From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V5 #312 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Monday, September 16 2002 Volume 05 : Number 312 Today's Subjects: ----------------- Re: [idealcopy] Re: Ideal Copy [rayographique ] [idealcopy] Blur ["Mrduul" ] Re: [idealcopy] ExITS ["Ian B" ] Re: [idealcopy] Blur [Bart van Damme ] Re: [idealcopy] Section(ed) ["Keith Astbury" ] Re: [idealcopy] Chicago - if you leave here now ["Keith Astbury" ] [idealcopy] in the wash. post [james edwards ] [idealcopy] various [PaulRabjohn@aol.com] Re: [idealcopy] various [Andrew Walkingshaw ] Re: [idealcopy] in the wash. post [rayographique ] [idealcopy] Wirevival, Minneapolis [Amy Myrbo ] [idealcopy] T-Rex [Bart van Damme ] [idealcopy] Fw: 20 dollar bill//// happy folding ["DAVID HEALE" Subject: Re: [idealcopy] Re: Ideal Copy - --- MarkBursa@aol.com wrote: logn ago (but not so far away) when i played in a rock band, the only comparison i ever appreciated was someone whe said they 'heard alot of wire' in our set as 2 of us were listeing to snake/drill rathere incessantly at the time (i *did* say logn ago - did i not?) there might have been something to it at that but it was the keyboard and bass player my largest overall rule , tho was that when the band as a whold thought the evening brilliant, no one would say anything to us - but if the set were nothing but shite you would have to listen to someone tell you it was brilliant and how it sounded just like (insert least favorite artist ever) > As a general rule, the fastest way to piss off a > musician is to tell them, > after they're played you their latest efforts, > exactly who it sounds like. > Or > so I've found. >> Yahoo! News - Today's headlines http://news.yahoo.com ------------------------------ Date: Sun, 15 Sep 2002 10:02:57 -0400 From: "Mrduul" Subject: [idealcopy] Blur > On the R&B comp-album it definitly could have a similar function as Bank > Holiday on Blur's Parklife - ----or B.L.U.R.E.M.I. off of 13. Blur created some incredible music in the 90's. Their B-Sides were often better than most bands best album tracks. They did fall off quality-wise in the late 90's though. But I'm one of the few who thought Leisure and Modern Life was their crowning achievement. Losing Graham might be the kiss of death, but he wasn't really responsible for the songwriting. They can pull it off without him, I'm sure, albeit in a more electronic direction. We'll see in February when the new album comes out. - -frank ______________________ ))) DuuLMuSiK Compact Discs ((( prog - shoegaze - imports - krautrock psych - drone - dreampop - independents MONTHLY CD LIST: slowdive@nycap.rr.com ______________________________________ "music to cool out with since 1995" ------------------------------ Date: Sun, 15 Sep 2002 16:58:30 +0100 From: "Ian B" Subject: Re: [idealcopy] ExITS - ----- Original Message ----- From: > However, it is a happy day. A very happy day. A very, very happy day. Oh > yes.* > > Mark > Oh yes - I was there! Joy unconfined! ------------------------------ Date: Sun, 15 Sep 2002 18:48:56 +0200 From: Bart van Damme Subject: Re: [idealcopy] Blur >> On the R&B comp-album it definitly could have a similar function as Bank >> Holiday on Blur's Parklife > ----or B.L.U.R.E.M.I. off of 13. Indeed, Albarn made a pretty good Smurf in that one! ;-) Bart ------------------------------ Date: Sun, 15 Sep 2002 19:53:56 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] Section(ed) > > I nearly totalled the car in shock, listening to a version of 'Nag, Nag, Nag' > > by new electro popster 'Tigon > > Always was my fave CV tune... > > Bart me too!!! ------------------------------ Date: Sun, 15 Sep 2002 21:06:51 +0100 From: "Keith Astbury" Subject: Re: [idealcopy] Chicago - if you leave here now > however present and accounted for were myself, > listmaster (supreme) miles, another the keith, Another the Keith? All the way from Bedfordshire? That's dedication for you... Keith ------------------------------ Date: Sun, 15 Sep 2002 15:05:26 -0500 From: "dan bailey" Subject: Re: [idealcopy] Section(ed) >> > I nearly totalled the car in shock, listening to a version of 'Nag, Nag, >Nag' >> > by new electro popster 'Tigon >> >> Always was my fave CV tune... >> >> Bart > >me too!!! ditto -- just got through dubbing it (the cabs' original, that is) along with "i want you" (for some damned reason i can't find my tape of "mix-up," otherwise i'd have gone with "capsule") on a mix-tape for a friend who i couldn't believe hadn't heard it. (other selections include negativland's "in a big 10-8 place," or whatever it's called; 'the homosexuals' album"; fad gadget's "fireside favourites" & "back to nature"; dr mix & the remix's "out of the question" & "no fun"; tone set's "predictions" & "such heavy conviction" (phx found-sounders from my time out there); uv pop's "sleep don't talk" & another one; & tg's "united" & "zyklon b zombie." still to -- & i'd best get my ass in gear, since i still haven't decided whether to drive the 470 miles back home wed to catch pere ubu that night, or wait a couple of weeks & see them in athens about 250 miles closer to home on a sat -- go are selections from positive noise, head of david, pop group (probably ought to do the whole "mass murder" & "we are time" lp's, actually, in order to further shame him into getting "y" burnt for me), god & the state, fats comet, frank tovey solo, 23 skidoo, creepers, pink military, foetus ("hole" era), metal urbain, flying lizards, renegade soundwave, glaxo babies, fire engines, stickmen, colors out of time, prag vec, manicured noise; gods gift; dangerous girls; malaria; pre-lp modern english; higsons & dalek i. besides, if i do make the drive, it'll give me something entertaining to listen to on the tape deck. anyway, back to "nag nag nag" -- as i expressed on some list (perhaps this one) a year or 2 ago, i can't believe some garage band hasn't picked up on it. such perfectly snotty & simplistic vocals ... dan ------------------------------ Date: Sun, 15 Sep 2002 16:36:25 -0400 From: james edwards Subject: [idealcopy] in the wash. post This article is from todays Washington Post. Wire was hugely influencial on the D.C. punk scene and always draw a big crowd at the 9:30 club. It's quite a coup for them still to still get respect from such a big paper. Enjoy. Mike Wire's Taut Link to the Past The British Band May Have Left Punk Behind -- but Not Its Punch. By Shannon Zimmerman Special to the Washington Post Sunday, September 15, 2002; Page G04 CHICAGO Wire is back. And just in time, too. The members of the British punk-era outfit -- guitarists Colin Newman and Bruce Gilbert, bassist Graham Lewis and drummer Robert Grey -- were the grad students among punk's original class of juvenile delinquents. The band's first three albums -- "Pink Flag," "Chairs Missing" and "154" -- were recorded during a furious burst of creativity that spanned 1977 to 1979, when the group experimented with condensing Sex Pistols-style roar into art-school-style theory. The end result was a minimalist take on their contemporaries' more raucous sound, one that's proven hugely influential. The band's songs have been covered by R.E.M. and ripped off by Elastica. Any "neo-garage" act worth its major-label contract is likely to cite the first phase of Wire's career as a template. Yet even though these early discs are widely regarded as founding documents of the punk movement and its various offshoots, it's best not to mention that to the group. "We're not a punk band!" Newman and Lewis shout, nearly in unison, during a break at the Chicago rehearsal studio where Wire is preparing for its 15-city U.S. tour, which will bring the band to the 9:30 club on Friday. Their denial is at least partly true. Wire's career has had plenty of sonic detours. The group disbanded in 1980, returning five years later as a self-styled "beat combo." In this incarnation Wire made digitally manipulated dance music that anticipated the rise of electronica. "The Drill," a 1991 disc that features nine versions of the song "Drill," was an early foray into the fine art of the remix album. And from the very beginning, the members of the band have pursued various separate interests during the group's frequent hiatuses. Drummer Grey (formerly Robert Gotobed) even took up farming. But following a recent spate of European festivals and a high-profile performance at London's prestigious Royal Festival Hall, Wire has gotten back to where it once belonged. The group toured the United States in 2000, mainly playing older material. The set list for the new tour will be culled primarily from the band's two new releases, "Read and Burn 01" and "Read and Burn 02," both of which find the group revisiting its incendiary early sound. Admittedly, the band's timing is perfect, but for a famously forward-looking outfit like Wire, the look back seems unusual. Not so, says Newman. "I think where it really kicked off," he explains, "was when we played Mogwai's All Tomorrow's Parties festival [in 2000]. It wasn't our audience. Mogwai are a band who are derived from the school of Tortoise [the Chicago indie band]. It's very slow music. It was a festival of slowness, with a lot of young men going very slow. And suddenly these old men were standing onstage going 90 miles an hour, and this was having a visceral effect on certain members of the audience. This sounds apocryphal, but I knew standing onstage there that fast rock was on its way. I just felt it." Newman was correct, of course: Punk-infused rock-and-roll has largely replaced teen pop as the sound du jour, with groups such as the Hives, the Strokes and the Vines giving the label "boy band" a whole new meaning. Meanwhile, songs by Wire contemporaries such as the Buzzcocks and the Clash have, sadly, been in heavy rotation recently as commercial soundtracks for beer and automobile companies. Still, while Wire's new material does recall the band's early mingling of mayhem and erudition, it's hardly retrograde. The group continues to experiment with recording techniques -- "Read and Burn 01's" opener, "In the Art of Stopping," is built around a slurred tape loop -- and on "I Don't Understand," Wire seems to display a knowing sense of humor about its status as a group of elder statesmen. "Your time is up / You've had your chance," Newman chants on the track. "You've made your point / Get over it." Yet if there's any self-lacerating subtext there, the band declines to identify it. The lyrics may even be directed at the Sex Pistols, whose recent reunion tours dismayed the members of Wire. ("Very predictable," says Newman, an erstwhile admirer of the band. "It was a bit sad.") Or they might be aimed at the fading stars of Britpop, Elastica included, who borrowed heavily from Wire's "Three Girl Rhumba" for its minor hit "Connection." Britpop "was when so-called indie music became the mainstream," Newman says now of the phenomenon, with obvious contempt. For his part, guitarist Gilbert views "I Don't Understand" as "a bit of spleen venting," but it's clear that Wire is pleased to be reemerging as a recording and touring unit at a time when audiences seem primed for its classic sound. "If we are able to do something where we can be recognized by the generation that are working now," says Lewis, "then that's very good validation." Adds Newman: "We were iffy in the '70s. This is the best Wire ever." "We find ourselves in a very interesting situation right now," he continues. "We are both a part of, and an influence on, specifically American kinds of bands. To me, it's all about rhythm. If you go back to the early-to-mid-'90s, if you didn't have any funk in your rhythm, you were missing out on what was going on. You would never have supposed that, when all of that dissolved, that jerky, 1979-1980-type rhythms would again hold sway." But they are. And that development has given Wire precisely the kind of paradoxical opening the group has thrived in since its earliest days. This time around, the band has a chance to be both contemporary and true to its original spirit, to lead the way back. But not back to punk, of course. "It's got to have a heavy-metal sensibility," says Newman, only half-jokingly. "It's got to be in your face." ) 2002 The Washington Post Company ------------------------------ Date: Sun, 15 Sep 2002 17:01:56 EDT From: PaulRabjohn@aol.com Subject: [idealcopy] various gawd i go away for a week and theres 350 mails to read , no i havn't ploughed thru them yet but a couple of things that may be relevant or whatever; 1. todays observer has a page-long piece on ian sinclairs "london orbital" movie. apparently being shown on C4 "later this year" 2. same paper also has suede (still trotting out the pseudo-bisexual story) and mozza (still going on about celibacy). its like deja vu all over again 3. tonight on C4 at 1.35 , "one apartment and 6 drummers". go on , spare 15 minutes of your lives and tape this , i thought it was hilarious 4. shame to hear the demise of the evening session. where's kid jensen now , eh? i was listening to steve lamacq on holiday (no hi-fi) and he played a track by a new band called (oh dear) the wires. now i just think that name may have been bagsied before. 5. so who's going to the barbican then? 6. excellent double whammy on tuesday , arsenal/dortmund from 8-10 and then wire on peel from 10-12. provided the game is all wrapped up by 9.55 its a great chance to make it a triple whammy but i'd better not elaborate on that one heh heh, p ------------------------------ Date: Sun, 15 Sep 2002 22:49:08 +0100 From: Andrew Walkingshaw Subject: Re: [idealcopy] various On Sun, Sep 15, 2002 at 05:01:56PM -0400, PaulRabjohn@aol.com wrote: > 5. so who's going to the barbican then? Fraid I won't be. Sorry :( > > 6. excellent double whammy on tuesday , arsenal/dortmund from 8-10 and then > wire on peel from 10-12. provided the game is all wrapped up by 9.55 its a > great chance to make it a triple whammy but i'd better not elaborate on that > one heh heh, p And I'm going to miss this too (parents are in Cambridge, of all things). I hope someone records it for posterity... - - Andrew - -- "I see your autosuggestion psychology, elimination policy A military-industrial illusion of democracy..." - - Primal Scream, 'Swastika Eyes' ("Xtrmntr") adw27@cam.ac.uk (academic) | http://www.lexical.org.uk ------------------------------ Date: Sun, 15 Sep 2002 17:56:39 -0700 (PDT) From: rayographique Subject: Re: [idealcopy] in the wash. post ... > during a break at the > Chicago rehearsal studio > where Wire is preparing for its 15-city U.S. tour, > which will bring the > band to the 9:30 club on Friday. ... this was the first mention of their being in Chicago befor e last evening's show seems strange they would add another leg to the already 18 cities in 20 nights (WHEW - I'm tired just thinking about it) Yahoo! News - Today's headlines http://news.yahoo.com ------------------------------ Date: Sun, 15 Sep 2002 19:12:09 -0600 From: "Paul Ye" Subject: Re: [idealcopy] Heavy Rotation >Breeders - Title TK picked it up used back home about 9 days ago, but again haven't had a chance to listen. Bought that one about a month ago. It is very mellow like the Amps "Pacer" album Kim Deal put out a little while ago. There is a really cool revamped version of an old bside called "forced to drive" that I really like. Otherwise the other best song is da da da da daa ahh ahh ahh ahh ahh ahh ahh "Huffer". Still need to get to know it a bit better, only listened to it about three times. So far I am disappointed. I had hopes that it would be more like Last Splash (one of my favorite albums period). paulye154 _________________________________________________________________ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com ------------------------------ Date: Sat, 14 Sep 2002 11:55:16 -0500 (CDT) From: Amy Myrbo Subject: [idealcopy] Wirevival, Minneapolis Well, that was just swell. Quite apart from the show, it was a treat to see all the faces from the mid-late-80s non-scene, and to hear "that Read and Burn thing is the best record I've heard in years . . ." Recently reformed local heroes (or purveyors of overblown guitar wankery, depending on your taste) T.V.B.C., also dating from the aforementioned scene, and Wire fans themselves (the drummer, a former beau of mine, introduced me to the first three records back in '85 when we worked at a record store together), opened, and sounded very fine. Wire sounded amazing too - I think there's something about the fundamental coldness of the Wire sound that agrees with the northern soul - and had "new gear," as Lewis remarked between songs. I'm glad I've been keeping up on the list lately, so I knew what to expect from the set list. As much as I would have liked to hear, you know, "Outdoor Miner" or "The Finest Drops" (are those girly choices?), the new stuff is really top-notch, and showcases the band's remarkable tightness and persistent capacity to play really fast. Now, that's an interesting thing about these mature pop stars - many of them really don't seem to be aging so much. Is it the staying up late and drinking blood? When John Cale and the Creatures played here a few years ago, Cale looked younger than he did when he opened for Billy Bragg (a grave injustice!) here in '86. And Siouxsie was fine, too. (I heard the same about Annabella when Bow Wow Wow played here a couple years ago - but then, she WAS only fourteen or whatever the first time around.) In any case, yeah, Wire are grayer (Greyer) and wrinklier than last time around, but they are a stunningly well-tuned band, and Graham Lewis is still one sexy dude, with or without the ponytail. I guess jazz musicians have long been playing all their lives, and maybe it's the rock 'n' roll lifestyle that doesn't age well. It doesn't work for everybody - the Soft Boys were a bit slow and chunky live, but I'll still see 'em again. I think the set was about the same as others on the tour, but rather than paw through digests to check, here it is . . . again: 99.9 Germ Ship Mr. Marx's Table First Fast Read and Burn Agfers Comet Art of Stopping (the current local college radio hit) Spent I Don't Understand - -first encore- Advantage in Height Lowdown - -second encore- Pink Flag (long jam) Being an inveterate set-list stealer, I got a boost up on the stage and slithered over to grab a hand-written paper which had cryptic symbols on it . . . then was accosted moments later by a bouncer (First Ave employee) demanding its return and that I "keep [my] ass off our stage!" - a first. Apparently I'd taken something with all Bruce's guitar settings on it or something. I felt bad, but didn't want to give it back. Probably wasn't nice for the band, but I was drunk and uncooperative. Convinced by the bouncer (and my friends, whom I will not trust again) that he'd give me something just as good in exchange, I gave it back and got a laser-printed set list. Whatever. I'm old enough not to put so much value on bits of memorabilia any more. But still, that first piece of paper would have been cool. I bought three shirts (for me, my aunt, and my dad) and a copy of R&B 02, even though I already ordered it from PostEverything. The band were apparently tired and didn't want to talk to the throngs (when they played in '87 - two nights in a row! - they were out shooting pool while the Ex-Lion Tamers played _Pink Flag_), but I had a word with Lewis as he was bundling up cords. Forgot to ask him whether he still had the LEWIS ST sign I sent him long ago, stolen from a small town I lived in at the time and airmailed at ridiculous expense. Got some very cool postcards from the gentleman over the next few years as well. And shared a nectarine with him after the show in '88 ("D'you like fruit?") - which I think could have led to an adventure, had my future (now ex) husband not been at the show with me. Sometimes being a girl has its benefits. What else? I want to see them again! Yes, a Read and Burn every six months, and an annual tour? Peppered with selections from _A-Z_ and _Hail_? I don't think things get that good, but I feel pretty lucky nonetheless. With all that's wrong with the world - e.g., the Minneapolis Hard Rock Cafe opened yesterday *across the street* from First Ave, so now there's a repulsive giant neon guitar in the sight line down 1st Av N - getting prime Wire in 2002 is a veritable balm. Sorry for the long non-review. Soaking a hangover and a little overstimulated. Amy - - - - - - Amy Myrbo Core Lab Manager Limnological Research Center University of Minnesota 310 Pillsbury Dr SE Mpls MN 55455 612-626-7889 fax 612-625-3819 amyrbo@umn.edu http://lrc.geo.umn.edu http://www.myrbo.com - - - - - - ------------------------------ Date: Mon, 16 Sep 2002 09:15:04 +0200 From: Bart van Damme Subject: [idealcopy] T-Rex Keith & others interested, Tomorrow a TOTP2 T-Rex special, though I'm sure you already knew that... Bart ------------------------------ Date: Mon, 16 Sep 2002 09:04:48 +0100 From: "DAVID HEALE" Subject: [idealcopy] Fw: 20 dollar bill//// happy folding - ----- Original Message ----- From: "Nigel Ayers" To: "mr bargain" Sent: Sunday, September 15, 2002 3:48 PM Subject: Fw: 20 dollar bill > a bit of origami for you.. > > see ya > > nigel [demime 0.97c removed an attachment of type application/msword which had a name of 20DollarBill1.doc] ------------------------------ Date: Mon, 16 Sep 2002 04:22:00 EDT From: HowardJSpencer@aol.com Subject: [idealcopy] Re: idealcopy-digest V5 #310 Paul(eye154) wrote: >Now i listen to the entire Dome 12 34 collection and sing it >all day long. "On the third week, on the third week. Oh feeling the >strain..." Funny how things work out. Aha!. Another Dome singer! I find humming 'to speak' very restful. I have one friend who is a Wire fan and we occasionally serenade each other with this one. Got into Dome in 1981 or 1982 - bought Dome2 on the strength of a review in Smash Hits (surprisingly good UK teenybopper magazine - I was 15 or 16 at the time so it's allowed). Howard ------------------------------ End of idealcopy-digest V5 #312 *******************************