From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V13 #250 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Sunday, September 5 2004 Volume 13 : Number 250 Today's Subjects: ----------------- Re: Jeff Buckley [Barbara Soutar ] Re: Jeff Buckley [Eb ] Re: Jeff Buckley (really about TIm Buckley and Fred Neil) [Barbara Soutar] Re: Jeff Buckley (really about TIm Buckley and Fred Neil) ["Michael Wells] Re: Miles Rupert [James Dignan ] PS [James Dignan ] that's weird, Al [James Dignan ] Re: Giles Rupert ["Fortissimo" ] Re: that's weird, Al [Sebastian Hagedorn ] gnatmaniax: PIXIES ["Natalie Jacobs" ] ---------------------------------------------------------------------- Date: Sat, 04 Sep 2004 12:03:31 -0400 From: Barbara Soutar Subject: Re: Jeff Buckley Rex asked about Fred Neil: Fred Neil had the deepest voice ever, a rich bass with lovely control. And he had a very sensitive nature, especially when it came to writing songs about water and love. Yet it was other people's covers of his songs which made him famous. Actually he has never been really famous... I do believe he lived off the royalties he made from "Everybody's Talking", so that's alright. I don't know the other versions you mentioned. I especially recommend Song to the Siren... too beautiful. Barbara Soutar Victoria, BC ------------------------------ Date: Sat, 4 Sep 2004 12:10:09 -0700 From: Eb Subject: Re: Jeff Buckley > Barbara Soutar: > Fred Neil had the deepest voice ever You live in Canada, and yet haven't heard the Crash Test Dummies? ;) Eb ------------------------------ Date: Sat, 04 Sep 2004 12:26:51 -0400 From: Barbara Soutar Subject: Re: Jeff Buckley (really about TIm Buckley and Fred Neil) Just to clarify, I recommended a song in an earlier post, Song to the Siren. The version I love is by Tim Buckley - I think Fred Neil wrote the words and gave them to Tim, who came up with the melody. It's... enchanting. Also I have downloaded a nice version of The Water is Wide by Fred Neil. Joan Baez did a lovely version as well. I believe it's a traditional song. Anyone have any info on the origin of that song? Barbara Soutar Victoria, BC ------------------------------ Date: Sat, 4 Sep 2004 14:49:40 -0500 From: "Michael Wells" Subject: Re: Jeff Buckley (really about TIm Buckley and Fred Neil) Barbara, I'm copying you on this as my reply to Feg will likely show up tomorrow as having been written next month. > Also I have downloaded a nice version of The Water is Wide by Fred > Neil. Joan Baez did a lovely version as well. I believe it's a > traditional song. Anyone have any info on the origin of that song? The Steve Goodman album I have with his (excellent) performance of the song attributes it "arranged and adapted by Frank Hamilton and Pete Seeger." I knew Pete had done the song back in the day, but beyond that I was interested enough in your question to look for more info: "The song was orginally Waly, Waly, but in the 19th century came to be known as The Water is Wide. The song was published in 1724. O Waly, Waly is sometimes reported to be part of a longer ballad, Lord Jamie Douglas. However, Douglas was first published by Herd (1776) where it states it is to be sung to the tune of Waly, Waly, so it is fairly certain that Waly, Waly is the earlier tune." Godwin might remember more. Michael "that Hal Leonard can be useful sometimes" Wells 'I got a smile tonight...just as wide as an inland sea' - P. Mulvey ------------------------------ Date: Sun, 5 Sep 2004 11:09:42 +1200 From: James Dignan Subject: Re: Miles Rupert > >But since you pride yourself in 80s Synthpop, maybe you can recommend > >other artist like Thomas Leer. That song Private Plane reminds me of > >Messages of Dark or Mr. Deadly. The darker Hitchcocksynth. > >Hm, early Human League (pre-"Don't You Want Me," though I'm hardly >dissing DARE) might be a good choice. Pete Shelley's first couple >of solo albums, Colin Newman's A-Z... and while it's not synth-pop >per se, Mike Thorne's contributions to Wire's CHAIRS MISSING and 154 >have the same sort of dark, chilling effect on the proceedings as >the Darker Hitchcocksynth (Thorne also produced the aforementioned >Newman record) and are absolute essentials. Heck, I'd even >recommend the Eurythmics' SWEET DREAMS (ARE MADE OF THIS) and >SAVAGE. Yaz(oo) is maybe too dancy to fit, but Alf + Vince = fire + >ice, whereas Andy + Vince = histrionic camp + ice. > >Oh, and Shriekback! Barry Andrews of XTC, Dave Allen of Gang of >Four, dark and mysterious and ancient and deeply weird. I loved >them so. Sadly, JAM SCIENCE has never made it all the way to CD >(most of it's been released via various compilations, though >"Hubris" and at least one other song still remain un-digitized), but >OIL AND GOLD and BIG NIGHT MUSIC are both in-print and delicious. I second that - wonderful indeed. Ditto the Pete Shelley - although how an ex-punk can write something in 13/8 time ("I generate a feeling") and get away with it is beyond me. This may be a left-field thought, but have you checked out recent Gary Numan? Yes, he's still out there making music, and it's dark and wondrous. "Messages of Dark" often sounds to me like Numan and Laurie Anderson getting together. Other possibilities... has anyone mentioned early Ultravox yet? Or Thomas Dolby's quieter stuff? James PS - thanks for making me check again my much neglected copy of "Invisible Hitchcock"! - -- 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: Sun, 5 Sep 2004 11:24:05 +1200 From: James Dignan Subject: PS PS - I hope Mike R and any other E.Floridian fegs have managed to find somewhere calm away from the weather. Any news on them? 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: Sun, 5 Sep 2004 12:02:43 +1200 From: James Dignan Subject: that's weird, Al What next - Hornets attack Victor Mature? 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, 04 Sep 2004 23:36:44 -0500 From: "Fortissimo" Subject: Re: Giles Rupert On Sun, 5 Sep 2004 11:09:42 +1200, "James Dignan" said: > > >But since you pride yourself in 80s Synthpop, maybe you can recommend > > >other artist like Thomas Leer. That song Private Plane reminds me of > > >Messages of Dark or Mr. Deadly. The darker Hitchcocksynth. > > > This may be a left-field thought, but have you checked out recent > Gary Numan? Yes, he's still out there making music, and it's dark and > wondrous. "Messages of Dark" often sounds to me like Numan and Laurie > Anderson getting together. I gave up on Numan way back when when he succumbed to English White Boys' Faux Funk Disease. Has he (long since, for all I know) ditched the femme backing vox, awful sax, and absurd non-danceable danciness? > Other possibilities... has anyone mentioned early Ultravox yet? Or > Thomas Dolby's quieter stuff? I believe you just did. This is the time for me to put in my usual two comments re Thomas Dolby, to wit: (1) "Golden Age of Wireless" and "The Flat Earth" are brilliant albums - and if all you've heard is "She Blinded Me with Science" and "Hyperactive," yr missing out. Including missing a very fine Robyn monologue in the fade of "White City." Also: (2) why the *hell* is there not a compiled version of GAOW including the longer versions of the tracks that featured on the "Blinded by Science" EP, as well as all the tracks exclusive to the original edition ("Leipzig," "Urges") and to the post-"Science" edition? What the hell - throw on contemporary b-sides as well. I have a home-burned compilation (thank you, filesharing...) that put all that together. Apparently, it's the '80s again. - ------------------------------- ...Jeff J e f f r e y N o r m a n The Architectural Dance Society http://spanghew.blogspot.com/ :: "In two thousand years, they'll still be looking for Elvis - :: this is nothing new," said the priest. ------------------------------ Date: Sun, 05 Sep 2004 10:42:25 +0200 From: Sebastian Hagedorn Subject: Re: that's weird, Al - -- James Dignan is rumored to have mumbled on Sonntag, 5. September 2004 12:02 Uhr +1200 regarding that's weird, Al: > What next - Hornets attack Victor Mature? Hmm, I had thought that R.E.M. had come up with that, but in fact it's older: - -- Sebastian Hagedorn Ehrenfeldg|rtel 156, 50823 Kvln, Germany http://www.spinfo.uni-koeln.de/~hgd/ "Being just contaminates the void" - Robyn Hitchcock ------------------------------ Date: Sun, 05 Sep 2004 12:45:50 -0700 From: "Natalie Jacobs" Subject: gnatmaniax: PIXIES It's weird that the Pixies have gotten so popular since they broke up. Everyone I talked to about this show - from my hippie classmates to my matronly client - expressed enthusiasm and envy when I said I was going, and even more envy when I told them that the Pixies were the first show I ever went to, at the Latin Quarter in Detroit in 1990. Anyway... Apparently Frank Black hates Portland, so the show was in Bend, about 160 miles away, past the Cascade Mountains in a terrain called "high desert," which looks more like California than Oregon. The venue basically consists of a stage set up in a field - a big place, though not quite arena-sized. I heard it was sold out. The two opening acts, to my delight, were the Decemberists and Death Cab for Cutie. The Decemberists were great as always, playing a couple of new songs and displaying a sign that said "NO ON 36" (referring to an Oregon measure to ban gay marriage). Death Cab were their usual charmingly earnest selves. Both bands seemed dwarfed by the big venue, and got a lot of "opening band" treatment (people chattering and walking around during their sets). Both Colin Meloy and Ben Gibbard made awestruck statements about how "The Pixies are going to play next!!!" So then, at last, accompanied by a lot of dry ice smoke, the Pixies hit the stage. My friends insisted on standing a long way away from the stage, so I couldn't see much, and ended up playing "the line of vision two-step" for a long time with a girl in front of me (she steps to the right, I step further to the right, she steps to the right again... etc.). I could see a little bit, though. The three male members are all shaven-headed now (I guess to disguise baldness?). Kim has a new cute short haircut, and played a cool red bass (a J-bass, I think) with a black pickguard. They charged through a long set consisting mostly of songs from their first three albums, which was fine by me because I never liked Bossanova or Trompe le Monde. There was little stage banter, but I didn't remember them doing much of that back in the day. I tried to discern a sense of perfunctoriness, or inter-band tension, or whatever else might characterize a "sell-out" reunion tour, but they sounded as passionate as ever, although there was an aura of professionalism that they didn't really have before - they didn't sound like sloppy indie-rockers, they were tight and clearly well-rehearsed. Kim was a little "off" sometimes, though. What's weird about the Pixies is that although her bass-playing is such a defining characteristic of their sound, she's really not very good. But she got the job done. What was especially weird for me was seeing the enthusiasm of the crowd. Imagine a huge group of people howling, "I AM UN CHIEN ANDALUSIA!" or "YOU ARE THE SON OF A MOTHERFUCKER!" It was both cool and wrong somehow. Was it an instance of indie-rock going mainstream, or just a lot of people starved for good music? Who knows. I also didn't know how many people were new fans, and how many were old fans. At one point, Kim asked, "How many people have seen us before?" A lot of people raised their hands, and Kim said, "Yeah, right." The band encored with "Caribou," and then soaked in the adulation of the crowd, smiling and waving, before leaving the stage. My friends and I considered hitting the "after-party," which was to feature "DJ Ben Gibbard vs. DJ Colin Meloy," but I'm on call and my friend had to work the next day, so we took off. That is all... n. _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ End of fegmaniax-digest V13 #250 ********************************