From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V15 #290 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Wednesday, November 29 2006 Volume 15 : Number 290 Today's Subjects: ----------------- cultural studies query [2fs ] Re: E-mail sign offs ["Spotted Eagle Ray" ] Re: E-mail sign offs [2fs ] Re: cultural studies query [kevin ] Re: cultural studies query [Jeff Dwarf ] *squid sigh* (No RH) [Steve Talkowski ] Re: cultural studies query [Benjamin Lukoff ] Re: cultural studies query [2fs ] Re: A to Z [Sebastian Hagedorn ] ROBYN ON SIRIUS !!!! hope this translates !! [HwyCDRrev@aol.com] 12/07 Robyn Hitchcock 6 to 8 PM channel 24 [HwyCDRrev@aol.com] Re: A to Z ["Stewart C. Russell" ] My name is "Eb", and my bunge hole smells like peat moss ["Stacked Crooke] Re: Lallans ["Stewart C. Russell" ] Blog comment of the moment ["Stacked Crooked" ] best 2006 tunes ["michael wells" ] ---------------------------------------------------------------------- Date: Wed, 29 Nov 2006 08:58:02 -0600 From: 2fs Subject: cultural studies query Okay, so posters went up around campus today advertising a lecture to be given by some guy, subtitled "Female Masculinity in Glam Rock." Okay, fine...but the weird part is, the guy's main focus is...Suzi Quatro. Nothing like focusing on someone who's barely made music for 30 years and is best known in the US for playing opposite Henry Winkler on _Happy Days_. So I found myself wondering, is there any way to take the subject of women "performing" masculinity in rock* with rather more *relevant* and contemporary examples? I could point to the super-obscure No Bra...but that hardly persuades that we're talking about anything relevant to much of anything. * The flyer is full of terrifying academic prose cliches, like "focusing particularly on Quatro's ability to construct multiple subject positions that are ambiguous or mutually contradictory with respect to gender and sexuality" and references to the "paradoxical [role of "female cock-rocker"] that destabilizes the gender codings from which it is constructed and celebrates the polymorphousness and performativity of identity." What kind of party favors does such a celebration demand, I wonder? - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Wed, 29 Nov 2006 08:31:57 -0800 From: "Spotted Eagle Ray" Subject: Re: E-mail sign offs On 11/29/06, 2fs wrote: > > > Anyway: the whole "sign-off" thing's a bit of a mystery for me. In both my > work and social e-mails, my "sign-off" is a short line of hyphens, > followed > by my signature block. > > I've never felt the need for a perfunctory closing. I always sign off somehow, because I used to writed actual letters and send them by post, so those conventions, along with (attempted) correct spelling and grammar and OMG capitalization, have carried over from the snail mail days with me. So I guess I'm just one step up from the oldsters who, when answering machines first came in, would leave actual voice-messages in letter form, verbally signing off "Hope all is well. Love, Dad." That was cute. Happies, SER ------------------------------ Date: Wed, 29 Nov 2006 10:42:12 -0600 From: 2fs Subject: Re: E-mail sign offs On 11/29/06, Spotted Eagle Ray wrote: > > > > On 11/29/06, 2fs wrote: > > > > > > Anyway: the whole "sign-off" thing's a bit of a mystery for me. In both > > my > > work and social e-mails, my "sign-off" is a short line of hyphens, > > followed > > by my signature block. > > > > I've never felt the need for a perfunctory closing. > > > I always sign off somehow, because I used to writed actual letters and > send them by post, so those conventions, along with (attempted) correct > spelling and grammar and OMG capitalization, have carried over from the > snail mail days with me. So I guess I'm just one step up from the oldsters > who, when answering machines first came in, would leave actual > voice-messages in letter form, verbally signing off "Hope all is well. > Love, Dad." That was cute. > I probably didn't do it that way because I used e-mail for years for casual purposes (like this) before I used it in a formal context - and even then, I rarely use that formal context. I think people should have weird sign-off lines, personally. My balls have never been dipped in sugar, Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Wed, 29 Nov 2006 10:11:40 -0800 (GMT-08:00) From: kevin Subject: Re: cultural studies query Best I can think of is Wendy O. Williams and she's about as contemporary as Suzi Q... - -----Original Message----- >From: 2fs >Sent: Nov 29, 2006 6:58 AM >To: Not Reg >Subject: cultural studies query > >Okay, so posters went up around campus today advertising a lecture to be >given by some guy, subtitled "Female Masculinity in Glam Rock." Okay, >fine...but the weird part is, the guy's main focus is...Suzi Quatro. > >Nothing like focusing on someone who's barely made music for 30 years and is >best known in the US for playing opposite Henry Winkler on _Happy Days_. > >So I found myself wondering, is there any way to take the subject of women >"performing" masculinity in rock* with rather more *relevant* and >contemporary examples? I could point to the super-obscure No Bra...but that >hardly persuades that we're talking about anything relevant to much of >anything. > >* The flyer is full of terrifying academic prose cliches, like "focusing >particularly on Quatro's ability to construct multiple subject positions >that are ambiguous or mutually contradictory with respect to gender and >sexuality" and references to the "paradoxical [role of "female cock-rocker"] >that destabilizes the gender codings from which it is constructed and >celebrates the polymorphousness and performativity of identity." > >What kind of party favors does such a celebration demand, I wonder? > >-- > >...Jeff Norman > >The Architectural Dance Society >http://spanghew.blogspot.com ------------------------------ Date: Wed, 29 Nov 2006 11:15:01 -0800 (PST) From: Jeff Dwarf Subject: Re: cultural studies query 2fs wrote: > So I found myself wondering, is there any way to > take the subject of women "performing" masculinity > in rock* with rather more *relevant* and > contemporary examples? Joan Jett isn't that much younger, but she does still have a career. Maybe Chrissie Hynde too. Neither are exactly female cock-rockers, though neither shy away from their masculine sides (Hynde being more comfortable with her musical feminine side than Jett). I almost thought of Lita Ford, but she was very willing to play the "slut-with-a-guitar" thing visually, so she probably doesn't count even if musically she was very much a cock-rocker. "I believe in the marketplace of ideas even if the other guy doesn't have any." -- Keith Olbermann . ____________________________________________________________________________________ Yahoo! Music Unlimited Access over 1 million songs. http://music.yahoo.com/unlimited ------------------------------ Date: Wed, 29 Nov 2006 15:14:20 -0500 From: Steve Talkowski Subject: *squid sigh* (No RH) Seeing as how it's become mandatory to post squid related information to feglist: ------------------------------ Date: Wed, 29 Nov 2006 12:24:10 -0800 (PST) From: Benjamin Lukoff Subject: Re: cultural studies query what school? On Wed, 29 Nov 2006, 2fs wrote: > Okay, so posters went up around campus today advertising a lecture to be > given by some guy, subtitled "Female Masculinity in Glam Rock." Okay, > fine...but the weird part is, the guy's main focus is...Suzi Quatro. > > Nothing like focusing on someone who's barely made music for 30 years and is > best known in the US for playing opposite Henry Winkler on _Happy Days_. > > So I found myself wondering, is there any way to take the subject of women > "performing" masculinity in rock* with rather more *relevant* and > contemporary examples? I could point to the super-obscure No Bra...but that > hardly persuades that we're talking about anything relevant to much of > anything. > > * The flyer is full of terrifying academic prose cliches, like "focusing > particularly on Quatro's ability to construct multiple subject positions > that are ambiguous or mutually contradictory with respect to gender and > sexuality" and references to the "paradoxical [role of "female cock-rocker"] > that destabilizes the gender codings from which it is constructed and > celebrates the polymorphousness and performativity of identity." > > What kind of party favors does such a celebration demand, I wonder? > > -- > > ...Jeff Norman > > The Architectural Dance Society > http://spanghew.blogspot.com ------------------------------ Date: Wed, 29 Nov 2006 14:32:01 -0600 From: 2fs Subject: Re: cultural studies query On 11/29/06, Benjamin Lukoff wrote: > > what school? UW-Milwaukee On Wed, 29 Nov 2006, 2fs wrote: > > > Okay, so posters went up around campus today advertising a lecture to be > > given by some guy, subtitled "Female Masculinity in Glam Rock." Okay, > > fine...but the weird part is, the guy's main focus is...Suzi Quatro. > > > > Nothing like focusing on someone who's barely made music for 30 years > and is > > best known in the US for playing opposite Henry Winkler on _Happy Days_. > > > > So I found myself wondering, is there any way to take the subject of > women > > "performing" masculinity in rock* with rather more *relevant* and > > contemporary examples? I could point to the super-obscure No Bra...but > that > > hardly persuades that we're talking about anything relevant to much of > > anything. > > > > * The flyer is full of terrifying academic prose cliches, like "focusing > > particularly on Quatro's ability to construct multiple subject positions > > that are ambiguous or mutually contradictory with respect to gender and > > sexuality" and references to the "paradoxical [role of "female > cock-rocker"] > > that destabilizes the gender codings from which it is constructed and > > celebrates the polymorphousness and performativity of identity." > > > > What kind of party favors does such a celebration demand, I wonder? > > > > -- > > > > ...Jeff Norman > > > > The Architectural Dance Society > > http://spanghew.blogspot.com > - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Thu, 30 Nov 2006 00:18:35 +0100 From: Sebastian Hagedorn Subject: Re: A to Z - -- Eb is rumored to have mumbled on 28. November 2006 10:36:39 -0800 regarding Re: A to Z: > Get a couple of Incredible String Band albums, Sebastian. Will do, thanks for the suggestion. AMG recommends "The Hangman's Beautiful Daughter". Would you agree? > Which brings me > full circle because the ISB was the subject of my first post on this > list.... :-) Now I will ruthlessly hijack the thread: I've listened half-way through "The Crane Wife". It's Prog Light I would say. I guess I can live with that. My most prized new possession is Wire 1977-1979. The new versions of Pink Flag, Chairs Missing and 154 are *unbelievably* great-sounding. Once you hear the new versions it gets impossible to stand the old ones. I haven't gotten around to the live CDs yet. I already had Wire on the Box anyway. BTW, my all-time fave is The 15th and I just discovered the Fischerspooner cover of it. I like it! Last week I saw Yo la Tengo in D"usseldorf. They were as great as ever, maybe even better. The musical styles they do grow ever more diverse. The newest addition instrument-wise was an electric piano, which was played by both Georgia and Ira. Opening for them was a band from Berlin that I hadn't heard of before: Masha Qrella. I was surprised to find that they have toured the US and have actually played at Maxwell's in Hoboken! Anyway, I liked the show a lot. I've read that YLT asked for them as opening band - they were a great fit. I'd describe their music as ethereal and trance-like. The highlight of the show (and the current single, as I found out) was a cover of Bryan Ferry's "Don't Stop The Dance". You can listen to it here: Masha is the singer in that band, and with three out of four members she's also in another band named Contriva, which played just a few days later here in Cologne. I went to that show as well. Contriva play mostly instrumentals, but are a bit more rock than her solo project. When I told friends about the show in D"usseldorf and the upcoming one in Cologne I found out that the fourth member of Contriva is actually the cousin of a friend of mine! Has anybody heard of either of them? - -- Sebastian Hagedorn Ehrenfeldg|rtel 156, 50823 Kvln, Germany http://darkstar.spinfo.uni-koeln.de/~hgd/ "Being just contaminates the void" - Robyn Hitchcock ------------------------------ Date: Wed, 29 Nov 2006 19:07:14 EST From: HwyCDRrev@aol.com Subject: ROBYN ON SIRIUS !!!! hope this translates !! Robyn Hitchcock & The Venus 3 Visit SIRIUS Disorder Tomorrow 5:00 pm ET Robyn Hitchcock & The Venus 3 (featuring Peter Buck from R.E.M. ) visit the SIRIUS Studios to talk about their new release Ole Tarantula with their biggest fan b SIRIUS Disorder's morning man Ghosty. Rebroadcast: Fri., Dec. 1st @ 11 am ET. _http://www.sirius.com/servlet/ContentServer?pagename=Sirius/CachedPage&c=Cha n nel&cid=1104779639684_ (http://www.sirius.com/servlet/ContentServer?pagename=Sirius/CachedPage&c=Cha nnel&cid=1104779639684) ------------------------------ Date: Wed, 29 Nov 2006 19:15:14 EST From: HwyCDRrev@aol.com Subject: 12/07 Robyn Hitchcock 6 to 8 PM channel 24 World Cafi on SIRIUS Disorder 6 pm - 8 pm ET Monday through Thursday noon - 2pm ET Friday World Cafi serves the underserved music lover, just as SIRIUS Disorder does. Host David Dye introduces you to music's new talent, and also hosts chats with the legends. With a varied selection of eclectic music old and new included, World Cafi also serves up conversation and performances in a living room-like atmosphere. Coming up: 11/28 Joan Osborne 11/29 Hot Chip 11/30 Kinky 12/01 JJ Cale and Eric Clapton 12/04 The Fray (repeat) 12/05 Arlo Guthrie 12/06 The Changes 12/07 Robyn Hitchcock 12/08 Elton John 12/11 Jerry Lee Lewis 12/12 Jennifer O'Connor 12/13 Pete Yorn 12/14 Cheap Trick _http://www.sirius.com/servlet/ContentServer?pagename=Sirius/Ca chedPage&c=Channel&cid=1104779639684_ (http://www.sirius.com/servlet/ContentServer?pagename=Sirius/CachedPage&c=Cha nnel&cid=1104779639684) ------------------------------ Date: Wed, 29 Nov 2006 20:19:34 -0500 From: "Stewart C. Russell" Subject: Re: A to Z Sebastian Hagedorn wrote: > > Will do, thanks for the suggestion. AMG recommends "The Hangman's > Beautiful Daughter". Would you agree? Yes. You'll love yourself for it. I have a delightful friend who if you met him for the first time you'd think he was a fried old hippy thespian type. When he heard I liked the ISB, he started singing The Minotaur's Song in a booming baritone. Seems he spent a weekend on STP in the early 1970s, just playing that track over and over and over and over ... Stewart ------------------------------ Date: Wed, 29 Nov 2006 18:38:17 -0800 From: "Stacked Crooked" Subject: My name is "Eb", and my bunge hole smells like peat moss it was uploaded to dime to-day... so was the seattle venus three show. wow, i'm sure glad i gave this one a miss. with the exception of rieflin, who sounds really quite phenomenal, the rest of the band just phoned it in. and, yeah, robyn's voice (which i'll acknowledge sounded pretty good in tokyo, especially on "Vibrating") is for shit. your slavish devotion to the artist's needs/wants is rather anachronistic, don't you think? it's the mp3 era, goddamit! tag those motherfucking songs however you please! my general rule of thumb is that plural nouns should receive the "the" treatment, even though in practice its usage depends upon context. (for example: "i'm liking this new bicycle thieves record," vs., "i can't wait for the bicycle thieves to tour this new record.") so in my database, it's *the* talking heads, *the* eels, and *the* bicycle thieves. but in the specific example you cite, inclusion of "the" changes "smashing" from a verb to an adjective. so that one could go either way, depending upon your interpretation of the name. it's certainly *more* difficult. if i say to you, "bob", you probably won't know who i'm talking about. but if i say to you, "marley", or "plant", or "mould", or "dylan", or "pollard", you probably will. why *opt for* more ambiguity when you don't need to? the difference is that there are far fewer first names than last, so organising by fist name greatly increases the instances of ambiguity. may be a more less trivial issue in a database as small as a rekkid collection. but certainly you're not going to argue that the phonebook should be organised according to first names? or the baseball encyclopaedia? or the Total Information Awareness? there's not (correct me if i'm wrong) a record store on the planet that files according to first name. either he was unaware of this when he chose the name (seems unlikely), or he expected people would be able to make the connection even though the two artists' records would be filed nowhere near each other. anyway, by that logic, the dead kennedys should be filed by "kennedys" and not "dead" -- and they should be filed in the bookstore, not the record store. the mr. t experience should be filed in the video store, right next to the *A-Team* DVDs. the bicycle thieves should be filed under foreign films in the video store. the dead milkmen's records should be filed next to the albums whose covers they're parodying. any other record with a banana on the cover should be filed next to the velvet underground. john wesley harding's records should be filed next to dylan's. and so on. and when your record-shopper has to sit down and figure out the cultural connotations of the work he or she is looking for before knowing not only in which aisle he or she should look, but also which *store*, well, that can get pretty annoying pretty quickly. but this practice *does* populate two letters more than they rightfully should be. anyway, seems to me that unless you're very well acquainted with your movie collection (so well acquainted that you instinctually remember which movies are "the", "a", or neither) you're just as likely as not to look for, e.g., *Hudsucker Proxy* under H -- unless it's a title you pull very often. and why would you need to distinguish non-english articles if you were ignoring them? a given rule isn't, really, arbitrary if one sticks to it. if you tell me you file your CDs by the colour of the spine, i'm likely to offer a high-five. but if i see yellow spines mixed in 'tween the reds, and green mixed in 'tween the blues, well, then, i'm going to have to offer you a beat-down. it seems to me the frequency is increasing. it used to be about once every two or three years; but now it's up to about three times every two years. is this common on other music lists as well? anybody able to recommend or not zumpano -- ace newman's other band? aaron, i'm looking at you. (the new pornos have entered the studio, by the way. will they be able to top *Twin Cinema*? don't know! but i think they're the only band *capable* of making a better record than *Twin Cinema*. i mean, assuming that wesley willis will never come back to life and re-form willis, the wesley fiasco.) have you seen this movie *Rock School*? frigging *great*! my only complaint is that at one-and-a-half hours, it's far too short. note: not to be confused with the shithole that is *School Of Rock*. fucking jack black and mike white weren't content with ruining jake kasdan's career, they had to do for richard linklater's too. the fuckwipers. KEN "Call me whenever you want to grind" THE KENSTER ------------------------------ Date: Wed, 29 Nov 2006 21:54:04 -0500 From: "Stewart C. Russell" Subject: Re: Lallans hssmrg@bath.ac.uk wrote: > > Did you ever have a copy of that Bible translated into Lallans, Stewart? Not me; but I'm sure my parents do. They're all over that sort of thing. When I was in primary school, on january 25th, one of my schoolmates brought in a mint copy of Burns's Kilmarnock Edition, with uncut pages. His father owned the printing company that was the direct inheritor of the original printer. It would probably be worth about $50,000 now. Stewart ------------------------------ Date: Wed, 29 Nov 2006 19:44:37 -0800 From: "Stacked Crooked" Subject: Blog comment of the moment : "Elwood, do you have a list of Congressmen that can read and write?" ------------------------------ Date: Wed, 29 Nov 2006 21:46:38 -0800 From: "michael wells" Subject: best 2006 tunes Since Quail was kind enough to lead off, I'll throw my coins in fountain. How can I publish a best of with one month remaining? Simple! I don't plan on liking anything in December. And away we go. First.and 10: Album of the year: THE KNUCKLEBALL SUITE - Peter Mulvey. Another one for the ages and better, if at all possible, than his last KITCHEN RADIO. Soft and spare, startlingly introspective folk, bouncy pop, at least one waltz, one stroll, you name the style and it's on here, executed with such skill and restraint that the mind boggles. All this woven through a lyric about the poignancy and unpredictability of life - or as the album titles it, THE KNUCKLEBALL SUITE. It's rather ineffable stuff to try and address directly, and Peter manages to outline and sketch it in before occasionally going head on with a turn of phrase that can make you weep outright. And it's all done with insidiously catchy music and a sense of humor in full flower. Unreservedly recommended, and an album I will happily enjoy for the rest of my life. 1. STRANGE CONVERSATION - Kris Delmhorst. You know that one girl you heard sing, about ten years ago, in a smoky, slightly country nightclub with decent drinks, you know the one with the voice that made you fall in love all over again? Yeah, her. She just put out a new album. Technically I suppose this is some famous poetry put to music, though it's hard to see past Kris' ethereal tones and the top-notch musicianship. No secret in Americana circles, she has been opening gigs for Richard Thompson of late which means it'll all go national by this time next year. 2. THE LIFE PURSUIT - Belle and Sebastian. The best pure pop album since.well, MARSHMALLOW last year. Another shimmering pop album for summer: wonderful, almost too-pure harmonies, tasty arrangements, earworms and sing-alongs galore. The background production touches are delightful, and give much joy in repeats. For awhile there I listened to it nearly every day. 3. OLE TARANTULA - Robyn Hitchcock. 10 out of 10 armadillos agree, Robyn is energized and rocking at his best for the first time in ages. R.E.M acts the rent-a-backing-band, and the news that they already have another album in the can is beyond cool. It's ultra-supermarine-double-dog-dare-cool. 4. TEN SILVER DROPS - Secret Machines. Monster rock songs that build layers of guitar on propulsive drums to thundering climaxes, spacey psych, catchy 4-minute power-pop, sneaky lyrics - these guys bring it, and hard. If your rock has killer backbeat, this is for you. When I was their age I was worried about college homework and getting stoned, and they're opening for U2. There's a reason for that. 5. A CASE FOR CASE (a tribute to the songs of Peter Case) - Various Artists. If you're like me, then you think that Peter is one of the four or five best pop/country/folk songwriters this country has ever produced.but then you also hate his voice. Enter this 3-disc collection, where anyone who could angle their way onto the project got in their take on a classic. Here the lyrics can really shine, interpreted by new vocal cords and in ways that manage to point up how good the source material is without overcoming it. Might be the best "tribute" album I have ever bought, and that's saying something. 6. NASHVILLE - Solomon Burke. Serious soul voice on classic lyrics, recorded in a week with the Nashville A-list in Buddy Miller's living room. Great sound and a couple of goose bumps along the way. 7. THE ANIMAL YEARS - Josh Ritter. The best review I read of this likened it to a circus train winding slowly through a rural town. There's a heavy story to tell here, instrumentation and lyrics aplenty.but never done in a hurry, at times a rusty squeezebox and others like momentum building in a revival tent. Excellent continuity and production. 8. HOPE AND OTHER CASUALTIES / INNOCENT WHEN YOU DREAM - Mark Erelli. Two albums in one year, both pretty intensely personal stuff.one a pointed call for peace, the other a collection of lullabies and quiet songs, including some surprisingly tender covers. Overall not my favorites by this artist, but a vote here for quality done in quantity. 9. BLOOD MOUNTAIN - Mastodon. Do you like music made by guys raised on speed metal and core? I sure do. Maybe not the equal of their staggering Moby Dick-inspired opus LEVIATHON (2004), but brutal and insane nonetheless. Really too much to deal with at one sitting. 10. THE FLOW OF TIME - Shivkumar Sharma. How can one suggest ragas on a pop list? By being extremely mellow of course! Masterful stuff, just right for pulling your personal thing together in the half-light hours. Berries and mat sold separately. Others that hover nearby: 9th WARD PICKIN' PARLOR - Shawn Mullins. The first half is Album of the Year. The second half is from some burned-out basement, circa 1975. Seriously, I can't recall such a glorious record going off the tracks so completely. Still mad props for the opening four or five tracks. BANG BANG ROCK & ROLL - Art Brut. What is this, gloriously ridiculous Brit post-punk? To me kind of the same quadrant Nic Armstrong works in, but with more far more banging and less melody, if that makes any sense. Fun for background party rock, but I don't expect a lot of staying power. .UNTIL WE FELT RED - Kaki King. Noted lesbian fretboard freak trades experimental acoustic guitar music for experimental electric guitar music plus vocals, drums, keys and strange squiggly noises. No wonder the label dropped her like a bad habit, but still a lovely, weird album from someone who clearly doesn't give a shit what people like Sony think. AGE OF WINTERS - The Sword. A decidedly Sabbath-like angle instead of the thrash of Mastodon. Occasionally a bit sludgy, but for fans of a more traditional metal sound this is the best thing in years. POST-WAR - M. Ward. More offbeat, partially obscured fuzzpop with the occasional breakout melody. In other words, just like any other M. Ward album. RETURN TO THE SEA - Islands. It's to the point where you have to use indie bands to not describe other indie bands. Is this like P:ano with some Quasi and a little general rhythmic weirdness thrown in, or not? Bonus points for using Friedrich's 'Sea of Ice' on the cover. AND THE GLASS HANDED KITES - Mew. Mew, mew, mew, mew, mew, mew.mew. GHOST REPEATER - Jeffrey Foucault. Midwestern folkie moves east, yet does a deceptively busy album with multi-instrumentalist producer Bo Ramsey in Iowa. Go figure, but it's darn good. ORPHANS (Disc 3) - Tom Waits. Eddie was right about this. On other lists, they will wonder about that comment, and I will smile. SLOW NEW YORK - Richard Julian. A little too much slow in the New York, but a couple of dynamite songs. FUTURE WOMEN - The M's. Local boys. Like 'em. UNDER THE IRON SEA - Keane. Evidently it was the booze. SKUNKMELLO - Guy Davis. This is a tough one, initial read was not positive but it's growing on me. I was hoping to like it a lot more though. Single of the year, non-Snow Patrol division: "Little Red Radio" by Pas/Cal, from their EP debut DEAR SIR. Release that everyone was on about but that I give a hearty "ehh" to: THE GREATEST - Cat Power Best album title: IMPEACH MY BUSH - Peaches. 2005 reissues worthy of a couple shekels and which I'm just getting around to now: STAGES - Count Basie and FOOL'S MATE - Peter Hammill Michael ------------------------------ End of fegmaniax-digest V15 #290 ********************************