From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V2 #72 Reply-To: loud-fans@smoe.org Sender: owner-loud-fans-digest@smoe.org Errors-To: owner-loud-fans-digest@smoe.org Precedence: bulk loud-fans-digest Monday, February 18 2002 Volume 02 : Number 072 Today's Subjects: ----------------- RE: [loud-fans] [Miles had a bad time at the show] ["Ian Runeckles & Ange] RE: [loud-fans] [Miles had a bad time at the show] [Charity Stafford ] Re: [loud-fans] Jay Farrar and Brian Henneman @ 12th & Porter, Nashville, 2/15/02 (Pt. 2) [Bill Silvers ] [loud-fans] Important OT news [steve ] RE: [loud-fans] [Miles had a bad time at the show] [Jeffrey with 2 Fs Jef] Fwd: [loud-fans] Tape swap review: Jen Grover's Valentunes [Mike Curley <] ---------------------------------------------------------------------- Date: Sun, 17 Feb 2002 10:59:43 -0000 From: "Ian Runeckles & Angela Bennett" Subject: RE: [loud-fans] [Miles had a bad time at the show] > Not to mention: why the hell does everyone who attends shows > need to smoke seven hundred cigarettes? Jeff hits the (coffin) nail on the head here as to why I find most club shows virtually unbearable. I've only been to a handful of gigs over the last few years and London suffers from its fair share of people attending who really ought to be somewhere else for the evening, music biz weasels, talkers and generally rather irritating types but the smoke is the main thing that puts me off. So now I see adverts for bands that normally I would have killed to see and think "Can I really face it?". I was on two minds as to whether I wanted to see Cracker who are playing London this week - but it was sold out so that's that! And every Cracker live boot I've heard has them moaning about the venue so they'll probably find fault with the Borderline! Concert venues are still mercilessly smoke free so although you don't quite get the same atmosphere as a small club, you do end up the evening not smelling like a kipper. Also the crowd are usually there to see the band and the seats partly stop that social chat circulation thing. Mind you, the venue doesn't always kill the sense of occasion - Didier and I had a great evening at the Barbican's Beyond Nashville festival last year - Howe Gelb and friends turned in great performances and the stage setting made it feel pretty intimate. There were however still a few people who didn't seem to be able to spend an evening out without downing vast lakes of beer and have to disturb everyone in their row to go to the bar every half hour - they'd never do this at a play so why a music show? Steve H and I went along a few days later to the same venue to see The Jayhawks but they struggled to cope with the venue - and the bassist looked like he could kill the soundman... Ian - np Paula Carino's Aquacade - take Joe's advice and snap this one up before 125 sell out! ------------------------------ Date: Sun, 17 Feb 2002 07:11:02 -0500 (EST) From: Charity Stafford Subject: RE: [loud-fans] [Miles had a bad time at the show] Ian said: > downing vast lakes of beer and have to disturb everyone in their > row to go to the bar every half hour - they'd never do this at a play > so why a music show? My own personal "favorite" instance of all this is that I actually got to see URGH: A MUSIC WAR in a theatre, many years back, and the two guys in front of me talked through the movie just as though they were at a club! The best-behaved club crowd I ever saw was for Jad Fair backed by (Man or Astroman, I think?) at the El Mocambo in Toronto, at the time that the Half Japanese documentary came out - a significant portion sat on the floor after the chairs filled up, and stayed seated and more or less quiet throughout the set! Charity ------------------------------ Date: Sun, 17 Feb 2002 12:05:30 -0800 From: dc Subject: [loud-fans] Violet Indiana any Cocteau Twins fans on this list should be apprised that Robin Guthrie is bringing his chorus pedals and his new ensemble, Violet Indiana, to the west coast for a short stint this month. the dates are: February 22nd Seattle WA, The Crocodile February 23rd Vancouver BC, Richards on Richards February 25th Portland OR, Berbati's Pan February 27th San Francisco, The Great American Music Hall March 1st Los Angeles CA, The Troubador the tour coincide with the band's first domestic release, CASINO, rounding up tracks from several limited edition EPs released last year and adding three new songs. singer Siobhan de Mare boasts a less exotic palette than Liz Fraser, but i think the latter always defied comparisons anyway. in any event, you should recognize the guitars. (more, should you want it, at www.bellaunion.com) peanut butter, peanut butter, can't take my cabbage patch away... dc vicinity of seattle ------------------------------ Date: Sun, 17 Feb 2002 14:50:55 -0600 From: Bill Silvers Subject: Re: [loud-fans] Jay Farrar and Brian Henneman @ 12th & Porter, Nashville, 2/15/02 (Pt. 2) Miles Goosens wrote, as a bit of an aside in one of his e-mails on his night out: >The twin towers then proceeded to talk about how some guy on the Postcard2 >list called some other guy on the list "a queer and a fag," and their tone >was entirely approving. After hastily downing the beers in hand, they >asked the bartender for another round, and when they received it, the >first behemoth said to the other "Did you see how he [the bartender] did >that? That asshole. I'm going to kick his f*&^ing ass." Behemoth #2 >replied "Yeah, if he does that again, we'll jump his ass right after the >show." I watched the entire transaction, and the bartender simply fetched >their beers, told them what they owed, took their money, and gave them >change -- no lip, no insulting tone, no provocation whatsoever. > >While these massive lunkheads quaffed several more rounds of beer and laid >a plan for seizing a table each once they gained admission into the club >("You grab one, and I'll grab one, and we'll kick anyone's ass who tries >to make us move"), I noticed that they weren't the only out-of-town people >in line. A lot of people seemed to be at the club for the first time, and >many of them seemed to know each other. I never established if the two >Jay Farrar shows -- he's playing here tomorrow night, in addition to this >show -- have become some sort of Jay Farrar List (is there such a thing?) >gathering and/or Postcard2 confab, but something was definitely going on. Not that I can speak for a e-mail listserv with 700 or so subscribers (or even want to), but I know a fair number of folks in Nashville who are on Postcard 2 (or as it's far more commonly known, "P2"), and while I won't discount the possibility that they could just be guys I've never met, it doesn't sound like anybody I've ever either read on-list or in person. Postcard 2 is so much better known as P2 as to make me wonder if the fellows involved here weren't affiliated with the list that originated P2, called simply Postcard. Postcard was, along with the "No Depression" folder on AOL, one of the original alt-country e-mail groups. Its focus is on the works of (90s) alt-country pioneers Uncle Tupelo, along with the solo careers that followed the demise of that band with Son Volt (Jay Farrar) and Wilco (Jeff Tweedy). Other bands and artists that were swept up in the heady days when alt-country started gathering momentum in the mid 90s are also much discussed, but the focus remains on Farrar and Tweedy. Postcard 2 started as a spin off from this list in mid-1995, and has from the beginning talked about lots of other music along with alt-country, though at its heart has morphed into a list primarily devoted to hard-core country, bluegrass and the "better" elements of mainstream country these days. Jay Farrar barely gets talked about on P2 anymore, as many of the listers have just moved on to other things (Much as have Farrar and Tweedy themselves). It's far more likely that the boorish gentlemen Miles and his wife Melissa encountered at the Farrar show were Postcarders than from P2. In my six years on P2, I don't think I've ever heard anybody called "a queer and a fag," and anyone who used those terms would meet with the general derision (and likely expulsion) they'd deserve. If anything, the dissection of content for meaning is more rigorous on Postcard 2 than any other list I've associated with, often, too much so IMO. Postcard, OTOH, is characterized by a general blustery back and forth of personal vendettas and coup-taking that at times overshadows the music content of the list. Anyhow, I'm sorry for Miles unfortunate evening out, and I wish he'd had a better vantage point from which to enjoy the show. My girlfriend Amy and I saw Farrar and Spencer at the Pageant in St. Louis last November, and it was as everything Amy could have wished for (I'm something of a Farrar agnostic, myself). I do recall that, while standing shoulder-to-shoulder on the packed floor of the barn known as) The Pageant, our enjoyment of the set was interrupted by an angry young man who had been staring intently at the guy and gal couple standing near us, who then muscled through the crowd and confronted the guy of the couple for having a lot of nerve attending the show with this fellow's former girlfriend. While no fight ensued, couple-guy spent the rest of the show commiserating loudly with friends and girlfriend over dumped-guy's aggressive behavior. I think it must be Jay Farrar that brings this stuff out in his fans, Miles. b.s. ------------------------------ Date: Sun, 17 Feb 2002 17:08:39 -0500 From: "Larry Tucker" Subject: [loud-fans] a Stamey return I can not tell you what a joy it was to see Chris Stamey on stage again after nearly 7 years as he opened for Jonathan Richman in an undavertised show last night. It was a rather short 7 song 30 min+ set, but it was with a full band. Jon Wurster (Superchunk) was on drums along with other names I didn't catch on pedal steel, keyboards and bass. The sound was very much akin to his last solo album FIREWORKS with that somewhat light airy quality with some jazzy low key meandering leads fo what he termed his day late Valentine set. Though his voice was a bit shaky at times he seemed pretty confortable in the already considerable crowd that awaited Richman. He announced the welcome news that a new album was forthcoming. The set closed with the only old song, that venerable favorite od his "Something Came Over Me". I hope more shows are in the works. The night before I finally got my chance to see The New Pornograhpers and was mightily impressed. The band seemed to be really loose on stage with a lot banter back and forth between band members, and I must say Neko Case is even more beautiful in person...breathtakingly so. Opening for TNP were this utterly amazing band from Ireland called the Frames. the lead singer-guitarist and I assume songwriter had a tremendous stage presence for what was a very dynamic set that swung back and forth between quiet passages and sonic bursts of angst. This comparison will not do them justice but at times they sounded like a more earthy U2 crossed with the Counting Crows, adding a violin to the mix. I snatched up their album immediately after the show, but haven't had a chance to listen to it just yet. - -Larry ------------------------------ Date: Sun, 17 Feb 2002 14:17:01 -0800 From: "Andrew Hamlin" Subject: [loud-fans] Chat? I'm at irc.DAL.net #loudfans. Waiting. Andy Mick Tucker, drummer for the flamboyant pop-rock band the Sweet, died Thursday of leukemia. He was 54. The Sweet had numerous hit singles during the '70s glam-rock era, including "Fox on the Run," "Love Is Like Oxygen" and "Ballroom Blitz," the latter of which was featured in the 1992 film "Wayne's World." Tucker had a bone marrow transplant from his brother five years ago to combat his leukemia. He suffered recurring infections since then and succumbed to the illness at a hospital in Welwyn Garden City in Hertfordshire, Southeast England. "He went into remission after the operation, but he's never been that strong since," band bassist Steve Priest said. "This has taken everyone by surprise." Tucker was a founding member of the band, which called itself the Sweetshop when it formed in London in 1968. "He was the most underrated drummer that ever came out of England," said Priest. "He was the powerhouse of the band. He was technically marvelous. His timing was impeccable, but he had a lot of soul as well and he really felt what he was playing." The original lineup of the Sweet consisted of Tucker, vocalist Brian Connolly, guitarist Frank Torpey and bassist Steve Priest. Two years later, the group changed its name to the Sweet. After a series of unsuccessful singles, Torpey left and was replaced by guitarist Andy Scott. In 1971, the band hooked up with songwriters Nicky Chinn and Mike Chapman, who wrote some of the band's biggest hits, including "Blockbuster," "Hell Raiser" and "Ballroom Blitz." In 1974, the Sweet concentrated on writing their own material, including "Fox on the Run," which went Top 10 in both the U.S. and U.K. in 1975. The band's last big hit was "Love Is Like Oxygen," which was released in 1978 on the album Level Headed. Soon after, Connelly left the band and was replaced by keyboardist Gary Moberley. The Sweet broke up in 1982, though they enjoyed several short reunions over the next 10 years. Connelly died of liver failure in 1997. Tucker is survived by his wife, Janet, and his daughter, Ayston, who were by Tucker's side when he died. His funeral is planned for February 25. "He was like my brother," Priest said. "He was very intelligent and passionate. He was a nice lad."  Jon Wiederhorn [--from http://www.sonicnet.com/news/story.jhtml?id=1452329 ] ------------------------------ Date: Sun, 17 Feb 2002 18:29:28 -0600 From: steve Subject: [loud-fans] Important OT news > Ozzy Osbourne launches own TV show > > - - - - - - - - - - - - > Associated Press > > Feb. 17, 2002 > > First, there was "Survivor." Then came "Fear Factor." > > Now, reality television watchers can follow the daily activities of > rock musician Ozzy Osbourne and his family on MTV in "The Osbournes." http://www.salon.com/ent/wire/2002/02/17/ozzy/index.html __________ Also in the news, Miyazaki's SPIRITED AWAY is co-winner of the Golden Bear award as best picture at the Berlin Film Festival. > "A sensation at the Berlinale! For the first time, an animated feature > receives the main award - at least half of it. A Golden Bear for the > Japanese fantasy adventure 'Spirited Away' by Hayao Miyazaki. A movie > that > is tough to pin down, that is art, not art business, that is about > children but made for adults - and that broke every box office record > and > even sank the 'Titanic'. - - Steve __________ OS X is faster, smarter, prettier, and easier to use than any version of Windows. - Robert X. Cringely ------------------------------ Date: Sun, 17 Feb 2002 21:24:05 -0600 (CST) From: Jeffrey with 2 Fs Jeffrey Subject: RE: [loud-fans] [Miles had a bad time at the show] On Sun, 17 Feb 2002, Ian Runeckles & Angela Bennett wrote: > setting made it feel pretty intimate. There were however still a few > people who didn't seem to be able to spend an evening out without > downing vast lakes of beer and have to disturb everyone in their row to > go to the bar every half hour - they'd never do this at a play so why a > music show? This is the heart of it, of course - and it's something that, somewhere along the line, came to define "rock & roll": this flimsy cardboard notion of "rebellion." I think of early rock & roll, and I don't think in particular of performers highlighting their "rebelliousness": certainly, there were certain things those performers rejected (race-based musical coding, for one; conventional notions of energy-restraining decorum), but featuring their "rebellion" didn't seem to come along till later. Somewhere, the whole Marlon Brando _Wild Ones_ kind of rebellion got grafted onto rock & roll - even though that movie predated rock & roll, pretty much (1954). I'm not sure - I may have to blame Andrew Loog Oldham and his presentation of the Rolling Stones. But what that developed into was a sort of freefloating excuse to behave badly - sometimes, with purpose (as against actually repressive social norms) but more often, just for the sheer hell of it. So for people who buy into what became rock mythology, being a surly asshole is somehow a rock thing to do (and the number of pisspoor bands who got by on this attitude is legion - culminating, probably, in the pointless absurdity of a G.G. Allin). I dunno: I think energy and fun - and yeah, including a certain amount of devil-may-care risk - is way more essential to rock than rebellion per se - - and certainly than the attitude-slanging that "rebellion" has turned into it. Not a few bands have been killed by their felt need to "rebel" - when just playing good music would have been enough. So too many rock crowds think if they're not making loads of noise - damn what anyone else in the crowd thinks - they're not actually being rock & roll enough for the band. (And a number of bands encourage this crap, too...) That this coincides all too neatly with the general drift toward a fuck-you definition of "individualism" (and dovetails with the predatory megacapitalism of the eighties onward...but don't let's start *that* thread again) is only the ironic icing on the lurid, rainsoaked cake that...dammit, suffering from Webb's Disease again...hold on: okay, it's pretty damned ironic that such "rebellion" is exactly what all the marketing geeks of the world encourage in their ovine demographic niches - conformity in rebellion. But now I'm hotdogging all Thomas Frank - or swimming in a Dennisious McGraavy... - --Jeff, from the Frankfurter School J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html ::I suspect that the first dictator of this country will be called "Coach":: __William Gass__ ------------------------------ Date: Sun, 17 Feb 2002 22:04:48 -0800 (PST) From: Mike Curley Subject: Fwd: [loud-fans] Tape swap review: Jen Grover's Valentunes Actually "Bed of Roses" is pretty representative of a lot of their work. These guys have been unfairly lumped in with the whole grunge scene, even though they really have little in common with that type of music. They play hard rock, but their main influence is psychedelic rock, rather than the meatal/sludge associated with grunge. I'd argue that they are more similar to the Bevis Frond. If you like this song, you'd probably like their SST albums. My favorite is "Invisible Lantern." I would probably stay away from "Sweet Oblivion" and anything after. Mike - --- Stewart Mason wrote: > "Bed of Roses" -- Screaming Trees > > Hm. This sounds nothing like the Screaming Trees > stuff I heard back when > they were on the radio and the like. This is > actually really good, sort of > like Rain Parade with more balls. Where's it from? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ------------------------------ End of loud-fans-digest V2 #72 ******************************