From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V9 #15 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, January 18 2000 Volume 09 : Number 015 Today's Subjects: ----------------- Power Pop ["Marc Holden" ] Re: ignorant question [Eb ] Re: Ghost Songs ["Stewart C. Russell" ] peake of perfection ["Stewart C. Russell" ] Re: peake of perfection [Anastasia Hunt ] Re: peake of perfection [Michael R Godwin ] Re: Power Pop [Joel Mullins ] Re: ignorant question [Joel Mullins ] Re: ignorant question [Stephen Buckalew ] New secret identity ["JH3" ] The Ropey Celts [Vivien Lyon ] Re: The Ropey Celts [Bayard ] Re: ignorant question [MARKEEFE@aol.com] Re: ignorant question ["JH3" ] Re: ignorant question [Jeff Dwarf ] Re: ignorant question [MARKEEFE@aol.com] Re: ignorant question [Eb ] Re: ignorant question [Stephen Buckalew ] speak of the devil and...EB appears!!! [lj lindhurst ] The Importance of Being Accessible [Vivien Lyon ] Re: speak of the devil and...EB appears!!! [Tom Clark ] Re: ignorant question [Eb ] Re: ignorant question [MARKEEFE@aol.com] Re: ignorant question/embarrassing records [lj lindhurst Subject: Power Pop Subject: Re: ignorant question Eb wrote: > Impersonal, "crafted" lyrics written from a generic girl-boy template That's WAY better than some asshole who writes about all his political views and everything he thinks is wrong with the world and thinks I give a shit. IMHO, girls and boys and their relationships provide endless material. Joel> Are you implying that I shouldn't be worshipping Rage Against the Machine? God, I'm so disillusioned. Actually, this does relate to Robyn--I saw Rage Against the Machine (who sucked the big one) early on the bill with X and Robyn Hithchcock and the Egyptians (last time I saw the Egyptians together, April 23, 1993) Sorry Bayard, no set list, but if you want, I can send you a list of all the bands that played that show. Later, Marc n.p.--Laurie Anderson--United States Live (disc 3) ------------------------------ Date: Mon, 17 Jan 2000 23:46:38 -0800 From: Eb Subject: Re: ignorant question Joel: >> Impersonal, "crafted" lyrics written from a generic girl-boy template > >That's WAY better than some asshole who writes about all his political >views and everything he thinks is wrong with the world and thinks I give >a shit. IMHO, girls and boys and their relationships provide endless >material. Kind of a dopey post, Joel. Yes, "girls and boys" certainly can be written about in interesting ways. But that requires going beyond the "template." Adding some specificity to the story and imagery, instead of crafting anonymous lyrics designed to be passively absorbed as a subordinate element of the melody. Similarly, political views can be expressed in interesting *or* irritating ways. You're painting with rather broad strokes, above. Eb ------------------------------ Date: Tue, 18 Jan 2000 08:32:07 +0000 From: "Stewart C. Russell" Subject: Re: Ghost Songs matt sewell wrote: > > Steady on! You'll be having ago at the druids next! I've been to the National Eisteddfod. The crowning of the bard is so hilarious, so deliciously hokey, that I sat spellbound throughout. Stewart ------------------------------ Date: Tue, 18 Jan 2000 08:58:00 +0000 From: "Stewart C. Russell" Subject: peake of perfection fegs across the water: whenever the BBC/WGBH Boston's production of Gormenghast makes it to your screens, YOU HAVE NO OPTION but to watch it. Sumptious, byzantine and hilarious, it has a wonderful cast. Cameos of superannuated British actors abound (Eric Sykes as the Prunesquallor butler). It's very, very, very well done. It even has an acceptable web site: http://www.bbc.co.uk/gormenghast/ And don't you think that Jonathan Rhys-Meyers looks like a Soft Boys-era Robyn? See here: http://www.bbc.co.uk/gormenghast/std/download/images/dt_bgrnd_b04.jpg - -- Stewart C. Russell Analyst Programmer, Dictionary Division stewart@ref.collins.co.uk HarperCollins Publishers use Disclaimer; my $opinion; Glasgow, Scotland ------------------------------ Date: Tue, 18 Jan 2000 09:11:29 +0000 From: Anastasia Hunt Subject: Re: peake of perfection In message <38842B18.1A3A0635@ref.collins.co.uk>, "Stewart C. Russell" writes >fegs across the water: whenever the BBC/WGBH Boston's production of >Gormenghast makes it to your screens, YOU HAVE NO OPTION but to watch >it. Boy oh boy, do I second this. We were prepared to be disappointed, but found it completely wonderful, and can hardly wait until next Monday to see part two. (Now there's an indication of how splendid it was, we're looking *forward* to Monday!) It would be worth watching just for the visual kick alone, but it was great in general. >And don't you think that Jonathan Rhys-Meyers looks like a Soft Boys-era >Robyn? See here: Heh. I was wondering why he looked kinda familiar. Cheers, Ana - -- Anastasia Hunt anastasia@thoth.demon.co.uk ------------------------------ Date: Tue, 18 Jan 2000 13:04:13 +0000 (GMT) From: Michael R Godwin Subject: Re: peake of perfection On Tue, 18 Jan 2000, Stewart C. Russell wrote: > fegs across the water: whenever the BBC/WGBH Boston's production of > Gormenghast makes it to your screens, YOU HAVE NO OPTION but to watch > it. Sumptious, byzantine and hilarious, it has a wonderful cast. Cameos > of superannuated British actors abound (Eric Sykes as the Prunesquallor > butler). It's very, very, very well done. Right. Can I just enter a few nitpicking remarks? Fuschia is too old (though I suppose that she has to grow up during the ensuing episodes). At the start of 'Titus Groan' she is described as 'about fifteen'. In the novel, Keda is a suitable wet nurse because her baby has just died. Yet in the TV adaptation, she is still pregnant. My wife (who has had two children) assures me that Keda would not make a wet nurse until the baby had been born. Why change this? Sourdust has been written out and replaced with Barquentine throughout. In the novel, Sourdust dies and is replaced by his 74-year old son, Barquentine; then Steerpike steals Sourdust's head to haunt the twins. How are they going to incorporate this delightfully gruesome highlight? I shall be disappointed if it is cut altogether. On the other hand, Fiona Shaw _is_ Irma Prunesquallor, and the twins are a truimph - Zoe Wanamaker and ?. Christopher Lee (Christopher Lee!) as Flay is excellent. Celia Imrie and Ian Richardson are good as the Earl and Countess. Richard Griffiths is OK as Swelter, though he could be _more_ grotesque. I'm less sure about Steerpike - the book constantly emphasises his high shoulders which are not in evidence. Nanny Slagg is nowhere near frail enough. And whenever I see John Sessions, I think of Keith Richards in Stella Street ... Not to be missed, anyway, even if they have dropped me completely. - - Rottcodd Curator of the Bright Carvings Gormenghast Castle ------------------------------ Date: Tue, 18 Jan 2000 09:19:55 -0800 From: Joel Mullins Subject: Re: Power Pop Marc Holden wrote: > Are you implying that I shouldn't be worshipping Rage Against the Machine? You're free to worship whatever you want. Joel ------------------------------ Date: Tue, 18 Jan 2000 09:28:43 -0800 From: Joel Mullins Subject: Re: ignorant question Eb wrote: > > Kind of a dopey post, Joel. Why thanks. > Yes, "girls and boys" certainly can be written about in interesting ways. > But that requires going beyond the "template." Adding some specificity to > the story and imagery, instead of crafting anonymous lyrics designed to be > passively absorbed as a subordinate element of the melody. > Similarly, political views can be expressed in interesting *or* irritating > ways. You're painting with rather broad strokes, above. Well, maybe I misunderstood you're original post. I was just reacting to that. I tend to get annoyed with people who think things have to be complicated, intellectually-stimulating, and culturally-significant to be worthwhile. IMHO, lyrics, though important, are a "subordinate element of the melody." Joel ------------------------------ Date: Tue, 18 Jan 2000 12:03:24 -0500 From: Stephen Buckalew Subject: Re: ignorant question I'm with ya there Joel... I have a friend who thinks of music as a purely "intellectual" challenge. He hates rock and roll (including R.H. of course) (and all lyrics...which aren't "real poetry"), folk, much classical, such as Mozart (who's music consists of "plodding regularity"). The only music he finds "interesting" is Jazz and more Jazz. If it doesn't have chord comping with extended chord forms and shifting tonal centers and complex rhythms...it's Boring. In my old-time band myself and two other guys do dual and triple fiddle and mandolin harmony lines on many of our songs. I think they sound beautiful. He saw us play once and yawned and complained about how simplistic the songs were..."there's only three of four chords in those songs...." Of course, I do like good thoughtful lyrics and lyrics that create an evocative emotional tone, but they are only one element. "Love Me Do" is a great song...it's pretty much in the boy/girl template. n.p. The Nashville Bluegrass Band At 09:28 AM 1/18/00 -0800, you wrote: >Eb wrote: >> >> Kind of a dopey post, Joel. > >Why thanks. > >> Yes, "girls and boys" certainly can be written about in interesting ways. >> But that requires going beyond the "template." Adding some specificity to >> the story and imagery, instead of crafting anonymous lyrics designed to be >> passively absorbed as a subordinate element of the melody. >> Similarly, political views can be expressed in interesting *or* irritating >> ways. You're painting with rather broad strokes, above. > >Well, maybe I misunderstood you're original post. I was just reacting >to that. I tend to get annoyed with people who think things have to be >complicated, intellectually-stimulating, and culturally-significant to >be worthwhile. IMHO, lyrics, though important, are a "subordinate >element of the melody." > >Joel > > S.B. *************************************************************** "...isn't it good to be lost in the wood..."--Syd Barrett *************************************************************** ------------------------------ Date: Tue, 18 Jan 2000 11:33:04 -0600 From: "JH3" Subject: New secret identity In case anybody was planning to send me an off-list message during the next year or two, please note that my personal e-mail address is now jh3@winco.net. Often people in this situation will say, "Sure my e-mail address has changed, but I'm still the same person that I always was!" However, I'm afraid this is not the case with me. I'm now someone else entirely. Joel M. writes: >That's WAY better than some asshole who writes about all his political >views and everything he thinks is wrong with the world and thinks I give >a shit. IMHO, girls and boys and their relationships provide endless >material. That reminds me, I just got Cinerama's album "VA-VA-VOOM," and it's really quite good! It isn't power pop, and it was released in 1998 so you won't see it on any Best-of-99 lists, but it's right up there with the later-period Wedding Present stuff - and nobody writes lyrics about [gulp] relationships the way David "rhymes with Hedge" Gedge does. (And of course, he writes about nothing else.) Highly recommended. John "remember, that's w-i- [ding ding] -n-c-o" Hedges PS. I still *can't stand* rural telco monopolies! ------------------------------ Date: Tue, 18 Jan 2000 09:58:00 -0800 (PST) From: Vivien Lyon Subject: The Ropey Celts - --- "Stewart C. Russell" wrote: > Vivien Lyon wrote: > > We sing this song at Samhain celebrations because the CElts > > believed that on that one night, the dead 'crossed the barrier' to visit their loved ones > > Sadly, most "celtic" stories were made up in the 18th century. > Indeed, > the whole idea of the celts is pretty ropey. I feel I must point out at this juncture that it is not *I* who sing this song at Samhain, nor it is I who believe the Celts thought one way or the other re: barrier-crossing dead folk. That was the note appended to the end of the lyrics. Don't want to be branded a dirty, gullible _pagan_, fer pete's sake. Vivien props to all those clean, skeptical pagans, on the other hand __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ Date: Tue, 18 Jan 2000 13:38:25 -0500 (EST) From: Bayard Subject: Re: The Ropey Celts isn't that an Enya song? saw 'galaxy quest' yesterday, and laughed pretty much throughout. don't miss it if you like silly trek-ish fun. ------------------------------ Date: Tue, 18 Jan 2000 15:03:39 EST From: MARKEEFE@aol.com Subject: Re: ignorant question In a message dated 1/18/00 8:36:10 AM Pacific Standard Time, jackater@flash.net writes: << Well, maybe I misunderstood you're original post. I was just reacting to that. I tend to get annoyed with people who think things have to be complicated, intellectually-stimulating, and culturally-significant to be worthwhile. >> Definitely true. If the lyrics resonate as being true and are close to one's own personal experience, then I think those lyrics have succeeded (at least for that one listener). << IMHO, lyrics, though important, are a "subordinate element of the melody." >> Hmm. Well, it's certainly nice when lyrics are sung melodically, but I think it's equally as valid to write a song around the words as it is to write lyrics that fit a melody. Sometimes, all the songwriter wants to say with a song is, "Hey, everybody, feel this! This song is '____' (fun, soaring, angry, dense, etc.)!!" Other times, the songwriter has this really cool story to tell and feels like anything other than a I-IV-V chord progression would distract from the lyrical content. Personally, I don't actually approach songwriting with a philosophy in mind. Whatever seems to work is what I (or, when writing my partner in crime, we) go with. - ------Michael K. ------------------------------ Date: Tue, 18 Jan 2000 14:24:54 -0600 From: "JH3" Subject: Re: ignorant question >>...I tend to get annoyed with people who think things have to be >> complicated, intellectually-stimulating, and culturally-significant to >> be worthwhile. > Definitely true. If the lyrics resonate as being true and are close to >one's own personal experience, then I think those lyrics have succeeded >(at least for that one listener). Yeah! In fact, I was just thinking recently about how successful the lyrics to "Balloon Man" are. Just last week it seems, I was walking around in New York - just minding my own business - when a giant anthropomorphic balloon just walked up to me and exploded, getting various types of vegetable matter all over my new shirt! Yuck, what a mess! John "still wishing I could ride a horse" Hedges ------------------------------ Date: Tue, 18 Jan 2000 13:01:59 -0800 (PST) From: Jeff Dwarf Subject: Re: ignorant question Stephen Buckalew wrote: [pins] > Of course, I do like good thoughtful lyrics and lyrics that > create an evocative emotional tone, but they are only one > element. "Love Me Do" is a great song...it's pretty much in > the boy/girl template. err, no. "love me do" _IS_ the boy/girl template. there's a difference though in writing a simple love song ("love me do") and a simplistic love song (any material issue or backstreet boys record), the latter being way too prominant these days (and always i suppose), especially amongst pop music (power or otherwise). it's the limitation of the form, just as it's too easy to write about hate everyone else in metal or about how unhappy everyone else makes you (goth) or about your dog being dead cuz yer ex-ran him over with your truck (country) or bitches n hoes & malt liquor (ballroom waltzes). ===== "America's greatest natural resource, still, to this day, is the moron" --Martin Mull __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ Date: Tue, 18 Jan 2000 16:10:17 EST From: MARKEEFE@aol.com Subject: Re: ignorant question In a message dated 1/18/00 12:33:56 PM Pacific Standard Time, jh3@winco.net writes: << > Definitely true. If the lyrics resonate as being true and are close to >one's own personal experience, then I think those lyrics have succeeded >(at least for that one listener). Yeah! In fact, I was just thinking recently about how successful the lyrics to "Balloon Man" are. >> Can we vote to get the pre-winco jh3 back? ;-) If you like the song, then they are successful. The lyrics to "Balloon Man" don't resonate with me as being *actually* true in a non-fiction sort of way, but they definitely resonate with my sense of humor and whatever other part of my brain enjoys seeing the images suggested in that song as a fun little pop ditty provides the music backdrop. - ------Michael K. ------------------------------ Date: Tue, 18 Jan 2000 13:20:47 -0800 From: Eb Subject: Re: ignorant question > I tend to get annoyed with people who think things have to be > complicated, intellectually-stimulating, and culturally-significant to > be worthwhile. >> > > Definitely true. If the lyrics resonate as being true and are close to >one's own personal experience, then I think those lyrics have succeeded (at >least for that one listener). Which is exactly why the typical lyrics of retro power-pop bands are so worthless. They have nothing at all to do with "personal experience" or "truth" -- they're merely "assembled" with the sole goal of easy accessibility, a la Diane Warren/Desmond Child. Eb ------------------------------ Date: Tue, 18 Jan 2000 16:36:03 -0500 From: Stephen Buckalew Subject: Re: ignorant question Jeff...I agree, ridiculously banal pap abounds now as ever I guess. I still can't even figure out what way "That Way" is supposed to be in that Backstreet B. song...my nasty imagination is left free to take that song in any direction because it has no real meaning as far as I can tell...and that does seem to be the modern template for commercially consumable music. My nieces love Britteny and I just grit and keep my mouth shut when they wax on about how awesome she is! I wonder how long the current vapid phase of modern music will last? What'll come around the bend next? I'm not sure what's worst right now...the rap-posturing, the rage against the vaguely defined, or the pure "we're selling sex here with no other redeeming musical value" Backstreet/Brittany music. Also...music (commercial) in the 90's seems to be much more segregated than in the 60's and early 70's...but I'm probably looking back with too much nostalgia...easy to do.... I'm turning into a folky more and more these days so I'm less and less interested in what pop music is playing... 'cept for stuff like Robyn H. or Spiritualized or Elephant 6. There is lot's -n- lot's of great music still being made in every genre...if the general public doesn't want to listen...oh well... I think vapid power pop can be a sweet quick-fix confection once and awhile. I can take a Raspberries tune now and then. The problem is that it's the current commercial musical diet...too much of it can make a person sick to their stomachs :-p Heck my S.O. loves all that 60's pop like Grass Roots and Gary Puckett (she even own's a Gary Puckett album...and would kill me if she knew I revealed it to anyone). Here's a fun game: What is the cheesiest, guiltiest-pleasure album that any of us has in our collections? Are we man/woman enough to divulge the truth? Mine: The Monkee's Greatest Hits....with NO apologies...heck I even play "Little Bit You, Little Bit Me" in my set! What could be more pat and derivative and corporate-created than that??? So I should be ashamed.... np. Tom Waits "Mule Variations" Chocolate Jesus! At 01:01 PM 1/18/00 -0800, you wrote: >Stephen Buckalew wrote: >[pins] >> Of course, I do like good thoughtful lyrics and lyrics that >> create an evocative emotional tone, but they are only one >> element. "Love Me Do" is a great song...it's pretty much in >> the boy/girl template. > >err, no. "love me do" _IS_ the boy/girl template. there's a >difference though in writing a simple love song ("love me do") >and a simplistic love song (any material issue or backstreet >boys record), the latter being way too prominant these days (and >always i suppose), especially amongst pop music (power or >otherwise). it's the limitation of the form, just as it's too >easy to write about hate everyone else in metal or about how >unhappy everyone else makes you (goth) or about your dog being >dead cuz yer ex-ran him over with your truck (country) or >bitches n hoes & malt liquor (ballroom waltzes). > > > >===== >"America's greatest natural resource, > still, to this day, is the moron" > --Martin Mull >__________________________________________________ >Do You Yahoo!? >Talk to your friends online with Yahoo! Messenger. >http://im.yahoo.com > > S.B. *************************************************************** "...isn't it good to be lost in the wood..."--Syd Barrett *************************************************************** ------------------------------ Date: Tue, 18 Jan 2000 16:44:09 -0500 From: lj lindhurst Subject: speak of the devil and...EB appears!!! Okay, this has nothing to do with Eb. But nonetheless, I thought it was worth mentioning: Remember a little while back when we were all talking about "Godwin's Law"? And somebody said, hey, doesn't LJ know him, and I said, oh, well, I met him a few times years ago? Well as it turns out, I was at a big shindig that one of my clients was throwing last week, and lo and behold, who was there but Mike Godwin himself. And the funniest thing was that I was one of the few people he knew at the whole party. So we were talking pretty much the whole night, and I even persuaded him to go out with a bunch of us afterwards and get very very drunk. He is a really entertaining fellow, let me tell you! And very smart-- did you know he has seen every single episode of "Friends"??? (he does truly believe that Ross and Rachel should be together) Anyhow, I told him about the Fegs list discussing "Godwin's Law" and he told me that he has recently been curious enough to have a Webcrawler searching for any mentions of it on the Web-- he found out that the place where it's used most often is GERMANY. Those wacky Germans! I don't know if this really counts as starfucking, but it is at least some kind of CyberLore-StarFucking or something, goddammit... I am TRYING to live the [Coors] High Life here for everybody, but all I ever really get is secondhand stories of people meeting Salmon Rushdie. l ++++++++++++++++++++++++++++++ LJ Lindhurst White Rabbit Graphic Design NYC ljl@w-rabbit.com http://www.w-rabbit.com ++++++++++++++++++++++++++++++ "Hey Mikey, whatever happened to the fucking Duke of Earl?" --Randy Newman ------------------------------ Date: Tue, 18 Jan 2000 13:49:15 -0800 (PST) From: Vivien Lyon Subject: The Importance of Being Accessible someone wrote: > Which is exactly why the typical lyrics of retro power-pop > bands are so > worthless. They have nothing at all to do with "personal > experience" or > "truth" -- they're merely "assembled" with the sole goal of > easy > accessibility, a la Diane Warren/Desmond Child. That doesn't preclude their resonance with the personal experiences of a large group of people. The fact that a song lyric could be engineered for maximum easy accessibility implies that people are _accessing_ something in it, ie: they relate it easily to their own experiences. It's so general, it resonates to some degree with Everyone. I find that slightly irritating because it throws into sharp relief just how closely my grandiose and tragic heartbreak parallels the squalid troubles of the loser upstairs who plays Gloria Estefan. And then I find myself irritating for being so elitist. I gravitate towards music whose lyrics describe something that doesn't jibe with just every english-speaking moron in the universe...but do I do that because I'm *so* different and unique, or because I want to think that I'm different, or because I *am* different, just not in a very important way? Bleah. Vivien Now I've got "1-2-3-4 Come on baby say you love me 5-6-7 times....." stuck in my head. Kill me. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ Date: Tue, 18 Jan 2000 14:03:56 -0800 From: Tom Clark Subject: Re: speak of the devil and...EB appears!!! On 1/18/2000 1:44 PM, lj lindhurst wrote: > I am >TRYING to live the [Coors] High Life here for everybody, but all I >ever really get is secondhand stories of people meeting Salmon >Rushdie. Yeah, that's what Hitler said! - -tc ------------------------------ Date: Tue, 18 Jan 2000 14:15:00 -0800 From: Eb Subject: Re: ignorant question someone wrote: >That doesn't preclude their resonance with the personal >experiences of a large group of people. The fact that a song >lyric could be engineered for maximum easy accessibility implies >that people are _accessing_ something in it, ie: they relate it >easily to their own experiences. But I don't think it's about relating the lyrics to their own experiences. Those songs don't become hits because of the lyrical content -- rather because they just have a Big Melodic Hook which has that magical ability to "stick." The Backstreets' "Ain't Nothin' But a Heartbreak" has a chorus which is impossible to forget. Them's the breaks. It's like a virus. You gotta give it credit for that achievement. But the *content* of the song's lyrics isn't what matters -- what matters is that the lyrics mesh perfectly with the melodic hook on a simple phonetic, syllabic level. Take Howard Stern's parody of the song, as an instructional example: "Get K-Y" just doesn't have the same Magic as "Tell me why-iy." ;) It may be more entertaining, but the phonetic hook just isn't there anymore. Stephen: >I'm not sure what's worst right now...the rap-posturing, the rage against >the vaguely defined, or the pure "we're selling sex here with no other >redeeming musical value" Backstreet/Brittany music. There will always be Backstreet Boys-type music. It's harmless...comes and goes, and vaporizes once it's out of favor. I think the "worst" thing to me right now is the sustained mutation of prominent "alternative-rock" values into the same sort of empty headbanging which the music originally rebelled against. Makes me very sad. >Here's a fun game: What is the cheesiest, guiltiest-pleasure album that >any of us has in our collections? Are we man/woman enough to divulge the >truth? Funny...I was asked to ponder this question in another environment, quite recently. I cited a perennial candidate: my beloved 50-cent secondhand copy of Supertramp's Breakfast in America. ;) Otherwise, I finally heard the new Oasis single yesterday. I was rooting for them to make a comeback, but if *this* is the best they can do...blah. Their reign may have come to a permanent end. Eb ------------------------------ Date: Tue, 18 Jan 2000 17:55:59 EST From: MARKEEFE@aol.com Subject: Re: ignorant question In a message dated 1/18/00 2:20:54 PM Pacific Standard Time, gondola@deltanet.com writes: << >Here's a fun game: What is the cheesiest, guiltiest-pleasure album that >any of us has in our collections? Are we man/woman enough to divulge the >truth? Funny...I was asked to ponder this question in another environment, quite recently. I cited a perennial candidate: my beloved 50-cent secondhand copy of Supertramp's Breakfast in America. ;) >> Woah! I'm fucking *playing* "Breakfats in America" right now!! Wow. Weird. But I specifically grabbed CDs off the shelves this morning that I don't often listen to. Ironically, this wouldn't even come close to the most embarrassing CD I own . . . okay, maybe it'd come close :-) But it wasn't among the couple-three I was considering. My choice would have to be: Feargul Sharkey: "Feargul Sharkey" But you be the judge! Is Asia's "Alpha" *more* embarassing?!? Could well be. Everything else I own is just super-totally-rad, though!! :-) - ------Michael K. ------------------------------ Date: Tue, 18 Jan 2000 18:53:21 -0500 From: lj lindhurst Subject: Re: ignorant question/embarrassing records >In a message dated 1/18/00 2:20:54 PM Pacific Standard Time, >gondola@deltanet.com writes: > ><< >Here's a fun game: What is the cheesiest, guiltiest-pleasure album that > >any of us has in our collections? Are we man/woman enough to divulge the > >truth? Well, as we all know, I DO own every Oasis album AND ep ever made (I even paid import prices for them before "The Masterplan" came out). But did you know that I have a MAJOR WOODY for John Cougar Mellencamp? In fact, I think last year's inexplicably self-titled record was one of my favorites of the year. Oh, and I just bought the Blink 182 record on a whim. Haven't played it yet. How embarrassing is THAT? Hey, did I ever post my 1999 top ten list? Is it too late? > Funny...I was asked to ponder this question in another environment, quite > recently. I cited a perennial candidate: my beloved 50-cent secondhand copy > of Supertramp's Breakfast in America. ;) >> > > Woah! I'm fucking *playing* "Breakfats in America" right now!! Wow. >Weird. But I specifically grabbed CDs off the shelves this morning that I >don't often listen to. When TGQ and I were in Amsterdam, we ate at this tiny Italian restaurant twice, and for some reason they were playing "Breakfast in America" in its entirety both times we were there. We were pleased. And speaking of, you know what's not a half-bad album, though? Roger Hodgson's "In the Eye of the Storm"-- man, when I was in high school, that record was the SHIT. now, have I embarrassed myself enough? Afraid not: more to come! lj * * * * * * * * * * * * * * * * LJ Lindhurst White Rabbit Graphic Design http://www.w-rabbit.com NYC ljl@w-rabbit.com * * * * * * * * * * * * * * * * ------------------------------ End of fegmaniax-digest V9 #15 ******************************