From: owner-precious-things-digest@smoe.org (precious-things-digest) To: precious-things-digest@smoe.org Subject: precious-things-digest V12 #141 Reply-To: precious-things@smoe.org Sender: owner-precious-things-digest@smoe.org Errors-To: owner-precious-things-digest@smoe.org Precedence: bulk X-To-Unsubscribe: Send mail to "precious-things-digest-request@smoe.org" X-To-Unsubscribe: with "unsubscribe" as the body. precious-things-digest Thursday, October 2 2008 Volume 12 : Number 141 Today's Subjects: ----------------- [pt] Welcome to 1991 [handal@r2d2.reverse.net (Richard Handal)] ---------------------------------------------------------------------- Date: Wed, 1 Oct 2008 03:37:27 -0500 (CDT) From: handal@r2d2.reverse.net (Richard Handal) Subject: [pt] Welcome to 1991 Hello out there, assuming anyone still *is* out there, Over recent months I've been watching "classic" episodes of Soul Train every week at 2am on Sundays. Most of the time the music wasn't real special, although the 1971 Al Green episode was definitely one of those "This is OUR church George" experiences. Well, watching those shows has nothing on the video of this 1991 Tori set that just came out. The very notion of her performing most of LE before such a large crowd before they'd ever had a chance to hear it is mindblowing just as a concept, but I can't say I was prepared for how full the experience of watching this thing was. I have a love-hate relationship with that Yamaha CP80, so I need to get myself to a place of accepting it on its own terms before being able to focus on the performance. But she comes out, sits down, and plays Silent, then she goes right into Precious, and the whole time I couldn't stop wondering what in the *hell* those Moody Blues fans could have possibly been *thinking* the whole time! I can't believe more than a few of them were able to parse even a tiny sliver of her set without having heard any of the music before. Not that it isn't accessible, but few who were there to relive the days of Knights in White Satin were likely in a mental place to wrap their minds around the likes of this performance. And it's not much like the experience a friend of mine had, of agreeing as a freelance music writer in 1994 to review one of her concerts and was totally *blindsided* and freaked out, to the degree that she wasn't able to do the review, then immediately began saving up to attend as many concerts as she could on the next tour. (She got to 32 DDI shows.) My friend knew that this was a major artist with a following, and the audience and Tori knew at that 1994 concert that they all knew her music--and more of less what to expect--so this 1991 Montreux concert set five weeks before writing Me and a Gun is absolutely its own animal. Even if somebody somehow comes up with a tiny club appearance in London from around this time, that can't be like this, because there's a big audience of nearly 2,000. These people heard the way she stretched and sculpted the "Please, save me" section of Crucify in the most astonishing manner, and thought--*what*? I would love to be able to talk to some of those people. This 1991 set seems to be entirely in realtime, other than some removed applause before she returns for an encore after we see her leave the stage. I didn't even watch the 1992 set yet. Tomorrow, I expect. I picked this up at Barnes & Noble. They'd only gotten in the one copy, and the CD version of this release was already gone, because somebody had bought the only copy they'd gotten of that, too. So you may want to call the store before wasting a bunch of gas if you plan to find this thing. Time travel: I'm *telling* you. http://undented.com/news/1538/live-at-montreux-hits-the-streets http://undented.com/news/1534/spinner-premieres-precious-things-from-montreux Be seeing you, Richard Handal, H.G. ------------------------------ End of precious-things-digest V12 #141 **************************************