From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V3 #244 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 Wednesday, August 20 2003 Volume 03 : Number 244 Today's Subjects: ----------------- RE: [loud-fans] New returnee to the list ["Larry Tucker" ] [loud-fans] pointless music questions [Jeffrey with 2 Fs Jeffrey ] [loud-fans] Songs about paintings ["Stefaan Hurts" ] ---------------------------------------------------------------------- Date: Tue, 19 Aug 2003 09:56:01 -0400 From: "Larry Tucker" Subject: RE: [loud-fans] New returnee to the list > -----Original Message----- > From: Dan Sallitt [mailto:sallitt@post.harvard.edu] > Sent: Monday, August 18, 2003 4:54 PM > To: loud-fans > Subject: Re: [loud-fans] New returnee to the list > > > >>Do you guys hear The New Pornographers as the closest thing you can > >>get to The Loud Family these days? When I heard them, LF > immediately > >>came to mind. > > > > Welcome back, Jason. For me, it's Ted Leo and the > Pharmacists--if you > > haven't heard "Hearts of Oak" yet, you should! > > Yeah, I was surprised at how much Ted Leo's music sometimes resembled > Scott's - not just in spirit, but in melodic habits, vocal > performance, > and sometimes in song structure. After a few wary listenings, I'm > enjoying the record a lot. > > I'm also enjoying the Nada Surf record, most of the time. They sound > like the kind of indie band that I often don't like, a little > meandering > and quavery-voiced, but I wind up grooving on the chord changes more > than I expect to. I'm also digging the Nada Surf album a bunch. "The Blizzard of '77" has got to be one of may favorite songs in recent memory that is nothing more than a vocal and acoustic guitar. Hard to get that song out of my head. Alos, everyone should check ou Collector's Choice for the latest round of Let's Active reissues. Both BIG PLANS and EVERY DOG have previuosly unreleased bonus tracks. The two on EVERY DOG are just alt versions of "Bad Machinery" and "Sweepstakes Winner" and are nothing to get excited about, but the two on BIG PLANS are pretty cool. "Invisible Hills" is an unheard gem that Mitch has been doing with Shalini in recent years and the version of "Horizon" is the orginal version with Faye Hunter on vocals instead of Angie Carlson. Anxiously anticipating the TNP show here next Wednesday! Larry ------------------------------ Date: Tue, 19 Aug 2003 07:56:08 -0600 From: Roger Winston Subject: [loud-fans] Take THAT, San Francisco Slow List traffic these days. Dana must still be without power. Here's a new study, proclaiming the most literate US cities: http://www.uww.edu/cities/index.html My (nearby) town Denver is #3, ahead of SF (#5) and New York (#47). Atlanta is #4! Andy, you're reading way too many books up there in Seattle (#2). Latre. --Rog (Read books? Isn't that something that people who have free time do?) ------------------------------ Date: Tue, 19 Aug 2003 10:43:31 -0500 From: Jeffrey with 2 Fs Jeffrey Subject: [loud-fans] pointless music questions Since we're so quiet lately, perhaps a mindless assembling of song titles might stir things up. I was listening to Queen's "The Fairy Feller's Masterstroke" the other day, and remembered that it's about a painting (by Richard Dadd, according to Ye Olde Internette). That made me think of King Crimson's "The Night Watch," also based on a painting (Rembrandt). You can see where this is going. (I exclude songs that use "Mona Lisa" without actually referring specifically to the painting, so there.) Yr ideas? Songs from decades other than the seventies are welcome. Jeff, from a city that doesn't read enough for him to be able to find it on that list...*too hard!* (okay, #42) Ceci n'est pas une .sig ------------------------------ Date: Tue, 19 Aug 2003 11:48:04 -0400 From: "Aaron Milenski" Subject: Re: [loud-fans] pointless music questions >Since we're so quiet lately, perhaps a mindless assembling of song titles >might stir things up. > >I was listening to Queen's "The Fairy Feller's Masterstroke" the other day, >and remembered that it's about a painting (by Richard Dadd, according to Ye >Olde Internette). That made me think of King Crimson's "The Night Watch," >also based on a painting (Rembrandt). > >You can see where this is going. (I exclude songs that use "Mona Lisa" >without actually referring specifically to the painting, so there.) > >Yr ideas? Songs from decades other than the seventies are welcome. The most apt answer to this question would be the album by The National Gallery. It's called "Performing musical interpretations of the paintings of Paul Klee" and every song on the album is "inspired" by a Klee painting. The lyric sheet includes photos of each of the paintings. It's a neat idea and a fun little album. It's supposed to be "psychedelic" but is very tame and strikes me as being done by people who are 100% drug-free (which is fine by me.) Best of all, this band includes a very young Chuck Mangione!! It was released in 1968 or 1969. Aaron _________________________________________________________________ Get MSN 8 and enjoy automatic e-mail virus protection. http://join.msn.com/?page=features/virus ------------------------------ Date: Tue, 19 Aug 2003 11:50:57 -0400 From: "Larry Tucker" Subject: RE: [loud-fans] pointless music questions > -----Original Message----- > From: Jeffrey with 2 Fs Jeffrey [mailto:jenor@uwm.edu] > Sent: Tuesday, August 19, 2003 11:44 AM > To: Omnes Cogitate Nimium > Subject: [loud-fans] pointless music questions > > > Since we're so quiet lately, perhaps a mindless assembling of > song titles might stir things up. > > I was listening to Queen's "The Fairy Feller's Masterstroke" > the other day, and remembered that it's about a painting (by > Richard Dadd, according to Ye Olde Internette). That made me > think of King Crimson's "The Night Watch," also based on a > painting (Rembrandt). > > You can see where this is going. (I exclude songs that use > "Mona Lisa" without actually referring specifically to the > painting, so there.) > > Yr ideas? Songs from decades other than the seventies are welcome. > > Jeff, from a city that doesn't read enough for him to be able > to find it on that list...*too hard!* (okay, #42) > > Ceci n'est pas une .sig Another obvious one, Don McClean's "Vincent (Starry Starry Night)". Larry ------------------------------ Date: Tue, 19 Aug 2003 10:52:11 -0500 From: "Keegstra, Russell " Subject: RE: [loud-fans] pointless music questions >Yr ideas? Songs from decades other than the seventies are welcome. The Rheostatics entire album "Music Inspired by the Group of 7". ------------------------------ Date: Tue, 19 Aug 2003 13:46:23 -0700 (PDT) From: me@justanotherfuckin.com Subject: [loud-fans] OT, but important http://news.bbc.co.uk/2/hi/technology/3164861.stm New computer virus hits inboxes this is very very nasty, and very fast. if you're on a list, you should be that much more vigilant about these things, since you've got all our addresses. brianna - -- What's the point of wearing your favorite rocketship underpants if nobody ever asks to see 'em? - Calvin - -- recent adventures in tech support at http://www.pirate.org/people/hello/cat_techterror.html ------------------------------ Date: Tue, 19 Aug 2003 16:50:46 -0600 From: "Roger Winston" Subject: [loud-fans] Test - please ignore This is a test. Please ignore. ------------------------------ Date: Tue, 19 Aug 2003 18:49:15 -0400 From: "Stefaan Hurts" Subject: [loud-fans] Songs about paintings It's not about a specific painting, but the Honolulu Mountain Daffodils have got a song called "(I Feel Like A) Francis Bacon Painting". - -- http://www.fastmail.fm - Email service worth paying for. Try it for free ------------------------------ Date: Tue, 19 Aug 2003 19:18:07 -0700 From: Steve Holtebeck Subject: RE: [loud-fans] pointless music questions Larry Tucker wrote (Re: songs about paintings) > Another obvious one, Don McLean's "Vincent (Starry Starry Night)". Isn't that song about the glory days of the Green Bay Packers? It's explained that way on "the internet", so it must be true! http://www.mcsweeneys.net/2001/01/12donmclean.html Jeff: > Songs from decades other than the seventies are welcome. Isn't that decadeism, or anti-seventism, or something? How about the 60s? "Painter Man" by the Creation ends on a "Mona Lisa" riff! - -Steve ------------------------------ Date: Tue, 19 Aug 2003 20:51:25 -0700 (PDT) From: "G. Andrew Hamlin" Subject: [loud-fans] "How to find you/How to find you/Maybe by your singing..." Okay I've tried everything else. Why not send Loudfans out to harpoon a white whale? The record I seek is called THE NEWEST SOUND AROUND, by Ran Blake and Jeannie Lee, released orginally in either 1961 or 1962. A CD reissue exists. It's also available on CD under another title, THE LEGENDARY DUETS. Probably filed under jazz. Much more likely to be filed under Blake's name than Lee's, but you never know. I tried ordering it from Amazon, but that was last May and they've shoved back delivery four times already. This wouldn't be nearly so urgent except that I'm supposed to review the record and I'd like to get that review in before too much longer. Prefer the CD, but vinyl's okay. I'll pay up to, say, twenty-five bucks including shipping, though if you find it for more than that I'd certainly like to hear from you anyway. And I'll feel awfully positive towards you, if that counts for anything. Email offlist is fine, and thank you in advance, Andy Q: I think [your] story has gotta be one of the weirdest in rock and roll. I mean, because for [a band of] teenagers, the first song ["She's Not There"] was a huge hit single, and hugely sophisticated.... It seemed like the record company never let you really make a real album, though, until Odessey & Oracle. A: I think there's some truth in that. You have to remember, in the mid-'60s, albums sort of came out on the back of hit singles. Consequently, we just made that first album [The Zombies (Featuring She's Not There and Tell Her No)] and it was done, literally, in a couple of days. With no time spent on it at all. We weren't allowed to go in and even redo vocals. I remember doing a version of "I Got My Mojo Working" and just trying something on the vocals, and I came back and hated it, and I said, "Oh, I've got to do that again," and our producer said, "No, no, it's fine"... and that was it. It was strange--the very first session we did was "She's Not There," and that was the second song I've ever written, and it was written for the session. And you know, when you're that young, it's the one time in your life when you have absolutely no knowledge of all the pitfalls that can happen along the way to making a good record. I thought, "Yeah, I can write a song that's as good as what the Beatles are doing, and it'll sound great, and it'll be a big hit here and in America and everywhere else." And it was! I was knocked out, but I wasn't surprised. I just thought, "Well, this is what happens; this is what you're supposed to do." I had no idea that you could get a bad engineer, or the singer might not suit the song, or something might go wrong in the recording, et cetera. We were so lucky everything fell into place. We had a really good producer--he worked magic on that first session, really, and the engineer went out halfway through the session to a friend's wedding which was next door, and he came back absolutely pissed, and he couldn't carry on with the session, so the producer said to the tape operator, "I'm afraid you're gonna have to take over." And so that was Gus Dudgeon's first-ever session as an engineer--of course he went on later to produce all of Elton John's stuff. It was quite magical, the first session. But then, because the producer really came from a bit of an older school, he looked back on that first session, which was a hit all around the world, and said, "Okay, what made that record a hit?" He said it was Colin's breathy vocals. Well, you know, I'm second to none in my admiration for the way Colin sings, but it was more than just Colin's vocals--it was everything. It was the fact that everything worked together and all the elements went together. So when we did more subsequent sessions with that producer, he was always trying to emphasize Colin's breathy vocals, and to my mind it was to the detriment of other things. We would often record some stuff and because we weren't allowed anywhere near the mixing sessions, we'd go out thinking "that sounds great!" and then we'd come back and, often in a bit of dismay, listen to the mixes, because he seemed to have taken the balls out of the mixes. It was because of that frustration that when we thought we were probably breaking up, Chris [White], the bass player, and myself said, "Look, we may well be breaking up, but we'd really love to produce an album ourselves before we break up," 'cause we wanted to just get that out of our hair, really. And that's how Odessey & Oracle came about. Q: I can't believe that [the Zombies] went from not ever really making a real coherent record to producing your own kind of masterwork. How did that happen? A: Because we were frustrated with the production that we'd been having. I mean, it was such a different scene in those days, Peter. It was much more insular, and we often didn't know we were having hits in other parts of the world. We wouldn't find out until much, much later. So to us, just being in England, we thought, well, you know, nothing's happened for a year. And everything moved so quickly in those days. I mean, the Beatles would have two albums out in a year! There was a fast turnover, and it seemed to us that we'd gone for about a year and, from the English point of view, nothing seemed to be happening. I could quite understand Colin, in particular, feeling dissipated. He wasn't getting any income from writing, and I was still getting income from writing, and so was Chris White, so I didn't feel so pressured. But Colin just got really disillusioned. We decided we wanted to go into Abbey Road [Studios], and at the time we didn't understand how difficult it was, actually, to record at Abbey Road if you weren't an EMI recording artist. The Beatles pretty well locked the place out anyway--at least, you know, one of the studios. Or more than one, sometimes. But we managed to get in there, and the Beatles had just been experimenting with four-track welded to another four-track. So suddenly multitracking was on the scene, and we got in on the very early days of multitracking. As I remember it, we were working with eight-tracks in Abbey Road, which felt like a plethora of tracks in those days. And we had so much enthusiasm, we had so much to get out of our systems, that it all happened very quickly. - --Rod Argent of the Zombies, from an interview by Peter Buck at http://www.thestranger.com/2003-08-14/feature3.html . A revived Zombies, featuring Argent and Colin Blunstone, is touring America. ------------------------------ Date: Wed, 20 Aug 2003 00:53:33 -0400 From: Stewart Mason Subject: Re: [loud-fans] "How to find you/How to find you/Maybe by your singing..." At 08:51 PM 8/19/2003 -0700, G. Andrew Hamlin wrote: >The record I seek is called THE NEWEST SOUND AROUND, by Ran Blake and >Jeannie Lee, released orginally in either 1961 or 1962. A CD reissue >exists. It's also available on CD under another title, THE LEGENDARY >DUETS. Probably filed under jazz. Much more likely to be filed under >Blake's name than Lee's, but you never know. Particularly since Lee has garnered much more fame since her death about three years ago, and because she did a lot more work than he has (Ran Blake is primarily an instructor, not a working musician), it's more likely to see her records with Blake under L than B. Anyway, the 2000 reissue seems to have been a UK release, and as always, going to the UK garners better results. www.hmv.co.uk promises three-day shipping. www.musica.co.uk claims only 1-2 weeks (although I've never had to wait that long for anything) but they're a couple pounds cheaper. I've ordered many things from both sources and recommend them both without reservations. S ------------------------------ Date: Tue, 19 Aug 2003 22:06:46 -0700 (PDT) From: "G. Andrew Hamlin" Subject: Re: [loud-fans] 'How to find you/How to find you/Maybe by your singing...' > Particularly since Lee has garnered much more fame since her death about > three years ago, and because she did a lot more work than he has (Ran > Blake is primarily an instructor, not a working musician) Hm...not so sure about that. According to AMG, Lee released six albums under her own name. Blake has 27. Thanks so much for the tips! What'd you think of COMPLIMENTS OF THE MYSERIOUS PHANTOM? Or for that matter Weird Al's "Albuquerque"... Andy "Get back with those corporate fascists and I can retire in 25 years!" - --O'Neill the other night in the bar, pondering a return to work at either QFC or Albertson's ------------------------------ Date: Wed, 20 Aug 2003 01:19:14 -0400 From: Stewart Mason Subject: Re: [loud-fans] 'How to find you/How to find you/Maybe by your singing...' At 10:06 PM 8/19/2003 -0700, G. Andrew Hamlin wrote: >> Particularly since Lee has garnered much more fame since her death about >> three years ago, and because she did a lot more work than he has (Ran >> Blake is primarily an instructor, not a working musician) > >Hm...not so sure about that. According to AMG, Lee released six albums >under her own name. Blake has 27. Only six under her own name (although I'm positive that that's missing a few), but she worked extensively as a sideman (Carla Bley's ESCALATOR OVER THE HILL comes immediately to mind) and a featured vocalist, while Blake is primarily a soloist. However, I didn't know he'd done so many albums on his own. > >Thanks so much for the tips! What'd you think of COMPLIMENTS OF THE >MYSTERIOUS PHANTOM? Haven't heard it yet, actually. I'll get around to it eventually, but frankly, while mid-'70s Kirk still blows the lid off nearly every other saxophonist around, I don't rate his post-THREE-SIDED DREAM work as highly as I do just about every other period of his career. S ------------------------------ Date: Wed, 20 Aug 2003 00:23:13 -0500 From: Jack Lippold Subject: Re: [loud-fans] pointless music questions There's "Lichtenstein Painting" by Television Personalities off "Mummy, Your (sic) Not Watching Me". At 10:43 AM 8/19/2003 -0500, Jeffrey with 2 Fs Jeffrey wrote: >Since we're so quiet lately, perhaps a mindless assembling of song titles >might stir things up. > >I was listening to Queen's "The Fairy Feller's Masterstroke" the other day, >and remembered that it's about a painting (by Richard Dadd, according to Ye >Olde Internette). That made me think of King Crimson's "The Night Watch," >also based on a painting (Rembrandt). > >You can see where this is going. (I exclude songs that use "Mona Lisa" >without actually referring specifically to the painting, so there.) > >Yr ideas? Songs from decades other than the seventies are welcome. > >Jeff, from a city that doesn't read enough for him to be able to find it on >that list...*too hard!* (okay, #42) > >Ceci n'est pas une .sig ------------------------------ Date: Wed, 20 Aug 2003 01:34:22 -0400 From: Stewart Mason Subject: Re: [loud-fans] pointless music questions At 12:23 AM 8/20/2003 -0500, Jack Lippold wrote: >There's "Lichtenstein Painting" by Television Personalities off "Mummy, >Your (sic) Not Watching Me". Not to mention the later (and even better) "An Exhibition By Joan Miro," which has the dual benefit of being a song mentioning my favorite painter by one of my favorite bands. S NP: HOBBIES GALORE (HIS BEST 24) -- R. Stevie Moore ------------------------------ Date: Wed, 20 Aug 2003 02:12:58 -0400 (EDT) From: Michael Mitton Subject: Re: [loud-fans] "How to find you/How to find you/Maybe by your singing..." > The record I seek is called THE NEWEST SOUND AROUND, by Ran Blake and The newest sound around is a sound that's made by worms! Not very helpful, Michael ------------------------------ Date: Tue, 19 Aug 2003 23:16:59 -0700 From: "me" Subject: [loud-fans] those wacky librarians http://www.oaklandtribune.com/Stories/0,1413,82%257E1865%257E1575857,00.html Lady Jane Grey, leather mistress and librarian - -- http://geeks4dean.com NOW AVAILABLE --> Altoids Dean shirts! - -- Albert Einstein, when asked to describe radio, replied: "You see, wire telegraph is a kind of a very, very long cat. You pull his tail in New York and his head is meowing in Los Angeles. Do you understand this? And radio operates exactly the same way: you send signals here, they receive them there. The only difference is that there is no cat." ------------------------------ End of loud-fans-digest V3 #244 *******************************