From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V1 #60 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Monday, June 22 1998 Volume 01 : Number 060 Today's Subjects: ----------------- Fw: Fw: Head count.. ["Alex Wise" ] Re: idealcopy-digest V1 #58 ["Mack" ] Bell Tour 87' [Chad Wilson ] He Said Omala [idealcopy] [Gescom@aol.com] Re: A-Z [idealcopy] [Gescom@aol.com] Re: Head count.. [Amanda ] Re: idealcopy-digest V1 #58 [Amanda ] Re: idealcopy-digest V1 #58 [Stewart Mason ] ---------------------------------------------------------------------- Date: Sun, 21 Jun 1998 21:13:14 +0100 From: "Alex Wise" Subject: Fw: Fw: Head count.. - ---------- > From: Creaig Dunton > To: idealcopy@smoe.org > Subject: Re: Fw: Head count.. > Date: Saturday, 20 June 1998 17:37 > > Actually, no I haven't, but I will now, thanks! On a slightly related note > between Wire and KJ, the first time I heard _The Ideal Copy_ (please excuse my > newbie-ness, I just started listening to Wire about a year ago), I was > instantly reminded of KJ's _Brighter than a Thousand Suns_. I don't know why, > but I still hear similarities now (although Wire's disc is much better than the > KJ one). Ironically, both discs were recorded at Hansa Tonstudios in Berlin, > and rather close together chronologically.... > > -- > Creaig D > http://2fmp.hypermart.net -> 2nd Floor Mafia Productions > http://2fmp.hypermart.net/mypage/ -> My Page > http://fpc.hypermart.net -> False Prophet Campaign > The similarities between The Ideal Copy and Brighter Than A Thousand Suns I would have to agree there. Well parts of TIC aren't quite as lush but I think the best comparisons are between Adorations and Ahead,and definately between Sanity and Madman's Honey. Sanity and MH have practically the same tempo,similar mood,pulse,and all.But not only that,the titles definately interlink!The version of MH on Coatings shows even more resemblance with the snare drums included in the mix. - -Alex ------------------------------ Date: Sun, 21 Jun 1998 11:21:06 -0500 From: "Mack" Subject: Re: idealcopy-digest V1 #58 > >For the record - Bruce NEVER sits behind "expensive" equipment, not did Wire >for that matter. i echo this when i saw wire on the first reunion tour of the states, graham was playing a s1 sampler which retailed for less than $100 and had no permanent memory throughout the show, graham would take a new sample of bruce's guitar for the next show when i saw bruce downstairs at the bar after the show, i asked him how they liked using the sampler his reply was something to the effect that it introduced an element of spontenaity into every show a sentiment i can echo from personal experience at a recent performance at the empty bottle here in chicago, bruce used a board with maybe a couple hundred dollars of guitar pedals (no guitar) to generate some amazing sounds ------------------------------ Date: Sun, 21 Jun 1998 11:51:06 -0700 From: Chad Wilson Subject: Bell Tour 87' Well the fact that it sounds like Bruce uses expensive equiptment to make such strange and interesting noises is a testament to his genius for that type of music. No I still don't like listening to all of it, but there are a couple of tracks from Ab Obo and Shivering Man (right?) that I like. Speaking of seeing Wire, here are some things I remember from their 1987 show at the Filmore in San Francisco. I remember Bruce playing through what looked like a 15 watt practice amp up on the stage. I remember thinking of how awesome his guitar playing was because it was so minimalist and so functional, so ANTI ROCK! I also remember Graham standing there in all black looking like some madman during drill. Drill, a song that I never listen to if its a studio mix, but has to be one of, if not THE BEST song I have ever heard performed live. The whole audience was just stupified after drill... Another cool thing was hearing German Shephards live. It would be another year before it was released on anything (silk skin paws single, or Ibtaba) or at least anything I could find in my area. Public Place was also another song I didn't care for on Bell but came off real nice live... Maybe the Ex-Lion tamers will do a "Bell" tour someday! hehe... Other memories was Robert going offstage during Over Theirs and Drill, he looked kinda misplaced and just watched the rest of the band. Colin was playing a white guitar that looked like an axe, very "heavy Metal" looking and to have colins signature "da da da dun, da da da dun" (Its the riff you can find on "My Will" by Minimal Compact and "King of Ur" and most other Bell era Wire tunes tunes...) coming from it, genious... Anyway, happy fathers day to all us fathers! Chad - -----Original Message----- From: Mack [SMTP:dmack@geocities.com] Sent: Sunday, June 21, 1998 9:21 AM To: idealcopy@smoe.org Subject: Re: idealcopy-digest V1 #58 > >For the record - Bruce NEVER sits behind "expensive" equipment, not did Wire >for that matter. i echo this when i saw wire on the first reunion tour of the states, graham was playing a s1 sampler which retailed for less than $100 and had no permanent memory throughout the show, graham would take a new sample of bruce's guitar for the next show when i saw bruce downstairs at the bar after the show, i asked him how they liked using the sampler his reply was something to the effect that it introduced an element of spontenaity into every show a sentiment i can echo from personal experience at a recent performance at the empty bottle here in chicago, bruce used a board with maybe a couple hundred dollars of guitar pedals (no guitar) to generate some amazing sounds ------------------------------ Date: Sun, 21 Jun 1998 15:30:35 EDT From: Gescom@aol.com Subject: He Said Omala [idealcopy] In a message dated 16/06/98 11:17:00 PM, illy@cwnet.com wrote: <> Like you, I adore both He Said albums, but I whole heartedly disagree with your evaluation of 'Matching Crosses' and 'Catch Supposes'. First of all, it is totally inappropriate to compare a neo-industrial pop record, like 'Hail', to a seminal post-trance/ambient album like those from H. S. Omala. Let us not forget the experimental manifest of Edvard G. Lewis. The man tires easily with formula and musical conventions. He is constantly reinventing his style, recording with new artists and adopting fresh ideas. To hear a record as new and enlightened as 'Catch Supposes' was quite refreshing. 'Solid or Vanish' is a minimal masterpiece that builds to a frighteningly beautiful climax. Lewis gives us the moment before the crescendo, an idea never approached with the more dance floor friendly pop of He Said. To say He Said Omala is 1/10th the quality of He Said is like saying an apples has 1/16th the juiciness of an orange. They are simply not the same. - -Ross Owen Katz (gescom@aol.com) ------------------------------ Date: Sun, 21 Jun 1998 16:09:11 EDT From: Gescom@aol.com Subject: Re: A-Z [idealcopy] In a message dated 19/06/98 5:38:59 PM, CliveNice@aol.com wrote: <> Isn't it fucking brilliant! Definitely one of my most favorite albums of all time. I just love the meandering Fairlight synths that build toward the end of 'Inventory'. Very reminiscent of 'Organisation'-era Orchestral Manoeuvres in the Dark. Of course 'Alone' is a masterpiece. Remember when it was used quite effectively in the film 'Silence of the Lambs'? I also love the original version of 'Not Me'. Much different than the faster This Mortal Coil version. - -Ross (gescom@aol.com) ------------------------------ Date: Sun, 21 Jun 1998 20:12:24 -0500 (EST) From: Amanda Subject: Re: Head count.. > >How about a head count as well - a) for all those in favour of > >"Experimentalism" or the wierd side of Wire. and B) for those > >"Traditionalists" who are still digging the Rock thang.??! Count me as c) both of the above. There are times when I'm in the mood for Pink Flag, and there are times that I want to listen to The Shivering Man. The thing about Wire, for me, is that they satisfy both desires. Amanda - -- :=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=: : aschi@bronze.lcs.mit.edu aki@retina.net : :=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=: ------------------------------ Date: Sun, 21 Jun 1998 20:47:50 -0500 (EST) From: Amanda Subject: Re: idealcopy-digest V1 #58 > how many crappy rap bands with a Puff Daddy remix can the Billboard > charts support? > when will people realise that the music is shite. > there aren't too many songs left to sample. We may think it's crap, but a huge part of the pop-music-buying population thinks it's just great. I bought a cd a while back that is part of a project by a couple of Russian artists who polled people to find out what the "most liked" painting would look like. They published the results in a book (called Painting By Numbers), and followed it up with a cd that is based on the same premise. They asked people what their most and least liked instruments/subjects/ vocals/etc were, and composed a "Most Wanted" and "Least Wanted" song based on their results. Suffice it to say that the former sounds very much like Billboard Top 40 drivel, while the latter, well, it sounds like something Negativland might have come up with had they not gotten messed up in the whole U2 fiasco. My point is, though, that there's a huge audience and a lot of money to be made by having a Puff Daddy remix. That means there'll be more until The Next Big Thing comes along, and we'll probably dislike that, too! Amanda - -- :=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=: : aschi@bronze.lcs.mit.edu aki@retina.net : :=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=:=: ------------------------------ Date: Sun, 21 Jun 1998 20:33:45 -0500 From: Stewart Mason Subject: Re: idealcopy-digest V1 #58 At 08:47 PM 6/21/98 -0500, Amanda wrote: > >> how many crappy rap bands with a Puff Daddy remix can the Billboard >> charts support? >> when will people realise that the music is shite. >> there aren't too many songs left to sample. > >We may think it's crap, but a huge part of the pop-music-buying >population thinks it's just great. I bought a cd a while back that is >part of a project by a couple of Russian artists who polled people to >find out what the "most liked" painting would look like. They >published the results in a book (called Painting By Numbers), and >followed it up with a cd that is based on the same premise. They >asked people what their most and least liked instruments/subjects/ >vocals/etc were, and composed a "Most Wanted" and "Least Wanted" song >based on their results. Suffice it to say that the former sounds very >much like Billboard Top 40 drivel, while the latter, well, it sounds >like something Negativland might have come up with had they not gotten >messed up in the whole U2 fiasco. They played parts of this on my favorite radio show, This American Life, sometime back. The "Least Wanted" elements in a song included rap, opera, children's choruses, accordians, and songs about holidays, so the least wanted song included a rapping opera singer backed by an accordian, followed by a children's chorus singing "Yom Kippur, hey everybody it's Yom Kippur..." Genius, in other words. > >My point is, though, that there's a huge audience and a lot of money >to be made by having a Puff Daddy remix. That means there'll be more >until The Next Big Thing comes along, and we'll probably dislike that, >too! Amen. And it's not hurting *us* any, so let the nice people like what they want to like already. Stewart ****************************FLAMINGO RECORDS**************************** Box 40172 | Albuquerque NM 87196 | "There's some guy's steak." www.rt66.com/~flamingo | **********************HAPPY MUSIC FOR NICE PEOPLE*********************** ------------------------------ End of idealcopy-digest V1 #60 ******************************