From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V11 #396 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Saturday, November 23 2002 Volume 11 : Number 396 Today's Subjects: ----------------- RE: Pitchfork '90s list ["Terrence Marks" ] Monkees, Rap, and John Cale [grutness@surf4nix.com (James Dignan)] Re: Pitchfork '90s list [Jeffrey with 2 Fs Jeffrey ] Re: Monkees, The '90s [Tom Clark ] Re: the miller's tale [Jeffrey with 2 Fs Jeffrey ] too much to digest ["Russ Reynolds" ] Re: Passion Play ["Brian Hoare" ] Tin Machine ["Marc Holden" ] The World We Live in, and Live in Hamburg (not really) [Jeff Dwarf ] Re: Break like the Hawkwind ["Michael Wells" ] Re: fegmaniax-digest V11 #394 [Ken Weingold ] Re: Best live bands [Eb ] Re: the descriptivist miller's tale ["Stewart C. Russell" Subject: RE: Pitchfork '90s list I missed most of the 90s music. Good college, but no college radio. All I heard was frat-types playing Sister Hazel, whom I can only hope was less ubiquitous outside of Florida. And Soul Coughing should be on for El Oso, not Ruby Vroom. Ruby Vroom has a really original sound for half the disc, but the other half falls flat. I mean, "Moon Sammy" is a retread of "Is Chicago" from seven tracks earlier. "Supra Genius", "Screenwriter's Blues", "City of Motors", "Mr. Bitterness" and "Uh Zoom Zip" don't hold up to repeated listens. That's my rule for albums - don't do spoken word or skits unless it sounds good on the 20th listen. TMBG for Apollo 18. Flood is just so repetitive. I can never make it through Your Racist Friend or Women and Men. But I agree about Linnell vs Flansburgh. I really like Flansy's TMBG songs (at least those that I can tell apart. Anything before Factory Showroom gets filed in the Miscellaneous John box, rather than the Guitar John and Keyboard John sections), but Linnell's solo work is more to my liking. Need to listen to South Carolina again some day. Unrelatedly I found out that I had a copy of Yeh Yeh, as covered by Georgie Fame and the Blue Flames. For some reason, I thought it was a TMBG original. Instrumentally, it's a pretty straight copy, but after hearing Georgie sing it, I'm a bit more impressed that TMBG pulled it off. I like Jeremy Enigk's Return of the Frog Queen more than Sunny Day Real Estate. Just me, I think. And where are Richard Thompson's Mock Tudor? Apples in Stereo's Fun Trick Noisemaker? Takako Minekawa's Cloudy Cloud Calculator? And hmm...Quality Control came out in 2000 so that doesn't count. Next list. I think that Duran Duran's Medazzaland gets written off unfairly. And I think Tears for Fears' Songs from the Big Chair deserves the 80s nostalgia spot more than Rio does. np. Jeremy Enigk - Return of the Frog Queen Terrence Marks http://nice.purrsia.com http://www.unlikeminerva.com ------------------------------ Date: Sat, 23 Nov 2002 19:01:38 +1300 From: grutness@surf4nix.com (James Dignan) Subject: Monkees, Rap, and John Cale >>>>Question for the anti-Durannies: do you like the Monkees? >> >>Ummm... yeah, I do. But they weren't the fake band of *my* youth, > >ok. these guys actually played their instruments. now, if you're talking >hair color, that's another thing. they completely changed the way that >synths were used in pop music. little known fact: The Monkees were the first pop band to use a Moog on any of their recordings, on the 1967 song "Daily nightly". Seems Mickey Dolenz is an incredible technophile, and knew the good Dr Moog. So you could also say that the Monkees were synth innovators, too. >> For me rap and hip hop, whether done by black or white artists is like >> paying to listen to sports radio. The only difference is the guys yell in >> rhythem. Oh where oh where did the music go, oh where oh where can it be? > >Well, see, this is what I thought until I started listening >to more of it. I don't have any recommendations yet, but >I've heard some mind-blowing stuff lately. MC Solaar is the best rapper I've heard, I think. But he gets a bonus point for doing what shouldn't be possible - rapping in French. The whole flow of the language seems wrong to use that way (now Japanese rap - THAT would work! In exactly the same way that Maori rap does. But French?) >> "I'm So Worried" by Monty Python mentions baggage retrieval... > >And at Heathrow! Well done, Drew. I'm surprised that John Cale never has. Mind you, if he did it would probably be something like: "She told him to take the suitcase, and place it on the carousel, Leave quickly by the side entrance, And meet her at the hotel - They'd leave together On the next train..." 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: Sat, 23 Nov 2002 00:23:14 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: Pitchfork '90s list Quoting Miles Goosens : > http://pitchforkmedia.com/top/90s/ 76 (as opposed to 78 for the '80s list). Apparently I should write for _Pitchfork_. (All hail #28!) ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: it's not your meat :: --Mr. Toad ------------------------------ Date: Fri, 22 Nov 2002 23:04:33 -0800 From: Tom Clark Subject: Re: Monkees, The '90s on 11/22/02 10:01 PM, James Dignan at grutness@surf4nix.com wrote: > Seems Mickey Dolenz > is an incredible technophile, and knew the good Dr Moog. My wife's friend Amy tells a funny story about Mickey. Seems he grew up in nearby Los Gatos, CA, and at the height of Monkey-mania Amy was in her early teens and decided to find his house and meet him. Amy and her friend knock on the front door of the Dolenz residence and Mickey's mom comes to the door. "Is Mickey home?" "No, I'm sorry, he's not here right now." "Could you tell him Amy stopped by?" "Sure, dear." Ok, maybe it wasn't that funny. Turns out I have 18 of the 90's list. If it wasn't for my love of the Pixies and Pavement it would be a lot lower. But TWO Belle & Sebastian albums? Geez, I could barely make it through their four minute performance on Conan O'Brien. I think I'm gonna load up the iPod with whatever I have from the 80s and 90s list and see what's so great about it all. - -tc ------------------------------ Date: Sat, 23 Nov 2002 01:15:34 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: the miller's tale oh well. whatever. never mind. ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: we make everything you need, and you need everything we make ------------------------------ Date: Sat, 23 Nov 2002 00:25:50 -0800 From: "Russ Reynolds" Subject: too much to digest Eleven digests in two days. If this keeps up we're going to need a digest digest. OK here's a question: Anyone seen The Truth About Charlie yet? I know "Mr. Kennedy" is on the soundtrack and that by no means should that be considered an indication that the song is actually heard anywhere in the movie, but...is it? I guess that's two questions. Less interested in answers to the former than to the latter. Chanting om, - -rUss ------------------------------ Date: Sat, 23 Nov 2002 09:21:25 +0000 From: "Brian Hoare" Subject: Re: Passion Play "Michael E. Kupietz, wearing a pointy hat: >>I'm also an ex St. Cleve reader. But I wouldn't rate APP in my >>top 10 Tull releases (they would be... hmm... in no set order: A; Stand >>up; >>Benefit; Heavy Horses; Stormwatch; Misntrel ITG; Aqualung; Songs FT Wood; >>Catfish Rising; and Living ITP. >Damn close to my list. Like Minstrel but don't love it; and would have >added Warchild and Broadsword (despite a few of the songs on it) After seeing James' list furhter up the digest, I formulated mine and got the same answer. I stopped buying Tull after Creast of a Knave so I don't know Catfish Rising. As for Passion Play, I tried really hard to like it but it just never worked for me, seemed over done. Of course now I've dissed it I'll play it later and find that I love it. Brian, In the town where Eddie Cochran was fatally injured (is that better Mike?). _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Date: Sat, 23 Nov 2002 02:41:41 -0700 From: "Marc Holden" Subject: Tin Machine >But everyone else hated it. I liked large portions of TIN MACHINE II as well, though the live album sorta drags. Best thing about it is its U2-parodic title: OY VEY, BABY! I liked Tin Machine. For a while, I liked them a lot. I agree that Oy Vey, Baby drags a bit. It was really disappointing, because they were great live (the Neighborhoods opened), and did a killer cover of Debaser. Five days later, I saw the Pixies and Pere Ubu play the same venue (Citadel, Wash DC). I liked Bowie's recent cover of Cactus on the Heathen album. Has he covered any more Pixies songs? I'd like to hear him do something like Gouge Away. Later, Marc ------------------------------ Date: Sat, 23 Nov 2002 01:47:40 -0800 (PST) From: Jeff Dwarf Subject: The World We Live in, and Live in Hamburg (not really) drew wrote: > I enjoy the whole album [THOTD] (except I'm sick to death of > "Inbetween Days" and "Close to Me"), but like I said > it has never ranked as a favorite of mine. It just > feels really lightweight. I bought The Top very late > in my Cure collecting, but I love it -- probably > because it's relatively new to me, it's one of the > Cure records I play the most now. The Top has a cedisshevellednessisshevelness that I really like. I just think that THOTD ultimately is just too well-behaved for it's own good. > The last three > songs on Bloodflowers are my favorites, and if they'd > all been that good I would have been thrilled. The last two, along with the opener and "Where the Birds Always Sing" for me. Bloodflowers failings are ultimately not so much about anything being wrong with it as not quite enough being right with it. > As for New Order: Technique had to grow on me, too, and > I do like it now, but it feels like high school in a > vaguely unpleasant way to me now. The songs are fairly > upbeat but there's a sense of enervated despair about > the record to me. The songs on Technique I like, I really love (Fine Time, All the Way, Round & Round, Mr. Disco, Vanishing Point, Dream Attack) but the songs I don't like (Love Less, Guilty Partner, Run) I truly despise. I wason thely freaked out to reanew orderFAQ on the official neworder website that all those vocals on Fine Time are Bernard -- I'd've sworn that most of the spoken ones were Hooky. > I like Peter Hook's vocals, actually, > and I still own the goofy-ass first Revenge album > partly for that reason. (I mean, if you ignore "Kiss > the Chrome"...) I had it for a while, but can't remember anything about it other than i sold it, and that I was disappointed in it. > On the subject of race: in theory of course race doesn't > matter, but whiteboy rappers are still relatively few and > I have yet to hear the black REM. If they didn't precede them by 20 years, I'd say Love is probably the closest thing to that I can think of. There was also a band called The Veldt in the early 90's who were basically a black Jesus and Mary Chain, except the singer sounded like a cross between the guy from Living Colour and Boy George (and the drummer was a white guy). It is kinda odd that black people who want to play "indie"/"alt-rock"/whateverthefuck are almost quota'ed out at one per band (Bernard Georges, Leslie Langston, Reni from our friends of late The Stone Roses, Rob Cieka from The Boo Radleys, the guy in the Connells, etc) and disproportiate number are the drummer exempting Throwing Muses. Why this all is, of course, is ultimately far too complicated to really explain away here, especially by a bunch of white people, in parts racism of club owners, social pressure from with the so-called black community -- I remember reading something years ago in Spin by (I think) Elvis Mitchell about how when he was in high school, having to furtively hide his CvB, R.E.M., and Replacements albums, because he didn't want to have to explain their pressence to a lot of his friends - -- , and lots of other things as well. ==== Ken Weingold wrote: > I love Sugar. I really do. I think there is some really awesome > stuff there. Beaster is an intense bridge, where Come Around is the > up ramp to it, and it just keeps you up there until Walking Away > brings you back down. What a ride. And that scream in the beginning > of Judas Cradle is once of those that can send a chill down my spine. Me too. In fact, I ultimately like Sugar more than I like Husker Du, just because I've never really liked many of Grant Hart's songs, so when I listen to the Du, it feels like I'm always having to skip every other song. I'll go prepare for my stoning for heresy. Again. ==== "Rex.Broome" wrote: > Hmmm. I liked [Monster] at first, then it started to seem really patchy, > and I finally decided it's three thematic EP's welded together by > fate. The first one is a good pop record with creepy undertons. The > third one is a good just plain creepy record, the REM equivalent > to "Beaster". The one in the middle just sucks royal. I'll buy this, except for the middle one sucking. It's just not as good as the other two (save "Star 69" which is just annoying). ==== James Dignan wrote: > OK Computer isn't even Radiohead's best album! The Bends is, IMHO, > far better. Reason 345,094 why I've always like you best!! Amen. OK Computer sorta peters out towards the end, whereas The Bends keeps on soaring. both very good albums, but The Bends is truly transcendant. ===== "If we don't allow journalists, politicians, and every two-bit Joe Schmo with a cause to grandstand by using 9-11 as a lame rhetorical device, then the terrorists have already won." -- "Shredder" "To announce that there must be no criticism of the president or that we are to stand by the president right or wrong is not only unpatriotic and servile, but is morally treasonable to the American public." -- Theodore Roosevelt . Yahoo! Mail Plus  Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Sat, 23 Nov 2002 01:50:11 -0800 (PST) From: Jeff Dwarf Subject: Re: The World We Live in, and Live in Hamburg (not really) Jeff Dwarf wrote: > The Top has a cedisshevellednessisshevelness that I really like. or, as I thought I had typed before running it through the spell check which did THAT to it, "a certain funky dis-shevelledness" bleh. ===== "If we don't allow journalists, politicians, and every two-bit Joe Schmo with a cause to grandstand by using 9-11 as a lame rhetorical device, then the terrorists have already won." -- "Shredder" "To announce that there must be no criticism of the president or that we are to stand by the president right or wrong is not only unpatriotic and servile, but is morally treasonable to the American public." -- Theodore Roosevelt . Yahoo! Mail Plus  Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Sat, 23 Nov 2002 10:34:02 -0000 From: "Eclipse Tuliphead" Subject: Re: fegmaniax-digest V11 #394 and now when i should be going to bed, i'm forcing myself to stay awake. not for long, though - passing out as soon as this is written. > From: "Jason R. Thornton" > At Ken's request, here y'all go: > http://ugr8.ucsd.edu/jasonweb/norder/ > Download like mad... mission complete. thank you sir! - --- > From: drew > > Drew, i could kiss you for this. agreed, wholeheartedly. > > Hmmm, maybe I should hate Weezer publicly more often! ;) let's think of some other bands to hate! personally, i can't stand Rush - but that might be too much of a gimme. :) > I love Loveless and all but I think OK Computer > deserved the top slot. It's a hard album to > overpraise. i can't even begin to describe the way _OK Computer_ moves me, still. hard to overpraise, indeed. > > From: Miles Goosens > > > > But Sugar -- oh man. I can't even remember a single song title or melody, > > I was surprised that I actually liked File Under Easy Listening. > I can easily remember the songs (maybe not the exact titles) and > melodies from it, and I've only listened to it a handful of times. > "Company Book," "Your Favorite Thing," "Panama City Hotel," "Gee > Angel"...not deathless stuff, maybe, and not up to the standard > of Husker Du (I assume...not one of my favorite bands), but not > terrible. i can recall a huge portion of _Copper Blue_ if i think about it enough; i spent a good chunk of my freshman year in college in love with that album, and gave a copy of it to a friend of mine just before she went bonkers and got herself committed for a short spell. she took her copy of that album with her, though. - --- > From: Ken Weingold > I love Sugar. I really do. I think there is some really awesome > stuff there. Beaster is an intense bridge, where Come Around is the > up ramp to it, and it just keeps you up there until Walking Away > brings you back down. What a ride. And that scream in the beginning > of Judas Cradle is once of those that can send a chill down my spine. this reminds me of the song Mould did for the Golden Palominos album _Drunk With Passion_ (one of my very favoritest albums ever), a haunting, raging song called "Dying From The Inside Out". he hollers and yells and then subsides into sanity for a moment now and again, just to describe the insanity, and then goes mad again. like you said, sends a chill down my spine. - --- > From: "Montauk Daisy" > Eclipse, sounds like youve got my sort of job;-) sigh .. i probably just wish that i do. normally i work the exceptionally sucky shift of 2:30-11p. after that, dayshift kills me. > Miles: > >Probably my biggest disappointment of the '90s, Sugar. > > Grrr. While I also liked Mould's more folky solo stuff, "Copper Blue" hit > me just right(hmmm, alright I was also in love with the guy who got it for > me.) > Anyway --"Hoover Dam" is awesome, and I mean that is the old sense of the > word(it fills me with awe.) oh no, you're not the only one. "Hoover Dam" had me in a spell for a while - see my aforementioned college daze. something about the sweeping grandioseness of it, catching you up, while still grounding you in the fairly straightforward lyrics and the state of mind described therein. helluva great song, and album. > Kay the warm, hipless dork(my thighs attach directly to my abdomen,) who > freely admits to spending much of the 80s listening to REM and whose idea of > a perfect rucus is loud and intricate and melodic. Oh, and I like The > Monkees too. i thought i was the one who spent most of the 80's listening to REM and holding a not-so-secret love for the Monkees close to my heart. "one of us, one of us!" ;) - --- > From: Eb > Wow...I think Copper Blue has more consistent melodic catchiness, > from beginning to end, than just about any other album I can name out > of the last 10-15 years. well-said, and i agree muchly. "If I Can't Change Your Mind", "Hoover Dam", "The Slim", "Helpless" - all songs that still stick with me. more so than lots of other similar albums i've listened just as often. hey wait, did this turn into the Bob Mould Appreciation Society List when i wasn't looking? not that i mind too much. :) zzz, Eclipse - -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Eclipse eclipse@tuliphead.com Kindness towards all things is the true religion. - Buddha ------------------------------ Date: Sat, 23 Nov 2002 08:31:31 -0500 From: "Terrence Marks" Subject: RE: Monkees, Rap, and John Cale > little known fact: The Monkees were the first pop band to use a Moog on any > of their recordings, on the 1967 song "Daily nightly". Seems Mickey Dolenz > is an incredible technophile, and knew the good Dr Moog. So you could also > say that the Monkees were synth innovators, too. "Star Collector" actually. "Daily Nightly" features some really neat but non-synthesized keyboard, as I recall. Terrence Marks http://nice.purrsia.com http://www.unlikeminerva.com ------------------------------ Date: Sat, 23 Nov 2002 09:33:23 -0600 From: "Gene Hopstetter, Jr." Subject: Re: the descriptivist miller's tale >From: Eb >Subject: Re: the miller's tale > >It's like hearing people passionately defend Webster's >Dictionary as one of the world's great books. Exactly like that, come >to think of it. Now you're talking! Webster's is *the* dictionary. Anybody who regards the American Heritage's prescriptivist pap as gospel is a fool. (Yeah, this one ought to get the word geeks out ...) ------------------------------ Date: Sat, 23 Nov 2002 09:42:36 -0600 From: Miles Goosens Subject: Re: the descriptivist miller's tale At 09:33 AM 11/23/2002 -0600, Gene Hopstetter, Jr. wrote: >>From: Eb >>Subject: Re: the miller's tale >> >>It's like hearing people passionately defend Webster's >>Dictionary as one of the world's great books. Exactly like that, come >>to think of it. > >Now you're talking! Webster's is *the* dictionary. Anybody who >regards the American Heritage's prescriptivist pap as gospel is a >fool. And if it's Webster's, you need to find a vintage copy of the 2nd Ed. Unabridged. They totally sold out with the third edition. Plus the words just don't have the same robustness when they're printed on that newfangled thin paper they used for the 3rd Ed. later, Miles ------------------------------ Date: Sat, 23 Nov 2002 09:45:31 -0800 From: Nur R Gale Subject: Re: Best live bands i haven't posted here in a real long time.. but reflecting on my most memorable gigs was lots of fun. By "memorable" that means some real bombs burnt in my neurons and that no amount of therapy will erase. In that group i must include Miles Davis at Avery Fisher in '71. He played the entire show almost off stage on the side with his back to the audience the entire time. The Stones in Philly '77 utterly sucked. An outdoor concert in drizzle. I remember most the Pagan motorcycle gang destroying the stage after the Stones were boo'd off and fled to a helicopter. It was kind of neat though seeing a speaker billowing in smoke from the distance as we left the stadium. Keith Jarrett solo in Chicago '83 -- a night of one of those feared blizzards that grace ChiTown. Jarrett interupted the concert to yell at the audience about half a dozen times, stormed off twice then returned and vowed to never perform solo in the US again because Americans don't know how to listen to music. Then again, one of my best shows was Jarrett at the Village Vanguard in '79 w/ Jan Garbarek, Palle Danielsson, and Jon Christensen (perhaps Europe's best jazz studio drummer) and again solo at Princeton in '81 Great shows -- Pharaoh Sanders at the Vanguard in '74, my girl friend and i sat at the table with Supertramp's saxist and his date. When he introduced himself -- i can't remember his name -- was able to say i never heard of his group. But Sanders was amazing back then. I did catch Sandy Denny once with Fairport at the folk fest at Cornell in '74. But it was a short set, nestled between Sonny Terry/Brownie McGee and David Bromberg who was top bill that night. They were all roaring drunk, especially Sandy and Swarbrick. Also saw Incredible String Band that same year -- a let down though. I must have seen Richard Thompson at least 20 times, but my favorites were with Linda at the Bottom Line in '82, and Wolfgangs '86 and Warfield '96 in San Francisco. The other shows that utterly blew me away: King Crimson, Central Park '74 (my favorite KC lineup) Procul Harem, Fillmore East '70 -- my 2nd concert ever Roxy Music at the Academy of Music, NYC in '74, again in Phila in '79 Waterboys in San Fran in '85 -- IMO the 80s best live rock act Mahavishnu Orchestra, Cornell Univ '73 -- with the original Weatherport warming up! Jethro Tull, Asbury Park '72 playing most of Benefit - Yes warmed up Bowie in Philadelphia '72 and Madison Square Garden '74 Recent memorable shows -- i was really blown away by Sigur Ros at the Fillmore on their first tour -- the media hype aside, my skin melted during the set. Then Habib Koite (guitarist from Mali) at UC-Berkeley '00, Godspeed You Black Emporer at Great American '00, and the Waterboys at the Fillmore last year stand out for me. yeah, perhaps i should add Cave's shows in San Fran this year, and his acoustic gig in '01. nur np Terje Rypdal "Concerto for Double Electric Guitars" w/ Trondheim Orchestra - live ------------------------------ Date: Sat, 23 Nov 2002 11:57:39 -0600 From: "Michael Wells" Subject: Re: Break like the Hawkwind Godwin: > I seem to > remember that last time I saw them, they had quite a catchy number called > ?'Masters of the Universe' which had three bass notes instead of the usual > one - a bit like 'Paranoid' on Mandies. 'Master of the Universe' is track 15 on "Space Ritual." > OTOH, they pop up frequently in Michael Moorcock's novels of London life > in an alternative reality, so they must have something going for them. Interestingly, the love affair was reciprocal; Hawkwind did a musical 'epic' of Moorcock's Elric series (volumes I - III, IIRC which I may not; this Hawkwind business is a bit fuzzy) both in studio and on the much better "Live Chronicles." Moorcock himself also did live readings as tracks on at least one album - again, "Space Ritual." Those like Rex who might want to try out Hawkwind with less of the 'space-epic-on-ludes-trance-metal' vibe should look up "Quark Strangeness and Charm" with Rob Calvert in the fold. There's actually a melody or two in there. Michael "fuzzy wuzzy was a bear" Wells ------------------------------ Date: Sat, 23 Nov 2002 13:10:12 -0500 From: Ken Weingold Subject: Re: fegmaniax-digest V11 #394 On Sat, Nov 23, 2002, Eclipse Tuliphead wrote: > > From: Ken Weingold > > > I love Sugar. I really do. I think there is some really awesome > > stuff there. Beaster is an intense bridge, where Come Around is > > the up ramp to it, and it just keeps you up there until Walking > > Away brings you back down. What a ride. And that scream in the > > beginning of Judas Cradle is once of those that can send a chill > > down my spine. > > this reminds me of the song Mould did for the Golden Palominos album > _Drunk With Passion_ (one of my very favoritest albums ever), a > haunting, raging song called "Dying From The Inside Out". he > hollers and yells and then subsides into sanity for a moment now and > again, just to describe the insanity, and then goes mad again. like > you said, sends a chill down my spine. I should also mention his cover of Thompson's Turning of the Tide on the Richard Thompson tribute album. Bob does it with X as his backing band. Great song. - -Ken ------------------------------ Date: Sat, 23 Nov 2002 12:38:24 -0800 From: Eb Subject: Re: Best live bands >Miles Davis at Avery Fisher in '71. Wow...now that would have been somethin'! Never understood the big deal over Keith Jarrett though, beyond his obvious technical skill. His tics are visually (and sometimes auditorily) repulsive, and everything I've heard by him barely even sounds like "jazz" to me. It's more like overdecorated *gospel* or something -- his stuff always reminds me of the closing theme to Saturday Night Live! Maybe it's a New Orleans thing. Eb ------------------------------ Date: Sat, 23 Nov 2002 16:26:05 -0500 From: "Stewart C. Russell" Subject: Re: the descriptivist miller's tale Gene Hopstetter, Jr. wrote: > > Now you're talking! Webster's is *the* dictionary. shame the sucker couldn't spell... > (Yeah, this one ought to get the word geeks out ...) nah, all American dictionaries suck. Stewart ------------------------------ Date: Sat, 23 Nov 2002 04:40:41 -0800 From: "Michael E. Kupietz, wearing a pointy hat" Subject: Re: Monkees, Rap, and John Cale At 7:01 PM +1300 11/23/02, James Dignan transmitted: >>>>>Question for the anti-Durannies: do you like the Monkees? >>> >>>Ummm... yeah, I do. But they weren't the fake band of *my* youth, >> >>ok. these guys actually played their instruments. now, if you're talking >>hair color, that's another thing. they completely changed the way that >>synths were used in pop music. > >little known fact: The Monkees were the first pop band to use a Moog on any >of their recordings, on the 1967 song "Daily nightly". Seems Mickey Dolenz >is an incredible technophile, and knew the good Dr Moog. So you could also >say that the Monkees were synth innovators, too. Wow. I always thought the first use of a synth in pop music was Lucky Man, narrowly beating out Baba O'Riley. I must investigate further. Somebody must've changed the past on me again. Daily Nightly. I forgot about that song. Hey, have any of you ever seen the Monkee's movie, "Head"? The Dolphin Song is a wonderful piece of psychedelia in 5/4. The Monkeys weren't entirely a novelty act. I forget, it was actually written by Carole King or somebody. > >>> For me rap and hip hop, whether done by black or white artists is like >>> paying to listen to sports radio. The only difference is the guys yell >>>in >>> rhythem. Oh where oh where did the music go, oh where oh where can it >>>be? It's funny, I think a lot of my contemporaries make criticisms of rap are very similar to our grandparents' generation's criticisms of rock in the '50s. And, hey man, that Marv Albert is def! Mike - -- ======== We need love, expression, and truth. We must not allow ourselves to believe that we can fill the round hole of our spirit with the square peg of objective rationale. - Paul Eppinger At non effugies meos iambos - Gaius Valerius Catallus ("...but you won't get away from my poems.") ------------------------------ End of fegmaniax-digest V11 #396 ********************************