From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V11 #400 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, November 26 2002 Volume 11 : Number 400 Today's Subjects: ----------------- Beasties/Rush/Post-Knave Tull ["Michael E. Kupietz, wearing a pointy hat"] Re: A Song for Jeffrey (1% Tull content) [Jeffrey Norman ] WGASA [Ken Weingold ] Re: Long band names ["Stewart C. Russell" ] Re: Seeking good enviro/energy songs [Dolph Chaney ] Re: Seeking good enviro/energy songs ["Stewart C. Russell" ] Passed the CA Bar [Eleanore Adams ] Passed the CA Bar [Eleanore Adams ] Re: The usual advocacy of some artists and slagging off of other ones . [Jeffrey with 2 Fs Jeffrey ] Re: The usual advocacy of some artists and slagging off of other ones . [Jeffrey with 2 Fs Jeffrey Subject: Beasties/Rush/Post-Knave Tull At 1:14 PM -0800 11/24/02, drew transmitted: >> Incidentally, about 10 years ago I was friends with a guy from South >> Central, and turned him on to "Paul's Boutique" and he thought it was >> pretty damn cool. So much for "whiteboy" music. > >I don't recall claiming the Beasties made "'whiteboy' music." >Did someone else say that or did you just misunderstand me? Sorry, that was an off-the-cuff remark following the general "White-boy indie rock" comments that got thrown around. Looking back through my mailbox I see a few responses but don't recall who made the original comment, and it wasn't about the beasties in particular, but about the Pitchfork list in general. My remark is tangentially pertinent at best. >> From: "Eclipse Tuliphead" >> >> let's think of some other bands to hate! personally, i can't stand >> Rush - but that might be too much of a gimme. :) Ooh - 2112 is probably in my top 10. Your mileage may vary, though. At 8:29 AM +0000 11/25/02, Brian Hoare transmitted: >>They actually eventually recovered from that whole lousy late '80s phase >>-damn that Ian Anderson and his personality changes! Catfish Rising even >>addresses it - there's a song on it with a prominent refrain that goes >>"I'm >>turning again, yes, I'm turning again". CR has some incredibly lame tracks >>on it but also some of their best tracks in at least 10 years - the songs >>"Thinking 'Round Corners" and "Roll Yer Own" alone make the album worth >>having. > >An other addition to the list of stuff to hear then. What about the other >post Knave stuff? I don't recall hearing any of it, it's just that after >hearing Knave I wasn't excited enough to keep up with them. They got better again in the '90s - not great, but better than that awful Under Wraps/Rock Island period. Stylistically, Catfish Rising has strong blues inflections, which Tull pulls off surprisingly well, RTB is full of with middle-eastern scales (!) and .Com has much of the same although it's a little more conventional pop. Catfish Rising contains both the best songs since Broadsword (or even Stormwatch) and the worst songs since Under Wraps. Two of them are true essentials. As an EP, the better half of CR could've been great, and the album is probably worth buying for the 2 or 3 essential songs on it. If you're not fanatical enough to have kept with them after Knave just out of sheer curiosity, I wouldn't go out of your way to get RTB or .Com. They're both respectable in terms of songwriting & production, particularly .Com, and have their share of neat moments, but basically I realized Tull had stopped doing the things I fell in love with them for a long time ago. If you don't know already, the 25th Anniversary box (1992?) does contain the complete Carnegie Hall concert which was excerpted on "Living In The Past", which is ESSENTIAL, as well as a decent disk of more recent live stuff. Fortunately I was able to find these disks singly in the used section at Amoeba. And the new "Living With The Past" set does contain "The Dressing Room Tapes", a neat little backstage rehearsal session which I like quite a bit, but I got that for free years ago, don't know if I'd buy a whole disk just for it, especially as Tull's live track record is unreliable. Disclaimer: Seems to me there's two stripes of Tull fans - the ones who got into them because of the music, and the ones who got into them because of the lyrics. The abopve views are strictly from the perspective of the former. A lyric-oriented friend of mine (an english teacher) loved the parts of CR that bored me. But then he also liked "Under Wraps". Some people are just weird. > >On a related note and one that I completely forgot about in my first post >is >the EMI remasters. I had a look a little while back on Amazon.co.uk for a >copy of Heavy Horses and got quite confused looking at their Tull listings. >There seem to be ovelapping issues on Chrysalis (1998 onwards) and EMI >(2001 >onwards). The EMI badged stuff is mostly labled [ORIGINAL RECORDING >REMASTERED] and often seems to have more bits on the ends of the albums. As >I haven't yet got around to getting cd versions of most of my Tull >collection ( I got a SFTW cos my album was stolen by a goth Songs From The Wood? Stolen by a goth? That's odd. Well, perhaps listening to it showed him the light. > in the mid >eighties) do you know which are the prefered issues of the classic Tull >albums and will this EMI series become complete - it doesn't seem to yet >include Heavy Horses, Stormwatch and a few others that I would like. A few years ago Ian Anderson said that there was no more Tull stuff left in the vaults, it's all been released, and the bonus tracks on these reissues seems to bear that out. Except for one instrumental track from the "March The Mad Scientist" EP (Pan Dance, I think) all the bonus tracks for the remasters so far are available elsewhere. Make sure you own Living In The Past, the 20th Anniversary Box set, and Nightcap, and you've got it all without having to re-buy music you already own. Those three are must-haves for the Tull fan, anyway. > >Brian > > > > > > > > >_________________________________________________________________ >The new MSN 8: smart spam protection and 2 months FREE* >http://join.msn.com/?page=features/junkmail - -- ======== 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.") ------------------------------ Date: Mon, 25 Nov 2002 18:59:28 -0600 From: Jeffrey Norman Subject: Re: A Song for Jeffrey (1% Tull content) Quoting Eb : > > > >>Do you even *like* Miller's lyrics at all, beyond whatever > > > >>nudge-nudge, in-joke allusions they might include? > > > >Yes > > You'd scarcely know this from reading your own reviews, which mostly > seem to focus on happily counting how many ingredients and left turns > which Miller forcibly crams into one song. And when you do praise a > lyric, it's more about the "witty" wordplay (an adjective which is > always a two-edged sword) of a single line than the lyric's overall > feeling. Before replying to this, I'll have to let the rest of us in on a little joke: A couple of days ago, Eb asked me if, in favor of a phrase like "short melodic attention span" (his words), I'd prefer something like "riddled with a spiraling, recursive series of left turns." Silly me - I said, yeah, that would, in fact, be clearer to me. Eb probably enjoyed a good chuckle there - because it was probably apparent from my reply that I didn't realize that Eb's amended suggestion ("riddled...") was a quote from (chortle, chortle) my own review of _Days for Days_! So *of course* I preferred it - because I'm such a fucking egomaniac! Except that I don't, in fact, revisit my own writing that often (I just did, given Eb's comments) - and I'd forgotten that, way back in 1998, I'd written that phrase about spiraling, recursive left turns. Ho ho ho. Uh-and anyway: I'll freely admit that lyrical *content* is the last thing I'm likely to address in my reviews, for two reasons at least: one, because it's the last thing I become aware of (first: overall feel; second: musical detail; third: hooky words uh-and...witty lines) and therefore the least likely thing to make it into reviews that I have ("had" given _Milk_'s outrageously slow schedule these days) to write in a short period of time. The other, better reason is simply this: the time-honored _Rolling Stone_ school of rock journalism focuses on damned near nothing *but* the lyrical content: I'll let those critics handle the songs as if they're essays, and I'll go about trying to describe how the music affects me - since I, at least, don't buy music for lyrics but for sound. > You did praise his ability to write song titles, though. Once, parenthetically. I believe I several times referred to "intelligence" (not the same as "wit") and being affected emotionally by the songs' lyrics. But hey: y'all can read and follow the links to my site and read 'em yr own selves. > >What's really weird, Eb, is your apparent inability to acknowledge > >that others' > >tastes differ from yours. > I do have a harder time in Scott Miller's case, since he's located > smack-dab in the middle of an indie-rock/indie-pop realm which I > characteristically enjoy. And while I can certainly understand why > someone would like his work (after all, I own it myself), it's > totally inexplicable to me how someone could view him as being at the > top of his field. For reasons which I have already stated. Which is why my responses attempted to make my feelings explicable. It does make sense that you'd find it harder to explain the appeal of an artist nearer to your general preferences than to explain that of someone a bit further off, musically: your own feelings don't get in the way in that case. I mean, I've never really gotten into Sebadoh, even though they would seem right in the ballpark of stuff I love - so it's harder for me to get why those folks who gush over them do so. Or another case: Miles' the other day being surprised that I'm left cold by Love and Rockets since, given his knowledge of what I usually like, _Kundalini Express_ seemed, to him, right along similar lines. But as I said, I get that. It's the random pissiness I don't get. The > "smartypantsness" which his fans typically gush about is such an > empty, soulless criterion. But your use of a term like "smartypantsness" (and I won't bother noting my doubt that any critic ever praised Miller using such a term...oops, just did note it) revalues into the negative whatever qualities it might denote. "Witty" is one thing; "empty, pretentious intellectual game-playing" another entirely - in terms of what they reveal about the writer's attitude toward what they describe. I'm less certain, though, that wittiness is as empty as you (apparently) assume - at least in Miller's music, where it appears chock-a-block (or smack-dab, if you prefer) in the middle of both straightforward pathos and self-deprecation. There's an emotional landscape surrounding both that wit and the intellectual allusions you elsewhere criticize that give them far more power than they'd have without such surroundings. Perhaps you don't see his lyrics that way; fine. I also (as I implied above) pay far less attention to lyrics overall, and allow that song lyrics can be successful by my standards merely in being evocative: wittiness is one mode of that evocativeness, and one that's pretty easy to quote and has general appeal. I suppose that's why I've done so; I didn't analyze why I did at the time. ..Jeff, all the time sitting on the fence, *scowling* J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: Why is the step in measure the terror, the dance in measure the answer? ------------------------------ Date: Mon, 25 Nov 2002 20:08:33 -0500 From: Ken Weingold Subject: WGASA Hah hah: . - -Ken ------------------------------ Date: Mon, 25 Nov 2002 20:10:52 -0500 From: "Stewart C. Russell" Subject: Re: Long band names "Cary Grant and The Rest Can Walk" is not the longest, but could be the silliest. Stewart ------------------------------ Date: Mon, 25 Nov 2002 19:21:04 -0600 From: Dolph Chaney Subject: Re: Seeking good enviro/energy songs At 02:20 PM 11/25/02, LDudich@ase.org wrote: >My fellow Fegs- > >I have been asked by our president to try to come up with some good >enviromental/ energy related songs for our 25th Aniversary party. I'd say (beating James to the punch) you can't do the show without The Verlaines, "Way Out Where." dolph ------------------------------ Date: Mon, 25 Nov 2002 20:45:15 -0500 From: "Stewart C. Russell" Subject: Re: Seeking good enviro/energy songs LDudich@ase.org wrote: > > Got more suggestions? All of Cope's Autogeddon. The B-52's -- Channel Z Woody -- Grand Coulee Dam, Talking Columbia (I think; the one about living nearer and nearer the power line), Eleckatricity and All -- in fact, all the Roll On Colmbia BPA songs. I also think that "The Car Song" qualifies, 'cos it's reduced to a very childish pleasure. Dick Gaughan or Old Blind Dogs -- Song for Autumn (it's a Burns poem, but definitely green.) Big Yellow Taxi? If you need any spoken word interludes, there are always Ivor Cutler monologues, such as "Full Of Goods". > And, are there any Robyn songs that fit the bill? Dark Green Energy? I always wanted to start a renewable energy company called that, but I guess that Robyn's lawyers would be less amused. Stewart ------------------------------ Date: Mon, 25 Nov 2002 17:50:36 -0800 From: "Rex.Broome" Subject: The usual advocacy of some artists and slagging off of other ones . Ken: >>We've Got A Fuzzbox and We're Gonna Use It. Or was that just the album >>name? Yup, album name. Band was just Fuzzbox. All anyone remembers about them is that album title. _________ Miles on Sugar, revisited: >>And while I'm usually not as fond of messy production >>as some folks, both albums sounded far too clean, even when the band is >>rocking out as hard as they can. That's the main beef I can see about Sugar-- too shiny. I was aware of it on some level even when those records came out. But it didn't bother me; that same slickness was apparent on "Black Sheets of Rain", but the "Copper Blue" songs were so much better that it made all the difference. And then, live, Sugar was so rough and tumble (and loud) that it kind of made up the difference. I think that, since the songs were rather Husker Du-like compared to Mould's solo albums, I mentally adjusted the drum sound etc. to be more like the old days and rolled with it rather happily. (I know it doesn't work in reverse, as I've spoken to more than a few who were introduced to Mould through Sugar and couldn't stomach his Husker material, much less Grant's, at all.) Miles on >>unless I *know* the bank teller, I don't feel like I got "personalized" service >>from them if they say "Thank you, Miles" -- I feel creeped out. Not to make too much of this, but do you think this is common to people who grow up in a kind of "small town" environment and don't like it that much? There's a lot of idealization of the small town life where everybody knows everybody etc. etc... but I was delighted to escape it. I like not seeing everyone I know every time I go to the grocery store, since, frankly, I don't *like* everyone I know. My friends are spread out all over a big ol' city and I go to their houses or to parties which I know will be attended predominantly by people I do like, or their friends whom I'll probably also like. Meanwhile when I visit my folks I'll go out with my mom and she'll get stuck in some kind of small-talky conversation with someone I know she's none too fond of. I like my big-city anonymity-by-choice, and maybe that's part of why I like my art that way, too. ______ Eb: >>I do have a harder time in Scott Miller's case, since he's located >>smack-dab in the middle of an indie-rock/indie-pop realm which I >>characteristically enjoy. If you mean smack-dab in the middle stylistically, then maybe. If you mean smack-dab in the middle in terms of "he's naturally going to come up in any conversation about this type of music", not even. I'd bet your average emo kid or Elephant 6 fan would have a hard time naming both of the guy's bands. I can guarantee you that a lot of self-professed "indie-rock fans" will tell you they've never heard of him. So the vigor of your denunciations seems odd. Why not reserve it for, like, the Posies or someone who actually got on the radio at some point? Otherwise, repeat after me: "I do not like Scott Miller, but I acknowledge that, owing to the diversity of human opinion and experience, other may, and that is fine". _______________ Me, then Drew: >> I expect truly hip >> people to punch me for have any Blur records. >Why would you expect that? If you just had the "Song 2" >single, that might be different, but Blur were *good* at >one point. Well, see, they were, in their way, I guess. Some "hip" people hate all Britpop (ummm, that's '90's Britpop, trademark, and I can see why-- a lot of truly slight, derivative works were elevated to "classic" status in those years). Others take the contrarian stance that Oasis was actually better because they were dumber and less effete. Me, I'll cop to "Leisure" as a *very* guilty pleasure, and most of "Parklife" as in fact a very good album, but one that I can see any number of reasons to dislike. "Great Escape" plays like a lesser Kinks knockoff and from there on out things are pretty grim, increasing critical stature aside. It's always been a problem, but the ease with which godhead status has been conferred upon British bands by the British press has become a real barrier to me warming up to those bands in recent years. I mean, since I've already missed so many landmark classic albums by Manic Street Preachers, Super Furry Animals, Gay Dad, Ash, Stereophonics, Supergrass and Idlewild, why should I start now? - -Rex, who admittedly also has a few Supergrass albums, but, you know... ------------------------------ Date: Mon, 25 Nov 2002 20:57:46 -0500 From: Ken Weingold Subject: Re: The usual advocacy of some artists and slagging off of other ones . On Mon, Nov 25, 2002, Rex.Broome wrote: > Ken: > >>We've Got A Fuzzbox and We're Gonna Use It. Or was that just the album > >>name? > > Yup, album name. Band was just Fuzzbox. All anyone remembers about them is > that album title. Nah, I actually had a copy of that in the mid 80s. The only song I remember, though, is Love Is the Slug. I also have in my record rack the Self! 12", which them doing Bohemian Rhapsody as a b-side. - -Ken ------------------------------ Date: Mon, 25 Nov 2002 17:57:33 -0700 From: Eb Subject: Re: The usual advocacy of some artists and slagging off of other ones . >Ken: >>>We've Got A Fuzzbox and We're Gonna Use It. Or was that just the album >>>name? > >Yup, album name. Band was just Fuzzbox. Wronnng. The band's name was eventually shortened, but its original form *was* the above. ------------------------------ Date: Mon, 25 Nov 2002 18:45:25 -0800 From: Nur R Gale Subject: Early Synth > Mike: > >>Wow. I always thought the first use of a synth in pop music was Lucky Man, > >>narrowly beating out Baba O'Riley. I think the Moody Blues had this beat... Days of Future Past with synth/moog was 1966. I recall reading somewhere long ago that Pinter (the keyboardist) was an early inventor of the moog. nur np Dhafer Youssef, Electric Sufi ------------------------------ Date: Mon, 25 Nov 2002 19:52:06 -0800 From: Eleanore Adams Subject: Passed the CA Bar Fegs I have just passed the California Bar Exam! (So if anyone needs a divorce atty in Ca bay area......;-)) eleanore ------------------------------ Date: Mon, 25 Nov 2002 19:52:06 -0800 From: Eleanore Adams Subject: Passed the CA Bar Fegs I have just passed the California Bar Exam! (So if anyone needs a divorce atty in Ca bay area......;-)) eleanore ------------------------------ Date: Mon, 25 Nov 2002 21:55:28 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: The usual advocacy of some artists and slagging off of other ones . Quoting "Rex.Broome" : > Miles on > >>unless I *know* the bank teller, I don't feel like I got "personalized" > service > >>from them if they say "Thank you, Miles" -- I feel creeped out. > > Not to make too much of this, but do you think this is common to people who > grow up in a kind of "small town" environment and don't like it that much? While I know what you're talking about - Rose, my wife, is from a small town and very glad to be rid of it - I'm from a medium-sized city (same one I live in, actually - although I grew up in a near suburb) and I *hate* faux-personalization. One of the most inane and annoying attempts at same was that vogue a few years back for "talking" ATMs, Coke machines, etc. C'mon - I know I'm dealing with a machine; am I some sort of moron who's going to be calmed by an artificial voice? That's one reason that no matter how good voice recognition software gets, it'll never replace the keyboard as far as most text input goes: who the hell wants to talk to a machine? Besides which, no way could it know homonyms, not to mention difficulty with certain text-only effects. ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: sex, drugs, revolt, Eskimos, atheism np: Matthew Sweet _In Reverse_ ------------------------------ Date: Tue, 26 Nov 2002 16:58:46 +1300 From: grutness@surf4nix.com (James Dignan) Subject: Re: fegmaniax-digest V11 #398 >An other addition to the list of stuff to hear then. What about the other >post Knave stuff? I don't recall hearing any of it, it's just that after >hearing Knave I wasn't excited enough to keep up with them. according to brother-in-law Ric, both "Roots to Branches" and "jtull dot com" are good. The court's still out on them as far as I'm concerned, although RtB is better than I expected. >Eclipse: >>>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!" ;) > >Count me in! I bet there's a lot of us around here. (James raises his hand) >Just to relate this directly back to the very similar "who raga-rocked >first?" thread... it wasn't released until the '80's but McGuinn recorded a >track called "Moog Raga" (which was exactly what it sounds like) around the >time of "Notorious Byrds Brothers"... and I think there's some Moog on the >album proper as well. Dunno how that stacks up datewise vs. the Monkees >track, but it can't be far off. According to the NBB album notes, Mood Raga was recorded on Nov. 1st 1967 - some 6 weeks after Daily Nightly. There is also moog on album track Natural Harmony (played by Paul Beaver), recorded 4 weeks after the raga. >>all Emily Dickinson poems fit the tune of "Yellow Rose Of Texas". > >Its called hymn meter. Most Dickenson poems can be sung to hymn tunes. One of the weirdest things I recall seeing at a concert was this guy singing "Clementine" to the tune of Deutsachland Uber Alles. >Mike Godwin: >>>What is the Longest Band Name? > >Probably ...And You Will Know Us By the Trail of Dead? > >Or... > >Lisa Lisa and the Cult Jam with Full Force? Not long enough compared to some other suggestions, but I do have the eponymous ep released by "Wreck Small Speakers On Expensive Stereos" around somewhere... >>Neil Young's "Words", part of which is in 11/8 > >It is? Huh, I'll have to check out that one again. Though >unfortunately, I may not own a copy. Not a fan of Harvest. It's the intro and the two long instrumental sections that are in 11/8. >I have been asked by our president to try to come up with some good >enviromental/ energy related songs for our 25th Aniversary party. (My past >with Number Nine Line has made me the "Alliance to Save Energy Rock >Consultant" :)) ken and others suggested some goodies. Yet no-one has suggested XTC - River of orchids! Other possibilities include: Laurie Anderson - Big science REM - Cuyahoga Housemartins - Build I take it no-one outside NZ has ever heard John Hanlon's "Damn the dam", but may I tie the threads by suggesting the 5/4 strains of "North Sea Oil" by Jethro Tull? >We all like James best. Lets vote him president of Feg world. gleep (james blushes) >Even if he >dosnt -quite- understand the sublimity of American dictionaries;-) Well, they're not too bad. At least most of the words are in the right order, because most of the misspellings are towards the end of them. Words like "aeon" seem to be in the wrong place entirely, though ;) 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: Mon, 25 Nov 2002 23:05:29 -0500 From: "Stewart C. Russell" Subject: Re: The usual advocacy of some artists and slagging off of other ones . Jeffrey with 2 Fs Jeffrey wrote: > > That's one reason that no matter how good voice recognition software gets, it'll > never replace the keyboard as far as most text input goes: who the hell wants to > talk to a machine? some airline information/ordering systems are already completely automated; they can do real time recogition of 7 languages. They do panic, and transfer you to a human if they don't understand something. > Besides which, no way could it know homonyms homophones, surely? They could if they had a big enough context network; f'rinstance, 'wear' and 'where' have completely different words around them in usual context, and so can be spotted quite easily. Stewart (who would like his Palm if it hadn't just broken ;-() ------------------------------ Date: Mon, 25 Nov 2002 23:13:35 -0500 From: "Roberta Cowan" Subject: RE: Early Synth Nur spoke: >I think the Moody Blues had this beat... Days of Future Past with >synth/moog was 1966. I recall reading somewhere long ago >that Pinter (the keyboardist) was an early inventor of the moog. I will fess up to having been a big Moody Blues fan in my youth and IIRC Mike Pinder didn't use a moog but instead the mellotron which worked on a totally different concept. I believe that when you pressed a key it played a tape? He was considered a pioneer on that though. Roberta ------------------------------ Date: Mon, 25 Nov 2002 22:25:16 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: The usual advocacy of some artists and slagging off of other ones . Quoting "Stewart C. Russell" : > > Besides which, no way could it know homonyms > > homophones, surely? D'oh! > They could if they had a big enough context network; f'rinstance, 'wear' and > 'where' have completely different words around them in usual context, and so > can be spotted quite easily. And how well would they handle that sentence you just typed - where the two words are used words, and hence have no context cues? ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: This album is dedicated to anyone who started out as an animal and :: winds up as a processing unit. :: --Soft Boys, note, _Can of Bees_ ------------------------------ Date: Mon, 25 Nov 2002 21:09:44 -0800 From: "Michael E. Kupietz, wearing a pointy hat" Subject: Moog FGTH IQTOMPA Radiohead Tull Energy Thompson Snoop Doggy Dogg At 1:11 AM +1300 11/26/02, James Dignan transmitted: >[moog stuff] Ok, I haven't heard Daily Nightly in quite a long while. I wonder what the earliest use of a synth was in popular music to play a melodic line, sounds like DN it was primarily for sound effects. >Some great 7/4s include Solsbury Hill (Peter >Gabriel), the verse of All you need is love (Der Bittels); Glass (our man >Robyn); My favorite is Strawberry Fields Forever - one of John Lennon's talents was to pull these time changes that slip right past you... not like Zappa or Tull or somebody who was great at that stuff but it was obviously sort of odd. Check out the crazy sheet music, Strawberry Fields flows like honey through parts that change time signature every measure or two. One of the things I really dug about the Rutles movie is that they managed to get that right, too, among all the other musical things they got right. Little shit that only a musician would catch. I've always thought Syd's Late Night also changes time for the "Inside me I feel/alone and unreal/and the way you kiss..." parts, although I've never checked it out for sure. Hakim Bey: "In music the hegemony of the 2/4 & 4/4 beat must be overthrown." At 3:05 PM +0000 11/25/02, Michael R Godwin transmitted: >>On Fri, 22 Nov 2002, Jeffrey with 2 Fs Jeffrey wrote: >> Uh, "Fuck Goddamned Tory Hathead"? "Forget God - Toot Horns"? "Fred >>Gordon, the >> Hegemon"? > >Like it - Horns is well on the right track. However, Frankie Goes To >Hollywood were so huge in the UK in the 80s that I didn't realise that you >might not recognise this abbreviation. IQTOMPA. >They sold absolute sea-container >loads of records. Did they really not make that Top 80s list? You know, they were the one crap '80s pop band that I liked. Dunno, I've always had a thing for Trevor Horn. The single highest fidelity-sounding CD I've ever heard was a CDr of one of the b-sides from "Liverpool". Simply astounding quality. And then my friend told me *he had burned it off his vinyl 12"*. Only Trevor Horn, man. At 4:27 PM +0000 11/25/02, matt sewell transmitted: >My view of Radiohead is somewhat compromised by being personally attacked >by them on record... Do tell! At 3:02 PM -0500 11/25/02, Johnathan Vail transmitted: >I got a cd the other day with a couple of songs by Donnie Brown (of >The Verve Pipe) performing live with Ian Anderson. If there is >interest I can put these up for snarfing. Not bad, good quality with >some banter with Donnie and Ian in there. Interested. Apocryphal rumor has it that Ian also played the flute on Love & Rocket's "No New Tale To Tell". I haven't researched it, but the flute solo does sound like him, and for that part in the video they just show a monkey. At 3:20 PM -0500 11/25/02, LDudich@ase.org transmitted: >I have been asked by our president to try to come up with some good >enviromental/ energy related songs for our 25th Aniversary party. Jethro Tull, "North Sea Oil". And "Batteries Not Included" if you really want to get them jumping out the windows. God, I love how often Tull has been able to slip into the conversation lately. >3. "peggy Suicide" Julian Cope >Yes, the whole damn album. Add a few tracks from "Autogeddon" in there. >And, are there any Robyn songs that fit the bill? I haven't heard it yet, but he has a track called "Dark Green Energy". At 4:20 PM -0600 11/25/02, Miles Goosens transmitted: > >I have a friend who insists "The Bends" is Obscured By Clouds to "OK > >Computer"'s Dark Side. Also says it takes a few listens to get into. I'm > >still giving it that chance, but it hasn't grown on me yet. > >I think this is taking the Floyd analogy (whoever was first to it was >insightful, but now it's gotten so commonplace that it Obscures Real >Meaning) way too far. If the album he says takes a few listens is OK >COMPUTER, I think he's right, but if he means THE BENDS -- man, that one's >a grabber. I appreciated it *even more* after a few listens, but I was hot >to give it those few listens right from the first spin. He was referring to production values & place in the band's development. But I personally was hooked by a short snippet of OK Computer that I overheard somebody play, loved it immediately, but The Bends has not yet grabbed me after several listens. Diff'rent dregs for diff'rent fegs. At 3:37 PM -0800 11/25/02, da9ve stovall transmitted: >There are (at least) two Richard Thompson tributes, so you might >not see it no matter how close you look. [etc.] Free association: Robyn's live cover of "Calvary Cross". Apropos of nothing: I forgot to answer my trivia question a while back: the first act in to have their debut album debut on the Billboard charts at #1 the first week of release was Snoop Doggy Dogg. 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 #400 ********************************