From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V5 #216 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Monday, July 1 2002 Volume 05 : Number 216 Today's Subjects: ----------------- Re: [idealcopy] chlorophyll gourmets [Bart van Damme ] [idealcopy] kill your parenthesis! [Bart van Damme ] RE: [idealcopy] glastonbury [Woerner Frank ] Re: [idealcopy] there's allways Hope ["Stephen Graziano" ] Re: [idealcopy] [indirect] inquiry: ["Keith Astbury" ] [idealcopy] Rod Stewart ...sniff...sniff.. [RLynn9@aol.com] Re: [idealcopy] kill your parenthesis! [RLynn9@aol.com] [idealcopy] OT : "oops!" tour w/ locust, lightning bolt, erase eratta... [Rain19c@aol.co] Re: [idealcopy] the shit behind the teeth ["frederik jensen" ] Re: [idealcopy] kill your parenthesis! ["k erickson" Subject: Re: [idealcopy] chlorophyll gourmets > The "Outdoor Miner" 'scandal' can't have helped: add in some wilfully > contrary (whether artistically justified or not) decisions by the band, and > the fact they don't seem to have ever really *sought* pop success, and you > get a band who've always been on the edge of the popular conscious. I suspect > that Wire actually work better there: a lot of their work strikes me as > having a criticism/commentary-like slant to it, a certain detachedness, > which might be lost if they were fully in the melee, so to speak. > > (My 10 pence, anyway.) Mike Thorn on this: "This single was never going to Louie Louie or Born In The USA. The music was written by Colin after Graham had given him the lyrics relating to the domestic problem of the serpentine miner, an insect which lives in a leaf and eats chlorophyll. Graham's lyrics are anxious about the possibility of the roof falling in. In our slightly hermetic Wire bubble, this didn't seem particularly unreasonable at all. In all the furore over punk and New Wave, it's often overlooked that simply structured songwriting underlies all the bluster and noise. Verse-chorus-verse-chorus-middlebit-verse-chorus worked 50 years before and still delivers now. But the Sex Pistols or the Damned didn't write about chlorophyll gourmets. Wire had delivered poppy, inviting music before. Outdoor Miner relates to Fragile on the first album, but was slightly longer, 1:45 compared with 1:18. We found ourselves in the extraordinary position of being asked by the record company to lengthen the track for release as a single. Normally, tracks turn out longer than the radio-friendly ideal of four minutes or under, and have to be cut in the face of screaming protests by the artists. If anything, Wire were just a little bemused. The original song as recorded for Chairs Missing had an abrupt two-bar intro then straight into the first verse. A chorus, a second verse, and then we were into the singalong second and last chorus. The suggestion came in for 'maybe a piano solo', which pushed me into the idea (as at the start of my synthesizer and keyboard playing with them, I was a shrinking violet). We copied the 24-track master tape and then added in a verse portion for the piano to ride over, followed by a third chorus (also with large vocals). The piano additions quicken the pace of the tune, lifting the track before the corresponding point where vocal loops (aaaahs) had previously entered. (Vocal loops are created by singing a steady note then splicing the two ends of a short length together in a loop. Practice Makes Perfect, on the same album, also uses this technique effectively.) The piano part was actually quite difficult to play, being more a strummed guitar imitation than a smooth piece of pianism. The edits and extras were completed quickly, and the mix delivered to EMI. They liked it a lot. The single got its own very stylish cover, and a special edition in white vinyl. So what if the sound back then of the colored vinyls was inferior to that of black, it certainly looked nice. The public thought so, since they started buying them in alarming quantities. The single got to #51 in the UK charts. The BBC unofficially gave the nod that if it went up the next week, they would run it on the big long-running show 'Top Of The Pops', and since sales were improving I felt justified in already planning my outfit. At the time, the so-called 'chart shops' saw a constant battle of wits between the measurers (at the time the British Market Research Bureau) whose credibility depended on finding an accurate reflection of all sales from a very small sample, and the record companies who wanted to enhance, or 'hype', the chart position to increase a single's visibility. It was a quite simple process: go into the store and buy six copies with a credit card. Nothing suspicious here, mate. Dodgy practices came in waves in the UK, and this was crest time. Everybody was doing it, which was perfectly understandable with the sieve-like security of the BMRB. The only problem was that EMI was the one that got caught. The single was deleted from the charts for that week, which suggested that it would have a hard time meeting the BBC's rising-position criterion. Had that 'Top Of The Pops' appearance taken place, the single would have almost certainly entered the Top 20 and launched a visible career for the group. EMI thought that was a real possibility, otherwise they wouldn't have put in the effort. Unfortunately, that was it, despite EMI's (rather unconvincing) denials. It's still a nice record. It would have been even nicer, though, to have heard people gathered near the juke box down the pub singing along: He lies on his side Is he trying to hide? In fact it's the earth that he's known since birth Granted, Born In The USA is easier on the memory". all of it at : http://www.stereosociety.com/body_outdoorminer.html Brt ------------------------------ Date: Mon, 1 Jul 2002 11:08:52 +0100 From: Andrew Walkingshaw Subject: Re: [idealcopy] there's allways Hope On Mon, Jul 01, 2002 at 02:54:51AM +0200, giluz wrote: > on 01/07/02 00:17, Andrew Walkingshaw at andrew-wire@lexical.org.uk wrote: > > There are so many well kept secrets around, some more well kept and some > less - I think Wire's one of the less well kept (relatively). Faust and > Henry Cow come to mind when you try to think of something as innovative and > influential as Wire, Henry Cow I'm not aware of, but I had a physics teacher at school who was *very* into Krautrock - and this was about the time Faust toured Scotland. Thus, I've actually known about them longer than I've known about Wire... > and they're even less famous. The fact that they played > with pop as well as with less commercial genres doesn't change their > art-rock attitude. Their music is much more multi-layered and obscure than > most, not because it is inherently inaccessible, but because it is always on > the look for the next step. That's why Wire were never wholly 'punk', never > wholly 'electronic' - they never conform to genres, they just use them. I think we're actually agreeing here: it's just a question of which is symptom, and which effect. I wasn't trying to argue that Wire deliberately avoided mainstream success, just that they were and are unwilling to compromise what they do in order to *seek* it. My contention was that, if by accident Wire were to hit the mainstream, they'd have many of the same "image problems" that other bands which actively *use* their detached viewpoint as a lyrical tool or perspective have; specifically, they'd leave themselves open to accusations of being cold, of being arrogant, of being aloof. (Note that, amongst others, the most popular art-school band of the last 10 years in the UK - Blur - are "guilty" of the same thing, only way *more* explicitly. I don't know if there's a connection here, but part of art is certainly commentary on the environment ...) > Bart mentioned the Beatles and one could say that they transcended genre as > well, and they did, but they did it in a very different way. Their unique > time and circumstances allowed them to do it from the centre of the system. > Beatles were THE mainstream and the fact that they used their status to > experiment and still maintain it is not relevant to the case of wire. The > Beatles led the scene - Wire were always at the margins. > An important point to make is that this doesn't make Wire or the Beatles *morally* more right than the other; they're just operating in different contexts. > The inability to classify Wire is what makes them great art, where alongside > the superb form and content you also have an ideology which transcends > musical style. I think what's confusing here is the fact that the 15th, for > example, would be a great pop song even if it was written and performed by a > mainstream pop band, and that's the appeal of Wire - intellectual and > emotional bliss, and not just pleasure (I use Roland Barthes terminology > here). Most classifications break down in the fine detail, though. As an example, one can convincingly argue that all the bands from Wire, through Joy Division, the Cure and Radiohead, are in some sense "post-punk": indeed, there are some common elements, which makes this at least slightly useful as a comparison, but you'd have a hard job confusing the music of any one of these four bands with the others. I just enjoy the music, I think. :) Andrew - -- "Did you lie to us, Tony? We thought you were different, but now, you know, we're not so sure..." - - Radiohead, "Follow Me Around" adw27@cam.ac.uk (academic) | http://www.lexical.org.uk ------------------------------ Date: Mon, 01 Jul 2002 13:18:23 +0200 From: Bart van Damme Subject: Re: [idealcopy] There's allways intellectual and emotional bliss! Giluz: >> There are so many well kept secrets around, some more well kept and some >> less - I think Wire's one of the less well kept (relatively). Faust and >> Henry Cow come to mind when you try to think of something as innovative and >> influential as Wire, Andrew: > Henry Cow I'm not aware of, but I had a physics teacher at school who was > *very* into Krautrock - and this was about the time Faust toured Scotland. > Thus, I've actually known about them longer than I've known about Wire... The fact that Wire is a well kept secret or not is perhaps different in each country. Personally ever since the late 70's I've tried to spread to word about Wire, but know very few people who like them or have even heard of them. Same thing in most recordstores here... you'd be lucky to find any Wire material, let alone their solostuff. Henry Cow I only know of the formentioned Morgan Fisher Miniatures album. I know more people who are into Faust than into Wire. >> and they're even less famous. The fact that they played >> with pop as well as with less commercial genres doesn't change their >> art-rock attitude. Their music is much more multi-layered and obscure than >> most, not because it is inherently inaccessible, but because it is always on >> the look for the next step. That's why Wire were never wholly 'punk', never >> wholly 'electronic' - they never conform to genres, they just use them. Hear hear! > I think we're actually agreeing here: it's just a question of > which is symptom, and which effect. I wasn't trying to argue that Wire > deliberately avoided mainstream success, just that they were and are > unwilling to compromise what they do in order to *seek* it. My > contention was that, if by accident Wire were to hit the mainstream, > they'd have many of the same "image problems" that other bands which > actively *use* their detached viewpoint as a lyrical tool or perspective > have; specifically, they'd leave themselves open to accusations of being > cold, of being arrogant, of being aloof. (Note that, amongst others, > the most popular art-school band of the last 10 years in the UK - Blur - > are "guilty" of the same thing, only way *more* explicitly. I don't know > if there's a connection here, but part of art is certainly commentary > on the environment ...) If Wire would have made it big[ger] I'm sure they would have done so in their own style. >> Bart mentioned the Beatles and one could say that they transcended genre as >> well, and they did, but they did it in a very different way. Their unique >> time and circumstances AND enormous talent [I would think]... >> allowed them to do it from the centre of the system. >> Beatles were THE mainstream and the fact that they used their status to >> experiment and still maintain it is not relevant to the case of wire. The >> Beatles led the scene - Wire were always at the margins. > An important point to make is that this doesn't make Wire or the Beatles > *morally* more right than the other; they're just operating in different > contexts. Bart: >>> Their [Wire's] span is matched by very few other bands and perhaps >>> only surpassed by the Beatles. I was sooner talking about their musical span rather than their cultural significance here. But talking cultural... when Beatles broke through they were some sort of 60's boyband... I don't see Westlife changing the musical and cultural landscape of our time [and even being credited by the likes of Stockhausen]. >> The inability to classify Wire is what makes them great art, Not necessarily so... whether something is classifiable or not doesn't have to say anything on it being art or not. >> where alongside the superb form and content you also have an ideology which >> transcends musical style. I think what's confusing here is the fact that the >> 15th, for example, would be a great pop song even if it was written and >> performed by a mainstream pop band, and that's the appeal of Wire - >> intellectual and emotional bliss, and not just pleasure (I use Roland Barthes >> terminology here). Bart[hes] says it exactly right here! ;-) > Most classifications break down in the fine detail, though. As an example, > one can convincingly argue that all the bands from Wire, through Joy > Division, the Cure and Radiohead, are in some sense "post-punk": indeed, > there are some common elements, which makes this at least slightly useful > as a comparison, but you'd have a hard job confusing the music of any one > of these four bands with the others. I think Wire as a whole seems to have more in common with elements in the arts, literature, [some] cinema or even science than with their "post-punk" contemporaries. Wire connect! Bart ------------------------------ Date: Mon, 01 Jul 2002 16:04:25 +0200 From: Bart van Damme Subject: [idealcopy] [indirect] inquiry: Isn't there a way to make this list less faceless, or do [some of] you think part of it's charm lies in it's semi-anonimity? Bart NP: Wire - Practice Makes perfect [70's drill!] ------------------------------ Date: Mon, 01 Jul 2002 16:15:47 +0200 From: Bart van Damme Subject: [idealcopy] kill your parenthesis! Just how many songs with parenthesis in their title exist? Here's a running list: Might Mighty (Spade and Whitey) - The Impressions >French Film (Blurred) - Wire Feelin' Just Fine (Head Full of Shit) - Spacemen 3 Exit Music (For A Film) - Radiohead I Was Checkin' In (She Was Checkin' Out) - Don Covay I Got You (Feel Good) - James Brown Say It Loud (I'm Black and I'm Proud) - James Brown Hot Pants (She Got To Use What She Got To Get What She Wants) - James Brown Funky President(Man It's Bad) - James Brown Jazz (We've Got)- Tribe Called Quest Whitelines (Don't Do It) - Grandmaster Flash It's Nasty (Genius of Love) - Grandmaster Flash Rightstarter (Message to a Black Man) - Public Enemy Out of Step (With the World)- Minor Threat Good Guys (Don't Wear White) - The Standelles Jam on Revenge (The Wikki Wikki Song)- Newcleus I Want You (She's So Heavy) - The Beatles I'll Always Love You(Day After Day) - Dean Martin Cat In the Window (The Bird in the Sky) - Petula Clark Up, Up and Away (In My Beautiful Balloon) - The 5th Dimension Powder Your Face with Sunshine (Smile, Smile)KC and the Sunshine Band (Shake, Shake, Shake) Shake Your Booty - KC and the Sunshine Band (Are You On the Inside or the Outside of Your) Pants - The Makers (Got My) Rock Pants On - Turing Machine (Hurt Me Hurt Me Hurt Me!) But the Pants Stay On - Samantha Fox (Don't Get the) Mogwai (Wet) - Dooms UK (Love Is) A Stranger To Me - Jerry Reed (Cledus from Smokey and the Bandit?!!! Maybe) ? (Modern Industry) - Fishbone It's A Wonderful Life (Gonna Have A Good Time) - Fishbone (What's Wrong With)Dat - BassX (Don't Worry)If There's A Hell Below We're All Gonna Go - Curtis Mayfield and who could forget all the Elvis Presley ditties: (Let Me Be Your) Teddy Bear (You're So Square) Baby I Don't Care (Now and Then There's) A Fool Such As I I'm Gonna Sit Right Down and Cry (Over You) Santa Bring My Baby Back (To Me) If you haven't got a life... here you can submit more: http://www.catascopic.com/issue6/wondered.html ------------------------------ Date: Mon, 1 Jul 2002 16:28:01 +0200 From: Woerner Frank Subject: RE: [idealcopy] glastonbury - -----Original Message----- From: Keith Astbury [mailto:keith.astbury10@virgin.net] Sent: Friday, June 28, 2002 5:50 PM To: PaulRabjohn@aol.com; idealcopy@smoe.org Subject: Re: [idealcopy] glastonbury >Incidentally, that supposed great live act Rod Stewart & the Faces were one >of the worst live acts I've ever seen. (Manchester 1974, Tetsu on bass!) >Five pissed people on stage didn't really cut it for me. ... that's cool, I saw them in 1974 in Nurnberg - same lineup and I liked them very much. The only Stewart songs I still listen to are the ones before 1974: You wear it well - mandolin Wind - maggie Mae - Oohlala regards, FrankfromBavaria ------------------------------ Date: Mon, 1 Jul 2002 08:52:33 -0400 From: "Stephen Graziano" Subject: Re: [idealcopy] there's allways Hope Big Star are important (and great) for a number of reasons. First of all, the early 70s was a time, in America especially, of overblown, grandiose, "progressive" "heavy" "rock (without the roll)". Big Star united short, sharp, well observed lyrics (a la Lou Reed) with 60's Brit beat/pop inspired melodies to create that most rare of beasts - the "intellegent pop group" - and flavored it with the immediate surroundings of their Memphis/Stax roots. I personally love the first three Big Star albums, and they really catch a vibe of the 70's, that those of us growing up dissatisfied with REO, Sabbath, Led, Deep, ELP, Yes, et al could identify with. The only other band of their ilk that I recall in the US were the Raspberries. Though I think fans of the Dolls and Chris Spedding would also gravitate to the originial Big Star sound. It is a tribute to how influential Big Star became to the US 70s/80s underground (like the Velvets) that their uniquesness now seems a norm. But it is directly because of Alex Chilton that the dBs come into being, and also Mitch Easter's work, REM, the Replacements and then later, Let's Active and Game Theory/Loud Family, Posies et. al. And remember, the bittersweet pathos of those early Big Star lps, hid a real heart of darkness, both in Chris Bell and Alex Chilton. Bell's posthumous release is great too btw. And it was Alex in NYC that helped launch the Cramps and back in Memphis, the Panther Burns. the Live In London album finds him playing with the Soft Boys rhythmn section, and those late 70's solo albums (early 80s too) are cracked masterpeices. Alex Chilton/Big Star are one of the biggest lynchpin/touch-stones of the punk/indie/alternative revolution. Steve. G - ----- Original Message ----- From: "k erickson" To: Sent: Sunday, June 30, 2002 6:52 PM Subject: Re: [idealcopy] there's allways Hope > >>Mazzy Star (and indeed Big Star, who I know are unconnected) are one of these > >>bands who I've regularly heard namedropped, but never actually *heard*. Are > >>they worth the effort of seeking out? > > my brother lent me a Big Star cd some time ago. i did not find it too memorable > overall, but the two songs i already knew from This Mortal Coil covers are > indeed excellent songs, and are worth hearing the originals from Chilton: > 'holocaust' and 'kangaroo'. (TMC also cover 'alone' and 'not me' from Colin.) > i'm sure some other listers would recommend Big Star more unreservedly....? > > kristoph > > np: laika - silver apples of the moon > ---------- ------------------------------ Date: Mon, 1 Jul 2002 14:57:19 +0100 From: "Keith Astbury" Subject: [idealcopy] chlorophyll gourmets quotes > Mike Thorn on this: > > "This single was never going to Louie Louie or Born In The USA. The music > was written by Colin after Graham had given him the lyrics relating to the > domestic problem of the serpentine miner, an insect which lives in a leaf > and eats chlorophyll. Really enjoyed reading this Bart. > But the Sex Pistols or the Damned didn't write about > chlorophyll gourmets. Particularly like that quote. Favourite since that Tony Wilson one in a recent punk mag, which went something like... How bad things were in the 70's can be summed up in two words. Rick Wakeman. BTW I know I'm not the only IC-er who likes last years Damned LP (Dan does I think), but for anyone who liked their The Black Album era stuff, Grave Disorder is well worth a punt... >I don't see Westlife changing the musical and cultural >landscape of our time [and even being credited by the likes of Stockhausen]. Mind you, that quote's not bad either! Keith NP The For Carnation - Moonbeams (For Carnation LP) (it really doesn't come much better than this) ------------------------------ Date: Mon, 1 Jul 2002 16:17:43 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] glastonbury > >Incidentally, that supposed great live act Rod Stewart & the Faces were one > >of the worst live acts I've ever seen. (Manchester 1974, Tetsu on bass!) > >Five pissed people on stage didn't really cut it for me. > that's cool, I saw them in 1974 in Nurnberg - same lineup and > I liked them very much. think they'd had a glass too many even by their standards that night! Maybe it was just me being contrary though, as my mates liked them. I just remember feeling disappointed.... > The only Stewart songs I still listen to are the ones before 1974: What? No D'Ya Think I'm Sexy? Are you mad ; ) Keith ------------------------------ Date: Mon, 1 Jul 2002 16:22:37 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] [indirect] inquiry: > Isn't there a way to make this list less faceless, or do [some of] > you think part of it's charm lies in it's semi-anonimity? > > Bart Yes! We can all pretend that we're all really good looking dudes and no-one can argue! Have to ask though, Bart... Is this because we know what you look like - chewing on your web-site - and you don't know what we look like - Robert Redford circa Butch Cassidy & the Sundance Kid in my case. Honest ; ) Keith ------------------------------ Date: Mon, 01 Jul 2002 17:40:30 +0200 From: Bart van Damme Subject: Re: [idealcopy] chlorophyll gourmets quotes >> "This single was never going to Louie Louie or Born In The USA. The music >> was written by Colin after Graham had given him the lyrics relating to the >> domestic problem of the serpentine miner, an insect which lives in a leaf >> and eats chlorophyll. > > Really enjoyed reading this Bart. Me too, I didn't know what exactly caused the "Outdoor-Miner-scandal" Andrew mentioned so I looked it up... >> But the Sex Pistols or the Damned didn't write about >> chlorophyll gourmets. > > Particularly like that quote. Favourite since that Tony Wilson one in a > recent punk mag, which went something like... > > How bad things were in the 70's can be summed up in two words. Rick Wakeman. Funny thing is, I CAN see mr. Wakeman write something about chlorophyll gourmets! How's that for a piece of hermetic emailing, eh? ;-) > BTW I know I'm not the only IC-er who likes last years Damned LP (Dan does I > think), but for anyone who liked their The Black Album era stuff, Grave > Disorder is well worth a punt... Sorta gave up on the Damned after Machine Gun Etiquette - didn't like their gothier stuff at all, so I guess the new one's not for me... BTW... anyone own a copy of Matt Howarth's Savage Henry #12 comic in wich Wire appear as toons? http://www.matthowarth.com/guestlist.html [bottom] I can hardly wait till Disney or Pixar gets their hands on this hot stuff! Bart ------------------------------ Date: Mon, 1 Jul 2002 09:13:12 -0700 From: "Paul Pietromonaco" Subject: [idealcopy] [OT] Flaming Lips Zaireeka Hi everyone, Maybe it's because I've been watching "Memento" too much lately (and, with the new issue of the U.S. DVD I have, I've been watching it in true chronological order - very interesting that way..), but I can't remember if this was the mailing list that was interested in the 4 CD set by the Flaming Lips called "Zaireeka". Well, if it is, you'll be happy to know that Warner Bros. has apparently brought the 4 CD set back in print. I just bought a brand new copy yesterday. Not a bootleg - this is an official WB release. I also notice that amazon.com is listing the CD as being back in print as well. Cheers, Paul P.S. Have I told you about Sammy Jenkins? ------------------------------ Date: Mon, 01 Jul 2002 18:15:57 +0200 From: Bart van Damme Subject: Re: [idealcopy] [indirect] inquiry: > Yes! We can all pretend that we're all really good looking dudes and no-one > can argue! > Have to ask though, Bart... > Is this because we know what you look like - chewing on your web-site - and > you don't know what we look like - Robert Redford circa Butch Cassidy & the > Sundance Kid in my case. > Honest ; ) > > Keith ...suddenly I feel all naked and vulnerable... 8-/ BartMunch ------------------------------ Date: Mon, 1 Jul 2002 12:32:25 EDT From: MarkBursa@aol.com Subject: Re: [idealcopy] [OT] Flaming Lips Zaireeka << but I can't remember if this was the mailing list that was interested in the 4 CD set by the Flaming Lips called "Zaireeka". >> I keep meaning to copy this into Cubase and produce a "full" version of it (without the need for four stereos)! Mark ------------------------------ Date: Mon, 01 Jul 2002 18:46:03 +0200 From: Bart van Damme Subject: [idealcopy] the shit behind the teeth The Tate Gallery has payed 35.900 euro for a can of Italian artist Piero Manzoni's shite. It contains 35 grams of shit produced by the artist not long before his death. The label says: "Merda d'artista". The purchase caused quite a stirr in the UK. "This is an outrageous way of handling the taxpayer's money", thus spoke MP Teddy Taylor. Brt II:-[ [poo-faced] ------------------------------ Date: Mon, 1 Jul 2002 12:42:34 EDT From: MarkBursa@aol.com Subject: Re: [idealcopy] Big Star A good analyis - though.... << they really catch a vibe of the 70's, that those of us growing up dissatisfied with REO, Sabbath, Led, Deep, ELP, Yes, et al could identify with.<< Were they that well known? I thought their albums sold in minuscule quantities (the third didn't come out till well after they finished, and has never had an "official" track order. Sure they would have hit the right note with those who hated 70s bombast, but I thought they were hardly on the radar. Certainly didn't appear in the UK in any big way till the late 80s - after the Bangles/This Mortal Coil covers and when they got namechecked by the likes of Primal Scream/Teenage Fanclub... >> The only other band of their ilk that I recall in the US were the Raspberries.<< Who had a much higher profile, and proper hits... Mark ------------------------------ Date: Mon, 1 Jul 2002 17:52:53 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] [OT] Flaming Lips Zaireeka > << but I can't remember if > this was the mailing list that was interested in the 4 CD set by the > Flaming Lips called "Zaireeka". >> > > I keep meaning to copy this into Cubase and produce a "full" version of it > (without the need for four stereos)! > > Mark WHAT???? ------------------------------ Date: Mon, 1 Jul 2002 17:55:25 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] [indirect] inquiry: > > Yes! We can all pretend that we're all really good looking dudes and no-one > > can argue! > > > Is this because we know what you look like - chewing on your web-site - and > > you don't know what we look like - Robert Redford circa Butch Cassidy & the > > Sundance Kid in my case. > > > Honest ; ) > > > > Keith > > > ...suddenly I feel all naked and vulnerable... 8-/ > > BartMunch In that case, I'm just checking flight availability. I'll be over as soon as I can ; ) ------------------------------ Date: Mon, 1 Jul 2002 11:21:46 -0400 From: "Stephen Graziano" Subject: Re: [idealcopy] Big Star No, they were mostly totally unknown, but I found out about them, maybe Lester Bangs wrote a review, it would have been up his allow. I found Radio City and the First album in the stores at the time, Ardent had distribution. Again like the Velvets, they didn't sell many records, but to those who bought them they had a huge influence. Sister Lovers hit when I was in college, and we'd have "depresso" nights spinning that, Lou's Berlin, Dory Previn, smoking dope and crying. Steve. G - ----- Original Message ----- From: To: ; ; Sent: Monday, July 01, 2002 12:42 PM Subject: Re: [idealcopy] Big Star > A good analyis - though.... > > << they really catch a vibe of the 70's, that those of us growing up > dissatisfied with REO, Sabbath, Led, Deep, ELP, Yes, et al could identify > with.<< > > Were they that well known? I thought their albums sold in minuscule > quantities (the third didn't come out till well after they finished, and has > never had an "official" track order. Sure they would have hit the right note > with those who hated 70s bombast, but I thought they were hardly on the > radar. Certainly didn't appear in the UK in any big way till the late 80s - > after the Bangles/This Mortal Coil covers and when they got namechecked by > the likes of Primal Scream/Teenage Fanclub... > > >> The only other band of their ilk that I recall in the US were the > Raspberries.<< > > Who had a much higher profile, and proper hits... > > Mark ------------------------------ Date: Mon, 1 Jul 2002 13:54:40 EDT From: RLynn9@aol.com Subject: [idealcopy] Rod Stewart ...sniff...sniff.. In a message dated 7/1/02 10:10:53 AM Central Daylight Time, keith.astbury10@virgin.net writes: << The only Stewart songs I still listen to are the ones before 1974: What? No D'Ya Think I'm Sexy? Are you mad ; ) Keith >> yeah and no Hot Legs?? hahahaha i met Rod Stewart in Los Angeles last year...he goes to hairdresser that's dating one of my friends...he's a real piece of work...i could almost swear i smelled something funny while talking to him...but i guess that was because his head had been so far up his own ass..... Robert np - Moloko "Do You Like My Tight Sweater" ------------------------------ Date: Mon, 1 Jul 2002 14:00:14 EDT From: RLynn9@aol.com Subject: Re: [idealcopy] kill your parenthesis! In a message dated 7/1/02 9:16:08 AM Central Daylight Time, bartvandamme@home.nl writes: << Just how many songs with parenthesis in their title exist? >> what about the monumental slab of funk known as: Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) from Parliament's "Motor Booty Affair" lp ------------------------------ Date: Mon, 1 Jul 2002 14:33:14 EDT From: Rain19c@aol.com Subject: [idealcopy] OT : "oops!" tour w/ locust, lightning bolt, erase eratta... for US list members, this looks like it is going to be a great tour. it's covers the whole u.s. with the headliners being the locust, lightning bolt, erase eratta, and arab on radar. check out all the lengthy tourdates at : http://oopsthetour.com/dates.html (which way) ~michael ------------------------------ Date: Mon, 1 Jul 2002 18:50:14 +0200 From: "frederik jensen" Subject: Re: [idealcopy] the shit behind the teeth > "Merda d'artista". now _that_ is a not so wonderful, wonderful work! i believe he has also done a work called "socket of the world" or "plinth of the world". it is a socket turned upside down, thus having its foundation solidly planted in air, carrying all the weight of the world... *** to me, these works are as important as the idea of, shall we say, the automatic writing method of the surrealists... "sorry, visitors with can openers are not allowed" or "sorry, only head stand guests allowed"? frederik ------------------------------ Date: Mon, 1 Jul 2002 14:44:03 EDT From: RLynn9@aol.com Subject: [idealcopy] Alex Chilton & Alan Vega! In a message dated 7/1/02 9:58:17 AM Central Daylight Time, sjgraziano@hotmail.com writes: << Alex Chilton/Big Star are one of the biggest lynchpin/touch-stones of the punk/indie/alternative revolution. >> Have any of you heard the Alex Chilton & Alan Vega cd called "Cubist Blues" ?? i really like this cd a lot..it'a an odd combination that somehow works..but then again i have been on a Suicide/Alan Vega binge lately, so i've been finding things to like in all Vega related material.. ....just picked the live "Ghost Riders" cd as well... Robert ------------------------------ Date: Mon, 1 Jul 2002 14:59:57 EDT From: Rain19c@aol.com Subject: [idealcopy] a disco inferno in debt to dugga / ica recording has anyone heard of disco inferno? they were around in the early 90s and released an early singles compilation called "in debt" where they admittedly claimed they were heavily influenced by wire/joy division/factory. the singer, ian crause, also sounds incredible similiar to colin. and for a change, they were more interested in wire's experimental/avant garde leanings instead of doing another "outdoor miner" cover. they relied on samples as much as guitars. i would definitely recommend "D.I. go pop" (ironic title) to anyone who likes 154. maybe it doesn't come to a surprise that my favorite track by them is called "second language" (intentional french film blurred reference?). there is some more info on their mini biography on allmusic.com. here's what the reviewer says about "D.I. go pop" : "In its tension between accessibility and extreme experimentation, "Go Pop" resembles no other album so much as Wire's 154 for the modern day b very English, encompassing a variety of styles and approaches, seemingly totally cryptic yet more touching to the mind, body and soul than anyone might have expected." also, anyone know if the gilbert & kitchen motors orchestra concert @ ICA will be recorded for future release? i'm hoping to see wire in nyc, boston, chicago, and toronto on the upcoming tour...locking up my cash for it! ~michael ------------------------------ Date: Mon, 1 Jul 2002 20:14:37 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] Rod Stewart ...sniff...sniff.. > i met Rod Stewart in Los Angeles last > year...i could almost swear i smelled something funny while talking > to him...but i guess that was because his head had been so far up his own > ass..... Wish he'd left it up there. It'd save having to look at him... In the words of the mighty Brian Appleton... "Wake up maggott, I think I've got something to say to you." Keith ------------------------------ Date: Mon, 01 Jul 2002 21:57:41 +0200 From: Bart van Damme Subject: Re: [idealcopy] [indirect] inquiry: > In that case, I'm just checking flight availability. I'll be over as soon as > I can ; ) Beers are cold in the fridge for ya Butch - can I call you Butch? ;-P BartMunch ------------------------------ Date: Mon, 1 Jul 2002 21:09:06 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] [indirect] inquiry: > > In that case, I'm just checking flight availability. I'll be over as soon as > > I can ; ) > > Beers are cold in the fridge for ya Butch - can I call you Butch? ;-P *You* can call me whatever you like, but I'd prefer 'The Kid' ; ) (or Plug!) Keith ------------------------------ Date: Mon, 01 Jul 2002 22:07:59 +0200 From: Bart van Damme Subject: Re: [idealcopy] kill your parenthesis! > what about the monumental slab of funk known as: > > Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) from Parliament's "Motor > Booty Affair" lp Nice one Robert! Wir's The First Letter alone has two parenthesistic [que?] songs on it: Take It [For Greedy] and Looking At Me [Stop!] submit: http://www.catascopic.com/issue6/wondered.html BrtMnch ------------------------------ Date: Mon, 01 Jul 2002 22:23:42 +0200 From: Bart van Damme Subject: [idealcopy] scatologistically It truely was a great day for scatology my friends! Excerpts from today's mail: "...head had been so far up his own ass" "...can of Italian artist Piero Manzoni's shite" "sorry, visitors with can openers are not allowed" "i could almost swear i smelled something funny..." "chewing on your..." " http://www.matthowarth.com/guestlist.html [bottom]" "shit behind the teeth" "Merda d'artista" "[poo-faced]" "Rod Stewart ...sniff...sniff..." "influenced by ....joy division" Bart [time to go and enjoy some fine irish whiskey now] ------------------------------ Date: Mon, 01 Jul 2002 16:34:33 -0400 From: "k erickson" Subject: Re: [idealcopy] kill your parenthesis! >>I Want You (She's So Heavy) - The Beatles what about this Beatles gem: you know my name (look up the number) is that anyone's fave fab four song? - ---------- kristoph np: plaid 'trainer' ------------------------------ Date: Mon, 1 Jul 2002 17:40:06 EDT From: Eardrumbuz@aol.com Subject: Re: [idealcopy] [OT] Flaming Lips Zaireeka In a message dated 7/1/02 12:54:43 PM, keith writes after mark responds to what bart writes: > 4 CD set by the > >> Flaming Lips called "Zaireeka". >> > >> > >> I keep meaning to copy this into Cubase and produce a "full" version >of it > >> (without the need for four stereos)! > >> > >> Mark > > > > > >WHAT???? first, this is great news. being a great procrastinator, i missed out on it the first time, and i was too cheap to pay the inflated auction prices. second, keith, i would assume what mark is saying is that he plans to take the 4 cds (meant to be played on 4 cd players simultaneously) and digitally mix them into a recording that could be played on a single stereo/computer. third, mark, would you be able to make a quadrophonic or OCTophonic! mix of it, or only a stereo mix? is there a way to output the 8 tracks each to their own speaker? i'm not familiar with cubase at all. is it just software or is there a hardware component? - -paul c.d. p.s. that new flaming lips stuff sounds real nice too ------------------------------ Date: Mon, 1 Jul 2002 14:42:49 -0700 (PDT) From: Ari Britt Subject: [idealcopy] Fwd: *** THE WHITEHOUSE.OR 07.01.2002 ***O/T - --- "The WHITEHOUSE.ORG Parody and/or CHICKENHEAD.COM Newsletter" wrote: > Date: 1 Jul 2002 13:51:30 -0000 > To: List Member > From: "The WHITEHOUSE.ORG Parody and/or > CHICKENHEAD.COM Newsletter" > > Subject: *** THE WHITEHOUSE.ORG NEWS BULLETIN FOR > 07.01.2002 *** > > Dear Patriot, > > Thank you for subscribing to WHITEHOUSE.ORG. 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