From: owner-idealcopy-digest@smoe.org (idealcopy-digest)
To: idealcopy-digest@smoe.org
Subject: idealcopy-digest V11 #43
Reply-To: idealcopy@smoe.org
Sender: owner-idealcopy-digest@smoe.org
Errors-To: owner-idealcopy-digest@smoe.org
Precedence: bulk


idealcopy-digest         Monday, March 9 2009         Volume 11 : Number 043



                               Today's Subjects:
                               -----------------
  Re: [idealcopy] The Shaggs [was Monks                  [eardrumbuz@aol.com]
  [idealcopy] disc of the day      ["keith a" <keith.indoorminer@virgin.net>]
  [idealcopy] bigert&bergstrom            [Jan Noorda <janjnoorda@yahoo.com>]

----------------------------------------------------------------------

Date: Sun, 08 Mar 2009 12:56:34 -0400
From: eardrumbuz@aol.com
Subject: Re: [idealcopy] The Shaggs [was Monks

That's perfect. Exactly how I'd describe them, had I taken the time to
formulate a description :o)



Thanks!




- -your pal, Foot Fo...uh, another the Paul


- -----Original Message-----
From: David McKenzie <davidmack@gmail.com>
To: eardrumbuz@aol.com
Cc: idealcopy@smoe.org
Sent: Sat, 7 Mar 2009 3:41 pm
Subject: Re: [idealcopy] The Shaggs [was Monks]







There is what I call "an authentic voice"
Not unlike the accordion player who has haunted various downtown Chicago
corners for 2 decades now

The music is not technically correct, but it is repeatable and distinctive


And with repetition comes familiarity and in some cases affection


On Sat, Mar 7, 2009 at 2:19 PM,  <eardrumbuz@aol.com> wrote:


I agree. Haven't listened to The Shaggs in about 20 years, but there is
definitely something there. Can you just remind me what it is? :o)








- -another the Paul













- -----Original Message-----

From: David McKenzie <davidmack@gmail.com>

To: Cambra, Robert <Robert.Cambra@harpercollins.com>

Cc: idealcopy@smoe.org <idealcopy@smoe.org>

Sent: Fri, 6 Mar 2009 7:45 pm

Subject: Re: [idealcopy] The Monks

















Beg to differ on The ShaggsNot kitsch


Genuine singularity

Not everyone's cuppa, I realize, but listening for kitsch is the wrong

approach to hear what is there.



On Fri, Mar 6, 2009 at 5:27 PM, Cambra, Robert <

Robert.Cambra@harpercollins.com> wrote:








> Wow, I've just heard<and seen!<The Monks for the first=2
0time. B How did that

> come out of 1966? Can anyone tell me the title of The Monks tribute album

> 27/11 contributed to? I will have to hear that after hearing "Black Monk

> Time."

>

> Heard The Shaggs for the first time a few months ago. Not even any kitch

> value there, just bad.

>

> Cheers,

> Robert (another)

>

>

> ******************************************************

> CONFIDENTIALITY NOTICE: This E-Mail is intended only for the use of the

> individual or entity to whom it is addressed and may contain information

> that is privileged, confidential and exempt from disclosure under
applicable

> law. If you have received this communication in error, please do not

> distribute and delete the original message. Please notify the sender by

> E-Mail at the address shown. Thank you for your compliance.

------------------------------

Date: Sun, 8 Mar 2009 19:15:25 -0000
From: "keith a" <keith.indoorminer@virgin.net>
Subject: [idealcopy] disc of the day

Mojos Disc of the day is 154  the Swansong of
Gilbert-Newman-Lewis-Gotobed calls time on Golden Decade of UK art rock.



When Wire <http://thisisoffset.co.uk/wp-content/uploads/wire1.jpg>  convened
(or rather de-convened, of which more later) to record their third album for
Harvest, they were not the united front that had annexed art-punk all for
their very own with their scabrous 1977 debut, Pink Flag, and the following
year's cubist-pop masterpiece Chairs Missing. Buying themselves onto a tour
with Roxy Music hadn't helped, and the vision of this once-vital group
reduced to the Ferry-centric lounge lizardry of Manifesto had sown more
seeds of existential discomfort. Wire's way of working had become more
fractured, too, alienated from itself, and yet the resultant dislocation and
froideur made for thrilling avant-pop. Though Wire worked in shifts, The
White Album this ain't, and the band's personalities are seen in fascinating
combinations, perfectly encapsulated in the bookish new wave of Map Ref.
410N <http://www.youtube.com/watch?v=WhTNWSN9504>  930W, where Graham
Lewis's Borgesian lyric ("a deep breath of submission had begun") is
artfully shoehorned into an almost sprightly melody and typical art-urchin
vocal by Colin Newman. Elsewhere, the gothic toll of Lewis's I Should Have
Known Better <http://www.last.fm/music/Wire/_/I+Should+Have+Known+Better>
("I haven't found a measure yet to / Calibrate my displeasure yet") defines
the uneasy tone (what on earth were they reading) while faint echoes of
Bowie-Eno, Pete Brown
<http://twtd.bluemountains.net.au/cream/gears/img/petebrown.jpg>  and Alex
Harvey seem to call time on the golden decade of British art rock. 154 held
a mirror up to life, then broke it, and while the press reviews sounded a
note of universal acclamation, it was also the death knell of Wire's fecund
first phase. They would be back, but changed
<http://soundbites.typepad.com/photos/uncategorized/2007/12/11/wireintramway
gardens.jpg> .

Danny Eccleston

http://www.mojo4music.com/blog/2009/03/wire.html

------------------------------

Date: Sun, 8 Mar 2009 13:13:37 -0700 (PDT)
From: Jan Noorda <janjnoorda@yahoo.com>
Subject: [idealcopy] bigert&bergstrom

http://www.bigertbergstrom.com/news.html

http://www.bigertbergstrom.com/mov/life_extended_mov1.html

sounds composed by OCSID.
not sure if there will be pressed a dvd, but why not

jan

------------------------------

End of idealcopy-digest V11 #43
*******************************