From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V11 #409 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, December 3 2002 Volume 11 : Number 409 Today's Subjects: ----------------- Where are the songs? / Cosmetic alterations ["Rex.Broome" ] Re: the rhythm of life [grutness@surf4nix.com (James Dignan)] The Clean [grutness@surf4nix.com (James Dignan)] The Nil Beat Got Me ["Maurer Rose, Inverse Nome" ] Re: Where are the songs? / Cosmetic alterations ["Michael E. Kupietz, wea] 80s music [BLATZMAN@aol.com] Re: the rhythm of life [John McIntyre ] Re: Where are the songs? / Cosmetic alterations [Jeffrey with 2 Fs Jeffre] Re: The Nil Beat Got Me [Tom Clark ] another heavyish 3/4 [grutness@surf4nix.com (James Dignan)] Re: hairy...well, never mind [rosso@videotron.ca] Harry Potter and hemiolas [Jill Brand ] fuzzy warbles? [drew ] wow!!!!! [Eb ] Re: Harry Potter, Harrisongs [Michael R Godwin ] ---------------------------------------------------------------------- Date: Mon, 2 Dec 2002 11:16:53 -0800 From: "Rex.Broome" Subject: Where are the songs? / Cosmetic alterations Jeff: >>the song *is* the recording in rock: any score is almost always someone >>else's (usually lame) work. There's something to this, but in certain strains of rock-- many of my favorite fields of study, like Dylan, Neil Young, or in many cases Robyn-- while it sure as hell isn't sheet music, the song isn't even the recording. It's just the song, floating in a cloud of ether near but not precisely *in* the writer's head, and it gets interfered with by electical disturbances within that cloud, so that the next time the singer pulls it out of that cloud all kinds of things might have happenedto it in the interrim. I doubt Dylan has spent much time at all with his own "classic" recordings. Those recordings are just how the tune sounded that night. I thought Jodie Foster looked odd in "Panic Room" primarily because she was pregnant-- if Eb's referring to her chest, that's what he was seeing. Other than that, she didn't seem substantially altered to me. She's still a very attractive young woman, in my opinion. - -Rex "pedantic would be my middle name if my middle name wasn't Rex" Broome ------------------------------ Date: Mon, 2 Dec 2002 13:27:42 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: Where are the songs? / Cosmetic alterations Quoting "Rex.Broome" : > Jeff: > >>the song *is* the recording in rock: any score is almost always someone > >>else's (usually lame) work. > > There's something to this, but in certain strains of rock-- many of my > favorite fields of study, like Dylan, Neil Young, or in many cases Robyn-- > while it sure as hell isn't sheet music, the song isn't even the recording. > It's just the song, floating in a cloud of ether near but not precisely *in* > the writer's head, and it gets interfered with by electical disturbances > within that cloud, so that the next time the singer pulls it out of that > cloud all kinds of things might have happenedto it in the interrim. I doubt > Dylan has spent much time at all with his own "classic" recordings. Those > recordings are just how the tune sounded that night. That's a very good point - and one quite relevant to what makes a cover version work (or not). It's that invisible skeleton of a song that actually is covered: the lyrics (or most of them!), something in the way of melody and chord structure (structure is different from literal melody notes or chord voicings), but much else is open to change. But all of this is just my bloviating - wouldn't want to be "pedantic," now. It's an interesting question how much a song can be changed before it ceases to be a cover at all. Consider the Residents' version of "(I Can't Get No) Satisfaction": the only thing left is a very warped version of the main riff. The words are different, there's no melody, the "chords" are an intentionally ugly agglomeration of whatever notes happen to have been collided together, etc. But that riff turns out to be the core of the song (surprise...), and no matter how weirdly harmonized, because it's shaped the same as the Stones' riff, in more or less the same rhythm, the song is recognizably (to these ears) "Satisfaction." Is it Cat Power who covered the same song and left out the riff entirely? I should put those two versions side by side on a mix CD someday... ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: I feel that all movies should have things that happen in them :: --TV's Frank np: Big Star _Live at Misnamed University_ ------------------------------ Date: Mon, 2 Dec 2002 11:35:35 -0800 From: "Jason Brown (Echo Services Inc)" Subject: RE: Where are the songs? / Cosmetic alterations > Is it Cat Power who covered the same song and left out the riff entirely? > I should put those two versions side by side on a mix CD someday... Yeah. She also leaves out the chorus completely as well. ------------------------------ Date: Mon, 2 Dec 2002 12:04:03 -0700 From: Eb Subject: Re: Where are the songs? / Cosmetic alterations >Rex: >I thought Jodie Foster looked odd in "Panic Room" primarily because she was >pregnant-- if Eb's referring to her chest, that's what he was seeing. OK, I didn't know she was pregnant. That was probably a factor. However, I was also struck by how different her eyes (round round round, no more natural puffiness underneath) and nose (sooooo sharp) looked from when she was younger. Also, did she somehow get rid of all her freckles? >She's still a very >attractive young woman, in my opinion. Attractive, yes. I suppose whether 40 can be readily described as "young" is up to individual discretion. >Eb on "Here Comes the Sun": >>>Yeah, this bridge is a bastard to transcribe. Maybe the strangest >>>meter in the Beatles' entire catalog. > >I nominate the bridge of "She Said She Said", having tried to lead several talented rhythm sections through it with mixed results. Yes, I already cited that song as an example of rhythmic gnarl in Beatletunes. However, I think the "Here Comes the Sun" bridge is far, far uglier. A mixture of 11/8 and 7/8 and 4/4, versus one brief switch from 4/4 to 3/4? Drew, on Harry Potter: >I'm surprised at how lifeless >Richard Harris and Maggie Smith seem in both films. Maybe >because the script adaptation of their roles is so skimpy. I will grant you this. I expected more meat in their roles, particularly Harris'. >The kids' movie I saw last night was The Witches, directed >by Nicholas Roeg, starring Anjelica Huston on crack and >featuring Rowan Atkinson and Jane Horrocks in cute supporting >roles. Liked that one a lot. Eb ------------------------------ Date: Mon, 2 Dec 2002 12:19:52 -0800 From: "Jason Brown (Echo Services Inc)" Subject: RE: Cosmetic alterations Eb: > Rex: > >I thought Jodie Foster looked odd in "Panic Room" primarily because she > > was pregnant-- if Eb's referring to her chest, that's what he wa seeing. > > OK, I didn't know she was pregnant. That was probably a factor. > However, I was also struck by how different her eyes (round round > round, no more natural puffiness underneath) and nose (sooooo sharp) > looked from when she was younger. Also, did she somehow get rid of > all her freckles? The change in eyes and nose could be just a result of aging and being thinner with less fat in the face. Freckles can go away with age too. My freckles have disappeared over time and I'm 25 not 40. Also stage make up can make freckles go away as well. ------------------------------ Date: Mon, 02 Dec 2002 12:32:03 -0800 From: Tom Clark Subject: Re: Not growing up in San Francisco on 12/2/02 10:58 AM, Rex.Broome at Rex.Broome@preferredmedia.com wrote: > I think one's childhood is often a "grass is always greener" scenario. I > think about that when I try to figure out whether I want my kids to grow up > in the city (LA or otherwise) or not. Dunno. The small town drove me > crazy, but my wife and I are more, um, "cosmopolitan"/"worldly" than my > parents were, and the world is different now, so maybe that would change > things. Dunno. My parents were/are fabulous, though, worldly or not. > I've been thinking a lot about this as well. Our daughter is almost a year old and I find myself having this fantasy of her growing up on some sort of hippie ranch with horses, overlooking the Pacific. Then again I'd like her to be in an intellectual environment like a college town. We'll probably just paralyze ourselves with indecision and end up raising her right here in San Jose. And on a related note: on 12/2/02 12:04 AM, Michael E. Kupietz, wearing a pointy hat at plinth@kupietz.com wrote: > > Every once in a while I remember that life in San Francisco seems to have > more than its share of moments of utter magic. > Yeah, they are there alright, but you usually have to step over piles of human excrement to find them. Not that I'm bashing SF on the whole. It just seems that out of all the major cities I've spent time in (NYC, Boston, Paris, Brussels, Madrid, Tangier...), only D.C. rivals SF for being so smelly and dirty. It's too bad, too, because the surrounding areas are world class beautiful. - -tc ------------------------------ Date: Tue, 3 Dec 2002 10:22:08 +1300 From: grutness@surf4nix.com (James Dignan) Subject: Re: the rhythm of life >Oh, re James' assertion that not much rock is in 6/8: you must not listen to >Throwing Muses much, as they use that time quite a bit. There's another >band I'm >trying to think of who use it often - can't remember who. Oh - and yr classic >rock'n'roll ballad is best thought of in 6/8, to my ears. not me - I think that was pointy Jeff. I gave some exaples that were 6/8. Anyone like to confirm the following?: Spark (Tori Amos) 13/8 Modern man hurricane blues (Adrian Belew) 11/8 oh, and finally an odd heavier one: Them bones (Alice in Chains) 7/8 >> "Light flight" by Pentangle has alternating bars of 5/4 and 7/4 throughout >> the verse, according to the sheet music. > >Unless the sheet music specifically claims to be the composer's work, it's for >shit: almost always after-the-fact interpretations. A technical-minded musician >might think of a time signature; one less so inclined may just hear the feel. well, I'd always heard it as alternating 5/8 and 7/8 myself, before ever having seen the sheet music. DUM-dah-da-DUM-DUM-DUM-dah-da-DUM-dah-dada-dum. I'll admit I've never really learnt any musical theory, other than what I've picked up along the way - it's 99% the feel for me. James (still unable to work out "Songs from the wood") PS - is it true that John Cage's "4'33"" is in 4/4? 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: Tue, 3 Dec 2002 10:23:53 +1300 From: grutness@surf4nix.com (James Dignan) Subject: The Clean >James on "valid" reunion albums: >>>The Clean - Vehicle? > >It's the only Clean album I own and I really like it... James, didn't you >recently mention upcoming reissues of their earlier stuff? according to a recent newspaper article on the Kilgours. Haven't seen David for a couple of months, so I'm unable to confirm, but there have been quite a few re-releases done in recent years from FNun bands, so it would make sense. Vehicle was actually thw Clean's first full album, so I suppose it doesn't count by Eb's rules. They'd put out several singles and EPs prior to that that were (mostly) reissued on a CD simply called "Compilation". Those singles and EPs contained some genuine oddness, and some genuine catchiness too (songs like "Tally Ho!", "Anything could happen", and "Beatnik" are regarded in NZ indie circles as true classics). Oddly, they remain the only NZ band to have had a tribute album done solely in their honour (I don't even think Crowded House have had one!) - "God save the Clean". If you like "Vehicle", I'd suggest trying "Modern Rock". 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, 02 Dec 2002 21:30:15 +0000 From: "Maurer Rose, Inverse Nome" Subject: The Nil Beat Got Me The nil beat seems to have caught up with me. Wrote this this morning, saved it but thought Id sent it, was suprised to find it wasnt in the last digest. So I can add-- Eb, you have called the rhythm thread both picyune(alright, Im sure you spelt it better) and pendantic. Yet you've kept contributing to it. Which, since Ive enjoyed the thread, Ive been glad of. But also amused. - ---------------------- belloweth the mislactothrope: >as you can tell, it's an epic, and is taking some time to complete) is >designed to be read aloud, with the capitalized lines read through a >megaphone. Love it. >I think those >silent beats came naturaly in the recitiation. Good point. Kingsley Amis has a great antholgy of poetry meant for recitation. Ill have to take a look at it again and then expiriment with some. If only I had a megaphone;-) I was deformed at an early age my my dads impromptue drunken recitations of Scot or Macauley or Kipling or etc. I dont remember any nil beats, but alot of arm waving did seem mandatory. >Although the quote from that article sounds uncomfortably close to that hysterical "the repetitive beat of rock and roll is going to hypnotize our >children" idea so rampant in the 50's and quoted as recently as 1987 by my grandfather. If grandpa is still alive, point out to him that one of the most powerfully trance-inducing bits in western music is the beginning of the slow movement in Beethoven's 7th(the one that sounds like immense waves breaking on a rocky coast on a gray day.) Works on me every time. Rock n Rollers are amateurs compared to this. And thank you for not minding my digressions into how the brain appears to process this stuff. - ------------------------ Mike W: >but ISTR Zep's 'The Ocean' alternated 4 >and 7 in the verses? Or was this mentioned already? Is it the timing that makes some Zep stuff sound like the song is almost being dragged backwards? As if some sections go forward but some fight an undertow. And then the undertow clears and the song shoots forward? ("Levy Breaks" "Kashmire" and more I cant immdediatly think off) And then there are the songs that seem to just stand in one place, not moving at all, or at best jumping up and down abit in the same spot, thou inside there it an intricate vibrating mechanism of shifts and gears all whirling madly about( like "Trampled Underfoot.") Whats going on there? - ------------------------------- RossO It all has to do with if you leave out the rests /nils or count them. Hence two good answers. And as far as im consernedered, any thread which inspires someone to quote from Shakespeare is a good thread.(This is a cue to someone else, BTW, to post"you've got to be kidding;-) - ----------------------- Kay, behind the beat _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ------------------------------ Date: Mon, 2 Dec 2002 13:45:18 -0700 From: Eb Subject: Re: The Clean > >It's the only Clean album I own and I really like it... James, didn't you > >recently mention upcoming reissues of their earlier stuff? Merge Records is putting out a two-disc Clean compilation on January 21st...but it seems like this was already mentioned. I haven't seen a track listing, but since the Clean's catalog isn't exactly staggering in size, this compilation should have plenty of room for a thorough overview. And because Merge *is* putting out this lavish release, I suspect they *won't* be reissuing the original albums individually. Is the compilation coming out via NZ Flying Nun too, or this US-only? >Kay: >Eb, you have called the rhythm thread both picyune(alright, Im sure >you spelt it better) I never said it was "picayune," though I may have implied it. ;P > and pendantic. I could spell that one better, too. > Yet you've kept contributing to it. Well, I don't feel icky about contributing my transcription skills to the discussion. But as far as paternally guiding neophytes on how to listen to music...oof, I'll leave that to others. Eb, ever wishing he had a copy of the 3Ds doing "Baby's on Fire" ------------------------------ Date: Mon, 2 Dec 2002 12:50:01 -0800 From: "Michael E. Kupietz, wearing a pointy hat" Subject: Re: Where are the songs? / Cosmetic alterations At 11:16 AM -0800 12/2/02, Rex.Broome propounded thusly: >>>the song *is* the recording in rock: any score is almost always someone >>>else's (usually lame) work. > >There's something to this, but in certain strains of rock-- many of my >favorite fields of study, like Dylan, Neil Young, or in many cases Robyn-- >while it sure as hell isn't sheet music, the song isn't even the recording. >It's just the song, floating in a cloud of ether near but not precisely >*in* >the writer's head, and it gets interfered with by electical disturbances >within that cloud, so that the next time the singer pulls it out of that >cloud all kinds of things might have happenedto it in the interrim. I >doubt >Dylan has spent much time at all with his own "classic" recordings. Those >recordings are just how the tune sounded that night. I've always thought there was somewhat of a distinction between "presentational" and "representational" music - tape pieces vs. documents of performances respectively. A lot of Pink Floyd - Wish You Were Here, Animals - are basically tape pieces. (Don't know if this is a formal electronic music term - that's what I first heard it in regards to.) The song is presented to you as it is, you're hearing the peice. But you're right, the Stones, or, I agree, Dylan, is playing a song but the performance isn't the piece itself. >>I thought Jodie Foster looked odd in "Panic Room" primarily because she >>was >pregnant-- if Eb's referring to her chest, that's what he was seeing. >Other >than that, she didn't seem substantially altered to me. She's still a very >attractive young woman, in my opinion. Yeah. I love Jodie Foster. i wish there was some politician I could kill, or something, to make her go out with me. At 1:27 PM -0600 12/2/02, Jeffrey with 2 Fs Jeffrey propounded thusly: >that riff turns out to be the core of the song (surprise...), and no >matter how >weirdly harmonized, because it's shaped the same as the Stones' riff, in >more or >less the same rhythm, the song is recognizably (to these ears) >"Satisfaction." > >Is it Cat Power who covered the same song and left out the riff entirely? I >should put those two versions side by side on a mix CD someday... Don't forget Devo, who totally funked it up, and saved the riff for only the end of the song. And the Del Rubio Triplets, if you're going to make a mix tape of it, who managed to stick fairly close to the original but still somehow reduce it to something completely ludicrous. 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.") "Moderation in all things, except Wild Turkey." - Evel Knievel ------------------------------ Date: Mon, 2 Dec 2002 16:57:21 EST From: BLATZMAN@aol.com Subject: 80s music Would anyone be interested in trading some really good/bad 80s music? I'm making a compilation and I need some easy to find stuff and some obscure stuff. If interested, email me offlist. I have cool stuff to trade... Invisible History... even an unopened copy of Mossy, which everyone probably already has...And of course so much more... Thanks Dave ------------------------------ Date: Mon, 02 Dec 2002 17:03:23 -0500 From: John McIntyre Subject: Re: the rhythm of life There was an article a few years back with the former guitar player from the Red Hot Chili Peppers who had hired someone to transcribe the solo album he'd just made. The transcriptionist started writing alternating bars of weird time signatures, and the guitarist stopped him, saying, "It's all in 4/4, man." The transcriptionist expressed his doubts. The guitarist set out to prove his point, started the album playing, and counted aloud, "One..." About twenty seconds later, he went "Two..." John McIntyre Physics - Astronomy Domine Dept Michigan State University mcintyre@pa.msu.edu ------------------------------ Date: Mon, 2 Dec 2002 16:14:25 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: Where are the songs? / Cosmetic alterations Quoting "Michael E. Kupietz, wearing a pointy hat" : > >>I thought Jodie Foster looked odd in "Panic Room" primarily because she > >>was > >pregnant-- if Eb's referring to her chest, that's what he was seeing. > >Other > >than that, she didn't seem substantially altered to me. She's still a very > >attractive young woman, in my opinion. > > Yeah. I love Jodie Foster. i wish there was some politician I could kill, > or something, to make her go out with me. There's no better time than the present... Oh, and while anyone has the right to prefer not to "paternally guid[e] neophytes on how to listen to music" (Eb's words), well yeah...but someone *did* ask, and specifically noted their lack of technical musical knowledge. So it would seem that painfully pedantic (to more knowledgeable music folk) approaches were called for. And of course, staying out of that is always an option. ..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 ------------------------------ Date: Mon, 02 Dec 2002 15:21:03 -0800 From: Tom Clark Subject: Re: The Nil Beat Got Me on 12/2/02 1:30 PM, Maurer Rose, Inverse Nome at theyarenotlong@hotmail.com wrote: > Is it the timing that makes some Zep stuff sound like the song is almost > being dragged backwards? As if some sections go forward but some fight an > undertow. And then the undertow clears and the song shoots forward? ("Levy > Breaks" "Kashmire" and more I cant immdediatly think off) And then there are > the songs that seem to just stand in one place, not moving at all, or at > best jumping up and down abit in the same spot, thou inside there it an > intricate vibrating mechanism of shifts and gears all whirling madly about( > like "Trampled Underfoot.") Whats going on there? I can't really comment on the time signatures, but I think the sound has a lot to do with the Page's production and Bonham's drumming. The songs you mention have a distinctive "slushy" feel to them which comes from a loud kick drum and a fairly loose hi-hat. I think Page liked to bring the drums pretty far up in the mix mainly because Bonham's style was so unique and "melodic" that it played into the mix as so much more than just a rhythm track. - -tc ------------------------------ Date: Tue, 3 Dec 2002 13:33:44 +1300 From: grutness@surf4nix.com (James Dignan) Subject: another heavyish 3/4 another candidate for the "heavy 3/4" award that AFAIK no-one's mentioned yet - "Sitting on top of the world", by Cream James ------------------------------ Date: Mon, 02 Dec 2002 20:40:48 +0000 From: rosso@videotron.ca Subject: Re: hairy...well, never mind On 2 Dec 2002 at 10:53, drew wrote: > The kids' movie I saw last night was The Witches. > Near > the end of the movie I thought the happy ending wouldn't > come, and if it hadn't I would have found it pretty > unsettling. The book ends on a much darker note. There's no good witch, and no recovery for the little boy, who lives the rest of his mouse lifespan as a witch-hunter. ------------------------------ Date: Mon, 2 Dec 2002 22:17:18 -0500 (EST) From: Jill Brand Subject: Harry Potter and hemiolas I have to agree with almost everything that Drew said about Harry Potter I and II. I almost feel that people should be barred from seeing the movies if they haven't read the books because the movies convey so much less than the books. HP and the Prisoner of Azkaban is also my favorite of the four (does anyone else feel that Goblet of Fire was screaming out for some better editing?), and I hope the new director spins it properly. I want Paul McGann to play Remus Lupin, but he only gets crap roles in stupid television dramas these days, so that is just a dream. I remember casting Alan Rickman as Snape when I read the first book in 1999, and I was beyond chuffed when he was tapped for the role. Who will play Sirius Black? Is it true that Christopher Lee will be the new Dumbledore? This must be the Triple Crown of popular movies if it is true. I've skimmed through the posts on difficult rhythms, and I was wondering about what people had written about Here Comes the Sun. Is the part where the lyrics go to "Sun, sun, sun...." a hemiola? Just asking. I won't write about Blur and the Kinks. Every time I try to comment on that theme, I lose my Internet connection and the (sometimes long) post I have cobbled together. Briefly, I love Blur and I love the Kinks (I only have 5 of the Pitchfork Top 100 of the 90s - please remember that I am an old person with limited access to listening time - and 3 of them were Blur albums), but I don't think they sound anything alike. I certainly see that Damon Albarn got a lot of his lyrical themes from the Kinks, but the music is thoroughly different. Hurray! Maybe this post will get through. Jill ------------------------------ Date: Mon, 2 Dec 2002 22:21:37 -0800 (PST) From: drew Subject: fuzzy warbles? Is anyone ordering these? Has anyone heard them yet? Should I or shouldn't I? (If you don't know what I'm talking about, you can't help me. :)) - -- drew at stormgreen dot com http://www.stormgreen.com/~drew/ ------------------------------ Date: Mon, 2 Dec 2002 22:35:50 -0700 From: Eb Subject: wow!!!!! SYDNEY, Australia (AP) - Peter Garrett (news), the energetic lead singer of Australian rock band Midnight Oil, has quit the band after 25 years. With his distinctive bald head, wild dancing and strident voice, Garrett was one of the most recognizable Australian singers of the last generation. Midnight Oil's protest song about Aboriginal land rights, "Beds are Burning," was a hit around the world and the band played it at the closing ceremony of the 2000 Sydney Olympics (news - web sites). "The last 25 years have been incredibly fulfilling for me, and I leave with the greatest respect for the whole of Midnight Oil," Garrett said in a statement posted on the band's Web site. "The band has brought a lot of pleasure and meaning to people's lives, including my own. Who could ask for more? But Garrett, a committed and eloquent environmental activist, said it was "time for me to move on and immerse myself in those things which are of deep concern to me and which I have been unable to fully apply myself to up to now." The remaining members of the band said they were committed to continue making music together "in another guise at some point down the track." "We've had a unique relationship and special chemistry for many years, one too good to lose," band members Rob Hirst, Jim Moginie, Martin Rotsey, Gary Morris (news) and Bones Hillman said in the statement. Alongside his singing career, Garrett has served as president of the Australian Conservation Foundation between 1989 and 1993. He also has served on the international board of environmental group Greenpeace. In recent years, Garrett has focused his activities closer to home, with particular emphasis on campaigns against genetic engineering, coastal development and the nuclear industry. ------------------------------ Date: Tue, 3 Dec 2002 09:53:17 +0000 (GMT) From: Michael R Godwin Subject: Re: Harry Potter, Harrisongs On Mon, 2 Dec 2002, Jill Brand wrote: > (does anyone else feel that Goblet of Fire was screaming out for some > better editing?) Yes. And all the missed deadlines on the 5th book suggest to me that JK used up too many ideas in GoF and is struggling to complete the series. Re "Sitting on top of the world": this is a very common device in slow blues. The tempo is actually 4/4, but because the 4 beats are so slow, they get split into triplets. "Red House", "I'm a man", "Stormy Monday" and many others can also get the same treatment. My guess is that this started when Odie Payne or Freddie Below got bored and started tapping triplets on the hi-hat to make the rhythm more interesting. If you want to think of this as 12/8, you can (the Grateful Dead are crazy about 12/8, they seem to just slip into it naturally). Re "Here comes the sun": that funny bit (and it's just funny, not ugly) goes with a riff which Harrison used extensively in different variants. It is very similar to the bridge riff in "Badge" (on which Harrison appears as L'Angelo Misterioso) and to the opening riff in "It don't come easy", which although "written" by Ringo, presumably has a guitar part donated by Hari. - - Mike Godwin ------------------------------ End of fegmaniax-digest V11 #409 ********************************