on my year-end list, just > one notch ahead of that "Sophia" deal. I worried that it might be "boring," > but I don't think so at all. It's just too bad the packaging is so > no-budget -- I'm going to have to do some websearching, if I'm going to at > all understand the schematics behind some of these pieces. And the CDs are > so hard to take out of the pockets -- especially without scratching.... _goodbye 20th century_, y'mean? it's pretty neat all right, but it makes me feel woefully ignorant -- i feel like i need a remedial version with the original composers' recordings. as it is, it's hard to know to what degree i'm liking something inherent in a given piece, and to what degree i'm responding to what the sy-based ensemble brings to the piece. hrm. ...so what are syr1, 2, & 3? - -- d. - - oh no, you've just read mail from doug = dmw@radix.net - get yr pathos - - www.pathetic-caverns.com -- books, flicks, tunes, etc. = reviews - - www.fecklessbeast.com -- angst, guilt, fear, betrayal! = guitar pop ------------------------------ Date: Tue, 11 Jan 2000 10:42:21 -0800 From: mrrunion@palmnet.net Subject: Re: who is wu? Glen Uber chimed in with him Wu-name: > Mine is Vangelic Surgeon. Hey, wait a minute! My wu-name is Vangelic Surgeon too!! What gives? Are we long lost twins separated at birth, or...wait...shit, ignore that... Mike (a glitch in the Quailspiracy Master Program has accidentally assigned two bot-identities to the same Wu-Name...finally...Y2K Strikes!!) __________________________________________ Sent using WebInbox. "Your email gateway." Check us out at http://www.webinbox.com ------------------------------ Date: Tue, 11 Jan 2000 11:03:05 -0800 From: "Jason R. Thornton" Subject: VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) Nothing wildly surprising here: 1. "(I Can't Get No) Satisfaction," Rolling Stones 2. "Respect," Aretha Franklin 3. "Stairway to Heaven," Led Zeppelin 4. "Like a Rolling Stone," Bob Dylan 5. "Born to Run," Bruce Springsteen 6. "Hotel California," Eagles 7. "Light My Fire," Doors 8. "Good Vibrations," Beach Boys 9. "Hey Jude," Beatles 10. "Imagine," John Lennon http://entertainment.msn.com/news/eonline/0108/stones.asp - --Jason "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ Date: Tue, 11 Jan 2000 14:08:07 -0600 From: tanter Subject: RE: VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) >===== Original Message From "Jason R. Thornton" ===== >Nothing wildly surprising here: but oh so boring! There's no way I'm going see "Satisfaction" as the best rnr song EVER. "Hey Jude" is way better, so are "Something" and "The long and winding road" and...I could go on and on! > > 1. "(I Can't Get No) Satisfaction," Rolling Stones > 2. "Respect," Aretha Franklin > 3. "Stairway to Heaven," Led Zeppelin > 4. "Like a Rolling Stone," Bob Dylan > 5. "Born to Run," Bruce Springsteen > 6. "Hotel California," Eagles > 7. "Light My Fire," Doors > 8. "Good Vibrations," Beach Boys > 9. "Hey Jude," Beatles > 10. "Imagine," John Lennon > > >http://entertainment.msn.com/news/eonline/0108/stones.asp > > > >--Jason > >"Only the few know the sweetness of the twisted apples." > - Sherwood Anderson Marcy L. Tanter Assistant Professor of English Tarleton State University Stephenville, TX 76401 254-968-9892 (9039 to leave a message) ------------------------------ Date: Tue, 11 Jan 2000 15:26:57 EST From: MARKEEFE@aol.com Subject: Re: VH1's List of "Rock 'n' roll's 100 greatest songs" (Top 10 only) In a message dated 1/11/00 12:06:54 PM Pacific Standard Time, tanter@tarleton.edu writes: << but oh so boring! There's no way I'm going see "Satisfaction" as the best rnr song EVER. "Hey Jude" is way better, so are "Something" and "The long and winding road" and...I could go on and on! > > 1. "(I Can't Get No) Satisfaction," Rolling Stones > 2. "Respect," Aretha Franklin > 3. "Stairway to Heaven," Led Zeppelin > 4. "Like a Rolling Stone," Bob Dylan > 5. "Born to Run," Bruce Springsteen > 6. "Hotel California," Eagles > 7. "Light My Fire," Doors > 8. "Good Vibrations," Beach Boys > 9. "Hey Jude," Beatles > 10. "Imagine," John Lennon >> I agree. I would say that every other song on the top 10 is much more deserving of the #1 slot, as would be many other Rolling Stones songs: "Sympathy for the Devil," for cryin' out loud! "Paint It Black," "Ruby Tuesday," "Honky Tonk Woman," "You Can't Always Get You Want," etc. Hell, I think I'd even prefer "Start Me Up" to "Satisfaction"! Well, maybe. Also, people are way too in love with that time period: 1964-1972. What about the 50's?!? Not to menttion the 80's and 90's. I get sucked into watching a lot of crap on VH1, but this ain't gonna be one of them. - ------Michael K. ------------------------------ Date: Tue, 11 Jan 2000 15:58:49 EST From: "Ken Frankel" Subject: Re: VH1's List of "Rock 'n' roll's 100 greatest songs" I looked at the complete top 100, and what I found most disturbing was the total lack of any song by The Byrds, while there were multiple entries by Queen, The Police, and Led Zep, not to mention appearances by Billy Joel and the Carpenters (!) Just who were these 700 "experts" anyway? Ken ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 11 Jan 2000 14:12:19 -0800 From: Joel Mullins Subject: Re: VH1's List of "Rock 'n' roll's 100 greatest songs" Ken Frankel wrote: > > I looked at the complete top 100, and what I found > most disturbing was the total lack of any song by > The Byrds, while there were multiple entries by > Queen, The Police, and Led Zep, not to mention > appearances by Billy Joel and the Carpenters (!) While I'm sure I'd be disgusted with most of the list if I went and looked at it, I'm also sure that Billy Joel belongs on it. He's got some great rock n roll tunes. Joel ------------------------------ Date: Tue, 11 Jan 2000 16:15:02 -0500 (EST) From: dmw Subject: in defense of satisfaction not, mind you, that i'd put it at number one myself, but it's a very quintessential rock'n'roll song in a sort of cliched way: on the one hand you've got the buzzy primalism of the central riff, which sounds good/bad even when you go DUNH DUNH dadadah dadada-dada DA DA.... (isn't there some myth about the richards recording it with an amp with a busted speaker cone?) and there's jagger's delivery of the central "i can't get no", which, whatever its grammatical sins is compelling/convincing, and, well, it's about sex, which is about as rock'n'roll in the original sense as you can get, certainly more so than "paint it black" or "sympathy," which i think artistically are unquestionably better, but not so, y'know, OOMPH. i mean, i prefer the residents' deconstruction of "satisfaction," personally, but i'm sort of mutant weirdo thing. - -- monolithic fishmonger-x - - oh no, you've just read mail from doug = dmw@radix.net - get yr pathos - - www.pathetic-caverns.com -- books, flicks, tunes, etc. = reviews - - www.fecklessbeast.com -- angst, guilt, fear, betrayal! = guitar pop ------------------------------ Date: Tue, 11 Jan 2000 17:02:13 -0500 From: "jbranscombe@compuserve.com" Subject: 39 Steps In reply to Mike Godwin. The 39 steps are...BANG! Aaaargh.... (There's one for all the film buffs). Seriously though folks, I haven't got the book to hand, but it's something to do with the number of steps at a certain point of the tide, at the place where the German invasion of Britain is to take place. Has anyone noticed the shared avian obsessions of our Hitchcocks? OK, I thought someone might have. jmbc ------------------------------ Date: Tue, 11 Jan 2000 17:06:28 -0500 (EST) From: Eric Loehr Subject: Re: in defense of satisfaction On Tue, 11 Jan 2000, dmw wrote: > sounds good/bad even when you go DUNH DUNH dadadah dadada-dada DA DA.... > (isn't there some myth about the richards recording it with an amp with a > busted speaker cone?) and there's jagger's delivery of the central "i I think you're thinking of Dave Davies having slashed his speaker for "You Really Got Me". I've read the story that Keef woke up in the middle of the night, recorded the riff to the song on a little tape recorder next his bed, and then didn't remember having done it the next day when he found the tape. Of course, this could be yet another myth. Eric "2000 Man" L. ------------------------------ Date: Tue, 11 Jan 2000 17:13:09 -0500 (EST) From: dmw Subject: Re: in defense of satisfaction On Tue, 11 Jan 2000, Eric Loehr wrote: > I think you're thinking of Dave Davies having slashed his speaker for "You > Really Got Me". I've read the story that Keef woke up in the middle of the > night, recorded the riff to the song on a little tape recorder next his > bed, and then didn't remember having done it the next day when he found > the tape. Of course, this could be yet another myth. bingo. wires crossed on those two stories; thanks for the clarification. - - oh no, you've just read mail from doug = dmw@radix.net - get yr pathos - - www.pathetic-caverns.com -- books, flicks, tunes, etc. = reviews - - www.fecklessbeast.com -- angst, guilt, fear, betrayal! = guitar pop ------------------------------ Date: Tue, 11 Jan 2000 18:30:53 -0500 From: "jbranscombe@compuserve.com" Subject: re: satisfaction/ guitar distortion The first 'vandalisation' of speaker story I heard was of Link Wray using a pencil to poke holes in his to get the fuzzy effect on Rumble. Bo Diddley also used to arse about with home-made effects. jmbc. ------------------------------ End of fegmaniax-digest V9 #9 *****************************