From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V11 #314 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, October 3 2002 Volume 11 : Number 314 Today's Subjects: ----------------- I would like the Geek Crown briefly, please ["Rex.Broome" ] RE: 'n' rowl [Brian ] Re: The in-laws, Can of Bees [Michael R Godwin ] Clichetown ["Golden Hind" ] Re: at least one at every meeting. [Stewart Russell ] re: birthdays ["Mandarin Red" ] Re: mr kennedy [Tom Clark ] Re: Strings [Tom Clark ] anti-degeneration [Ken Ostrander ] Re: Strings [Ken Ostrander ] Two Towers ["Brian Hoare" ] Re: the only Elvis that matters... [rosso@videotron.ca] Re: Bass-o-matic -- a theory [rosso@videotron.ca] earnest discussions/strings [grutness@surf4nix.com (James Dignan)] Random NDL song notes. ["Rex.Broome" ] Heatwave ["ross taylor" ] Re: Heatwave [Ken Weingold ] Re: Rheostatics/Beachwood Sparks [Jeffrey with 2 Fs Jeffrey ] ---------------------------------------------------------------------- Date: Thu, 3 Oct 2002 10:35:31 -0700 From: "Rex.Broome" Subject: I would like the Geek Crown briefly, please So I got my reissue of the 1st Tom Verlaine LP (along with a passel of other cool stuff) in the mail last night. Now usually when I get a CD reissue I part company with my old CD copy, but this was a Collector's Choice deal and I've been burned by one of their reissues before, so I decided to probably retain my old Elektra Germany version (which also has a lyric sheet where the new one has liner notes by Tom). And then I got curious about this whole reissue/remaster thing. We all get 'em and say "this sounds so much better than the original botch job", but who actually compares them? Experiment time. And I'm gonna use Underwater Moonlight as my control group, since it's roughly comtemporary with the Verlaine LP... AND it's one of the few others where I have two CD issues of it (I kept my Ryko version because I was accustomed to the sequence of bonus tracks). So I ripped "Red Leaves", a fairly compact guitar pop tune, from my old and new Verlaine CD's, and "Queen of Eyes" from the Ryko and Matador UM's. Assuming that there would be a natural volume differences (as CD's get louder yearly), the plan was to adjust the volume of the earlier versions in ProTools for a more direct comparison. First thing, upon dropping the tracks into ProTools, I could make a visual comparison of their waveforms-- cool! And lo and behold, the two "Queens of Eyes" looked almost exactly identical, except that the beginnings and ends of the tracks were offset by about 1/4 of a second. No need to adjust the volume. But because I was there I created a hybrid version, with the left channel from the Ryko and the right channel from the Matador. The new "Red Leaves" was clearly louder than the old one, so I raised the volume on the old one to the appropriate levels and burned that off, too. Then I burned a disc as follows: 1. Queen of Eyes (Ryko) 2. Queen of Eyes (Matador) 3. Queen of Eyes (hybrid) 4. Red Leaves (Elektra Germany) 5. Red Leaves (Collector's Choice) 6. Red Leaves (Elektra Germany w/boosted volume) And what I got was three indistinguishable versions of "QOE"... is this well known around these parts? Sorry no copy of the Midnight release... The Verlaine track was a differ'nt story. The difference was substantial. The old version may be slightly more compressed (muted, maybe), but it has hells more of the bassline than the new one, especially in its boosted form. The new one is sharper in the high end, revealing a lot more reverb on the guitars and maybe even some tape hiss (the masters *are* about a decade older now) although it may be roomtone or a better reproduction of amp buzz or something. Anyway, it almost sounds like a different mix, esp. the snare sound.* Now, I also have the Verlaine LP on vinyl. (I don't have UM on vinyl; I do have Can of Bees on vinyl but only the Midnight Music edition on CD, so my control group falls apart here.) I wasn't bored enough to digitize the vinyl version and throw that into the mix, but I have a differerent digitzing project coming up, so I'll do it then and see how that stacks up. I'll take the crown, please. But surely only for a brief time. I'm sure someone can kick my ass in a timely fashion. - -Mixmaster Rex *not to dip to deeply into Verlainalia, but there's a widely available boot of alternate mixes of this LP. Neither of my discs credits a mixer, but supposedly both were made from Bob Clearmountain's mix as originally issued; the alternate version was mixed by Tom himself. ------------------------------ Date: Thu, 3 Oct 2002 11:08:18 -0700 From: "Rex.Broome" Subject: The in-laws, Can of Bees Kay: >>My weaknesses are for Arthurian, hermeticiasm and alchemy, mysticism and >>sacred geometry. Im not sure why. You'd get on quite well with my mother-in-law; I've never seen her so excited as when she took this geometry class which focused on the layouts of old churches, their relationship to previous pagan shrines on the same sites, the astrological significance thereof, etc. However, she's way anti-Christian (Catholic upbringing did not agree with her)... but she knows her stuff on the early church. There are some really interesting family debates from time to time... ______ Michael B: >> Speaking of Can of Bees, I wonder when we will be treated to >>a re-mastering, double CD/multiple LP release from Matador? Yes! And then my grand experiment can continue, and I can really get my geek on! - -Rex ------------------------------ Date: Thu, 3 Oct 2002 14:02:13 -0400 From: Brian Subject: RE: 'n' rowl > Speaking of Can of Bees, I wonder when we will be treated to >a re-mastering, double CD/multiple LP release from Matador? >Probably in 2004 as a 25th anniversary celebration. I would like >to see it next year though, to keep the momentum going. > >Michael I've been wondering the same thing. That and when (if ever) will they release Live at the Portland Arms on CD? How lucky to have the tape rolling for that one. It *rocks* (there you go Drew!). They will probably see what kind of hype NDL brings 1st. If they ever do do a double CD for Can of Bees, they fucking better put "Psychedelic Love" and the harmonious early version of "Give Me A Spanner, Ralph" on it. I can't believe "Vegetable Girl" and the skin it back version of "Old Pervert" were left off the double UM. Grrr. Nuppy ------------------------------ Date: Thu, 3 Oct 2002 19:14:36 +0100 (BST) From: Michael R Godwin Subject: Re: The in-laws, Can of Bees On Thu, 3 Oct 2002, Rex.Broome wrote: > You'd get on quite well with my mother-in-law; I've never seen her so > excited as when she took this geometry class which focused on the layouts of > old churches, their relationship to previous pagan shrines on the same > sites, the astrological significance thereof, etc. However, she's way > anti-Christian (Catholic upbringing did not agree with her)... but she knows > her stuff on the early church. There are some really interesting family > debates from time to time... You must get her to read 'Hawksmoor' by Peter Ackroyd, and the Ian Sinclair book 'Lud Heat' on which the sacred geometry stuff is based. - - Mike Godwin ------------------------------ Date: Thu, 03 Oct 2002 18:14:37 +0000 From: "Golden Hind" Subject: Clichetown Rex >I used to play and sing her to sleep but then she became too interested to >be lulled by it and now she sings along and sometimes >hammers on another >guitar or banjo and goes "ayyyyohhhhh" during the breaks. Awwwhhhh. >I just really wanted her not to grow up thinking of music as something that >came out of a black box, but to be aware that people >made it, and could >make it any time and for any reason they wanted. Seems like something that >might be getting lost these days. I hope not. I loved singing to Katie. I loved how happy it made her, how she responded and that she didn't mind that I sounded like a frog. I think(I hope) most parents sing to their kids. What Id like to see is more amateur idiocy. You know --singing on long car drives, around ye old campfire when camping, camping it up with Chumley and Carlotta to "The Sound of Music," badly tuned guitars after dinner, whatever it takes... Making music and singing is like moving. Its something we all used to do alot of. Then we invented threshing machines, plumbing and elavators. So then we had to invent machines for excersising and for music. Wait, Im sounding like a broken record. >Now, what I play for her... that's a whole 'nother story. I know we've done this thread before, but Im not sure you answered. Care to add your selections to the archives? - --- Drew: We'll bury "rawk" where it belongs if we can specify "rewls" as manditory list spelling for any phrase ending in "rules." (I hate "cliche rules" even more than "cliche rawks." "Cliche rewls" would at least make it , oh no, theres that word again, interesting) Kay, Queen of cliches "I think it's nice when old things can still move around." Robyn Hitchcock _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ------------------------------ Date: Thu, 03 Oct 2002 14:20:51 -0400 From: Stewart Russell Subject: Re: at least one at every meeting. gSs wrote: > > GREAT FALLS, Montana (AP) -- Montana's Libertarian candidate for Senate > has turned blue from drinking a silver solution that he believed would > protect him from disease. you missed out the best bit, being the name of the condition: argyria. Isn't that a great word? The above-mentioned doof deserved all he got for knowingly taking a random solution of a heavy metal. Sadly, there are some folks who got it through medical error: http://together.net/~rjstan/ is a sobering site. Stewart ------------------------------ Date: Thu, 03 Oct 2002 14:24:21 -0400 From: Stewart Russell Subject: Re: The in-laws, Can of Bees Michael R Godwin wrote: > > You must get her to read 'Hawksmoor' by Peter Ackroyd, and the Ian > Sinclair book 'Lud Heat' on which the sacred geometry stuff is based. similarly, Julian Cope's dementedly inspired (and alarmingly well-researched) "The Modern Antiquarian". And you thought he was just a post-punk former pretty-boy. Stewart ------------------------------ Date: Thu, 3 Oct 2002 12:36:37 -0700 From: Eb Subject: important Dylan news http://www.billboard.com/billboard/daily/article_display.jsp?vnu_content_id=1732609 Personally, I'm quite disappointed -- I hoped (and expected) Volume 5 would be more Basement Tapes rarities. Seemed like the logical next step. Maybe the label figured that stuff was so widely bootlegged that sales would suffer? I wouldn't pay a retail price for this one, I must admit. Mostly, I'm just curious to hear the 1975 version of "Mama, You've Been on My Mind," because that was one of the big "wow, where did THIS come from?" songs from the first Bootleg box. Otherwise...ehhh. Just a release for the tape collectors, I guess. Eb ------------------------------ Date: Thu, 3 Oct 2002 20:03:53 -0000 From: "Mandarin Red" Subject: re: birthdays on the subject of birthdays, today is mine - but i promise not to whine even if nobody wishes me well. :> loving NDL, Eclipse - -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Eclipse eclipse@tuliphead.com Kindness towards all things is the true religion. - Buddha ------------------------------ Date: Thu, 03 Oct 2002 13:35:33 -0700 From: Tom Clark Subject: Re: mr kennedy on 10/2/02 7:44 PM, Brian at brian@lazerlove5.com wrote: > Were all the shows this dead? It was a great concept tour, with the > Flaming Lips and the headphones and all. Mark Gloster and I saw the Santa Cruz show. That might sound a bit understated, but it's almost the literal truth. There was almost nobody else in the place. - -tc ------------------------------ Date: Thu, 03 Oct 2002 13:47:07 -0700 From: Tom Clark Subject: Re: Strings on 10/3/02 7:54 AM, ross taylor at protay4@eudoramail.com wrote: > mother is coming she wants to be friends > so all of the poison can get in you > strings > she's got a map of you > she knows the pressure points This bit sounds to me like a rant against western imperialism. - -tc ------------------------------ Date: Thu, 03 Oct 2002 16:47:54 -0400 From: Ken Ostrander Subject: anti-degeneration At 08:03 PM 10/3/2002 +0000, Mandarin Red wrote: >on the subject of birthdays, today is mine - but i promise not to whine even >if nobody wishes me well. :> you can whine if you want. i hope there's no need. happy happy! according to _the secret language of birthdays_ today is the day of the trendsetters. > Were all the shows this dead? It was a great concept tour, with the > Flaming Lips and the headphones and all. robyn's set in boston was exceedingly storefrontesque except for the fabulously sloppy mini set with members of sebadoh: higsons and she doesn't exist. primal. the whole show was pretty cool, if excessively loud, especially the flaming lips. uqu were the least interesting; but they were still pretty cool with standup bass. cornelius took techno and rock and threw them together very well with hilarious video accompaniment. the loud beatbox music blasting before robyn made his set seem rather incongruous. the place was seething with bodies everywhere. i got there early and grabbed a great spot in the balcony where i could see the stage and the teeming masses. certainly not dead. though it undoubtedly would've sounded great if it (i?) were. ken "seeking a dream in the old direction" the kenster ------------------------------ Date: Thu, 03 Oct 2002 17:10:02 -0400 From: Ken Ostrander Subject: Re: Strings >>Mother is coming, she wants to be friends so the poison can get in you >>She's got a map of you, she knows the pressure points - > >This bit sounds to me like a rant against western imperialism. wow. that brings the whole song into focus for me. the strings that they (those nebulous puppeteers) hold over us all. if you argue/fight, you become a victim. evil is the new enemy is so tongue in cheek. the age old tension between the have's and have not's. everyone gets a piece of the action. you just have to pay. mother told us that we had to get a good job. we must buy into the system. we all want more. could it possibly work for the benefit of everyone? ken "harmony ruins a pretty good racket" the kenster ------------------------------ Date: Thu, 03 Oct 2002 22:01:35 +0000 From: "Brian Hoare" Subject: Two Towers A little dig through The Letters of JRR Tolkien resulted in the following letters, all to Raynor Unwin prior to the release of the trilogy. T had written them as 6 books. 24 March 1953 ...If not, I can at the moment think of nothing better than: I The Shadow Grows, II The Ring in the Shadow, III The War of the Ring or The Return of the King. 8 August 1953 ... I Return of the Shadow II The Shadow Lengthens III The Return of the King 17 August 1953 ... I now suggest as titles of the volumes, under the title of Lord of the Rings, Vol. I The Fellowship of the Ring. Vol II. The Two Towers. Vol. III War of the Ring (or if you still prefer that The Return of the King. ... and now the crux ... The Two Towers gets as near as possible to finding a title to cover the widely divergent Books 3 and 4; and can be left ambiguous - it might refer to Isengard and Barad-dur, or to Minas Tirith and B; or Isengard and Cirith Ungol 22 January 1954 ... I am not at all happy about the title "the Two Towers". It must if there is any real reference in it to Vol II refer to Orthanc and the Tower of Cirith Ungol. But since there is so much made of the basic opposition of the Dark Tower and Minas Tirith, that seems very misleading. Both Sarah and I had asssumed Orthanc/Cirith Ungol. And then if the above is not confusing and vague enough Christopher Tolkein's editorial notes "On the other hand. in his original design for the jacket of The Two Towers the Towers are certainly Orthanc and Minas Morgul". So take your pick and there'll be evidence for it. On a totaly different tack. I noticed that Spike Milligan's appearance on Room 101 with Paul Merton will be shown again on Saturday night BBC. I greatly enjoyed this when I saw it, probably the best appearance by Spike in the last years of his life. A great job by Merton in drawing out the best of Milligan. Brian _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ------------------------------ Date: Thu, 03 Oct 2002 18:49:01 -0400 From: rosso@videotron.ca Subject: Re: the only Elvis that matters... On 2 Oct 2002 at 23:59, Marc Holden wrote: > Please forgive the off-topic ranting here. Just wanted to let you know that > if you get a chance to catch the current Elvis Costello tour, don't miss it > for anything. Sell a kidney if that's what it takes. Would you cripple your soundcard for Elvis? ------------------------------ Date: Thu, 03 Oct 2002 18:54:35 -0400 From: rosso@videotron.ca Subject: Re: Bass-o-matic -- a theory On 3 Oct 2002 at 8:24, Scott McCleary wrote: > I think the West's penchant for bass instruments comes from our > notion of harmony growing out of polyphonic sacred music, which > for a long time was strictly vocal (and as we all know, poppa > sang bass). I blame Bach. ------------------------------ Date: Fri, 4 Oct 2002 11:05:44 +1200 From: grutness@surf4nix.com (James Dignan) Subject: earnest discussions/strings >>Sounds like an interesting list, BTW. What is it? > >For fiction I think I also mentioned Elizabeth Hand(who Ross T reced to >me,)Dion Fortune(thou she has to be read with a sense of period,) Eco and >the Illumanatti stuff. no, no... I mean what mailing group was this originally going out to! >For non-fiction --ahh, my minds blanking. The Matthews and Bob Stewart? >Obviously I mentioned Yates and Regardie. Gareth Knight and John Mitchell >also, I think. I should have mentioned thou, that Im pretty allergic to any >writings, by any authors, that involve taking vampires, crop-circles, >Blatavaski-type invisible masters or aliens at all seriously(thou I love >crop-circles as trickster art.) Im not sure why. My weaknesses are for >Arthurian, hermeticiasm and alchemy, mysticism and sacred geometry. Im not >sure why. Graham Phillips? - --- "Strings" my take based solely on the lyrics in the last digest (I haven't heard the song): >got [god? gone?] every black dog >that slinks through your undergrowth >each time I see you I peel off another excuse >father in heaven or father in purgatory >see what you see from the hill of the dead >look into this little glass family >harmony ruins a bloody good racket >and this little egg was distorted by mother >I know I'm right but I just couldn't argue >arguing makes me blow up like a victim Must be God, surely - this verse seems directly addressed to Him: "God, there's lots of bad folk down here I try to tell you I'm not bad But wherever You are - and whether You're good or evil You can see what's going on - You are where the dead are You made us fragile humans, You know we like a good fight From the time we're born we're taught that that's the way things are done I'd try to stop it, but I'd end up either as bad as them or dead" (nice double meaning in that last line) >evil is the new enemy, evil is the new bad >evil is the new enemy, evil is the new bad >swing your partners round and round >just inches above the ground >kiss me quickly wish me luck >detonating in a ten ton truck >love me tender on the roof >afterwards there'll be no proof >take your partner by the middle >like a burger on a griddle >if you would retaliate >just remember love is hate >cut, cut I'd say that with the 'love is hate' line he's saying that most acts of terrorism are a response to caring for your own, to the exclusion of caring for others - and that to retaliate out of love for those hurt is an act of hatred against those that perpetrated the original act. Why do the Palestinians attack the Israelis? For hatred of Israel, or for love of Palestine? Does it matter? There's also a reference here to "1984" and its double-speak. "Love is hate". This ties in well with the "evil is the new enemy, evil is the new bad" line, which I read to be a comment about the infamous "Axis of Evil" (Iraq, Iran, North Korea, Liechtenstein, and Iowa, IIRC). The world's politics sonce 11/9 are not country A against country B, but country A vs an amorphous 'evil' which can be shaped at the whim of politicians. This also gives the 'swing your partners round and round' line a nice dual meaning: your loved one (who later in the verse becomes a victim of the bloodshed) and your political allies (who have to keep altering their positions to match yours). >mother is coming she wants to be friends >so all of the poison can get in you >strings >she's got a map of you >she knows the pressure points >I wish that I >was just paranoid >I wish that I >was just paranoid makes me think of that godawful "Mother" song on the last Police album - and of Brenda's mother in "Six feet under". But, given the context of the previous verses, I suspect that "Mother" here is actually government ("the authorities"). Link it back to verse one, where "this little egg was distorted by mother" - we are born happy and friendly, but are soon taught how to fight. The warmonger knows how to make you love your people to the exclusion of others, and that opinion can be swayed when the right buttons are pressed. A true song for our times, sadly. I wish that I was just paranoid. James James Dignan, Dunedin, New Zealand. =-.-=-.-=-.-=-.-=-.-=-.-= .-=-.-=-.-=-.- .-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-. -.-=-.-=-.-=-.-=-.-=-.-= You talk to me as if from a distance =-.-=-. And I reply with impressions chosen from another time -=-.-=-.-=-.-=-.-=-.-=-.-=-.-=- (Brian Eno - "By this River") ------------------------------ Date: Thu, 3 Oct 2002 16:58:38 -0700 From: "Rex.Broome" Subject: Random NDL song notes. 1) I'm pro-Strings for sure. The weird structure makes more and more sense to me all the time. 2) Sudden Town: first of all, the riff reminds me of something off the first Love album, moreseo than the obvious Byrds nod. And I like the way it branches off in all kinds of directions and always lands back on that riff with the "yeah!"... it's like the town itself spontaneously and surprisingly showing back up. And I still get a palpable rush when the ghouls show up, and even more so when they sha la la la la la la. I believe he *definitely* says "old erection". 3) My Mind Is Connected: This one loses me twice: the "petals ring in orbit" bit just sounds too much like "When I Was Dead" ("I was free as a pennywhistle"), and that Beatles chord at the end, which makes a point that doesn't need making. However, I really like the way Matthew's bass gets more and more demented as it goes along, and the lyrics work for me. 4) Mr. Kennedy: That first short guitar break, reinforced by the sitar, sounds very very Harrisonian. Then when it comes back in a longer form it's fun how it leaves George-land and bifurcates into something uniquely Soft-Boysian. The end of the raveup seems to cry out for an overdubbed, propulsive rhythm guitar but I'm happy that it doesn't get one. Who IS Mr. Kennedy, though? The ambiguity is funny, and really well-crafted. In some ways he's just some schlub riding around with Robyn (at least it initially seems to be literally Robyn); the guy just seems an average fellow traveler, albeit one worthy of the salutation "Mr."... his significance seems to wax and wane, until suddenly he can possibly control the weather, or more likely, the singer's so wound-up and stir-crazy he has to hope his companion can do *something* to break the monotony. "Can you make it RAIN" starting in the verse and spilling into the chorus is a lovely twist on one of Robyn's best choruses in some time. Folks around my office are singing it without the slightest idea what it is. I don't mind the "road songs"; they seem reflective of how these tunes "got there". Road songs aren't intrinsically evil, any more than love songs; they're just a trope that's been overworked by a lot of mediocre writers. To me the travelling references give the record its own time and space, and what a rather lot of space it is. 5) Pulse of My Heart: It's not doing it for me. It's okay... I think the new-wavey bassline and that very late-'70's wah/phased guitar should've been kept away from each other, because this is the only whiff of overt nostalgism I catch on the record. The lyrics have a little less personality than elsewhere. This is the first tune I heard from the record and it sounded great at first, but it's kind of paling next to the others at this point. 6) La Cherite: Growing on me rapidly. First time I heard it I sorta went, oh no, not *that* voicing and *that* figure with *that* tone again (cf. "Beautiful Queen", "Lysander" etc.)... even shares some lyrical terrain with BQ. But it turns into a nicely low-key winding-down, summing-up type song for the LP, an essential piece. 7) Lions & Tigers: Unfortunately and unfairly, I can't hear it without thinking of the Sleater-Kinney song from a few months back, which I love, and that one's sweet and sincere, where as this one's kind of... arch. The opening lines seem a little too true. Funny thing is, neither song is about the titular animals, and both of them just use the phrase to indicate that there are beasties out there that just do what they do. But the S-K song moves me deeply, whereas this one just kinda moves me to wish they had saved it for Side Three. However, I'm used to that. Many are the Robyn solo albums where the penultimate song puts the proper emotional capper on the proceedings from my point of view, only to be followed by something mildly annoying to me which seems to be there because no other place could be found for it. 8) Unprotected Love: I like it a lot. I do not mind the Robynisms about the fish in the glove, or the abrupt ending, as others have mentioned. I could go for more building guitar raveup leading up to that final tag-- almost feels like it was there, but got edited out. Ah well... there's always the live show... 9) Japanese Captain: Still a bit of a puzzle to me. I like it but I dunno how it fits. Most of the other songs soar with a certain grandeur or crawl with a certain menace, and this does something else. Not sure what, but it's intriguing. Overall it's still fantastic and I'm glad the list is seeming to embrace it a bit more. Almost all of the songs are new to me, and I think that makes a difference... - -Rex ------------------------------ Date: Thu, 03 Oct 2002 16:39:19 -0400 From: "ross taylor" Subject: Heatwave MRG-- >'Why' is raga rock >'Why' is a r-o o t M s 'H' b M & t V Excuse me? Anyway, I might agree to say that "Why" and "Heatwave" came together in the fertile breeding ground of the Charlston. My vote goes out for "Lazy Day" by the Left Banke for most Charlstoned song of the 60s, tho "Cool, Calm, Collected" would be close. I think this has something to do with the rhythm of "Unprotected Love." Ross Taylor Join 18 million Eudora users by signing up for a free Eudora Web-Mail account at http://www.eudoramail.com ------------------------------ Date: Thu, 3 Oct 2002 23:34:52 -0400 From: Ken Weingold Subject: Re: Heatwave On Thu, Oct 3, 2002, ross taylor wrote: > My vote goes out for "Lazy Day" by the Left > Banke for most Charlstoned song of the 60s, > tho "Cool, Calm, Collected" would be > close. Rick Brand, Left Banke guitarist, was my psychiatrist in high school. - -Ken ------------------------------ Date: Thu, 3 Oct 2002 22:35:47 -0500 (CDT) From: Jeffrey with 2 Fs Jeffrey Subject: Re: Rheostatics/Beachwood Sparks On Thu, 3 Oct 2002, Rex.Broome wrote: > >>I loves me some Rheostatics. > > Never really heard of them until I was pointed to "Saskastchewan" for the > "ghost ship" project. Liked it... but can anyone describe their general > sound without using the word "Canadian"? Okay, I'm familiar only with one or two Rheostatics tunes - liked 'em well enough, but not enough to run right out and buy stuff. That said, I can't remember them enough to know whether or not they sound Canadian. Then, the problem there is that I have no idea what it might mean to describe a band as having a "Canadian" sound. Rush? Anne Murray? Bachman-Turner Overdrive? Neil Young? Seriously, what constitutes a "Canadian" sound? - --Jeffrey with 2 Fs Jeffrey J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html ::[clever or pithy quote]:: __[source of quote]__ ------------------------------ Date: Thu, 3 Oct 2002 22:48:56 -0500 (CDT) From: Jeffrey with 2 Fs Jeffrey Subject: Re: Clichetown On Thu, 3 Oct 2002, Golden Hind wrote: > Wait, Im sounding like a broken record. A broken what? (Note to the kids: a "record" was a plastic disc on which sound patterns were actually *carved*, so that a "needle" hooked up to an amplifying device followed the paths of those carvings and made sounds. Kind of like automatic, miniature sculpture. Anyway, when one of those tiny canyons got damaged, say by the needle accidentally being driven sideways across its walls by an errant three year old, cat, or drunken listener, sometimes the resulting deformation would create a little looping route among the canyons, so the needle would travel 'round, bump into the deformation, and leap back to where it'd already been, lather rinse repeat. The result would be a distinctive "skip," in which a fragment of the music engraved thereon would repeat until the needle was placed a little bit further on in an uneroded district of the canyons. You young whippersnappers just don't know what you're missing...) - --Jeffrey with 2 Fs Jeffrey J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html ::[clever or pithy quote]:: __[source of quote]__ ------------------------------ End of fegmaniax-digest V11 #314 ********************************