From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V2 #191 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 Friday, May 31 2002 Volume 02 : Number 191 Today's Subjects: ----------------- [loud-fans] Swedish (ns) [Dave Walker ] Re: [loud-fans] Swedish (ns) ["Aaron Milenski" ] [loud-fans] RE: Swedish ["Aaron Milenski" ] [loud-fans] RE: Vicki Peterson ["Brett Milano" ] [loud-fans] swedens [dmw ] Re: [loud-fans] swedens [Steve Holtebeck ] [loud-fans] 3/4 Time [Michael Mitton ] Re: [loud-fans] 3/4 Time [Jeffrey with 2 Fs Jeffrey ] Re: [loud-fans] 3/4 Time ["amy pyritz lewis" ] Re: [loud-fans] 3/4 Time [Jeffrey with 2 Fs Jeffrey ] Re: [loud-fans] 3/4 Time [Matthew Weber ] [loud-fans] Reivers, reissues and revivals [Gil Ray ] ---------------------------------------------------------------------- Date: Thu, 30 May 2002 13:58:43 -0400 (EDT) From: Dave Walker Subject: [loud-fans] Swedish (ns) I've become quie fond of the two Club 8 records on Hidden Agenda/Parasol. Besides the obvious (Saint Etienne, Cardigans), what other things would folks recommend that are in this vein? -d.w. ------------------------------ Date: Thu, 30 May 2002 14:10:12 -0400 From: "Aaron Milenski" Subject: Re: [loud-fans] Swedish (ns) >I've become quie fond of the two Club 8 records on Hidden Agenda/Parasol. >Besides the obvious (Saint Etienne, Cardigans), what other things would >folks recommend that are in this vein? They're much more powerful than any of the bands you mention (sort of in the vein of the louder songs on the Cardigans' FIRST BAND ON THE MOON album, but with male vocals), but an outstanding album from Sweden is SOMETHING SMELLS GOOD IN STINKVILLE by Grass-Show. Aaron _________________________________________________________________ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com ------------------------------ Date: Thu, 30 May 2002 14:17:11 -0400 From: "Aaron Milenski" Subject: [loud-fans] RE: Swedish Oh, Cinnamon's THE COURIER is quite nice, too. Very much like the Cardigans, with lovely female vocals, lots of major seventh chords. The first few songs on it are amazing. The rest isn't as good, but is still pretty enjoyable. My band was lucky enough to share a bill with them on their first American tour, on their first American gig. Just to prove how universal some of our rock and roll jokes are, the singer shyly went up to the mike and yelled out "Hello Cleveland!!" Also, their song "Missing Persons File" contains an instrumental section where they get stuck on a chord, almost as if the record is skipping. During that part, the singer solos on an analog synthesizer. During their sound check, they played that part for maybe 10-15 minutes. I thought that was the way the song was supposed to be and I thought it was teh coolest thing I ever heard--incrdibly hypnotic. Then I found out they just played the part over and over so she could get her synthesizer settings down right. Oh well--too bad they never recorded an extended version of it. Aaron _________________________________________________________________ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com ------------------------------ Date: Thu, 30 May 2002 14:14:16 -0400 From: "Brett Milano" Subject: [loud-fans] RE: Vicki Peterson ^^ As I see it, they wrote only three great songs ("James," "Hero Takes A Fall" and "Tell Me").. Don't forget "He's Got a Secret," a song I fell in love with at first listen-- Still love those gorgeous counterpoints in the chorus (the "don't believe....Seen by now" bits), and the little surprise in the words (the cheatin' boyfriend has to be running around with the girl who's singing). I'd say this was Vicki's best song, at least until she wrote "Who We Are" and "Na Na" for the Continental Drifters. For any Drifters fans who were wondering, I caught the new band last month and they're still pretty wonderful-- Susan's missed, but original member Ray Gaunacheau is back, so the harmonies are still there with a bigger guitar sound. They did most of the non-Susan songs from the last couple albums, one or two new ones and a "new" cover of Dave Mason's "Only You Know & I Know." ------------------------------ Date: Thu, 30 May 2002 14:48:39 -0400 (EDT) From: dmw Subject: [loud-fans] swedens i like the wannadies a lot, esp. _be a girl_ if Sue were reading i'm sure she'd mention komeda, especially 1998's _what makes it go?_ http://www.allmusic.com/cg/amg.dll?p=amg&sql=C7229 ------------------------------ Date: Thu, 30 May 2002 16:48:25 -0700 From: Steve Holtebeck Subject: Re: [loud-fans] swedens dmw forwards: > http://www.allmusic.com/cg/amg.dll?p=amg&sql=C7229 I was excited to find out that Eggstone put out an album in 2001, but it looks like a compilation of previously released material. Alongside all the bands that was previously mentioned (Cinnamon, Grass Show, Komeda, the Wannadies), I should put in a good word for Cloudberry Jam, who put out a couple of cool albums in the mid-90s that are fairly easy to find in cheap bins. Also easy to find used, but in a more power pop vein, I also recommend he Drowners, Melony, the Merrymakers, and This Perfect Day. Does anybody know whatever became of these bands? It's like they were all swept away by the Swedish pop vortex a few years ago, never to be seen or heard again. Parasol seems to be pushing Swedish music now. http://www.parasol.com/swedishsound.asp Steve ------------------------------ Date: Thu, 30 May 2002 20:56:51 -0400 (EDT) From: Michael Mitton Subject: [loud-fans] 3/4 Time I've been listening to The Delgados' THE GREAT EASTERN this past week, an excellent album, but one that always makes me feel deeply sad and hollow. I'm not the quickest music listener around, so it wasn't until this week that I realized that of the ten songs on the album, 5 are in 3/4 time and a 6th is evenly split between 4/4 and 3/4 (and the rest are 4/4, or perhaps 2/4 for one or two--I can't tell). It got me wondering what role time signatures play in our emotional responses to music. Can the fact that so many of the songs are in the relatively unusual 3/4 time help explain my particularly strong emotional reaction to the music? Anyone know the theory here? - --Michael ------------------------------ Date: Thu, 30 May 2002 21:15:06 -0500 (CDT) From: Jeffrey with 2 Fs Jeffrey Subject: Re: [loud-fans] 3/4 Time On Thu, 30 May 2002, Michael Mitton wrote: > I've been listening to The Delgados' THE GREAT EASTERN this past week, an > excellent album, but one that always makes me feel deeply sad and hollow. > I'm not the quickest music listener around, so it wasn't until this week > that I realized that of the ten songs on the album, 5 are in 3/4 time and > a 6th is evenly split between 4/4 and 3/4 (and the rest are 4/4, or > perhaps 2/4 for one or two--I can't tell). It got me wondering what role > time signatures play in our emotional responses to music. Can the fact > that so many of the songs are in the relatively unusual 3/4 time help > explain my particularly strong emotional reaction to the music? Anyone > know the theory here? I wouldn't call 3/4 exactly *unusual* - although it's certainly less common in rock than 4/4. I don't know that there's *theory* connecting specific time signatures to emotional responses - that would be an oversimplification, and probably not what you meant to imply anyway. I tend to think that more important than the time sig itself are the tempi and rhythms that delineate it. I mean, yeah, certain kinds of beats have certain connotations (hear now in your head a military snare, say). As a sort of example, I was listening just the other day to Pink Floyd's "See Saw." For the most part, the song's in a very lazy 6/8 (related to 3/4, although I can't bring myself to characterize those fast notes as quarter notes in a song that feels that slow), but periodically there's a section that I'd characterize as 3/4, which changes the grouping of the beats (6/8 feels like a slow two with each beat subdivided into 3 eighth notes: what happens in these bars is that the same group of eighth notes is now subdivided 2+2+2). The effect is to sort of jerk the listener awake - abetted by the fact that the preceding material has a slow, descending scale, and the interruptive measure modulates half a step upwards or so. Sonically, the song is a lush meringue of mellotron, piano, organ, wah-wah guitar, vibes, and marimba, with a generous scoop of reverb on top of the whole thing and bit of slapback echo on the vocals. Today was fairly hot, and the song fit perfectly - it sounds to me exactly like melting into sleep on a lazy afternoon. The 6/8 helps that, I think - the "extra" eighth note, and the relaxed, rolling rhythm that results, whereas doing it in 4/4 would either make it too energetic or too slothful (think Floyd circa _Final Cut_ - sorry I made you do that...). - --Jeffrey with 2 Fs Jeffrey J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html ::beliefs are ideas going bald:: __Francis Picabia__ ------------------------------ Date: Thu, 30 May 2002 22:26:25 -0400 From: "amy pyritz lewis" Subject: Re: [loud-fans] 3/4 Time mr. mitton wonders: > Can the fact > that so many of the songs are in the relatively unusual 3/4 time help > explain my particularly strong emotional reaction to the music? Anyone > know the theory here? no theoretical knowledge, but i'm a big big fan of the 3/4 time signature since my lasshood piano lesson days. to me, the waltzier beats stand out because they don't echo the human heartbeat. and it's super-striking when a song like wilco's "far, far away" switches between 4/4 and 3/4. (quick: who can name all the beatles songs in 3/4?) i march with you beating 2/4 time, you want me to waltz; it don't feel right, amy ------------------------------ Date: Thu, 30 May 2002 22:18:06 -0500 (CDT) From: Jeffrey with 2 Fs Jeffrey Subject: Re: [loud-fans] 3/4 Time On Thu, 30 May 2002, amy pyritz lewis wrote: > (quick: who can name all the beatles songs in 3/4?) Not counting songs that have only a bar or two in 3/4... "A Taste of Honey" (except the middle eight, in 4/4) the middle section of "Being for the Benefit of Mr. Kite" "Dig a Pony" "Dig It" "I Me Mine" "Long, Long, Long" the verses of "Lucy in the Sky with Diamonds" (I'm calling "Norwegian Wood" as 6/8, sorry) "Oh! Darling" (unless you wanna call it a blue 12/8) the middle bits of "She Said, She Said" "She's Leaving Home" verses on "What's the New Mary Jane?" depending upon interp, "Yer Blues" and: many bars of "Good Morning, Good Morning," which is probably true of most time signatures known to humankind... From which we can conclude: Paul was the least fond of the Beatles of 3/4; George fondest of unmitigated 3/4 time; and that 3/4 time was more likely if the song's title was reduplicative. (I did this only to beat Sharples to it...) - --Jeffrey with 2 Fs Jeffrey J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html ::I play the guitar. Sometimes I play the fool:: __John Lennon__ ------------------------------ Date: Thu, 30 May 2002 21:31:24 -0700 From: Matthew Weber Subject: Re: [loud-fans] 3/4 Time At 10:18 PM -0500 5/30/02, Jeffrey with 2 Fs Jeffrey wrote: >On Thu, 30 May 2002, amy pyritz lewis wrote: > > > (quick: who can name all the beatles songs in 3/4?) > >Not counting songs that have only a bar or two in 3/4... > >"A Taste of Honey" (except the middle eight, in 4/4) >the middle section of "Being for the Benefit of Mr. Kite" Although the middle of "Mr Kite" could also just be an extended hemiola...or is that sesquialtera? :) >"Dig a Pony" >"Dig It" >"I Me Mine" >"Long, Long, Long" >the verses of "Lucy in the Sky with Diamonds" >(I'm calling "Norwegian Wood" as 6/8, sorry) >"Oh! Darling" (unless you wanna call it a blue 12/8) I would call it a 12/8... >the middle bits of "She Said, She Said" >"She's Leaving Home" >verses on "What's the New Mary Jane?" >depending upon interp, "Yer Blues" Again, I'd call this a 12/8. Picking the nits, Matt The Anarchists have always maintained that life is not possible without association and solidarity, and that struggle and revolution are not possible without a pre-existing organization of revolutionaries. But it's more convenient for bourgeois writers to paint us as promoters of anarchy in the sense of confusion, chaos; and they commence to say that we're agents of chaos, enemies of all organization...Many Anarchists swallow the bait and in seriousness become promoters of chaos, Stirnerites, Nietzscheans, and other similar absurdities. They reject organization, solidarity, and socialism; some even end up sanctifying private property, and in this manner end up playing the game of the bourgeois individualist. Luigi Fabbri, Bourgeois Influences on Anarchism ------------------------------ Date: Thu, 30 May 2002 22:17:37 -0700 (PDT) From: Gil Ray Subject: [loud-fans] Reivers, reissues and revivals I'm so excited! Stacey brought home for me 2 Reivers reissues: Saturday and End Of The Day. Both sound like they have been remastered (though it doesn't say so), and both have a couple of bonus tracks on 'em. Even better (for me), they have some cool band photos that were not on the originals. This is a treat for me, cause they would tend to get arty and obscure when it came to photos on their records (which I hate, especially if the band has HOT CHICKS! Let me SEE you!) They sound fine, in a very 80's kinda way. Don Dixon's production did 'em proud in the day, but today it sounds so...80's. But I'll take it, and it doesn't diminish one iota what I love most about this band. Two words: Kim Longacre! I really cannot think of a singer I love more. She's strong, she's sultry, she's a rock siren drawing me into her voice with the grace of a tsunami crashing on a beautifully rocky shore. (excuse the cheesy metaphor, but this is about as good as I can write...) Of course it's the numbers she sings that I like best. Soars like a bird on In Your Eyes. The bridge in Saturday makes what little hair I have left stand on end. The group comes in with some very fine harmonies (BIG points here!)that sound damn near perfect to me. John Croslin sings most of the songs and his voice is ok. Kinda like a tuneful Lou Reed, and he can sing a hell of a lot better than me, but I'm here for Ms. Longacre. If the world had angels, and if an angel could sing me a lullaby every night, it would be Kim Longacre.(note to Stacey: I'd let ALL of Sloan do the same for you!) The songs are very good with lots of big meaty guitars, cool crunchy hooks and big fat slabs of drums (80's style, of course!). Croslin's a gifted writer, but frankly I find it pretty darn hard to say he is a GREAT writer. Scott Miller is a great writer. John Croslin is a real GOOD writer. Now the part that spooks me out. Folks, these re-releases are packaged as a goddamn "Vintage" series! Damn! This stuff is OLDIES!!!!It has happened! Kill me now!!!!I guess I knew this was coming but it ain't easy! Someday soon there will be packaged tours, tooling around the country with the Reivers, Fetchin' Bones,Game Theory and Dumptruck playing in a town near you! Maybe we can follow the Herman's Hermits,Young Rascals and the Turtles revivals! (not that that would be a bad thing....just a very strange thing). I already spend way too much time in the 80's... Love, Gil Yahoo! - Official partner of 2002 FIFA World Cup http://fifaworldcup.yahoo.com ------------------------------ End of loud-fans-digest V2 #191 *******************************